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Master Your DSLR: in Minutes
Master Your DSLR: in Minutes
Master
your DSLR
in minutes
Get to grips with white-balance
Use exposure modes with confidence
Understand file formats
Pick the right metering mode
Learn ISO
and more!
IN ASSOCIATION WITH
PM MARCH SUPP 03:Layout 1 22/1/09 10:44 Page 3
Welcome
Get the best out of your new DSLR and zoom lens with
this special supplement from Photography Monthly
P
hotography is the greatest hobby on earth. But it can also be
one of the most confusing. Not only is the process of picture-
taking often suffused with technical jargon, but getting to
grips with the very equipment you use to take those shots
can, for many, be like learning a foreign language. Its for this very
reason that we came up with Master Your DSLR in Minutes, the first
in a series of free supplements with Photography
Monthly magazine.
As its name suggests, this supplement is all about
getting to grips with your DSLR. Mastering your
equipment is a crucial step towards taking great
pictures and if you know what feature or function
to set and, most importantly, when to set it, youll Photography Monthly,
The Mill, Bearwalden Business
never be caught out. Park, Wendens Ambo, Saffron
If this supplement has prompted you to pick up Walden, Essex CB11 4GB
Photography Monthly for the first time: welcome, Phone: 01799 544246 editorial
01799 544219 advertising
we hope you find our efforts informative and
entertaining. If youre a regular PM reader: EMAIL:
welcome back, I hope youll notice that pm@photographymonthly.co.uk
weve made some major changes to the WRITTEN & ILLUSTRATED BY
magazine, with the emphasis on making Roger Payne and Julian Lass
SUBBING Liz Walker
it more practical and inspirational. ART EDITOR Kevin Reed
Id love to hear your comments about
AD DIRECTOR Sam Scott-Smith
this supplement, and the new-look
magazine, so why not email me on Photography Monthly is published on the
second Thursday of every month by Archant
roger.payne@archant.co.uk. Specialist, The Mill, Bearwalden Business Park,
Saffron Walden, Essex CB11 4GB. No part of
In the meantime, enjoy this this magazine can be used without prior written
permission of Archant Specialist. ISSN 1473-4966.
supplement, enjoy your photography Photography Monthly is a Registered Trade
and Ill see you next month, when our Mark of Archant Specialist Ltd. Editorial content
does not necessarily reflect the views of the
second free supplement will teach you publisher. The publisher accepts no
responsibility for errors contained within the
how to take great shots with your publication. All advertisements that are
published in the pages of Photography Monthly
recently-mastered DSLR. magazine, the creative content of which, in whole
or part, has been written, designed or produced
by employees of Archant, remains the copyright
Roger Payne, Editor of Archant and may not be reproduced without
the written consent of Archant.
PHOTOGRAPHY MONTHLY 3
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Contents
10 CHOOSE THE RIGHT
EXPOSURE MODE 20 PICK THE RIGHT
FILE FORMAT
Before you take any pictures, youll need to Possibly one of the biggest head-
choose an exposure mode. Here well scratchers for novice DSLR users is
explain the various options youll find on whether to shoot Raw, JPEG or both?
your DSLR, and when to use them. We explain the advantages and
disadvantages of each file format, and
advise which is the best option to use.
6 SET UP
YOUR DSLR
Heres everything you need
to know to get your DSLR
ready for shooting.
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18 FOCUS ON
FOCUSING MODES
Thanks to autofocus, its very easy to
leave your DSLR to its own focusing
devices. But, taking control over the
focus mode reaps picture benefits, as
youll find out in this section.
8 WHICH LENS
DO YOU NEED?
If youve got a DSLR, youll
need a lens to go with it.
All the main focal lengths are
covered in this section.
