Digital Photography Secrets

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Digital Photo Secrets Secrets only the Pros know!
Page 2 2007, David Peterson. http://www.digital-photo-secrets.com
Copyright Information

Important Notice:
This is NOT a free book and cannot be given away in whole or in part.
Digital Photo Secrets is a copyrighted work 2005-2007 David Peterson from
Digital-Photo-Secrets.com.
All Rights Reserved
No part of this book may be reproduced or transmitted in any form whatsoever,
electronic, or mechanical, including photocopying, recording, or by any
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Disclaimer and/or Legal Notices
The information presented herein represents the view of the author. This book is
for informational purposes only. While every attempt has been made to verify the
information presented here, the author does not assume any responsibility for
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2007, David Peterson. http://www.digital-photo-secrets.com Page 3
Introduction
Digital cameras are great!
They take a lot of the guesswork out of photography because you can see your
results instantly.
Once the novelty wears off though, you may find that the images you take arent
any better than the ones you took with your film camera.
So, what went wrong?
Nothing! You have just found out what all professional photographers know
already. Most of the time a bad photo is NOT the result of the camera.
Purchasing the latest and greatest camera does not mean your photos will look
the same as the professional photos.
What does matter is how you compose your shot, and the extra secrets you
employ to place your subject just right, or get the lighting the way you want it.
Thats what this book is about. We not only expose the secrets the professional
photographers have been hiding for years, but well show you how to take care of
your digital camera, and explain lots of the more complex camera terms in plain
English.
Lets enter the exciting world of Digital Photography with a look at 21 tips you can
use instantly to create stunning photos every single time!
Enjoy!
David Peterson.
Table of Contents

Copyright Information 2
Introduction 3
Table of Contents 4
Move in closer 6
Use Optical not Digital Zoom 7
Place your subject off-center 8
Take More, And Erase Shots 9
Preset Exposure and Focus 10
Use A Tripod 11
Unusual Angles 12
Using Flash During The Day 13
Use Continuous Shooting 14
Give Yourself A Theme 15
Look For Light 16
Use Red Eye Reduction Flash 17
Dont Rely On Flash 18
Use Different Lenses or Filters 19
Use Predefined Modes 20
Look for Reflections 20
Take Spare Batteries 21
Use the LCD Monitor 21
Dont add frills 21
Clean your Camera 22
The Biggest Photo Tip 23
Digital verses Film Cameras 24
White Balance 28
Filters 30
Exposure Value 32
Focus 33
Metering Modes 35
Composition 38
The Rule of Thirds 39
The Golden Ratio 40
The Golden Triangle 40
Use Diagonals 41
Fill the Frame 41
Watch the Background 41
Use Vertical 42
Open a Path 42
Frame your Picture 42
The Elements of Visual Design 43
Weddings 52
Vacations 53
Photographing Children 57
Night Scenes 59
Fireworks 62
Sunsets 64
Action Shots 68
Sports 70
Optical vs Digital Zoom 72
Resolution and Optical Zoom 73
Notes 74
Depth Of Field (DOF) 80
Shutter Speed 86
ISO 88
How do I bridge the gap between
Film and Digital? 96
Which Digital Camera Should I
Purchase? 99
Essential Maintenance 102
Digital Printing Options 106
Printing on Inkjet Printers 110
Why are the images I print always
cropped on the sides? 116
Which is the best way to name your
digital files? 117
Why doesnt my photo look the same
on the screen as it did when I took
the image? 118
Why doesnt my printed photo look
the same as on my monitor? 119
Acknowledgements 120
Secrets only the Pros know! Digital Photo Secrets
The Top 21
Tips To Using A
Digital Camera
Move in closer
Almost any shot will look better if you take two or
three steps closer to your subject. Filling the frame
entirely with your subject will make a terrific
difference to your photos.
Alternatively, instead of moving closer, use the
Optical or Digital Zoom of your camera to get a
close up shot.
When taking shots of family and friends, most
people place the subject's full body in the frame, or
place head and arms in the shot. Instead, fill the
frame with your subject's FACE only - particularly if
they are smiling or are in a moment of reflection.
Why does this work? With less clutter in the image,
there's less to draw the eye away from the main
subject of your photo. Also, human faces
(particularly children's faces) are something we all
feel pleasure looking at.
If you can't get close enough when you're taking the
shot, you can zoom in later using photo editing
software. Crop out everything except the subject's face and see the difference.
When using the viewfinder for close shots, be careful of Parallax. Because the
viewfinder is not at the same position as the camera's lens, centering the subject
in the viewfinder may mean it is not centered for the lens resulting in an off-
center final picture. Most digital cameras now come with an inbuilt LCD screen.
You can eliminate this problem by using the LCD - which shows you what the
lens sees - rather than the viewfinder.

There is a lot of unnecessary
background in this image

Moving closer shows just the subjects
and makes a better image
Use Optical not Digital Zoom
If you've used a film camera, you'll be used
to optical zoom. Optical zoom uses the lens
of the camera (the optics) to bring the
subject closer. Digital zoom uses clever
software to digitally enlarge a portion of the
image - thus simulating optical zoom.
So, which is better? Definitely Optical zoom.
Here's why.
Digital zoom is not really 'zoom' in the
strictest definition of the term. Digital zoom
just enlarges the image. Eg it takes a portion
of the image and enlarges it back to full size.
You lose quality because of the enlargement
process so photos that have been taken with
digital zoom won't look as good as those
without.
See further down in this document for a
further explanation of using the zoom.

This shot just uses optical zoom.

This was taken from further away and used the
digital zoom of the camera to get closer. Note the
image is not as clear.
Place your subject off-center
Rather than placing your main subject in the middle of the screen, place it to one
side and ensure something interesting is in the background that fills the
remainder of the image.
This can be especially effective if the background has the same theme. For
example, if photographing a child opening a Christmas present, frame them to
one side and have the Christmas Tree with unopened presents filling the rest of
the image.
There are a few guidelines that can help you place your subject in the frame. See
the Rule of Thirds in a later chapter.

Victoria Vinnikava
Three examples of placing your subject off-center.
Take More, And Erase Shots
The ability to erase your
photos is one of the major
advantages of a digital
camera. You'd be mad not to
use this to the fullest extent!
Take MANY more shots than
you think you need, and then
erase those that aren't right.
Every half an hour, go back through your most recent photos erase any that don't
make the grade, or you have better versions of.
Because you'll be erasing often you can just keep the 'best of the best'. Erasing
often also ensures you don't need a large memory card, as it will not be storing
your not-so-perfect images.
If you're always pressed for time, you can either invest in a larger memory card,
or copy your images to another storage device like a laptop or card storage unit
until a later point.
This is also a huge tip when photographing groups. With such a large number of
people, there always seems to be someone blinking, or looking the other way.
Having a large number of shots means you can pick the best of them to keep.
Be careful that you dont trade quality for quantity. Dont take heaps of random
shots and ignore the composition of your photos. Otherwise youll have heaps of
shots but no good ones.

I took all six photos and deleted all but the last one.
Preset Exposure and Focus
When set to auto, some cameras can take a
while to adjust for white balance and focus. This
is the 2-3 second delay between when you first
push the shutter button, and the shot actually
being taken.
If this happens with your camera, try presetting
these by holding the shutter release half way
down to tell the camera to focus BEFORE you
need to take the shot.
Then, keep your finger held half way down until
you get the perfect shot, or use your camera's
'lock exposure' feature to keep the exposure
settings locked until you find the right time.
Presetting your exposure and focus can REALLY help out when taking shots of
children. They tend to not sit in one place waiting for you to adjust your camera,
so the best shots are taken when you are prepared for a candid moment - eg
when the child is engrossed in a task.
Take care not to preset your exposure to the wrong level by moving to a darker
or lighter subject after your exposure has been preset. Watch the focus as well
if the subject is moving, preset your focus using an object at the same distance
as your subject will be when you want to take the shot.
Presetting the focus works really well for street carnivals with floats moving
towards you.

I was only able to take these candid photos
because I had previously preset my exposure
and focus.
Use A Tripod
Yes, tripods can be a hassle to carry around with
you but they help you take great shots in two ways.
First, the time you take to get out the tripod, set it
up and position the camera on it will slow your
picture taking down. This means you'll become
more aware of other elements like composition of
the image, and lighting. The more focused you are
to external conditions, the more likely you will be to
take a great shot.
The added advantage is your camera is steadier
allowing you to take razor-sharp images -
particularly in low light situations.
An alternative to a tripod is a 'mono pod'. These
only have one leg and don't have the stability of a tripod, but they have a greater
stability than just your hands - particularly if you lean them against something.
If you do a lot of mountain walking, there are also extendable 'walking canes'
(like a ski pole) that are great for helping you walk up steep hills. The top
unscrews to reveal a tripod mount underneath turning it into a mono pod.
Tripod Tip : If you have a lightweight camera, you might consider purchasing a
ultra lightweight tripod. These are small, don't weigh much and easily fit in a
backpack.
Extra Tip : You don't need to purchase a tripod either! Any horizontal surface
around can make a tripod - arms of chairs, railings, rocks, anything!
No tripod or other suitable surface handy? Holding your camera properly can
minimize camera shake. Hold the camera in one hand and use your other hand
to steady the cameras body from underneath.

