Learn photography with me

OP
nac

nac

Aspiring Novelist
METERING

I think this topic needs some deep understanding. I didn't get the depth. This time I am just gonna give you a link which just explains what is what. Read, re-read... Try the options you have in your camera and share with us what you have understand/learned new after trying different metering.

Introduction to Metering Modes on your DSLR >> GoDigitalSLR.com

Exercise: 4
Try different metering in your camera of the same scene/lighting and see how it affects the result.

Note: For learning try all the metering options you have in your camera. But stick with evaluative metering until you're comfortable with all the other settings in your camera. When you are not getting correct exposure, you can adjust the exposure compensation and reshoot.

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I just want to take it light on this one. Emphasizing too much on metering at this very beginning seems little too much. So as I said, I will stick to evaluative metering.

*img547.imageshack.us/img547/6497/img0608ak.jpg

Focus was on the nose.
 

Zangetsu

I am the master of my Fate.
Excellent for helping in photography

@nac: we also contribute here by asking questions regarding how to click a particular type of picture.this help a lot
also update 1# post as this going to get long ;)
 
OP
nac

nac

Aspiring Novelist
^ Yeah sure... It will be good if we have lot of discussion.

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INTRODUCTION TO WHITE BALANCE

The reason we adjust white balance is to get the colors in your images as accurate as possible.

Why would you need to get the color right in your shots?

You might have noticed when examining shots after taking them that at times images can come out with an orange, blue, yellow etc look to them – despite the fact that to the naked eye the scene looked quite normal. The reason for this is that images different sources of light have a different ‘color’ (or temperature) to them. Fluorescent lighting adds a bluish cast to photos whereas tungsten (incandescent/bulbs) lights add a yellowish tinge to photos.

The range in different temperatures ranges from the very cool light of blue sky through to the very warm light of a candle.

We don’t generally notice this difference in temperature because our eyes adjust automatically for it. So unless the temperature of the light is very extreme a white sheet of paper will generally look white to us. However a digital camera doesn’t have the smarts to make these adjustments automatically and sometimes will need us to tell it how to treat different light.

So for cooler (blue or green) light you’ll tell the camera to warm things up and in warm light you’ll tell it to cool down.

Adjusting White Balance

Different digital cameras have different ways of adjusting white balance so ultimately you’ll need to get out your camera’s manual out to work out the specifics of how to make changes. Having said this – many digital cameras have automatic and semi-automatic modes to help you make the adjustments.

Preset White Balance Settings

Here are some of the basic White Balance settings you’ll find on cameras:

Auto – this is where the camera makes a best guess on a shot by shot basis. You’ll find it works in many situations but it’s worth venturing out of it for trickier lighting.
Tungsten – this mode is usually symbolized with a little bulb and is for shooting indoors, especially under tungsten (incandescent) lighting (such as bulb lighting). It generally cools down the colors in photos.
Fluorescent – this compensates for the ‘cool’ light of fluorescent light and will warm up your shots.
Daylight/Sunny – not all cameras have this setting because it sets things as fairly ‘normal’ white balance settings.
Cloudy – this setting generally warms things up a touch more than ‘daylight’ mode.
Flash – the flash of a camera can be quite a cool light so in Flash WB mode you’ll find it warms up your shots a touch.
Shade – the light in shade is generally cooler (bluer) than shooting in direct sunlight so this mode will warm things up a little.

Manual White Balance Adjustments

In most cases you can get a pretty accurate result using the above preset white balance modes – but some digital cameras (most DSLRs and higher end point and shoots) allow for manual white balance adjustments also.

The way this is used varies a little between models but in essence what you do is to tell your camera what white looks like in a shot so that it has something as a reference point for deciding how other colors should look. You can do this by buying yourself a white (or grey) card which is specifically designed for this task – or you can find some other appropriately colored object around you to do the job.


Understanding white balance
Introduction to white balance
(Please refer these sites for more info)

Exercise: 5
Shoot in different lighting and get correct white balance. Try the presets and try manual as well if you have it in your camera.
 
OP
nac

nac

Aspiring Novelist
EX: 5

*img689.imageshack.us/img689/4812/img0622qi.jpg

I don't know how to get the precise custom WB settings and I am not OK with results I have got with the presets as well. Most likely I would edit these pictures to get the correct WB.
 
OP
nac

nac

Aspiring Novelist
INTRODUCTION TO HISTOGRAM

Histograms graphs the tones in your image from black (on the left) to white (on the right).

The higher the graph at any given point the more pixels of that tone that are present in an image.

So a histogram with lots of dark pixels will be skewed to the left and one with lots of lighter tones will be skewed to the right.

The beauty of a histogram is that the small LCD display on your camera is not really big enough to give you an great review of a picture and you can often get home to find that you’ve over or under exposed an image. Checking the histogram can tell you this while you’re in a position to be able to adjust your settings and take another shot.