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Setting up
your DSLR
When you buy a new DSLR, its only checks before you begin and youll
natural that youll want to get out and enjoy your picture-taking even more.
start taking pictures, but take a few So, in no particular order, make sure
minutes to run through some basic you do the following:
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Which lens
do you need? Theres a bewildering range of lenses you get greater telephoto power. A 70-
available, not only from your DSLR 200mm telezoom on the same camera,
manufacturer, but also from for example, becomes a 112-320mm.
independent companies. Nowadays, The beauty of DSLR photography is
zoom lenses are the favoured option that you can pick and choose lenses
among DSLR users because theyre according to your requirements. As
versatile and well-priced; chances are youve already got a standard zoom,
youll have a standard zoom (typically most photographers are quick to add a
covering 18-55mm) supplied with your telezoom covering focal lengths around
camera. These kit lenses are suitable 70-200mm, or a macro lens for close-up
for a range of subjects and offer decent, work. Over and above this, you could
if not exceptional, image quality. choose a wide-angle zoom (10-20mm is
Unless youre lucky enough to own a popular) or a longer telephoto zoom for
full-frame DSLR, youll need to bear in wildlife or sport work. Superzooms,
mind your cameras magnification which cover focal ranges from wide-
factor whenever you choose a lens. This angle all the way through to telephoto
will be quoted in your cameras are also useful, as they offer an all-in-
instruction manual; for instance, a one lens solution.
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300mm TELEPHOTO
14mm WIDE-ANGLE
Which focal
length?
Landscapes, architecture
Up to 18mm
General picture-taking
18-50mm
Portraits
50-100mm
Sports and action
100-400mm
Wildlife
400mm and above
90mm MACRO
PHOTOGRAPHY MONTHLY 9
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Exposure
modes
Which one to use, and when
Your DSLR is a marvel of modern camera design. But its amazing complexity
belies something all DSLRs hold in common a shutter that opens to allow
light to hit a sensor and record an image. Good exposure is a term thats
been hijacked by public relations agencies, but in photography its all about
manipulating the size of the aperture in the lens and the length of time the
shutter is open in order to get the right amount of light onto the sensor.
Your DSLR offers a variety of exposure modes to enable you to do just that.
Semi-automatic modes
Shooting using program modes is so camera, is represented by a high f/stop
easy that it can be tempting to simply number (eg f/22). Conversely, a wide
use them all the time. But then, there aperture, that allows more light in, is
will come a time when you want to shown by a low f/stop number (eg f/4).
start taking more creative control over But apertures dont only control light,
your pictures. Thankfully, DSLRs provide they also effect what is and isnt sharp
a middle ground between these point- in an image. The wider the aperture
and-shoot program modes and full-on you choose, the smaller that zone of
DIY manual exposures, in the form of sharpness. So if, for example, you were
semi-automatic modes. shooting a portrait and wanted the
The most common semi-automatic background to be out of focus, youd
modes on your DSLRs exposure mode select a wide aperture such as f/4.
dial are aperture-priority (Av or A) and
shutter-priority (Tv or S). Selecting
either of these modes allows you to Apertures control
take control of one half of the exposure
light, and sharpness too
equation, while the camera takes care
of the other.
In Av mode, then, you set the Conversely, if you were shooting a
aperture and the camera matches it landscape and wanted everything from
with a shutter speed to suit. Think of the gate in the foreground through to
the aperture as a hole in your lens that the hills in the background to be sharp,
can be made wider or smaller to let in youd select a small aperture (eg f/22).
more or less light. Apertures are As well as being the other half of the
represented by numbers called f/stops. exposure equation, the shutter speed
A small aperture, that reduces the you use also effects subject movement,
amount of light coming into the so if you want greater control over this,
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moving objects such as kids TOP LEFT Program (P) allows you
Program modes playing or sports. Others (eg to concentrate on composition,
and catch a fleeting moment.
portrait mode) veer towards
Program (or P) mode is easiest to selecting larger apertures to throw ABOVE Manual (M) mode gives
use when you want a correct distracting backgrounds out of you full control over the way a
scene records. This was taken at
exposure. The camera selects the focus. Again, theyre handy for 1/8sec at f/5 and ISO 400.
exposure time the time the quick shooting and generally
shutter is open and size of the getting acquainted with your DSLR. RIGHT Explore the cameras sub
aperture. The advantage of using P Experiment with a few of them menus to find special preset
scene modes this shot was
is that it allows you to concentrate and study the results. Taking the taken using sunset mode.