Images taken with and without a tripod.
In this low light situation, you can
plainly see the right image is much
clearer. In this instance, I used a
telephone box as the tripod.
Unusual Angles
Most photos are shot at eye level. I think
this is because traditionally, you needed
to have the viewfinder up to your eye to
ensure you get everyone in the shot.
Because most digital cameras have an
inbuilt LCD, you can now take the
camera away from your eye and try
taking photos from unusual angles.
Try tilting the camera left or right to better
position your subject in the frame. Try
taking the photo from below, or above
your subject. Try getting further away or
closer.
There's always more than one way to
photograph a subject. Using different
camera angles can make an otherwise
boring image really stand out. The more
you practice using different angles, the
quicker you'll know what works and what
doesn't.
Angle Tip : Lie on the ground and point
your camera towards the sky for an interesting angle to shoot large monuments
with.

This image of moth-eaten leaves was taken
from directly underneath and allows the
viewer to see the sky through the leaves.

This bridge image was taken by
holding the camera on the side
of the old bridge to get this
unique viewpoint.
Using Flash During The Day
Interestingly, one of the best uses of
your flash is during bright sunlight! I
know it sounds strange but it's true.
Professional photographers use flash
much more often than amateurs.
A flash helps to eliminate dark
shadows (for instance under the eyes
and chin of faces). It also helps to
emphasize your subject.
When you take pictures of subjects
with bright light behind them, for
example a portrait that is backlit, or a
duck swimming in water reflecting the
sun, the camera will be fooled by the
bright surroundings so the subject
appears dark.
By turning flash on, you will fill in the
shadow areas making the picture much more pleasing.
It can also be used to add a sparkle to eyes, and to reduce shadows under the
nose when pictures are taken when the sun is bright and high in the sky (eg at
midday).
Nature photographers even use flash to ensure the nooks and crannies of flower
petals are properly lit again to reduce shadows.

This image was taken without the flash. Because of the
bright sky, the leaves in the foreground were underexposed
and hence very dark.

This is the same shot but taken with the flash. The leaves are
now as brightly lit as the sky.
Use Continuous Shooting
Most digital cameras have a
continuous shooting mode,
where shots are taken one
after the other in rapid
succession.
When taking shots, there is
often a short delay between
when you press your finger
on the button, and when the
picture is actually taken.
This delay may mean your
subject has finished their
action (eg blowing out
candles on a cake) and you have missed the magic moment.
With Continuous Shooting you can take a sequence of shots and keep just the
right one. Continuous Shooting also increases your chances of capturing a
candid moment.
Where else can this be useful? Any shots of children or groups will benefit from
continuous mode.

These six photos were taken with the continuous mode on my camera. I
wanted to get an action shot, so only kept the bottom left image.
Give Yourself A Theme
Sometimes you need to think creatively to find better
shots. Set yourself a theme to give your brain a head
start.
For example, on a vacation choose a different color every
day and ensure all your shots for that day have that color
in that image. Or shoot only shots with triangles in them.
Other examples of themes are:
! Fences
! Bright Colors
! Time
! Clich
! Unfinished
! Repeating Patterns
! Desperation
! Bliss
Make sure your theme is simple otherwise you'll be more
pre-occupied with getting a shot in line with your theme
than the image itself.
Another option for a theme when on vacation is to choose
a selection of themes that captures the essence of the
destination. Every area has themes relating to its landscapes, climate, cities,
culture etc. Do some research by looking at local postcards or talking to taxi
drivers to get an idea of the good picture taking locations.

Theresa VanderStaay

Water Theme
Look For Light
Different lighting can change the mood
and feel of a shot, or be the difference
between a mediocre and stunning shot.
The light from the setting sun can
produce wonderful lighting for a subject,
as does sunlight through leaves. Maybe
you see a shaft of light between two
large objects such as buildings that can
be a perfect backdrop for your subject.
Other options for different light sources
at night include:
! Neon lights make great night time
subjects. You can silhouette your
subjects in front of them, or use
them as a subject themselves.
! Use a long exposure on a tripod
to capture streaks of car lights on
a road or highway, or other
moving lights like on a ferry.

There was a wonderful orange glow to the pool chairs that
I had to photograph.

I saw this sunset on the way home from work one night.
The red contrasts well with the car tail lights

Gary McGowan
Look at the patterns of shadows created by the clouds
Use Red Eye Reduction Flash
Most newer cameras
have two flash modes.
Standard and Red Eye
Reduction.
The Red Eye Reduction
flash causes the camera
to flash multiple times
before taking the shot to
get subject's eyes used
to the bright light. Use
this whenever taking
photographs of people
looking directly at the
camera in low light.
Many people don't
realize they needed to
use the red-eye flash until they look at their photos after the event. So remember
to use red eye reduction whenever taking photos in situations where the following
three points are true:
! People looking directly at the camera
! Low Light
! Using your flash.
It is also possible to remove Red Eye with software programs if you don't have
the red eye reduction feature on your camera.

The top photo was taken without the Red Eye Reduction flash. The bottom photo
was. You can see the obvious red tint in the childs eyes in the left image.
Dont Rely On Flash
We've discussed using your flash a lot until
now. There are occasions where using a
flash ruins the mood of the event you are
photographing.
Why? A flash tends to create harsh subjects
and will ruin any natural mood.
So, rather than using the flash whenever
your camera tells you to, use available light
whenever possible. In a dark situation, it's often better to open the shutter for a
longer period of time to let in more light, or turn on existing lights to illuminate the
room than to use the flash.
In daytime and when your subject is inside and near a window, have them face
the light and position the camera between the window and your subject. This will
allow the sunlight to light your image fully.

Ruxi Stanescu

This image was taken at night, but because the
subject was too close to the back wall, the flash has
illuminated it as well as the subject ruining the
mood of the dark room.
Use Different Lenses or Filters
There are a wide variety of lenses and filters
available to increase the range of options
you have for shooting a photograph.
Not all digital cameras come with the ability
to attach different lenses and filters. Check
the manual for your camera if you are
unsure. Some lens types include:
! Wide Angle
! Telephoto
! Fish Eye
Using a Wide Angle lens is good for shooting
an indoor room, or shooting a mountain
vista. A Telephoto lens can be useful when
you need a close up. Telephoto lenses are basically better optical zooms.
Filters
A polarizing filter can be the most useful filter to own. A Polarizing filter can
deepen the color and contrast in the sky, eliminate glare from water or reflective
surfaces, or cut through fog like haze. Soft Focus filters generate more diffused
looks for romantic, moody, atmospheric, foggy or glowing effects in your shots.
Cooling filters add more blue to an image giving a psychological effect of
calming or serenity in the image. Warming filters cut out excess blue in an
overcast sky to add more reddish tones to the image - making your photos look
less harsh.
Finally, graduated lenses help for scenes that have a huge difference in light
level eg late in the day when the sky is still bright, but the foreground is in
shadow.

Janet Kinney

Janet Kinney
These two images show the Telephoto lens in action.
It acts just like an optical zoom, but generally
zooms in much closer.
Use Predefined Modes
Most cameras now come with selected modes for taking shots. Eg Landscape,
Cloudy Day, Full Sun, Indoors, Night. Changing the mode of your camera to
match your situation can result in better shots, as the camera has a better
chance of selecting the shutter speed, flash and other exposure choices for a
perfect picture.
Look for Reflections
Water is a fantastic element to include in your
photos, as the reflections it generates can make
your image stand out. Keep a look out for water
around your environment when you shoot.
Reflections from lights, or splashes of color can
really help with the ambience of an image.
Rainy days are particularly good as puddles
abound!
Extra Tip: Photographing just the reflection and
leaving the subject out is a great way to produce
abstract images.

