The Photographers Rulebook

THE PHOTOGRAPHER’S
RULEBOOK CHRIS CORRADINO

PART OF THE RAPID PHOTOGRAPHIC LEARNING SERIES
a publication by
For my family, all of whom are the most supportive,
loving people anyone could ask for.
RULEBOOK
Table of Contents
Introduction......................................................................................................................04
Chapter 1: Creating Images You Love by Controlling Aperture...............................10
Chapter 2: How to Freeze Life with Fast Shutter Speeds.........................................21
Chapter 3: Shoot Smart with Slow Shutter Speeds..................................................27
Chapter 4: The Beginner’s Guide to Manual Exposure, Part 1.................................34
Chapter 5: The Beginner’s Guide to Manual Exposure, Part 2.................................41
Chapter 6: ISO: Overcome Dark Photos Once and for All.........................................44
Chapter 7: How to Read the Histogram......................................................................48
Chapter 8: Using White Balance Correctly?................................................................55
Chapter 9: Unwrapping the Mystery of Image File Types........................................59
Conclusion.......................................................................................................................64
About the Author.............................................................................................................65

THE PHOTOGRAPHER’S RULEBOOK by Chris Corradino
Introduction
P
hotography is a game of confidence. If you believe in your skills, you’ll be
more willing to take chances and try new things. When you’re just starting
out however, this can be intimidating. How can one build their skills when
they don’t yet believe in their capabilities? Before we dive into the technical
aspects, take a minute to review the 5-step process on the following pages.
These apply to everyone no matter where you’re at in your photographic pursuit.
4
1
Learn from the Masters
B
efore reaching any worthwhile scenic vista, you must first climb,
sweat, and navigate around thickets. This type of persistence is
equally important on the path to good photography. Even the greatest
photographers of all time had outings that were less than ideal. Perhaps
there is no finer example than this story from Ansel Adams. He just spent
a frustrating day with “several exasperating trials.” Yet Adams wasn’t
discouraged, noting that “defeat comes occasionally to all photographers, as
to all politicians, and there is no use moaning about it.” He got back in the car,
started driving, and soon found a majestic scene that would become one of
his most famous works, “Moonrise, Hernandez, New Mexico.” Whether you’re
just starting your photography pursuit, or are exploring new creative avenues,
you never know what treasures will greet you around the next bend.
Sunbeams and Tern Over Nickerson Beach. Long Island, New York
5
2
A Church in a Field of Wildflowers. Iceland
View Mistakes as Opportunity
W
hen mistakes inevitably occur, use them to get better. One way
photographers can do this is by researching older images in their
catalog. The camera settings are often stored in the image data. If a
picture is blurry, take note of the shutter speed used. If something is too dark,
could a higher ISO have helped? What about the depth of field, and white balance?
No matter where you’re at in your career, we can always learn and grow.
6
3
A Close-Up Study of a Lily.
Pave Your Own Path
T
here’s no denying that photography is a powerful art form, just as
painting, music, and sculpting are. If you look at the history of these
disciplines, you’ll find another similarity. Those who enjoyed long term
success did so not by following current trends, but by paving their own way. Of
course, this is no easy feat. It is perhaps best expressed by Alfred de Musset
who said, “How glorious it is - and also how painful - to be an exception.”
Whether it’s your choice of gear, or the subject matter you focus on, throw out
the rule book and follow your own heart.
7
A Couple Strolls Through a Garden. Long Island, New York
4 Embrace Your Choice of Gear
T
he most powerful photography sensor available is not found in the
camera, but within yourself. The secret lies within your ability to recognize
emotion and document it with a photo. It doesn’t matter if you’re using a
DSLR, mirrorless camera, point and shoot, or smartphone. A memorable event
transcends technology. Statistically speaking it’s actually rather simple. By
carrying a camera at all times, your photo opportunities increase, and with it, your
success ratio soars. Remember, a camera’s image quality is only as good as the
person controlling it.
8
5
Keep Shooting
A Mountain Range in the Canadian Rockies. Canada
I
t’s difficult to predict when or where a great photo opportunity will arise. Only
by heading out with your camera often, will your percentage of keepers improve.
Perfection is never the goal, but simply doing your best is. Rather than settling
for the same tried and true formula, challenge yourself to try new techniques. Free
yourself of the notion that professionals don’t have bad days or take lousy photos.
It’s all a necessary part of the artistic process. As the Hall of Fame hockey player
Wayne Gretzky said, “You miss 100% of the shots you don’t take.”
9
CHAPTER 1
Creating Images You Love by Controlling Aperture
Controlling the aperture is one of the most powerful ways to improve your images.
It’s also the topic that continues to perplex photography students everywhere.
Rather than unnecessarily complicating matters, I prefer to demystify the subject.
In this tutorial, I’ll reveal how both a wide and small aperture can be used to create
consistent and beautiful results.
10
When I’m about to take a photo, the first question I ask myself is, “what kind of
background would be best?” With wildlife, sports, portraits, and still-life objects, I
often want the subject sharp, and the background to be a soft blur. As you’ll see
in this example here, the blurred background allows the viewer to focus on the
beautiful details of the butterfly, not on the leaves behind it. To do this, I chose a
wide aperture by adjusting the f stop to a smaller f-number. At f/5.6 the opening in
your lens is physically wide open, creating what’s known as “shallow depth of field”.
A Field of Lavender Photographed at an Aperture of f/1.8
11
Skateboarder in Columbus Circle. Manhattan, New York
If you flip through the pages of Sports Illustrated, you’ll notice how most of the
players are sharp while the fans are out of focus. The wide aperture chosen by
the photographer not only creates that shallow depth of field, but it also lets a
great deal of light into the camera. As such, it’s possible to use a fast shutter
speed to freeze the action. If you are serious about sports photography, a lens
that opens all the way to f/2.8 is worth the investment. You may even hear
people refer to them as “fast lenses.” This describes the speed in which the wide
aperture lets light into the camera.
12
Focus on What’s Important