Is there such a thing as a ‘good’ histogram?

As with most aspects of photography, beauty is in the eye of the beholder and there’s always a lot of room for personal taste and different ways of expressing yourself as a photographer.

There is no such thing as the ‘perfect’ histogram – different subjects and photographic styles will produce different results. For example taking a silhouette shot might produce a histogram with peaks at both ends of the spectrum and nothing much in the middle of the graph. Taking a shot of someone at the snow will obviously have a histogram with significant peaks on the right hand side…. etc

Having said this (and to generalize) – in most cases you’ll probably want a fairly balanced shot with a nice spread of tones. Most well exposed shots tend to peak somewhere in the middle and taper off towards the edges.

Using Histograms While Shooting

So now you know what a histogram is – grab your digital camera’s manual and work out how to switch it on in playback mode. This will enable you to see both the picture and the histogram when reviewing shots after taking them.

Keep an eye out for histograms with dramatic spikes to the extreme ends of either side of the spectrum. This indicates that you have a lot of pixels that are either pure black or pure white. While this might be what you’re after remember that those sections of the image probably have very little detail – this is a hint that your image could be either over or under exposed.

The histogram is really just a tool to give you more information about an image and to help you get the effect that you want. Having your camera set to show you histograms during the view process will tell you how your image is exposed. Learning to read them will help you to work out whether you’re exposing a shot as you had hoped.

Understanding Histograms
(Refer this link for more info)

I will wrap up this basic with one more topic. Most likely we can start the book by Thursday, I guess.
 
OP
nac

nac

Aspiring Novelist
How to hold your camera

This final topic is about how to hold the camera steady and release the shutter with little to no camera shake.

Please clikc the following links for information.

How to Hold a Digital Camera
Shutter Release Technique
Pre-Focus to Combat Shutter Lag

We will practice this for a day or two. After that we will review/recap the basics before starting the book.
 
OP
nac

nac

Aspiring Novelist
I think I have covered the basics. Now we are gonna learn ART OF COMPOSITION. I started reading this book PHOTOGRAPHY - ART OF COMPOSITION by Bert Krages some months back and couldn't continue. Now I am starting it again, but this time it will be much more fun in learning as I am learning with all of you guys.

My objective is to make better photographs. I will share the knowledge I gain by reading this book and trying it with my camera. I will really be glad if you guys join me in this journey to MAKE BETTER PHOTOGRAPHS. There are some of you guys know a lot about photography. Please join us to learn and teach photography.

The book has about 250 pages, 7 chapters, 60+ exercises.

I am wishing myself and all of you guys BON VOYAGE.

Will see you guys tomorrow with the first chapter THE IMPORTANCE OF VISUAL SKILLS

Note:
Working in black and white is an ideal way to learn about composition. The reason for this is simple. Color is a strong element within any image, and used well it is a powerful compositional tool in its own right, but it pulls attention away from the basic visual building blocks of all good images such as line, tonal contrast, texture, shape and pattern.

If you work in black and white, even if it’s not where your true passion lies, you can see the underlying elements of good composition more clearly.

Color is such an attention grabber that it can hide poor composition. In black and white however, there’s nowhere to hide, and that’s a good thing when it comes to learning about composition.
 
OP
nac

nac

Aspiring Novelist
ART OF COMPOSITION

"Composition is the arrangement of visual elements so they agreeably present themselves when viewed as a whole".

CHAPTER 1: THE IMPORTANCE OF VISUAL SKILLS


Photography is about vision – real or perceived.

Before we take the camera out of the bag we must first learn to look at what we are seeing, and to see at which we are looking.

As a wannabe photographer SEEING is the most fundamental skill we need to learn. we can very well learn it, just need to understand how to use the right side of our brain :D

What???

I will explain with the best of my understanding. In general, people tend to rely on analytical processing by the left side of the brain. We need to train ourselves to use the cognitive functioning of the brain's right side. If you are reading this and understanding what's written in this post is an analytical process i.e. you are using your left side of your brain. If you are looking for what font, size, colour, type used in this post, means you are using your right side of the brain.

We need to shift into a cognitive perception mode during photo shoot.

The brain has a natural tendency to filter out what it considers to be extraneous visual information. Failing to notice small details when taking photographs is a common problem caused by not sufficiently engaging the brain’s perceiving mode. The classic example is failing to include a person's feet in a full length portrait.

We need to learn these skills of perception of edges, spaces, relationships, lights & shadows and the whole. Throghout this book there are plenty of exercises which will facilitate the shift in mental processing from left to right side of the brain. For some its not easy learning to shift to right side.