Iva Villi

Iva Villi
Notice how the reflections help make
these images special.
Take Spare Batteries
One of the worst things that can happen when using a Digital Camera is for your
battery to run out. Instantly, no more photos! Purchase an extra battery or two
and keep one in your charger so youll always have a charged battery around.
Use the LCD Monitor
The LCD monitor will show you what your final image will look like. It wont be as
large in size as your final image, but you will get enough of a feel for the image to
know how your shot will turn out. If your camera can show you a half second
freeze of your shot just after you have taken it, turn this feature on. The half
second will give you enough time to see if the image was well framed, or if you
need to take another one. The LCD does tend use more battery, but in our
experience its better to buy a spare battery and continue using the LCD rather
than turning it off.
Dont add frills
Some manufactures give you a feature that can
imprint the current date and time, or the current
exposure settings onto your image. Turn these
off! You dont want anything to distract you or
your viewer from the subject of your photo.
Modern digital cameras record the time and date
the shot was taken in a separate part of the
image file anyway (see EXIF in the glossary) so you can always see it.

Sandesh Gangoda
Dont place the time and date in your images.
Clean your Camera
If your images always turn out all blurry, it may mean your lens needs a clean.
Most high end cameras come with threads to which you can attach a SkyLight (or
UV) filter. This helps to protect the lens from not only dirt, but scratches. Cheaper
cameras don't have threads so remember to cover the lens when not in use and
try not to touch it.
Don't clean the lens too often - depending on how often you use your camera,
every few weeks or few months is fine. To clean your lens, pick up a lens
cleaning kit from your local photo store. Use the lens brush and air blower to
remove any loose clinging particles. Place a drop of lens cleaning fluid onto
some lens tissue (or a cloth) and wipe the lens clean with a circular motion. Use
the blower to dry the lens, or let it dry naturally. Don't use any abrasive solution
(such as soap) or wipe too hard on the lens as you can wipe away the special
coatings. There are other techniques see the section on camera maintenance.
Ensure you protect the other parts of your camera as well. Particularly the
Memory Card slot and Battery contacts. If you find they have any corrosion, you
can remove it easily with a pencil eraser. Make sure you remove the excess
eraser that can get left in the compartment with an air blower. Never ever insert
anything into the memory card slot that isn't meant to be there, as you could
break the small pins. To keep clean, it's best to leave a memory card in the slot,
or at least keep the cover closed.
The Biggest Photo Tip
Weve saved the best for last! To take absolutely stunning photos, try to
incorporate as many of these tips (as well as the ones contained in the rest of
this document) as you can in every single image you create.
I know it can be a hassle at first to remember everything. Sp how do the pro's
remember all the tips when photographing?
They practice, practice, practice. And then they practice some more! Like
anything in life, the more you practice, the more the activity becomes second
nature and the better you get.
But all this practice doesn't need to be time consuming or hard. Remember when
you first learned to drive a car? Initially, driving took all of your concentration, but
over time, you got used to it and were able to think about other things while
driving.
It's the same with photography.
Practice just a few tips at once. Over time, you'll remember more and more
techniques. And each time you'll improve your photography. You'll get to the
point where, without you even consciously thinking about it, you'll be taking much
better images! Your brain will have switched to 'autopilot'.
So here's what I suggest.
The next time you take a camera with you, I recommend you concentrate on just
three tips from this book. Concentrate on using JUST those few tips.
The next time, concentrate on another two and add those to the two you have
practiced already. Before you know it, you'll be applying all the tips on autopilot!

Digital verses Film Cameras
People say the traditional film cameras are still better than digital cameras. Is this
true?
The short answer is it depends. Although most digital cameras dont have the
resolution of their film counterparts, they have other advantages over film
cameras. Lets look at the advantages of Digital Cameras
Advantages of a Digital Camera
! Access to images is almost instantaneous. There are no chemicals
needed to develop the images.
! You can email the images directly from your camera all around the globe.
! Directly view your photos through the
LCD screen. See immediately if youve
taken a good shot.
! The speed of the sensor can be changed
without needing to change the film. This is
very useful when light levels drop.
! Take hundreds of pictures without paying anything for film.
! Much more cost effective than film if you shoot lots of photos.
! Retouching on a computer is really easy. Most cameras come with
software you can use to touch up your photos to get that professional look.
! If you want to post-process your images on computer, copying the files
directly from a digital camera is a lot quicker and usually gives a better
quality than scanning.
! Instant review of photos, allowing you to know what has worked and what
hasnt worked.

There are some disadvantages, however.
! Digital cameras are much more expensive than their film counterparts to
purchase.
! They are more complex. Film cameras are easy to learn and use because
of their simplicity.
! Image quality depends solely on the camera. Even a cheap film camera
can (with a modest lens and high quality film) produce spectacular photos.
! Images need to be stored on memory cards, which
are also very expensive.
! The resolution of digital cameras is still not as good
as film. An SLR film camera with modern film can
store much more than 8 megapixels of information.
! Film has a color representation and balance that is more pleasing to some
people.
So do you do digital or stay with film? The answer will depend on your needs
from a camera, and how much you are willing to spend.
Go with film if:
! You really need quality. A good SLR film camera can produce better
quality shots than a digital camera costing 100 times more. Although
Digital is catching up.
! You dont need Digitals fancy features. If youre happy to point and shoot
and only want to put your developed photos in an album, stay with film.

Choose digital if:
! The digital quality is good enough for you
! You need to manipulate your photos in a computer. Its much easier to
copy the images from a digital machine than to scan a processed
negative.
! You rarely need to print your photos. Most people who shoot digitally
never print an image. Instead they produce slideshows on their computer,
or create a CD or DVD. We recommend you still have prints produced
though see later in this document.
The important thing is to work out what you use a camera for and choose one
that suits your needs and lifestyle. Friends of mine regularly pull out their only
camera - an old 1970s SLR and take fantastic shots with it.
The best tip to taking better photos is not which model you choose, but learning
to use your camera properly.

Gary McGowan
Better Looking
Pictures
White Balance
Ever taken an indoor photo where the colors were very mediocre or even have
blue, yellow or brown tints? Do your images have dull colors or lack vitality? This
is a very common problem and results from a lack of white balance. White
balance is unique to digital cameras and is the ability for a camera to adjust the
color of an image based on the lighting situation.
White Balance Examples

This image was taken using the
cameras automatic white balance
setting. Because there is some white in
the image, the camera was able to use
the Sunlight setting to reproduce the
original colors.
Here, weve used a manual white
balance set to Fluorescent. You can
see the image now looks warmer
because the camera has compensated
for the particular wavelength light from
a fluro light.
The manual white balance is now set to
Incandescent Bulb (normal indoors
lighting). The colors in this image now
look wrong because the camera is
correcting for a light source that
doesnt exist.
You see, different lighting sources emit color tones the human eye cant see, but
a digital camera picks up. Sunlight has different hues from indoor tungsten lights
which are different again from fluorescent lighting. Photos taken with the wrong
white balance setting wont show the correct colors when viewed on a screen or
printed out.
Most of the time, the camera can find the correct white balance and automatically
correct this problem. Sometimes though, when there is no white in the image
(like clouds), it has a hard time.
One way to overcome the problem is by using a flash, but the flash can present
more problems. The flash will reflect against shiny surfaces, has a limited range,
and takes a while to recharge (meaning you cant take multiple shots quickly).
A better way to overcome this problem is to use the cameras White Balance
setting. The White Balance setting tells the camera which apparent color is
actually white. This allows the camera to correct the color of the image to save a
more accurate representation of the scene.
Different cameras represent the different white balances in different ways. Most
cameras have a number of options to choose from: Auto, Daylight, White
Fluorescent, Standard Fluorescent and Incandescent. The Auto setting is the one
that has trouble if there is no white in the camera. Some more advanced
cameras allow you to manually set a white balance from a white card placed in
front of the lens. This is the most accurate way to correct for color imbalance.
Tips for using the correct white balance
! Assess the light source for your image and change the white balance to
the appropriate choice for your shot. Eg if youre indoors with fluorescent
lights, choose the fluorescent setting.
! If you have a number of light sources, try using a few different white
balances to ensure you get the best picture.
! If theres some white around
(eg clouds), tell your camera
to take its automatic white
balance meter reading while
pointing at the clouds. This
will give the cameras auto
settings something to
reference from.
! If you dont have a white card handy, another option is a white coffee filter.
You can also change the white balance using image manipulation programs such
as Photoshop.
7
Mark Bowden
Filters
Filters add color and flavor to your image and can help to portray your style, or
what youre trying to communicate.
A filter is usually a thin piece of plastic placed in front of the lens that changes
what the camera sees. Most cheap digital cameras dont allow you to attach
filters, but most of the time you can improvise the attachment using special kits
you can purchase that are designed to allow you to add filters to a cheap
camera. You can also use image manipulation programs to simulate filters.
Filters fall into a number of different categories, depending on their intended use.
Types include:
Plain Color
These simply add a tint to your photograph. These filters arent that useful in the
Digital world because you can just as easily do the same thing in an image
manipulation program such as Photoshop. If you do use one, ensure you take
note of the white balance setting, as it may just compensate for the filter and get
you back to an image without the filter.
Gradient
Sometimes scenes will have a huge difference in light level. This usually occurs
late in the day when the sky is still bright, but the foreground is in shadow. You
can set your exposure to capture the sky and clouds, but the foreground will be
too dark. Alternatively, you can capture the foreground detail but overexpose the
sky. A gradient filter can help here by stopping excess light from the top part of
the image, while allowing all light from the bottom half through. This allows the
foreground to retain details while at the same time not washing out the sky.
Neutral-Density
These filters simply reduce the amount of light that
gets into the camera. This can help when the scene
is overly bright such as a sunny snow scene as it
increases the exposure range of your camera.
These filters dont alter the image in any way they
just allow your camera to do a better job of it.
Polarizing
This can be the most useful filter to own. A
Polarizing filter works like Polaroid sunglasses and can deepen the color and
contrast in the sky, eliminate glare from water or reflective surfaces, or cut
through fog. This filter is very useful for landscape photography.
Special Effects
These filters come with names like Starburst, Diffraction, Fog and Soft Focus.
These effects can make a big difference in some circumstances and are difficult
to replicate in image manipulation programs. They should be used very sparingly
though as they can be over-used.
Cooling/Warming
Cooling filters add more blue to an image giving a psychological effect of calming
or serenity in the final image. Warming filters cut out excess blue in an overcast
sky to add more reddish tones to the image and make your photos look less
harsh.
There are lots of varieties of filters and some can cost quite a bit of money. We
recommend you try our image manipulation techniques first and only invest in
filters if you shoot lots of photos that can benefit from one of the filters listed
above.