Before going any further, allow me to spend a moment on focus. When using a
wide aperture, be sure to place your active focus points on the subject you want
sharpest. These two vineyard photographs were both taken with the same wide
aperture of f/1.8, but they look very different. This is due to my placement of the
focus point indicated here by the arrows. For the image on left, I focused on the
vines closest to me. As a result, everything behind it is soft. For the image on the
right, I focused on the distant vines. The shallow depth of field then works to blur
everything in front of my focus point.
Vineyard. Tuscany Italy
13
Male Buck at Connetquot State Park. New York.
We can see how all of this comes together in this image of a male buck. I saw
the large deer in October just after sunrise. With my active focus point on
his face, I knew the deer would be sharp. A wide aperture of f/5.6 created a
shallow depth of field. Not only was the background blurred, but the tall reeds
in the foreground as well. The perspective makes it seem as if we’re spying
on the creature through the tall grasses.
A Man Stands in the Doorway of a Pub. Iceland
As you can see, a wide aperture can help you create images that surpass
routine snapshots. With this new knowledge, you’ll start to recognize the
techniques other photographers have used in their photographs. Begin
practicing with wide apertures and you’ll soon be changing settings like a pro.
Now, let’s turn our attention to small apertures.
14
There’s a common misconception among photography students who believe

sharp photos are solely the result of fast shutter speeds. While that is part
of the equation, the other equally important consideration is the aperture.
By achieving greater depth of field, it’s possible to keep the entire subject in
focus. In this second portion of our aperture tutorial, I’m going to share the
specific f-stops and techniques used to create tack sharp images.
The Segesta Temple in Sicily. Italy.
Don’t let the terminology trick you. The term “small aperture” refers to the
physical size of the lens opening. This may seem counter-intuitive since the
actual f-stop number is larger. Yet, f/22 is considered a smaller aperture than
f/16 because the aperture blades inside the lens won’t open as wide.
15
When you hear photographers say they are “stopping down”, it means they
are using a narrower aperture opening, for example from f/8 to f/11, or f/11 to
f/16. This renders everything sharp from near-to-far, hence the phrase “great
depth of field.” I’ve created a phrase to help you remember this: “The greater
the f-stop number, the greater the depth of field.”
A Field of Wildflowers Leading to the Athabasca Glacier. Canada
16
Great depth of field is also useful when you’re photographing flowers, insects, or
close-up objects. If the aperture is too wide like f/2.8, only a handful of the petals
will be sharp. The solution doesn’t necessarily have to be f/22 which is more
suitable for a vast landscape. A better compromise would be f/8 which provides
enough depth of field for most macro opportunities. Then, by simply focusing on
the center of the flower, the entire subject remains reasonably sharp.
17
In a big sweeping landscape, it can be tricky to determine where to focus. For

me, apps that calculate precisely where to focus are just not practical (or fun).
To further emphasize the effect of the small aperture, I have found a simple
solution that really works. Place your focus point on an object that’s 1/3rd of
the way up from the bottom of the frame and use a small aperture like f/22.
Not only will the object in the bottom third be sharp, but so will everything in
front of, and behind it.
A Tractor Rests on a Farm Beneath a Towering Mountain Range. Iceland
18
Where the Tripod Comes In