Importance of Composition:
Basically, composition is determined by how objects are arranged and balanced in the photograph. Any image that succeeds in communicating its subject in an efficient or interesting way can be said to have good composition. It is important to understand that an image’s composition should be judged by how well it works and not by the rules or guidelines

According to Gestalt theory, human perception is governed by the following principles:
• People tend to perceive by distinguishing between a figure and a background (the figureground relationship).
• Objects that are close together are likely to be seen as a group (the principle of proximity).
• Objects that are similar are more likely to be seen as a group (the principle of similarity).
• People tend to see complete figures even when part of the information is missing (the principle of closure).
• People tend to perceive subjects as continuous figures (the principle of continuity).

In visual perception, factors such as the distance of the subject from the background provide important visual clues. In photographs, other clues such as contrast, tonality, and color may dominate. When making images, photographers need to take such factors into account and not rely solely on their initial perceptions.

Although there are compositional rules/guidelines but they just provide a catalog of elements that tend to create favorable impressions on viewers. There is no reason to refrain from using them if you find them useful but they don't apply to all situations. Most photographers, once they acquire enough experience, tend to rely on their intuitive sense of composition and generally stop using guidelines at the conscious level.

The “rule” is only a guideline that is useful when it improves an image, and should be freely disregarded in the frequent situations when it does not.

Once the sense of seeing is acquired, composition will take care of itself.

Viewing other people’s photographs is an excellent way to improve your ability to see photographically.
to be continued...

Art of Composition
 
OP
nac

nac

Aspiring Novelist
Viewing Other People’s Photographs:

Looking at the images made by other photographers is an excellent way to improve your ability to see photographically. Doing so will give you ideas about what the medium of photography is capable of doing and, when done critically, can provide insight into how other photographers go about making their images. To get the most benefit from viewing images, you should look at a variety of work by different photographers in different genres. Even though you will likely benefit the most from looking at the work of photographers you admire, be sure to review some work that does not appeal to you.

When examining photographs for the purpose of enhancing your seeing, try to suspend critical judgment and assess your intuitive feelings about each image. Do you like or dislike the image? Do you think it works well for its intended purpose? Look carefully at the photographs you like and try to figure out why you like them. Conversely, look at photographs that do not appeal to you and determine why. Try to avoid judging photographs based on how closely they follow compositional guidelines. Instead, concentrate
on aspects such as the appeal of the subject matter, your initial visual impression, and the role that technical aspects such as sharpness and shadow detail play in your reaction.

To develop your sense of discernment, speculate as to how the scene might have looked when the photographer first noticed it. Try to figure out what extraneous elements might lie outside the image. Also, assess why the photographer selected the particular viewpoint and how the image might appear if made from different positions. Since camera does not record light in the same manner that the human eye perceives it, it is also useful to speculate how the light actually appeared when the photographer took the photograph. Factors to consider are the intensity, diffuseness, and cast of the light.

An excellent way to evaluate a photograph and its composition is to make a sketch from it, taking care to depict the major visual elements exactly where they appear in the image. This kind of exercise can help you overcome the abstracting process of the brain and better assess where those elements appear on the two-dimensional surface of the image.

Another benefit of viewing a variety of photographs is that it develops an appreciation of style. There are no absolute rules as to what makes for a good photograph or a good style. When evaluating collective works of individual photographers, look at how they use lighting, color, composition, and graphic elements; then, try to determine which features dominate in making that photographer’s style distinctive.

Another aspect related to style is the visual predilection of the photographer. Some photographers distinctly favor certain visual elements in how they perceive and render subject matter. Gaining an appreciation of predilections can be applied to your work as well. Knowing that you have a predilection gives you the option of working to further develop it or work around it, depending on your feelings about how it affects your work. Understanding your predilections can also help you to enhance your skills in various genres.

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OP
nac

nac

Aspiring Novelist
CHAPTER 2: THE CAMERA AS A TOOL

Most of (may be all) the amateur photographer (may be even professionals) show lot of interests in equipments but most don't work harder to achieve proficiency in using them. Practicing the fundamental skills such as focusing and holding the camera steady will pay off in the long run with better images. Spending some time practicing at operating a particular camera can significantly improve proficiency. With sustained practice, near-perfect operation can become unconsciously embedded into your photographic technique. It is important to consider when choosing/buying a camera, how well you can work the controls and whether it is suitable for your intended applications..

Learning to use a camera as a tool is more important than the quality of the camera itself, because more can be accomplished by using a mediocre tool well than by using an excellent tool in a mediocre fashion.

Auto focusing technology has grown a lot but it doesn't perform well in all situations. Therefore, being proficient at manual focusing is necessary. Ideally, compositions should be determined by how you think they best appear, and not by how your equipment lends itself to being operated. Photographers should be aware of the compositional constraints imposed by their equipment and make allowances when necessary.