on composing your shot, or simply same image using different scene
to take shots quickly when you modes will help you spot changes
dont have the time (or inclination) the camera is making.
to set the controls yourself. Some DSLRs let you change
Most DSLRS include additional aperture and shutter values while
scene modes the symbols on the youre in P mode, without affecting
mode dial next to P. These are exposure. This is termed Program
essentially fancy P modes, which Shift. You might, for example, want
are tailored to specific picture- to select a smaller aperture such
taking situations, altering as f/16 for greater front-to-back
exposure, focus and frame rate sharpness (depth-of-field). Do this
settings to get the best result. in P mode and the camera will
Some modes err towards faster automatically set a shutter speed
ABOVE A typical exposure dial
shutter speeds to freeze fast- for an accurate exposure. offers manual, program, semi-
automatic and scene modes.
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Manual modes
Program mode is like driving a car that
has two settings: on and off. You can
steer the car from A to B but you have
no control over how fast it goes. Semi-
automatic modes give you a gearbox
and a sense of control. Manual mode
gives you a steering wheel, an
accelerator, air conditioning and Radio 2
playing loudly on the stereo.
In the manual mode denoted by an
M you make all the decisions for both
aperture and shutter speed, giving you
maximum creative control.
Use manual and therell be flashing
numbers but no pop-up flash. If you
want to get the exposure wrong, you
can! Thankfully, however, shooting in
manual is not based completely on
guesswork your cameras built-in
exposure meter will help you out.
Select M and a metering bar will
typically appear in the viewfinder and
Shooting
manually is not
all guesswork
the meter will
help out
on your DSLRs LCD. Above this bar is a
metering marker changing aperture
and/or shutter speed will cause this
marker to move. For an accurate
exposure, get the marker in the centre
of the bar: its that simple.
Manual mode is a great tool for
learning more about exposure, but you
shouldnt feel that its the only mode to
use if you want to shoot professional
quality pictures. Your DSLR has a full
set of exposure modes so theres no
point in tying yourself to just one.
Sure, youll have your favourite mode,
but photographers who know and
understand the merits of each one, plus
when to use them, are more likely to
bring home images of a consistently
high quality.
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MULTI-ZONE
Get perfect
exposures Would Henri Cartier-Bresson have been a better photographer if hed have
used a lightmeter? The famous photojournalist was notorious for his disdain
of photographic gadgets of any kind, including lightmeters. These days,
meters are built into every DSLR and very sophisticated they are too, but
even so, there are certain situations that will trip them up.
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SPOT/PARTIAL CENTRE-WEIGHTED
TYPES OF METERING
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OVEREXPOSURE
Reading histograms
The histogram that pops up on your Try this experiment. Take a picture of
cameras LCD after youve taken a a scene using your DSLR in program
picture may look like a mountain mode, but first dial in an exposure
range, but its job is to measure the compensation of -2. If the histogram
range of brightness values in an image, doesnt show up, consult the manual
from pure black to pure white. to find out how to turn it on.
By reading the peaks or bars, you Because youve deliberately
can work out a pictures contrast underexposed the picture by dialling in OVEREXPOSURE
range that is, how many tones there -2 stops, the bars dominate the left-
are between pure black and pure hand side of the graph, showing the
white and whether the picture is picture is too dark. When this happens
correctly exposed. The brighter an normally, increase exposure by dialling
object, the further towards the right of in +1 or +2 stops of compensation.
the histogram its bar will appear. Now take a second picture, dialling in
Conversely, the darker an object is, the +1 or +2 stops exposure
further to the left its bar will be. The compensation. Now the bars in the
far left of the graph represents pure histogram will bunch towards the right,
black and the far right, pure white. indicating overexposure. In severe
An average picture with good cases, the bars will be off the scale. To
contrast and even tonal range will be retain detail in the highlights, reduce
represented by bars spanning evenly exposure by dialling in -1 or -2 stops of
across the histogram, left to right. exposure compensation. Highlight peaks are bunched to the right.