While f/22 may be an ideal setting for a landscape, it does present photographers
with a challenge especially in low light situations. Since a small aperture doesn’t
let much light into the narrow opening of the lens, a slower shutter speed and/or
higher ISO become necessary to achieve a good exposure. These longer exposure
times are the primary reason most landscape photographers use tripods.
The Last Light of the Day Hits a Mountain Range in the Canadian Rockies. Canada
Bonus Tip: If carrying a tripod is not possible, you can create a makeshift
camera support by placing the camera on a bag, a wall, or even the ground.
Then, to avoid jostling the camera during the exposure, set the two-second
timer to automatically trip the shutter.
19
The Manhattan Bridge at Dusk in New York City. New York
Assignment
Assignment 1: Shoot the same landscape with two very different
apertures. The first shot will be at f/16 for maximum depth of field, and the
second shot with your widest aperture, for example f/2.8.
Assignment 2: Use a wide aperture to throw a busy background out
of focus. To enhance the look of the blur, use your lens at the longer
focal length, and find more separation between your subject and the
background.
Objective: Develop a strong understanding of how the aperture controls
the look of a photograph.
20
CHAPTER 2
How to Freeze Life with Fast Shutter Speeds
People often ask, “what is the correct shutter speed?” The surprising truth is,
there is no one right or wrong answer. Ultimately, the proper setting depends
on how fast your subject is moving and what you are trying to achieve. You can
either choose to freeze a subject or reveal its motion. Automatic options like the
“sports mode” are unpredictable at best, typically serving up an array of blurry
images. Instead of leaving this critical decision to the camera, here are some
baseline settings to get you started with fast shutter speeds.
21
1/125
If you want consistently sharp photos, the slowest shutter speed you should ever
hand-hold the camera at is 1/125 (pronounced “one, one twenty fifth of a second”).
Anything slower, and the likelihood of camera shake increases dramatically. While
features like vibration reduction and image stabilization offer some flexibility here, it’s
wise not to push your luck with slower exposure times. This becomes even more
critical should you decide to print your favorites images. Even with a steady hand,
tiny mistakes become large problems upon enlargement. Besides preventing camera
movement, 1/125 is also suitable for freezing slow moving subjects like a portrait.
Heron Silhouette at Sunset in Jones Beach State Park. New York
22
1/250
Photographing children at play and other agile subjects is notoriously
challenging, even for those with years of experience. There is a specific shutter
speed setting, however, that can greatly improve your results. At 1/250, you can
stop motion and create crisp photos of memorable moments. If the room is
dark, refrain from slowing down the shutter. Instead, raise the ISO to 400, 800,
or even 1600. This is especially important in low light areas. By raising the ISO
you’ll enjoy a better overall exposure while retaining the fast exposure time.
A Boat Sails Through Crystal Waters of Bonifacio. France Shot at 1/250sec
23
Bonus Tip: Problem photos are great training tools to help us learn from
past mistakes. Before deleting blurry photos from your computer or camera,
pay careful attention to what your shutter speed was. Notice how the soft
images are usually the result of exposure times that are slower than 1/125.
With this knowledge you can make adjustments the next time out.
1/125 sec. exposure time
1/13 sec. exposure time
24
1/500
When photographing competitive sports, or any high action scenario, you will
need to push the shutter speed even faster. Many of my favorite action sports
shots were taken at 1/500. It’s quick enough to freeze an athlete sprinting
down a field without showing any motion blur.
As you work with shutter speeds this fast, it’s important to understand how
it’s affecting your exposure. Since the actual shutter is only open for a brief
duration, it does not allow much light to reach the sensor. The raised ISO along
with a wider aperture like f/4 will compensate accordingly.
25
1/1000
Lightning fast shutter speeds like 1/1000 give us the ability to seemingly pause
life. Thanks to advances in technology, you are capturing instances that the
human eye wouldn’t catch. I reserve this specific setting for the type of heart
pounding action you find at air shows, or in extreme sports. To get a sense of
just how fast this is, 1/1000 will freeze the spinning blades of a industrial strength
room fan. It will also stop an F22 jet as it zooms past at 500 miles per hour.
Whether you are photographing people, nature, or extreme sports, the correct
exposure time is essential. Shutter speed is one of the prime ways that you,
the photographer, can control the overall appearance of the photo. By freezing
the motion of our subject, we have the ability to seemingly pause life and take a
closer look. In the next section, I’ll detail creative use of long exposure times.
Assignment
Assignment 3: Try to hand-hold the camera and shoot a stationary object at
1/15th of a second. The image will likely be blurry.
Objective: Notice how camera shake is a problem when using shutter speeds
this slow without a tripod.
Assignment 4: Find a fast moving subject (a dog, horse, car, biker, bird, etc.)
and work to freeze their motion at 1/1000th of a second.
Objective: To pause a moment in life through the use of a super fast shutter speed.
26
Traffic Pulses by on a Highway Near Jones Beach State Park. New York
CHAPTER 3
Shoot Smart with Slow Shutter Speeds
In the previous section I revealed how to freeze life with fast shutter speeds. Now,
we’ll focus on how a long exposure can be used for creative effects. By showing
the motion of a subject, it’s possible to push your camera to the extreme and
capture a side of life that’s not evident to the naked eye.
You’ve likely scrolled right past the Bulb Mode, perhaps even finding it accidentally
while adjusting shutter speeds. It’s tempting to just avoid it altogether, but the
question still lingers, “what does it do?” This amazing feature makes it possible
to use shutter speeds of several minutes in duration. With it you can achieve
otherworldly results. I use a cable release and a tripod to avoid jostling the camera.
In the example above, passing cars become colorful streaks of light along a
highway. The red trails are brake lights while the oncoming lanes show headlights.
27
At 1/6th of a second, you have just enough time to move the camera during
the actual exposure. It takes a bit of practice, but your efforts can be rewarded
with unique images of an otherwise static subject. I came across two sets of
flowers about 3 feet apart.
The goal was to create a dreamy effect in the camera rather than trying to do it
at home in the computer. I focused on the first purple tipped daisy and started
the exposure. Then, I quickly moved the camera to the nearby yellow flowers
while the shutter was still open.
28
Fireworks are another fun way to experiment with slow shutter speeds. As the
explosions turn into brilliant displays, I will try everything from zooming in and
out, to physically moving the camera. Another trick is to use manual focus and
start the exposure in focus before finally twisting out of focus. Don’t worry
about following rules here, it’s all about creating something different.
Imagine at Strawberry Fields in Central Park. New York
29
You can also apply the same concepts with Holiday lights during wintertime. By
intentionally moving the camera at 1/6th of a second, these colorful Christmas
decorations took on a whole new appearance.
While the images here may be extreme examples of what a slow shutter can do,
there are other more practical uses as well. At 1/30th of a second, a waterfall
becomes a gorgeous silky cascade tumbling over the mountain’s edge. Gentle
streams and babbling brooks can benefit from slightly slower times like 1/15 or 1/4.
The general rule of thumb is to experiment between 1/4 and 1/60. Note that
these slow exposure times are prone to camera shake. If a tripod isn’t practical,
try to stabilize the camera on the ground or a boulder.
30
Bonus Tip: To capture a more even exposure without heavy shadows, try to
photograph waterfalls either very early in the morning, or on a cloudy, overcast day.
A Waterfall Nestled in the Woods. West Virginia
A Rainbow Forms in Front of a Waterfall. Iceland
31
When scrolling through your shutter speeds, you’ll eventually reach the
numbers followed by a single quotation mark that denotes “seconds.” For
example, 1” means the shutter will stay open for one second and 5” indicates
a five second exposure.
32
At dusk and in the early evening, an extremely long exposure time such as 30”
(thirty seconds) is often necessary to let enough light into the camera. Without it,
the entire image is simply too dark. Many of my favorite landscapes are captured
about 20 minutes after the sun sets using these types of slow shutter speeds.
Assignment
Assignment 5: Set the camera on your tripod at dusk/twilight and use a slow
shutter speed of 30” (thirty seconds) to properly expose a landscape.
Objective: Recognize how you can shoot in extremely low light by using very
slow shutter speeds and camera support.
Assignment 6: Find a moving body of water and photograph it at various
shutter speeds including 2”, 1”, 1/15, 1/30, 1/60.
Objective: To show motion in different ways by altering the exposure time.
33
CHAPTER 4
The Beginner’s Guide to Manual Exposure (Part 1)
Many photographers mistakenly shy away from the manual “M” mode on their
camera, thinking it’s reserved for those with years of experience. The truth
is, the automatic settings are typically at the root of most issues plaguing
photographers. From inconsistent exposures to blurry photographs, these
supposed beginner modes are anything but user-friendly. If you’re ready to
take control of your camera, now is the time to leave the A, S, P, AV, TV modes
behind. Once you realize the unlimited creative control of the manual setting,
you’ll wonder why you didn’t switch sooner.
34
Decision 1: The Aperture