Image with no filter
The same image with a warming filter.
Notice the snow now has a reddish tinge
Exposure Value
You can change the mood of your photos by changing your cameras Exposure
Value (or EV). EV compensation helps to make up for unrealistic scene
depictions that can result from using the automatic settings of your camera. For
example, a camera set on automatic will average the light levels throughout the
whole scene. A brightly lit scene (eg in direct sunlight) will end up looking darker
than it actually was. You can change the EV to compensate. For the brightly lit
scene, move your EV setting to +1 or +2 ensure the whole scene is captured as it
really looks.
You can also use Exposure Value to add artistic flare to photos.
! To add cheeriness to an image on a dark day, keep increasing your EV
until it looks brighter.
! To make a low light scene (eg sunset) look peaceful, decrease your EV
setting to decrease the light level of the image.
! If you want to create a more reflective mood in a bright setting, decrease
the EV. This will darken the scene giving a calming effect.
Different Exposure Values

The same subject with three different Exposure Values. The left image was taken with 2EV, the middle with normal EV and
the right with +2EV. Note how the image gets more overexposed the more EV is added.

Focus
Knowing what focus system your digital camera has and how it works, can help
you get more shots in-focus and shoot with added confidence.
Using Auto Focus
Unless youre using a really high-end digital camera, its likely to have only an
auto focus option.
Be aware that its unlikely youre going to be able to easily tell if your shot is in
focus from looking at the optical viewfinder, or LCD screen. A cheap optical
viewfinder doesnt actually look through the lens, so you have no way of knowing
what focus the lens sees. On the other hand, the LCD screen is too tiny to tell if
the shot is in focus or not.
Since you cant easily tell if your shot is in focus until later (when you look on
your computer), there are a few tips you can use to ensure you have the best
chance of an in-focus photo.
! Pre-focus. You can press the shutter button part way down to tell your
camera to focus now, but dont take the shot. The camera will usually
beep at you to let you know its completed focusing and is ready to take
the photo.
! Use Auto Exposure. Changing the exposure levels can affect focus (see
the section below on Depth of Field) so its important to ensure you let the
camera decide the exposure level to use.
The two focus systems
Digital cameras come with one of two focussing systems. Knowing the type you
have can help you ensure your camera stays in focus.
Active Focus
Active focus is usually included in lower end
cameras and works by using an infrared light
beam to measure the distance to the subject and
focus accordingly.
How can you tell if youve got Active Focus? There will be a red lens similar to
the one on your TV remote on the front of the camera. Check your manual to be
sure.
This type of focus works great in the dark. On the other hand, you must have a
clear line of sight between the camera and the subject. You cant take a photo
through leaves, fences etc. You also need to be wary of infrared sources like
fires.
Passive Focus
Mid and High end digital cameras use a passive focus system. This works
through the lens and is a system that detects contrast in the image. The camera
adjusts the lens until it detects the highest level of contrast.
You need enough light to produce contrast, so this method does not work well in
the dark. Also watch for scenes with overly bright ambient light.
This focus type works well in the situations where Active Focus fails eg through
leaves or fences because the system uses the image the camera sees to
determine focus.

The red indicator on the top left of this
image is the active focus.
Metering Modes
All digital cameras have an auto-exposure mode to determine the shutter speed
and aperture required to expose a scene correctly. To do this, the camera
analyzes the amount of light in the entire scene and comes up with an average
exposure setting based on the lightest and darkest elements of the image. This
works fine for most scenes, but if a particularly bright or dark object is in the
frame, the resulting image will be either underexposed or overexposed because
the overly bright or dark part has affected the average.
To rectify this, most cameras include a few manual metering modes to give you
control over the exposure. There are three basic metering modes found on digital
cameras.
Matrix Metering
Matrix metering can also be known as multi-
zone, average or pattern metering. This
mode is used as the default for most
cameras. It works by taking a series of
readings from a matrix of different points around the frame and calculating an
average exposure for the entire scene. It is effective in most situations because it
takes into account the whole image.
Center-weighted
metering
This operates in the same way as matrix
metering in that it operates over the whole of
the image. The difference is that Center-
weighted metering takes more notice of the center part of the image by giving the

Wendy Arthur

center readings more weight compared to the edges. This metering type works
on the assumption that the subject of your photo will most of the time be in the
center of the photo. Because the subject is the key element in the photo, it is the
object that should be exposed correctly.
Spot Metering
In this mode, the camera takes a reading
from the center of the image only; ignoring
the rest of the scene.
This is useful when you want to emphasize a
subject in the center of the frame. A handy trick when you dont want to put your
main subject in the center of the frame is use the Exposure Lock on your
camera if you have one. First, center your subject. Tell your camera to lock the
exposure. Then move your subject off-center and take the photo. The camera will
remember the exposure setting from the lock and expose your subject correctly.

Mufaddal Tapia

Composition
Composition
Great images dont just come by mastering the technical aspects of the camera.
Attention must be paid to composition as well.
Effective images are those that command attention and communicate some
feeling to an audience. Capturing a feeling requires knowing the basic elements
of composition and visual design as well as experimentation and practice.
There are a number of magic places of an image that produce a more pleasing
image. Knowing these techniques can be the difference between a mediocre and
a stunning image.

Amanda Radovic
The Rule of Thirds
One of the most popular rules in photography is the Rule of Thirds. It is a
simple rule that can add dynamism to your photos. Simply, divide the image into
thirds both horizontally and vertically. When composing your shot, place
important elements either along these lines, or where the lines intersect NOT at
the centre of the frame. For example, place a subjects eyes where the top third
line is, or place your subject on the place in the image where two lines intersect.
Rule Of Thirds

The subject in this image has been placed on the right vertical thirds line, and centred
on the intersection between the right and bottom thirds lines.

Its a very simple rule to follow and will result in a nicely balanced, easy on the
eye picture. It also helps get rid of the tiny subject and large amount of space
tendency because you need to position items relative to the edges of the frame.
Having said that, the Rule of Thirds is also one of the rules youll want to break
often! This is fine the Rule of Thirds is more of a guideline and sometimes you
will find a better image when you break the rule.
The Golden Ratio
The Golden Ratio, or the Golden Mean is
found often in nature. The ratio is 1:1.618
and is formed from the following sequence:
1, 1, 2, 3, 5, 8, 13 etc. Each number after 1
is equal to the sum of the two proceeding
numbers. The ratio between any two
numbers gets closer to the Golden Ratio the
higher up you go.
The Golden Ratio is very pleasing to the human eye it may be that we are
genetically programmed to recognize the ratio. Studies have shown that most of
the top super models have faces with an abundance of 1:1.618 ratios.
The Golden Triangle
The Golden Triangle is another rule more
convenient for photos with diagonal lines.
Think of three triangles in your photo and
roughly compose three subjects with
approximate equal sizes in these triangles.

Wendy Arthur
The Golden Ratio is found everywhere in nature, as
evidenced by this curve (drawn using the golden
ratio) matching the flower.