A common problem is the tendency of many photographers to use viewfinder more like aiming devices than as aids to composition. While these kinds of problems most often are caused by insufficiently developed seeing skills, there is a tendency to use the viewfinder merely to aim the camera. It is also important to develop a general sense of how a scene will appear in an image without evaluating it in a viewfinder. One way to become adept at this is to practice looking at scenes and imagining how they will appear in a photograph. When doing this, consider where you would position the frame lines and also how you would position the camera to make the most desirable images. Experience will probably suggest to you that using a viewfinder is not always necessary.

As tools, cameras are not perfect machines, although most are very precise. The question is whether the disparity between designed and actual performance is significant enough to affect the quality of your images. For example, the point of focus seen in the viewfinders of many cameras does not correspond exactly with the point of focus at the film plane, although the amount of deviation is usually insignificant. Nonetheless, the point of focus is a critical function, and it is a good idea to test your cameras.
to be continued...
 
OP
nac

nac

Aspiring Novelist
The way this thread goes doesn't seems to be encouraging anyone to participate or start a discussion. Any tips guys what we can do to invite more participation...

Thinking of starting exercises...
 

marvelousprashant

Cyborg Agent
How to hold your camera

This final topic is about how to hold the camera steady and release the shutter with little to no camera shake.

Please clikc the following links for information.

How to Hold a Digital Camera
Shutter Release Technique
Pre-Focus to Combat Shutter Lag

We will practice this for a day or two. After that we will review/recap the basics before starting the book.

Something I want to add from my experience is that while shooting landscapes in low light, you can go as low as 1/2s handheld if you take multiple shots (say 10) using timer. It removes the movement generated while pressing shutter key. :)
 
OP
nac

nac

Aspiring Novelist
That's a nice tip using the timer to avoid camera shake. And half a second... that's really great. We will soon cover that part with an exercise.
 
OP
nac

nac

Aspiring Novelist
I know very little about dynamic range. I have just read about it in forum where Fuji bridge camera owners discussing about it. As far as I understood, they use it for getting shadow details.
 

lm2k

Journeyman
@nac - I hav this book n hav read first chapters. I ll follo u.
@gen - shoot raw n milk out dr in pp.

@nac - I hav this book n hav read first chapters. I ll follo u.
@gen - shoot raw n milk out dr in pp.
 

marvelousprashant

Cyborg Agent
@gen I mean when you are taking multiple shots, chance of getting a non blurred shot increases. However doing in burst mode you are pressing the camera key so movement WILL occur. Timer will eliminate this movement

I think you can use DR option for shooting people (not literally :p) with sun shining from back. Not sure but DR mode should give better details on face then Auto

@nac Waiting for your tips on composition. I only know about rule of thirds
 
OP
nac

nac

Aspiring Novelist
Lm2k, It's good you have that book.

Prashant, Yeah, sure... We will start with the preliminary exercises. I will post the first exercise THE POINT OF FOCUS.

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EXERCISE: 6 The Point of Focus

The focus point we see in live view may differ slightly from the focus point on the sensor. Typically, this deviation is small, but larger deviations are possible. The amount of deviation is not significant in general except few cases.

Assessing the point of focus of your camera is easy to do. Create a document consisting of a series of vertical lines spaced at specific intervals (e.g., one inch). Add arrows at the top of the line in the center to distinguish it from the others. It is also helpful to place a line of text above and below the vertical lines. Tape the document to a door and open the door so that the document is set at a forty-five degree angle to the camera. Set the camera on a tripod about three feet away from the center line. With the lens aperture set at wide open, focus on the middle line and take a photograph.

Ideally, the focus point on the image will exactly match the one indicated by the viewfinder, but don’t be surprised if it is somewhat off. To judge how far off it is, count the number of lines that the focus point is away from the line in the middle, and divide by two. This will give you distance between the points of focus.

Did you know???

Smaller the camera sensor deeper the depth of field.

Note: I don't understand the last two lines. Probably I may after doing this exercise. If any of guys understand, please do explain us. If you do have a sample photograph to explain, that will be much better.
 

lm2k

Journeyman
^^ i guess this exercise was for those having a DSLR\ film SLR (with MF lenses) that have pentaprism\pentamirror view finders, mostly the author would have devised this exercise because of difference in pathlength between lens last element-shutter and lense last element-eyepiece(just a guess , i have never touched a DSLR):-?
 

marvelousprashant

Cyborg Agent
At wide end using PnS, the whole paper will be in focus

focus on the middle line and take a photograph.
Impossible on Point and shoot IMO. This is only possible on a DSLR where you have multiple focal points and can choose one of them.
PnS cameras have either center focus (fixed) or 1 AF point which is detected by contrast method so fairly accurate

Am I missing something??
 
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