There are only three ways to allow light into the camera. Let’s start with the first
point of entry: the lens. When you select a wide aperture like f/2.8 or f/4, there
is a large opening inside the lens. The wider this opening, the more light will get
in. The opposite is true with small apertures such as f/11, f/16 and f/22. When
using these f-stops, the actual opening in the lens is very small. This reduces the
amount of light that reaches the sensor. Here’s a chart to illustrate this concept.
Besides its ability to control

the amount of light that
reaches the sensor, the
aperture also dictates your
depth of field. At wide
apertures like f/2.8 and f/4,
your subject will be sharp
but the background will be
blurred. Since a wide aperture
allows an abundance of light
into the camera, you may
need to use a faster shutter
Puffins Rest on a Cliff. Iceland speed to avoid overexposing
your subject.
35
A small aperture like f/16 or f/22 will keep the entire photo sharp from near to far. A
helpful phrase to remember is “The greater the f-stop number, the greater the depth
of field.” Since a small aperture does not let much light into the camera, you may
need to use a slow shutter speed to prevent underexposure. Of course, part of this
consideration depends on how much available light you have to work with.
Beams Break Through the Clouds to Illuminate a Turf Roof Church. Iceland
36
Decision 2: The Shutter Speed

The shutter speed you select is partially responsible for how much light enters
the camera. Fast shutter speeds such as 1/250, 1/500, and 1/1000 will freeze
the subject’s motion but will only expose the sensor to light for a very short
time. As a result, you may want to use this with a wide aperture like f/2.8 or f/4.
Sea Lions shot at 1/500 of a sec
37
With a slow shutter speed, however, you’ll show the motion of a subject for up to
thirty seconds and sometimes longer with the BULB mode. These long exposure
times allow a great deal of light into the camera. To avoid overexposure, you’ll
typically need a small aperture opening like f/22.
The Paris Hotel in Las Vegas at dusk. Nevada. 60-second exposure
38
Decision 3: The ISO