Fernando De Paternal
Use Diagonals
Placing your subject on a diagonal will
almost always make a more dynamic image.
Even an imaginary diagonal between two
points. Try moving your camera around your
subject and look for a pleasing diagonal.
Fill the Frame
One of the most common mistakes is not
filling the frame with the subject. If youre
photographing an interesting bird, just shoot
the bird and not the trees surrounding a very
small bird-looking object in the centre of the
image. This also ensures viewers have very
little else to distract them from what you
intend them to see.
Watch the Background
Once youve got your subject composed, take a quick
look at the surrounding area before finalizing the
shot. Make sure Granny doesnt have a light pole
growing out of her head! If there is something in the
background that isnt pleasing, move until that
background element is no longer in the shot, or ask
the subject to move slightly. Particularly watch for
possible reflections of your flash.

Diagonals - What would normally be an ordinary
photo is given life by shooting on a diagonal.

This close-up shot of a birds nest would not have
been as effective if we showed the surrounding tree.

An otherwise nice picture is ruined by
the reflection from the flash in the
painting on the wall.
Use Vertical
Remember you can hold the camera vertically to take images. Waterfalls usually
work best with a vertical camera, but you might want to try both horizontal and
vertical and find what works best for each situation.
Open a Path
In your picture, anything that moves needs
an area to continue that action. Also,
anything with eyes needs some open space
to look at. Ensure you leave a blank area
where your subject is moving or looking.
This makes a much more pleasing image.
Frame your
Picture
The use of a frame can make an otherwise
plain picture a pleasing one. You can use
any natural or man made object as a frame.
A window is a perfect frame, as is a door,
arch or fence. Overhanging branches of
trees can provide natural frames as can
bridges.
A frame will mostly be in the foreground and isolates your main subject to create
an interesting composition.

There is open space on the left of the image
for the young child to look towards. This
photo also obeys the Rule of Thirds.

Mark Bowden
The fort in this image is framed by the tree.
This helps the eye focus on the main subject.
The Elements of Visual Design
There are a number of simple elements of
visual design that, once understood, can help
to bring powerful emotion to your images.
Lines
A line represents a path between two points.
Lines imply movement and show a direction or
orientation. Lines can be straight, curved,
vertical or horizontal. A line can also be implied (the brain will fill in the missing
points). Eg three equally spaced dots will given the brain the illusion of a triangle.
Different lines convey certain feelings.
Horizontal lines imply rest and tranquility
whereas vertical lines imply strength and power.
Curved lines imply quiet or sensual feelings.
Lines that converge imply depth, scale and
distance eg a roadway or wall.
Actively look for lines in your image to invoke
specific feelings.
Shapes
Shapes are closed lines like squares, rectangles,
triangles and circles or more complex shapes
like stars and hexagons. Shapes can be created without lines by using colors or
color boundaries in the image. Ensure you balance shapes in the image with
equal areas of the image without shapes.

Brian Smith
Lots of lines in this image. Vertical (implying
strength) and curved (sensual).

Wendy Arthur
This image shows both shapes and form. The
color boundaries define the shapes, whereas
the differnce on light (eg just above the eye)
shows the shadow and form. Additionally,
notice how the curved lines invoke a sense of
peace.
Form
Form is the three-dimensional quality of an object caused by light reflecting off it.
The reflected light produces some areas of light and some of dark (ie shadows)
and the contrast of these imply volume.
The direction of light can also imply a feeling. Backlighting a subject will create a
silhouette (an object lacking form which will look two dimensional).

Bevan Timm
Color
The use of color is one of the best ways to convey a feeling. Colors effect us
emotionally with different colors evoking different emotions.

Analogous Colors are next to each other on
the color wheel. Eg Green and Yellow.
These colors get along and when used in
an image have a soothing effect.

Complimentary Colors are opposite one
another on the color wheel. Eg Purple and
Green. These colors show more contrast
when placed next to each other in an image
and makes the colors appear more intense.

Cool Colors. These are near the blue end of
the spectrum and include violet and green.
They are thought of as cool because of our
association with snow and ice.

Warm Colors. Yellows, reds and orange. We
associate these with the sun and fire.

You can position different colors in an image to maximize the contrast between
them and to provide perspective.
Texture
Texture is the feel, or surface quality of an object.
Texture can be implied by the contrast between the
elements of an image, or highlighted by placing the
light source close to the plane of the object so
shadows are more pronounced.
Composition
Composition is very important in creating effective design. So much so, that we
dedicate an entire section to composition above.
Dominance
It is possible to influence the order in which visual
elements in the frame are observed and how much
attention each element receives. This can be done in
a number of ways. To make an object seem to
dominate the image:
! Make it larger in the image. Larger objects
dominate smaller objects.
! Ensure the color is a warm color rather than a
cool color.
! Position the object in the center of the image as the center is where the
eye usually looks first. Actually, just to the side of center is the best
placement see the discussion on proportion below.

Iva Villi
This image shows a fantastic texture.
You can feel the crinkly texture of the
leaf just by looking at it.

The younger child has dominance
in this image. He is larger in
the image, positioned closer to
the center, and has a different
clothing color than the other
child. The eye is naturally drawn
to the front child in this image.
! Place the object at the convergence of lines. The eye follows the lines to
the point at which they converge.
! Make it different, or exceptional. If most of the elements in your image are
similar (either in shape or color), ensure your subject is a complimentary
color, or has a different shape from those around it.
Coherence
Parts of an image that
are coherent are similar
enough in color, form or
texture to belong to one
another. Eg a scene with
lots of green leaves
implies coherence
because they have a
similar color and shape.
Be aware that too much similarity can make the image look boring.
Weight
Ensure the elements of your image have a proportional weight, and that weight is
balanced in the image. Weight can be expressed by light and dark sections of the
image, or by the positions of large and small elements in an image. Ensure you
have a similar number of light and dark objects in your image, and have larger
objects closer to the center than smaller objects.

Victoria Vinnikava
The leaves in this image have coherence because of their similar shape and color.
Shapes and Space
Ensure there is an equal amount of
space to balance the shapes (objects)
in the image. Areas of an image that
contain nothing are important visual
elements that provide a great balance
to the subject. Note nothing does not
mean empty space, but more the lack
of a subject.
Rhythm
Rhythm is the regular repeating of elements. Repeating objects are so pleasing
to the eye that we like to look at them. Examples of rhythm are bricks in a wall, or
glasses lined up. The best rhythm is established when the elements are not
perfectly the same size or shape because the brain gets bored with a perfectly
symmetrical element and quickly moves on. A row of chairs at the beach is much
more interesting when the chairs are not in a completely straight line, or are
different sizes and colors. Rhythm can also be found in color changes.
Rhythm Examples

Shelly Van Camp

Michele Chi

Stephen Anstey
Some great examples of rhythm the regular repeating of elements. Note in each image the repeated objects arent quite the
same which makes for an interesting image.

Fernando de Paternal
Heres a great example of shapes and space. The waterfalls
are the main subject (being the shapes), but they are offset
nicely by the forest canopy (being the space).
Chaos vs Order
Experienced photographers take images with an order to convey the feeling they
want to present. Eg vertical lines to imply power. They also add some chaos to
the image so you arent bored when viewing the image. The chaos elements
dont overpower the ordered elements, but provide some obscurity and keep your
interest. Nature is full of order, with an overtone of chaos. Eg trees in a forest all
grow up (vertical lines), but there are different sized trees and different textures
on the bark (chaos).

Chaos vs Order Examples

Stephen Anstey

Iva Villi

Wendy Arthur
This image contrasts the
order of buildings and a
street with the chaos of
different sizes
cobblestones and buildings.
Heres a lovely example of natures chaos and
order. The order of the branches contrasted
with the chaos of the smaller branches going
everywhere.
The overall symmetry of this image shows the
order, but when you look closer, every petal is
different chaos.

Emotion
Emotion is one of the most difficult
elements to introduce into a photo, and
yet is the most rewarding. A technically
perfect image can capture a viewers eye
but its the emotionally rich image that is
more likely to capture the viewers heart.
How do you capture emotion in your
photos? If you are photographing people,
then the task is to capture moments in
time where the subjects are visibly
expressing themselves, either with a smile, frown or some other outward
expression.
If you are in a studio, you will need to coax a mood out of someone. When you
are out and about though, its more a case of waiting and watching in readiness
to capture the moments of expression that can make the average person in the
street an interesting subject.
Candid shots can play a large part in adding emotion. Often the subject is
unaware (or has forgotten about) the camera so capturing their facial
expressions (and thus emotion) easier.
Some tips for capturing emotion
! While most people want to capture the emotion of a great sports play,
often its the emotion after a great play that makes the better shot. Take
snapshots of the jubilation, smiles and high-fives. Dont forget about the
look of bewilderment on the opposing teams faces.
! Dont just think of happy emotions. Often sorrow, abandonment and
emptiness can be more powerful than joy or happiness.