+1 STOP CORRECT
Exposure
bracketing
All lightmeters are confused by certain
situations especially tricky lighting
such as strong back-lighting, which
tends to confuse a lightmeter into
underexposure. Subjects that are
predominantly black or white will also
confound; this is because meters like to
record the world as a muddy grey tone.
If you took all the tones in a picture
and averaged them out, the result
would be middle-grey. A simple
experiment will prove this: take a Lightmeters record the
picture of a white object such as a
world in middle grey
white-washed wall that fills the frame.
Take it in program mode using any of
your cameras metering methods. The way to do this is by using your
result might not be what you expected. cameras exposure compensation
The white wall is probably grey! button, usually represented by a +/-
A white object in bright sunlight can sign. Go back to your white wall and
be up to eight times brighter than dial in one stop (+1) extra exposure.
middle grey. That means you need to Then try +2 and +3. The wall will be
increase the amount of light hitting the brighter in each picture.
sensor to render it white. The easiest For a portrait of a Caucasian subject,
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CORRECT UNDEREXPOSURE
CORRECT UNDEREXPOSURE
Highlights and shadows are evenly spread. Shadow peaks are bunched to the left.
-1 STOP
or a shadow on a white wall, dial in one the presumed correct exposure and the
stop (+1) extra exposure. The opposite subsequent exposures will vary by one
applies to a black wall, or dark subject. stop either side plus and minus. This
When youre uncertain about way you can be sure one of the
exposure, use autoexposure bracketing. exposures is good.
It may be hidden in the menu system, The mode youre in also determines
so check the camera manual. Once how the camera changes the exposure.
activated, your camera will take several In P mode, the camera will change both
pictures in succession at different shutter speed and aperture. In Av mode,
exposures, each varying by a specified it will keep the aperture constant,
increment from the estimated correct changing only shutter speed. In Tv
exposure. If you dial in +/- 1, the mode, it will keep the shutter speed the
camera will shoot the first picture at same, changing the aperture instead.
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Sharpen your
focusing skills Autofocus has to be one of the greatest focusing feature that provides the best
inventions for the DSLR user but, like of both worlds, where the camera
most great inventions, its easy to get detects whether the subject is moving
blas about this impressive technology. or static and selects Continuous or One
As with most other DSLR functions, Shot focusing accordingly. Each
autofocusing systems have become manufacturer gives this dual-function
more and more sophisticated, with autofocusing a different name; Canon
most offering a range of AF options. calls it AI Focus.
Straight out of the box, your DSLR is Often, a DSLRs metering system is
likely to be set on One Shot linked to the active focusing point. This
autofocusing with all focusing zones assumes that the main focus point is
active. In this case, the camera will aligned with the main subject in frame.
automatically determine where the Peer through your cameras
main subject is in the scene and lock viewfinder and youll typically see a
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File formats
When you take a digital picture, data comes off your DSLRs sensor in a
string of binary ones and zeros. The cameras processor then bundles the
information and saves the image as a file format. DSLRs typically use two
file formats JPEG and Raw although some top end models also
offer TIFFs. So which should you use?
They can be emailed and uploaded to
websites and occupy much less space
on your computer.
DSLR purists will tell
you to shoot Raw...
Raw
If you dont want to lose data from your
images, shoot Raw. In Raw files, data
remains untouched by the cameras
processor and comes straight from the
sensor, leaving you in total control over
stores information without discarding
image data. Its sometimes called a
lossless file format for this reason. This
means a TIFF may be edited and re-
saved many times without losing image
the final image. The disadvantage with quality. Most image-editing programs
WILL CHEUNG
Raw is that files occupy more space on can read TIFFs but the file sizes are
your memory cards. considerably larger than JPEGs.
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Simultaneous shooting
the best of both worlds!
Many DSLRs offer the facility to shoot Raw and JPEG files
at the same time check in your cameras instruction
manual to see if yours does.
The huge benefit of this is that after downloading all
the shots to your computer, you can quickly scroll through
the JPEGs to see if any may be worth working on. If youve
captured some crackers that require some tweaks, simply
find the corresponding Raw file and process it accordingly.