Now that you’ve decided on the appropriate aperture and shutter speed for what
you’re trying to achieve, you’re well on the way to achieving consistent results.
The last part of the process is the ISO. Simply put, the higher the ISO number, the
more light the camera’s sensor absorbs. Just note, that a very high ISO may be
necessary even on a bright sunny day. For example, if you are shooting with a fast
shutter speed of 1/1000 to freeze action, and a small aperture of f/8 for medium
depth of field, the photo may be too dark. When this happens, just double the ISO.
By going from 800 to 1600 you will see an immediate improvement.
The Interior of Grand Central Terminal. New York City, New York
As you can see, all three settings work together to form the overall exposure. In
Part 2 of this tutorial, we’ll discuss how to use the camera’s internal light meter
to fine tune your images.
39
A Fountain in Front of the High Roller in Las Vegas. Nevada
Assignment
Assignment 7: Put the camera into manual exposure mode. Find the
appropriate dials to adjust the shutter speed, aperture and ISO.
Objective: To familiarize yourself with your camera controls in manual
exposure mode.
40
CHAPTER 5
The Beginner’s Guide to Manual Exposure (Part 2)
The single most important part of your camera is the internal light meter. To
get started, set up your camera as follows:
• Put your camera into manual exposure mode.
• Select the “spot metering” option.
When you look through the viewfinder and press the shutter halfway down, the
meter will appear.
Example: (-3...-2...-1...0...+1...+2...+3)
To take a meter reading, zoom in or get close to your subject. Place the middle
portion of the viewfinder area over the part you want to meter. The camera will
then read the amount of light being reflected back into it and place the meter
accordingly. This is where you take control of the camera. By adjusting your
aperture, shutter speed, and/or ISO, you will determine your subject’s exposure.
41
Let’s use a simple blue sky

as an example. Adjust your
f-stop/shutter/ISO so the
meter line stops on the 0. This
is the middle of the meter, also
known as 18% grey. At this
exposure, your sky will appear
as medium blue.
If you want to create a darker

sky, you can change your
camera settings to allow in
one stop less light. This can
be done by using a smaller
aperture, a faster shutter speed,
or a slower ISO. When you do
this, you will notice the meter
will change to the -1. Now you
will have slightly darker blue.
If you allow in even less light, the

meter will go to -2. The result
will be a very dark blue sky.
Remember, - (negative) means
you are subtracting light.
42
If you want your sky to be light

blue, you can change your
camera settings to allow in
one stop more light. Using a
slower shutter speed, wider
aperture, or faster ISO will
do this. When you adjust
these, notice how your meter
changes to +1.
If you allow in even more light,

the meter will go to +2. The
result will be a very light blue
sky. Remember, + (positive)
means you are adding light.
Assignment
Assignment 8: Shoot a scene much like above paying attention to your meter.
Try exposing it at -2, -1, 0, +1, and +2.
Objective: Notice how “0” isn’t always the best exposure.
Assignment 9: Buy a white rose and set it up in your home. Shoot it at 0, +1, and +2.
Objective: Notice how +2 is actually the correct exposure while 0 actually
makes the rose appear grey.
43
Star Trails Over a Campfire on a Farm in Upstate New York. New York. ISO 200
CHAPTER 6
Overcome Dark Photos Once and for All
What if I told you there was a way to prevent underexposed images with just one button?
You are in luck, as this feature already exists. It’s called the ISO, and it’s one of the most
powerful yet least understood settings for many photography students. Whether you’re
using a point & shoot or a DSLR, you can utilize this functionality right now. This section
will detail exactly when and how to adjust the ISO for the best results.
44
Think of your camera as a light gathering sponge. The higher the ISO number, the
more light it soaks in. At ISO 200 for example, the camera gathers twice as much
light as ISO 100. Notice how the images get progressively brighter in the example
here. The shutter speed and aperture did not change, only the ISO.
45
Some of the world’s most exquisite architecture and artwork are found in the darkest
spaces of churches and museums. To further complicate matters, many restrict
flash photography. By adjusting the ISO, you can leave the flash off, and still capture
well-exposed pictures. At a recent visit to St. Peter’s Basilica in Vatican City, it was
not uncommon to shoot at extraordinarily high ISOs such as 6400 or 12,800. As
technology continues to improve, some high-end cameras now offer ISO 102,400
and 204,800. Essentially, this allows a photographer to shoot in near darkness.
The Sistine Chapel. Vatican City, Italy. ISO 1600.
You may be surprised to learn that a high ISO can even be helpful on a bright
sunny day. For example, if you are photographing a landscape without a tripod,
the shutter speed can be no slower than 1/125 to prevent camera shake. To
achieve great depth of field, the desired aperture would be f/11 or f/16. This will
keep everything sharp from near to far. With these two decisions made, you may
take your photo only to find that it’s too dark. This is where the ISO comes to the
rescue. Simply double the ISO number and watch as the photo gets brighter. Still
need more light? Double the ISO again.
46
There is a slight tradeoff for using such high ISOs. The greater the number,
the more digital noise will appear. This is typically not very noticeable until you
reach the extreme ISOs like 3200 and above. This is not a reason to shy away
from raising the ISO however. The artifacts are incredibly easy to eliminate
using the noise reduction tool available on most image editing programs today.
By incorporating ISO control