Tessa Campbell
See the emotion on each face in this snapshot taken of a
couple taking a photo of themselves. Notice the look of
concentration in the mans face and the slight frown. The
woman is obviously unconcerned and is ready to have the
picture taken.
Special
Occasions
Weddings
Weddings can be a great time for photo taking.
! Most couples hire a professional
photographer, so be careful not to interfere
with the professionals work.
! Buy some bridal magazines beforehand
and look at the photos inside for
inspiration.
! The brides dress can overpower the
camera, as its all white. Either the dress
looks perfect and the brides face is too
dark, or her face is perfect and the dress
has no details. This can be circumvented
by using a reflective surface (like a large
white card) to direct extra light towards the
brides face. A white wall can achieve the same purpose.
! Use different angles. Try zooming in on a kiss, or tilting the camera.
! At the Church: Some churches dont allow flash photography; so dont try
to take any shots in the church. Instead wait until the happy couple pauses
on the church front steps. Plan ahead and find a good location before they
exit the church.
! Dont just focus on the bride and groom take photos of the other guests.
! At the Reception: Events at the reception include cutting the cake, the first
dance and the bouquet toss. Plan ahead so you can be at the right place
at the right time it helps to have a family member alert you when the
event is about to start.

Vacations
Some tips for helping with your vacation shots
! Take plenty of memory! Make sure you
have extra memory cards, have another
storage facility like a Laptop or media
storage unit.
! Start taking pictures before you leave. You
might include your passport and tickets at home, or the suitcases by the
door. These photos wont make wall hanging, memorable shots, but they
will add up to tell a story.
! Candid counts. Images with people are usually more interesting when the
subject is caught in a candid moment. When setting up for a posed shot,
try to include something interesting to liven up the shot.
! Make your trip a story. Create a visual diary by photographing landmarks
along your journey such as signposts and street scenes. You can also
capture the mood of the day - If you feel bright and happy, shoot some
scenes to capture that feeling. If youre moved by what you see, ensure
your shots convey that feeling.
! Take shots at meals. This is the time when family is gathered around.
Take advantage of it by taking an image or two of your relatives around
the dinner table. Ensure you use the red eye reduction mode of your flash
and activate the self timer if you also wish to be in the shot.
! Include the mundane. Most vacation photographers just photograph
landmarks and scenery. Make your vacation shots more interesting by
including the mundane washing the dishes, taking off in the car, setting
up camp, waiting for an aeroplane etc.

! Consider photographing signposts so you know where the next few shots
were taken. You dont need to print these, but they make a very handy
reference later on!
! Set the scene. Shoot local recognizable landmarks first so you will know
later on where you took that more unusual shot. I usually shoot the
landmark with a conventional (ordinary and obvious) shot and then move
in closer for the more unusual shots or extra detail. Another advantage is I
then have the conventional shot to use if none of the others live up to
standard.
Setting the Scene

George Lombardo

George Lombardo

George Lombardo
Setting the scene. The first is the recognizable shot of the Sydney Harbour Bridge. The second two shows the same bridge but
from different angles. These are the more unusual shots. If they didnt work out, we still had the original.

! Make color a theme. Color usually plays a very important part of setting a
scene. Think of the deep terracotta of Mediterranean rooftops, the
whitewashed walls of greek chapels, or the deep blue of a tropical ocean.
All provide a wonderful common ground for your photos.
! Look for Detail. Visiting somewhere new gives your eyes a treat by seeing
different landmarks, shapes, patterns and colors than we are used to.
Take advantage of this by using your cameras zoom to hone in on detail
you might otherwise miss.
! Find different angles. We all have a tendency to shoot whats in front of
us. Instead, turn your camera lens up or down to shoot unusual angles
and subjects you might otherwise have missed.
! Use Macro. If you have a macro setting on
your camera, use it to shoot local flora or
wildlife.
! Use the cool morning or evening light to
take most of your shots. In the heat of the
day, your images will be bright and
featureless.
And for the more adventurous.
Capture the Sense of Place. When we first visit a destination, our senses take in
an enormous amount of data including intoxicating smells from food stalls,
aromas of the flower vendors or the sweet cool wind on our cheek from the
scenic lookout. Our brains cant handle that much information, so we tend to
concentrate on the most important or attractive detail to us at the time and point
our camera in that direction.
We try to capture the moment, but miss the important visual clues that will assist
the viewer of the photo to interpret our experience. Here are some tips to ensure
your travel photos capture the emotion of the moment.
What made you stop?
What was it that made you take an image in the
first place? Was it the different and colorful
costumes, the light breaking from the storm
clouds, or the textures of sand dunes in the early
morning light? What excited you? Which visual elements made it different from
other places those that make the destination recognizable from travel books
and postcards?
Once you identify the main element, you can work to reduce the amount of extra
and unwanted elements in your images that distract from your main theme. For

Wendy Arthur

Simon Peter Barbara
instance, when vacationing in Malta, the main element you may want to convey
could be the striking earthly colors of the temples.
A good technique to employ is to use an adjective to describe the scene. For
example, The isolated mountain monastery. Here, you would need to show the
vast mountain scenery with a smaller, distant monastery that would draw the
viewers eyes to seek and rest on it. You cannot allow other buildings to detract
from the idea and you must have plenty of mountain scenery to give the sense of
isolation. A close up of the monastery would no longer fit your description and
you would need another adjective.
Technique for Visualisation
Think of an adjective

Simon Peter Barbara
This scene describes a Secluded Costal Town. Only one boat sails on the
harbour to illustrate the adjective in the description.

This technique is useful in helping you focus on what it is you are trying to
communicate and what elements in the image would help you do this. Once you
have decided your main subject, look for other elements that will help your
viewers eyes to the center of interest in the image. This could include a walkway;
winding road; river; row of fence posts or even a shaft of light.
This pre-visualisation of the potential of an image at the point of capture is a
powerful creative tool, so if you can master it, it can often make the difference
between an average image and a show stopper.
Photographing Children
Children make a wonderful subject. Here are some tips
for ensuring photos of children are even more memorable.
! Meet them eye-to-eye. Bring yourself down to the
childs level even if you need to crouch down.
This will give your shots a kids eye view and wont
distort their image (as taking the shot from above
does). They will interact with you more and give
great eye contact. Even shooting with your camera
on the ground works well.
! Capture natural expressions. While posed shots
are great, often better results can be gained by
capturing an image when their thoughts are preoccupied with something
else eg while at play. Youll capture their faces enjoying the moment
rather than thinking about the camera.
! Surprise toys, comics or food can divert your childs attention away from
the photographer.
! It helps to keep yourself invisible when creating shots with natural
expressions. One way to do this is to use a zoom lens and position
yourself some distance away. If you leave the children with something to
do before disappearing into the background, they will quickly become
engrossed.
! Familiarity ensures success. Children who have grown up having their
photo taken will be a lot less likely to freeze or show off in front of a
camera. Start early and make photo taking a part of every day out.

Kristina Sitton

Iva Villi

! Familiarity with the surroundings also works. Ensure they have some other
siblings and familiar faces around to help create the right atmosphere.
This is particularly useful for shy little ones.
! Consider hiring a costume for your child subjects. Theyll have fun
dressing up and youll get a great shot. Props can also liven up a shot.
! A good tip for candid photography is pressing the shutter at the right time.
Keep looking at the LCD and wait patiently for a great photo to occur.
! Look at childrens clothing catalogs or magazines for inspiration and
picture ideas.
! Children grow up quickly. Record their growth from toddler to child to
young adult by taking a family photo every year around the same time
either the first day of school, or during spring events.