The bad news? Shooting in both file formats reduces
memory card capacity even more, especially if youre
capturing Raw files and large JPEGs.
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Making light
work of ISOs DSLRs have many advantages over Noise is seen in pictures as pixels that
other types of camera, but high on the are abnormal, such as dark pixels on a
list has to be the ability to change ISO light area, or a red pixel in a blue sky.
at the press of a button. No need to Its most prominent in shadow areas
wait until the end of the film as with and dark colours in an image. The
traditional SLRs, just select the ISO for greater the ISO speed, the greater the
your needs and keep shooting. noise visible in the final picture. You
If ISO is an unfamiliar term to you, it could say its like grain in film; the
refers to the cameras sensitivity to higher the film speed, the more
ABOVE Changing the ISO setting light. This sensitivity is measured in ISO prominent the grain.
alters your DSLR sensors numbers, typically running from ISO 100 As with film, image quality is higher at
sensitivity to light, also affecting
the signal to noise ratio. The to ISO 3200, although some models lower ISOs, where tones will be
higher the ISO, the more noise. offer sensitivities both above and below smoother and colours more accurate.
these figures. Every DSLR performs well up to ISO
Each ISO step upwards represents a 400, but some start to struggle when
doubling in the sensors sensitivity to the sensitivity increases to ISO 1600
light. So, a picture taken at 1/60sec at and beyond. Try shooting the same
f/11 at ISO 100 will be the same scene at all ISO settings on your DSLR
PHOTOGRAPHY MONTHLY 23
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sacrificed. Activating noise reduction software such as Adobes Camera Raw, ISO 100 ORIGINAL
also slows your shooting speed and which ships with Adobe Photoshop
there may be a shift in colour, especially Elements, ignores in-camera settings
with high ISO noise reduction. like noise reduction.
To minimise noise in the first place, Sometimes when shooting long
use a low ISO sensitivity between 100 exposures you may see stuck pixels
and 400. on the final image. These are pixels that
Raw images are unaffected by noise are always on or always off. If theyre
reduction unless youve selected on, they usually appear as a single red,
noise reduction in-camera which will be green or blue speck. If theyre off, youll
activated by your DSLRs supplied see them as a single dark speck on a
software during Raw file conversion. light background. Most sensors have
Canons Raw Image Task software is them and noise reduction can help to
one example. Third-party conversion remove them.
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AUTO WB CLOUDY
CUSTOM DAYLIGHT
FLASH FLUORESCENT
SHADE TUNGSTEN
ABOVE Compare the various white-balance settings on your DSLR and youll see how the camera will correct the orange light from
domestic light bulbs (fluorescent and tungsten) by adding blue. You can use these settings outdoors for a cool blue look.
PHOTOGRAPHY MONTHLY 27
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Using your
built-in flash A large percentage of DSLRs feature to activate your DSLRs anti red-eye
a built-in flash, and while its not feature. People pictures taken with a
powerful enough to light a cameras built-in flash can often suffer
cathedral interior, its handy for a from this ghoulish effect where the
range of photo situations. subjects pupils appear bright red. This
If youre shooting with a program occurs because the flash is so close to
or scene exposure mode, chances the cameras lens axis it can record the
are your DSLR will fire its redness inside the subjects eyes.
built-in flash automatically. DSLRs use various methods to
Or, a flash thunderbolt icon counter the problem, from firing a
will blink in the viewfinder, series of rapid flash bursts to shining a
advising you to switch the constant torch beam of light just prior
flash on. Once the flash is to the picture being taken. Whatever
charged and ready to fire, the method, they all perform the same
the thunderbolt will function: reducing your subjects pupils
stop blinking. to minimise the effect.
If youre shooting Its always worth warning your
portraits with flash its best subject(s) before taking the picture!
WITHOUT FLASH
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NORMAL FLASH
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Next month
Continue your quest for
great pictures with our
32-page guide free with
the April 2009 issue of
Photography Monthly.
On sale March 12
Essential
Photo
techniques
explained
Depth-of-field demystified! Composition conquered!
Focusing fixed! Perspective sorted!
LEE BEEL
30 PHOTOGRAPHY MONTHLY