into your image-making
process, exposure is no longer
limited to just aperture and
shutter speed. With this new
technical knowledge, it also
increases your photographic
opportunities. With the
ability to shoot anywhere,
the possibilities are nearly
endless. Use the ISO to your
advantage and you’ll see a
definitive improvement in your
craft. Problematic scenes that
were once too dark are now
A Candelabra in a Wine Cellar. Tuscany, Italy. ISO 800
well within your reach.
Assignment
Assignment 10: Shoot inside of your home at 1/125, f/4, ISO 800 and notice
how it’s likely too dark. To improve the exposure, leave the shutter speed and
f-stop alone, but adjust your ISO to 1600, or 3200 if needed.
Objective: Learn how the ISO will make the camera more sensitive to absorbing
the existing light.
47
An Icelandic Horse Stands in Front of a Makeshift Barn. Iceland
CHAPTER 7
How to Read the Histogram
You’ve likely scrolled right past the histogram screen, perhaps even displaying
it accidentally while looking for another setting. At first glance it appears
daunting, even mathematical. It’s tempting to just avoid it altogether, but the
question still lingers, “what does this odd graph mean?”
In this chapter, I’ll detail exactly how to make this feature work to your
advantage. Once the potential benefits of this tool are realized, you’ll wonder
how you ever got by without it.
48
Think of the histogram as

a visual cheat sheet for
photographing bright tones.
To render a subject as true
white, you want the data on the
right hand side to be as close
to the edge as possible. This
will indicate a crisp exposure
rather than a muddy, grey
appearance. As you change
the exposure to let in more light,
the histogram will inch towards
the right. Keep adjusting your
settings until it’s literally just a
hair from the outer wall. You
are now maximizing all of the
wonderful dynamic range your
camera is capable of.
Once the data actually collides

with the right hand wall of the
histogram, you’ve technically
overexposed part of your
scene. This means there is
no detail in your highlights,
but rather a hotspot that is
impossible to recover even with
sophisticated software. While
this data is valuable, it doesn’t
tell you exactly where the
trouble spot is in your scene.
This is where the “highlight
alert” becomes a helpful aid.
49
Commonly referred to as “the blinkies”, this feature alerts you to the precise
location that’s overexposed. If it’s the actual sun in a sunset photo, I don’t
worry about it. If, however, it’s the sky or part of the landscape, it’s best to
adjust the exposure and re-shoot before verifying that you’ve resolved the issue.
This often involved bracketing a few exposures so you have more options once
back in the digital darkroom.
50
There’s a misconception among many photographers who believe a histogram

that’s stacked to the left is automatically a bad exposure. Actually, it’s simply
an indication that dark tones exist in the scene. This spider web, for example,
was in the sunlight with a shadowy background. The data on the left means it
is inky black. Had the histogram data been more centered, the area behind the
spider’s web would be grey.
51
When you are shooting on bright sunny days, it’s very difficult to judge an
exposure purely based on the LCD screen. The histogram eliminates the
guesswork and gives you a quick data-based look at the exposure. For this
flower, I wanted to create a moody scene and opted to underexpose and keep
more of the data to the left.
52
As you can see, the left and right hand wall are very important considerations.
The space in the middle is also valuable, essentially offering a glimpse at the
medium toned parts of your exposure. For example, a field of properly exposed
green grass would fall in the center of the histogram and so would a medium
blue sky. Depending on how prevalent these tones are in your shot will dictate
the height of the data on the graph. The greater the area of medium tones, the
higher the data will stack.
53
By using these tools, you can routinely create predictable results in any
situation. These underused features give you the ability to take control of
your camera and get the shot right at the time of the exposure. As a benefit,
that means less time in the digital darkroom “fixing” problems that could have
been prevented. Now that you have the knowledge, you will no longer fear the
histogram, but use it to your advantage.
Valley of the Ten Peaks. Banff National Park, Canada
Assignment
Assignment 11: If you haven’t already, read your camera manual to learn how
to view the histogram on your captured images.
Objective: Take full control over your exposure by understanding how this
data works.
54
A Pony in the Golden Light of Iceland’s Midnight Sun. Iceland
CHAPTER 8
Using White Balance Correctly
If the color of your photos doesn’t look quite right, it’s likely the result of an
incorrect white balance setting. After working with the aperture, shutter speed,
and ISO, you may be hesitant to adjust yet another dial.
This function however, is actually quite user friendly with convenient built-in
presets to choose from. Once applied, the impact is immediately evident.
Whether you are shooting portraits or focusing on travel and scenic photography,
the white balance is a powerful tool to help fine-tune your vision.
55
A common problem for indoor photographers is a ghoulish yellow color cast that
effects the entire image. This is caused by the extremely warm color temperature
of the light bulbs. While automatic white balance was designed to remedy this,
it fails to do so consistently. The solution is to manually select the “Tungsten”
white balance preset (also known as “Incandescent”). With it, more blue is added
to the scene, effectively neutralizing the unrealistic yellow. This menu selection is
typically represented by a light bulb icon in the camera’s white balance menu.
56
“Auto White Balance” does an adequate job outdoors. Yet, an overcast day is not
required to benefit from the “Cloudy” white balance option. Similar to a painter adding
more yellow to their brush, this setting introduces a golden quality of light to a scene.
It also makes objects in the shade appear less blue. Greens become more vibrant,
making the cloudy preset an ideal choice from sunrise through sunset. This is perhaps
my favorite white balance setting as it retains an accurate representation of the color
temperature while adding brilliance to the photo. In the following examples, you can
see just how effective it is. (Top: Auto white balance. Bottom: “Cloudy” setting.)
A Foggy Scene in the Great Smokies. Tennessee
57
The “Shade” preset not only adds more yellow, but orange as well. This results in
color temperature that appears much warmer. Be careful with this setting as it’s very
easy to overdo the effect. If your scene already has brilliant saturation, this is not
a recommended choice. However, landscapes with subtle touches of color can be
beautifully enhanced with the shade setting. If you’re not sure what’s best, you can
bracket your white balance, shooting the same scene in auto, cloudy, and shade. If
you shoot in RAW, you can also experiment with this with post production software.
A Family Enjoys a Colorful Winter Sunset. Long Island, New York.
You may notice several additional options in your camera’s white balance menu.
Settings like “Fluorescent”, “Flash”, and “Daylight” all sound sophisticated. The
reality is, they don’t work quite that well. Instead of over complicating matters,
stick with the big three - cloudy, shade, and tungsten. These presets will provide
accurate colors for nearly every situation. Apply them to your photography and
say goodbye to those unpleasant color casts.
Assignment
Assignment 12: : Shoot the same landscape at the same exact exposure,
changing only the white balance. Start at AUTO WB, then go to CLOUDY, then
SHADE. Which one do you like best?
Objective: Notice how the color temperature can make a big impact on the
overall effectiveness of your photo.
58
CHAPTER 9
Unwrapping the Mystery of Image File Types
There is an ongoing debate among many photographers. What’s the preferred