Amanda Radovic
Night Scenes
There are lots of ways to enhance night photography. Just because the sun has
gone down doesnt mean you need to stop taking photos! Night offers some of
the most intriguing photo opportunities because they offer a fantastic blend of
color and excitement. Some of the best night shots are taken during the early
evening when a little overall illumination comes from the darkening sky.
Night Shot Examples

Stephen Anstey

All three photos were shot without a flash, with a tripod and with a fairly long exposure time.
Ideas for night photos
! Capture silhouettes against a colorful sky. Make sure your silhouettes are
easily recognizable and ensure your flash is off.
! Neon lights make great night time subjects. You can silhouette your
subjects in front of them, or use them as a subject themselves.
! Use a long exposure on a tripod to capture streaks of car lights on a road
or highway, or other moving lights like on a ferry.
! Carnivals and Amusement parks have lots of night lights. The rides offer
you the advantage of using different angles (eg taking a shot from the top
of a Ferris wheel), or trying some motion effects.
! Bridges and fountains are wonderful subjects at night. Use a longer
exposure to ensure the far away lights from a bridge are recorded or to get
a blurry effect from a water fountain.
! Sparklers and light sticks can be a great source of artistic fun. Have your
subject stay as still as possible while waving a sparkler around. The
resulting image will show the person and a line of light emanating from the
end of the sparkler. Alternatively, have your subject stand still and have
other helpers run around them with sparklers.
Tips for shooting at night or in low light
! Dont use a flash! A flash can drown out a lot of subtle lighting and lead to
a washed out image. Try taking the shot without a flash.
! Try long exposure times. Long exposures allow for streaking shots.
! Use a tripod or other camera support. Because youre shooting at lower
exposure speeds, the shutter is open for longer. Thus, you must keep the
camera steady. A tripod is best for this, but anything that can support the
camera like a rock, table or even drinking cup will work.
! If shooting stars or a cityscape, try the backlight setting on your camera
to expose the shot for longer than the automatic settings. Exposure Value
compensation can also be used here.
! Use the flash to capture your foreground subject, but use a long exposure
to fill in the details in the background. Youre not trying to light the whole
scene with the flash just your foreground. Remember to use the Red
Eye flash setting if your subject is a person.
! Avoid Red-Eye. Peoples pupils open wider in the dark, making them
susceptible to the dreaded red-eye effect (glowing red eyes). To avoid,
use the Red Eye Reduction flash mode to cause your camera to fire one
or more pre-flashes.
! If shooting people, remember to ask them to sit still as movement will
cause blurry images. Tell them it wont be as bad as the olden days where
people had to sit still for 30 seconds at a time!
! Anticipate the shots and prepare for them by pre-focusing (holding the
shutter release button half way down) so your camera can be as ready as
possible for the shot. This is particularly good advice in low light because it
can take longer for the camera to auto focus.
! Practice makes perfect! If you find you like shooting at low light, practice
holding the camera in your hand while taking long exposure shots. Like
any physical skill, it can be perfected!
! Bracket your exposure settings. Some cameras have an auto-bracketing
feature that will take more than one shot at different exposures to
compensate for a wide variety of lighting conditions. The camera captures
one shot with what it determines is the correct exposure, then will take
several more shots of the same scene with different exposures to increase
the chances of a properly exposed image. You can keep the good one
and throw out the rest.
Fireworks
Fireworks are fantastic to see in photos but are really hard to shoot well. There
are a number of techniques that can allow you to take some spectacular shots of
fireworks.
Merging Fireworks

Separate fireworks images can be merged to create a super firework shot.

! Use a Tripod. This is essential for fireworks photography as most of your
exposure times will be between 2 and 30 seconds.
! If you dont have a tripod handy, you will get some camera movement.
You can counter this by exaggerating the movement by moving the
camera in a circular motion, or zooming in.
! Use long exposure times (eg keep the shutter open for a long time). You
will want to capture both the initial explosion as well as the trails left
behind by the burning particles.
! If the sky is black, you can leave the shutter open for a long time and wait
for the right firework to be in your viewfinder. Alternatively, you can cover
the lens with a piece of black cardboard until the right firework arrives.
! Use a Cable Release or remote control. This is a button on a lead that
allows you to tell the camera to take the shot without moving the camera
itself. If you use the shutter release on the camera, you can wobble the
camera too much and produce unwanted effects. If you don't have a cable
release, you can use the timer function of the camera so it takes the shot
a few seconds after you press the button. Note youll need to pre-empt the
firework so the camera shutter is open at the correct time.
! Focus. Most of the time the fireworks will all be the same distance from
you, so you can use the same focus setting on your camera for the whole
show. Use the first few fireworks to set the focus and set your camera to
use that for future shots. This will save a second or two in focus time for
each image.
! If you are really close and want full-framed shots, you should use a
telephoto lens. Keep your tripod head loose and follow the tracer with your
viewfinder. Release the shutter when it explodes.
! To include most of the fireworks in a scene, the regular lens is fine. Zoom
in enough to compose all your fireworks.
! Make sure there are no unwanted buildings or lights in frame that will
distract from the final shot.
! Merge the fireworks together using Image Manipulation software. Its a lot
easier to get an image with lots of fireworks if you take lots of images
separately and merge them together afterwards on a computer. You can
even make some fireworks appear smaller or larger to make a more
balanced and pleasing composition.
Every situation is unique so the best advice is to go to a place that regularly runs
fireworks shows and get lots of practice.

Sunsets
Sunsets make some brilliant photos because of the
deep oranges, reds, golds and purples mixed
together. Its very easy to create a sunset photo. The
hard part is finding the right sunset and timing.
Although sunsets happen every day, you need some
clouds and dust in the air to produce magnificent
images.
Where does the dust come from? Industrial pollution and smoke from fires (both
man made and nature) help, but volcanos are the biggest contributor to creating
great sunsets. If you happen to have a volcano erupt close by, ensure you
capture some of the sunsets!
Both thick and thin clouds help to create that memorable sunset shot. Thick
clouds obscure parts of the sky and thin clouds create some amazing colors on
their own.
Timing is also an aspect. Because the colors change as the sunset progresses,
plan to spend at least half an hour taking a number of shots. Remember, you can
always delete those that dont work, so take lots of images.
Photographing Sunsets
Whats the right way to photograph sunsets? Here are some tips
! Dont use your cameras automatic light meter as it will usually look at the
brightest part of the image (the sun) and underexpose the rest of the
image (the reds and oranges you want to keep). Set the light reading
when your camera is not looking at the sun (to find the ambient light) and
keep that setting for the sunset shot. If its hard to find the right light level,
take a number of shots at different exposure levels and keep the best.

George Lombardo

! The cameras white balance will also be out
because there wont be any white in the image
for the camera to use as a guide. Turn the
white balance off.
! The same goes for the auto focus. Bright
objects can confuse the auto focus. Focus
manually to the infinity setting, or choose the
landscape option (which does the same thing).
! Use a tripod. Because of the lower light levels, the shutter will be open for
longer (even as long as 2 seconds), so you must use a tripod to steady
your camera. If you dont have a tripod handy, try a ledge or post. Also
consider using a remote shutter control so the movement of your finger on
the shutter button wont cause the camera to move. If your camera doesnt
have a cable release, you can activate the timer function and tell the
camera to take the shot 3 seconds after you press the button. This will
give you enough time to move your hand away and ensure the camera
doesnt move.
! Keep your lens clean. Dust and fingerprints can produce unwanted lens
flare when you include the sun in your photos.
! The colors can disappear in a moment, so be prepared.
! Watch for unwanted elements: Artificial lights (such as street lights or
building lights), traffic headlights, strong gusting winds that will move your
camera, and the public who love to stand directly in front of whatever you
are trying to photograph!

George Lombardo

Composition of sunsets
! Include foreground elements. You
dont just have to shoot the sun.
Foreground elements silhouetted by
the wonderful sky helps to give a
sense of scale and location to the
scene. For example, Palm trees will
create a beach scene.
! Place the horizon off-center. To
include a lot of the colorful sky, place
the horizon in the lower third of the
frame.
! Watch for unsightly elements. Dont have your sunset obscured by
buildings, electricity poles or wires. If this will be a problem, go somewhere
high. As a general rule, the higher you are when you take the shot, the
better your chances of an unobstructed view.
! If the sky is dramatic enough, try eliminating any land reference.
! Dont always go for the obvious shot. Look around; frame something
unusual with your camera, or try changing your perspective.
Other tips for sunset time
! Turn around! Sunset has the best light, so use it to shoot other objects as
well.
! Dont stop taking photos once the sun has gone down. The light will be
less but because there is no point source to create harsh shadows, there
will be an all-around light that has a great atmosphere.

George Lombardo

Giulliano Spitaletti

! Use a flash! You can capture a scene in the foreground with the flash (eg
a person looking at the sunset) and use a slow shutter speed to capture
the sunset.
Warnings
Here we should add some warnings about photographing sunsets
! The sun can damage your eyes. Never look at the sun directly. Particularly
never look at the sun through the optical viewfinder of your camera as it
magnifies the suns intensity. Always wait until it is low enough in the sky
to turn dark red.
! The sun can damage your camera particularly cheap digital cameras.
They use less expensive shutters and CCDs. The sun through the lens
can create a hot spot and burn a hole in the shutter. Cheaper cameras
dont have a shutter so the CCD is always exposed to the suns rays and
can be burned. It is not very common for this to happen, but it is possible.
The best advice is to wait until the sun has changed color.
A final comment: Why arent sunrises as good to photograph as sunsets? There
are a number of factors. The air usually isnt as warm in the mornings and warm
air contributes to the colors. Usually, the air is more still in the morning as well
and doesnt kick up dust.
Action Shots
Taking great action shots can be really easy if you follow the below tips.
! Get in close to the action. Get as close as you can its almost impossible
to get too close. Use your cameras zoom and a telephoto lens if you have
one. Fill the frame with the action.
! Anticipate and try to capture the decisive moment the basketball going
through the net; the bat hitting the ball; the runner crossing the finish line.
This is where the action is at its peak. You can anticipate this by pressing
the shutter a split second before the correct moment.
! There are two effects in capturing the action shot. You can crisply freeze
the action or blur the motion to give the impression of movement.
Blurring Action.
! Shutter Speed. Dont select a really
fast shutter speed because you
want some of the action to blur the
image.
! ISO. Use a lower ISO setting so the
shutter can stay open for longer but
not let too much light on the sensor
and over expose the shot.
! Panning with the action. Move your
camera with fast moving objects
such as runners or race cars and
ensure they stay almost stationary in the center of your image. When the
shot is taken, this subject will be crisp and the background will be blurry.