file type: RAW, DNG, TIFF, or JPEG? The truth is, if you break the process down
into four areas, each one of these files has a valid, useful purpose.
59
1. Capture Mode:
Shooting in RAW allows a photographer to capture more detail than if they were
to shoot in JPEG. The RAW capture format also provides photographers with
more control over the image in the digital darkroom. The ability to change the
white balance on a RAW file can make an immediate impact on the overall look of
the photo. For instance, by choosing a white balance setting of cloudy or shady
(during post-processing of your RAW file), your photo will take on a warmer tone.
Since RAW files do capture so much detail, they will take up more space on your
memory card and hard drive. For example, a 10-megapixel camera with a 4GB
Compact Flash card can hold about 135 RAW files in comparison to 420 JPEG/
FINE images. If you decide to shoot RAW, you will want to pick up a few extra
memory cards. If you would prefer to shoot in JPEG, be sure to have it set to the
highest quality setting.
Kodiak Bears at the Bronx Zoo. New York
60
2. For Archival Purposes:

The DNG format was recently created by Adobe in an effort to unify the various RAW
formats created by different camera manufacturers. For example, Canon’s RAW
files are known as .CRW, and Nikon’s are .NEF. Many photographers feel this can
potentially become problematic in the long term. They argued that their RAW files may
not be future proof in newer software applications. Programs like Adobe Lightroom
have an option to backup your RAW files as .DNG. If you want to protect your digital
negatives (RAW files) for many years to come, DNG is well worth the effort.
Moonrise Over Red Rock Canyon, just 30 minutes from Las Vegas. Nevada
61
3. For Making Prints:

For those special images that you want to print and display, the preferred file
format is TIFF. By saving your completed image as a TIFF, you are using a
lossless file which is capable of producing high quality enlargements. JPEG
is a compressed file which can degrade image quality slightly. While this may
not be noticeable on the computer screen, it will likely show on large prints. By
starting with a RAW file and converting to a TIFF, you are not compressing the
file or losing data. For prints, TIFFS should be saved at 300DPI.
A Great Egret With its Catch. Sunken Meadow State Park, New York
62
4. For Email and Web Posting:

JPEG is the recommended format for sharing images on the web, or by email. The
key is to optimize the file so that it looks best on a number of different monitors
including desktop computers, laptops and tablets. If possible, choose a “Save for
the Web” option, and resize the photo to about 1500 pixels on the long end.
A Double Rainbow in Jasper National Park. Canada
Then, set the resolution to 72 dpi (dots per inch). This is standard for web viewing as
opposed to 300 dpi for prints. Finally, make sure the actual file size is no larger than
300-400 kilobytes (kb). By doing this, you are ensuring that the images will load fast
on your blog or website and that they will be able to be opened by recipients in email.
Assignment
Assignment 13: Take your original RAW file and make a TIFF at 8x12 and
300dpi for print, and a JPEG at 8x12 and 72 dpi for the web. Rename these
files with unique names.
Objective: You should end up with 3 files; your original RAW files, a high res
TIFF for print, and a low res jpeg for web sharing.
63
Conclusion
I
n no way are these rules designed to contain your creativity within a tiny box.
It’s quite the opposite actually. By understanding these basic guidelines and
techniques, you have the option to break them deliberately. The goal is to have a
solid understanding of the essential processes used to make eye-popping photos.
Excellence then, becomes more consistently attainable. By choosing to apply these
rules to your work in a creative way, you are one step ahead of the game.
Never before has a photographer had such power to craft images into their own
unique vision. Part of the equation is done by thinking through the contents in
this eBook. The other part is done by shooting with your heart. Put these two
forces together and you are well on your way to becoming a stellar image maker.
Remember, photography is just as much of an art form as painting, drawing,
ceramics, etc. As an artist, you are free to capture moments as you see fit. Keep
the camera by your side and enjoy the journey.
64
ABOUT THE
AUTHOR
CHRIS CORRADINO
Through the lens, I learn more
about myself and the world
around me. From the fragile
beauty of a fleeting moment, to
the destructive capabilities of
man and nature - my camera
is a vessel of self expression.
Though this journey began as a personal one, I’ve had the honor of sharing my
images with a worldwide audience. Recent credits include the Associated Press, USA
Today, National Geographic Online, The New Yorker, and The Wall Street Journal.
While I’m truly proud of these accomplishments, perhaps my greatest joy comes
from teaching others how to control their camera and fulfill their creative vision. As
a licensed photography teacher, I provide personalized instruction to students of all
experience levels. In 2013, Smithsonian Journeys recognized these efforts by naming
me a Study Leader.
I’ll admit to sitting in a small wooden blind for several hours waiting for a bird to
appear and waking up long before sunrise to capture a mountain range bathed in
morning light. Yet, as majestic as these scenes are, I find even greater satisfaction
in creating a unique photograph of something that would have otherwise gone by
unnoticed. It’s this elusive pursuit that inspires me to press the shutter and study life,
one frame at a time.
For more, visit me online at www.christography.com

RULEBOOK
Dave Seeram Editor-in-Chief / Publisher
Caryn Cua Copy Editor

Cheryl Cua Copy Editor
Moghees Siddique Art Design / Layout
© 2017 PhotographyBB
All rights reserved. No part of this publication may be
reproduced or transmitted in any form by any means
without prior written permission from the publisher.
PhotographyBB is a division of PowerButton Central.

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The Photographers Rulebook

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THE PHOTOGRAPHER’S

RULEBOOK CHRIS CORRADINO

Chapter 1: Creating Images You Love by Controlling Aperture...............................10

Chapter 2: How to Freeze Life with Fast Shutter Speeds.........................................21

Chapter 3: Shoot Smart with Slow Shutter Speeds..................................................27

Chapter 4: The Beginner’s Guide to Manual Exposure, Part 1.................................34

Chapter 5: The Beginner’s Guide to Manual Exposure, Part 2.................................41

Chapter 6: ISO: Overcome Dark Photos Once and for All.........................................44

Chapter 7: How to Read the Histogram......................................................................48

Chapter 8: Using White Balance Correctly?................................................................55

Chapter 9: Unwrapping the Mystery of Image File Types........................................59

About the Author.............................................................................................................65

View Mistakes as Opportunity

Pave Your Own Path

4 Embrace Your Choice of Gear

A Field of Lavender Photographed at an Aperture of f/1.8

Skateboarder in Columbus Circle. Manhattan, New York

Focus on What’s Important

Vineyard. Tuscany Italy

Male Buck at Connetquot State Park. New York.

A Man Stands in the Doorway of a Pub. Iceland

There’s a common misconception among photography students who believe

The Segesta Temple in Sicily. Italy.

A Field of Wildflowers Leading to the Athabasca Glacier. Canada

In a big sweeping landscape, it can be tricky to determine where to focus. For

A Tractor Rests on a Farm Beneath a Towering Mountain Range. Iceland

Where the Tripod Comes In

The Manhattan Bridge at Dusk in New York City. New York

Heron Silhouette at Sunset in Jones Beach State Park. New York

A Boat Sails Through Crystal Waters of Bonifacio. France Shot at 1/250sec

1/125 sec. exposure time

1/13 sec. exposure time

Imagine at Strawberry Fields in Central Park. New York

A Waterfall Nestled in the Woods. West Virginia

A Rainbow Forms in Front of a Waterfall. Iceland

Decision 1: The Aperture

Besides its ability to control

Decision 2: The Shutter Speed

Sea Lions shot at 1/500 of a sec

The Paris Hotel in Las Vegas at dusk. Nevada. 60-second exposure

Decision 3: The ISO

A Fountain in Front of the High Roller in Las Vegas. Nevada

Let’s use a simple blue sky

If you want to create a darker

If you allow in even less light, the

If you want your sky to be light

If you allow in even more light,

The Sistine Chapel. Vatican City, Italy. ISO 1600.

By incorporating ISO control

An Icelandic Horse Stands in Front of a Makeshift Barn. Iceland

Think of the histogram as

Once the data actually collides

There’s a misconception among many photographers who believe a histogram

Valley of the Ten Peaks. Banff National Park, Canada

A Pony in the Golden Light of Iceland’s Midnight Sun. Iceland

A Foggy Scene in the Great Smokies. Tennessee

A Family Enjoys a Colorful Winter Sunset. Long Island, New York.

There is an ongoing debate among many photographers. What’s the preferred

Kodiak Bears at the Bronx Zoo. New York

2. For Archival Purposes:

3. For Making Prints:

4. For Email and Web Posting:

A Double Rainbow in Jasper National Park. Canada

For more, visit me online at www.christography.com