Wendy Arthur
This image was taken with a slower shutter speed. See
how the water in the stream blurs together because
the water moves while the shutter is open.
! Flash. Using a flash can also allow the subject to create a crisp image but
allowing the background the blur.
Frozen Action
! Shutter Speed. This time you want to
use the fastest speed you can.
! ISO. Use a higher ISO setting so the
image will still be bright even though
the shutter is open for less time.
! Flash. Flash can again be used to help to freeze the action.
! Anticipating the action. Because youre capturing one moment, you want
to make that a defining moment. Anticipate this to ensure the shutter
opens at the right time.

Curtis Routh

Luis Cruz
This image was taken in bright sunlight with
a very fast shutter speed. See the water
droplets are frozen in mid air.
Sports
Sports photography can be tricky because of the split second timing and focus
requirements sometimes needed.
! Zoom in. An optical zoom is a requirement for most sports as youll likely
be far from the action. Avoid the digital zoom as it will reduce resolution
and your final image quality.
! Use a fast shutter speed. For fast moving action sports (like baseball, or
motor sports), you want to freeze the action. To accomplish this, set your
shutter speed to be as fast as possible for the available light.
! Follow the action. You can use a technique called panning (following your
subject with the camera) to create more motion with your images. Use a
slower shutter speed and keep the subject in the same place in your field
of view when you take the shot. The result will be a sharp and in focus
subject with a blurry background.
! Take Team Photos. Team friendship bonds can be strong, so capture
team shots to look back on in future years. Dont worry too much about
formality an informal shot with muddy faces that captures the emotions
and personalities of the players will capture the moment better than a
posed shot.
Optical vs
Digital Zoom
Optical vs Digital Zoom
Most digital cameras advertise an optical and a digital zoom. If youve used a film
camera, youll be used to optical zoom. Optical zoom uses the lens of the camera
(the optics) to bring the subject closer. Digital zoom uses clever software to
digitally enlarge a portion of the image thus simulating optical zoom.
So, which is better? Definitely Optical zoom. Heres why.
Digital zoom is not really zoom in the strictest definition of the term. Digital zoom
just enlarges the image. Eg it takes a portion of the image and enlarges it back to
full size. You lose quality because of the enlargement process so photos that
have been taken with digital zoom wont look as good as those without.
You can perform the same result using image editing software on your computer.
In fact, it can be better to crop and enlarge using your image software in your
computer as you can decide exactly what part of the image to enlarge, and how
much to enlarge by.
So when taking shots, use optical zoom only. If you need to zoom in further, use
your editing software to select the best part of the image to keep. Ensure your
camera warns you when its switching to digital zoom from optical zoom, or use
your settings to disable digital zoom entirely.
Why is clarity important? The more clarity you have in your image, the larger the
printed size can be without the image appearing fuzzy, or blocky. If you want to
keep clarity in your images, use the optical zoom whenever possible, and avoid
the digital zoom.

Resolution and Optical Zoom
An often asked question is something like Which is better 2 megapixels
resolution with 3x optical zoom, or 3 megapixels resolution with 2x optical
zoom?
The megapixels resolution is the number of pixels available to capture an image.
A 2 megapixel camera has two million pixels to record an image. A 3 megapixel
camera has three million pixels in an image an increase of one million pixels!
An optical zoom does not affect the number of pixels used in an image so
zoomed to maximum zoom, a 2 megapixel camera will take a photo with 2 million
pixels. Likewise, a 3 megapixel camera will still take a photo with 3 million pixels
but the maximum zoom isnt as much, so the subject wont be as large in the
image.
To get the same image, youll need an extra zoom stop which can be achieved
using the digital zoom on the 3 megapixel camera. You will have less resolution
(remember the camera loses information when you use the digital zoom) but it
will still be equal to the 2 megapixel camera.
Overall, as you are not normally at full zoom, its better to go with the 3
megapixel camera as you are always getting images with more detail.
But you shouldnt really compare the two. Work out which is more important to
you (resolution or optical zoom) and choose a camera for this feature. If both are
important to you, find a camera with both.
Notes
Using Manual
Modes
Digital cameras come with auto-everything now. You normally dont need to
worry about f-stops, light levels, shutter speed, focusing or lens aperture. As you
become more confident, youll want to take over the reigns a little more so you
can get the results YOU want rather than the results the camera thinks you want.
This section will help to de-mystify some of the confusing array of manual
controls to help you achieve the effect you want to achieve.
Digital Camera Modes
Most people use the automatic mode of their camera and it takes good shots in
most situations. It is often very helpful though to let the camera know what type
of shot you're trying to take. This allows the camera to select the best settings for
that particular image.
This can be done by changing to a different camera mode. Lets look at each of
the different modes, when to use them, and what decisions the camera makes
for each mode.
Full Auto / Green Mode
This is the mode that I recommend you start out with. It provides
fully automated 'point and shoot' operation. All you need to do is frame the image
and press the shutter!
Basic Modes
When it's time to experiment with other settings, try using the basic modes first.
Choose the mode appropriate for the image you want to take, and start shooting!
Landscape Mode
Use Landscape mode to take photos of mountains, scenery or
cityscapes. Anytime where the whole image - both the foreground and

background - needs to be in focus. Setting Landscape Mode will tell your camera
to select a small aperture which will give a large depth of field and ensure the
whole image is in focus.
Portrait Mode
Select Portrait mode when you want to take a shot of a person -
usually showing their face. The best portraits are where the subject is in full
focus, but the background is out of focus, so the camera increases the aperture
in this mode to get a small depth of field. This places only the subject in focus.
Sports Mode
Sports mode is perfect for fast action shots. It ensures the camera
uses a fast shutter speed so you can take photos of moving subjects without
motion blur. Also, on some cameras the continuous shooting mode is enabled so
the camera keeps taking shots as long as you depress the shutter.
Macro Mode
Close up shots of flowers, insects and the like require the camera to
focus on an object that's really close to the lens. Macro mode provides just that
setting by using the macro lens of the camera.
Night Mode
Use Night Mode at night, or at dawn or dusk. This is where you want
to make best use of what little light is available. The camera will choose a slow
shutter speed and turn off the flash. Try to place your camera on a tripod or keep
it steady some other way when using this mode to ensure your images stay
sharp.

Beach and Snow
Some cameras provide a "Beach and Snow" mode. This mode is for
use when shooting highly reflective scenes - like at the snow. The
camera will compensate for the bright scene and ensure the image is exposed
correctly.
Advanced Modes
Once you've mastered shooting with basic modes, try some of the more
advanced modes your camera supports. When starting to use these modes, I
recommend some experimentation so you get familiar with each mode and how it
changes the final photo.
Program Mode
This mode is similar to the Auto function in that the camera does
some of the work, but you still have some control over how you want the photo to
look. Program mode allows you to select from one of a number of
shutter/aperture combinations for a specific exposure. I suggest learning how the
different modes affect the shot by setting your camera on a ledge or tripod and
shooting a scene with each of the different program modes. Notice how each
mode changes what you see with the image.
Aperture Priority / AV Mode
This mode allows you to set the aperture setting for your camera
and let your camera choose the appropriate shutter speed. Changing the
aperture allows you to control the depth of field in your image - basically so you
can choose how much is in focus.
Shutter Priority / Time Priority / TV Mode
Use Shutter Priority when the portrayal of motion is most important.

When you want moving objects to blur, choose a slower shutter speed. A fast
shutter speed will freeze your subject. The camera will select the appropriate
aperture for a correct exposure.
Manual Mode
Here you can choose both the shutter speed and aperture to get just
the setting you want. This mode gives you total control over the depth of field,
lighting and motion in your images.
Most professionals use Aperture Priority, Shutter Priority, or Full Manual mode
because they provide the most control over the image. All these extra settings do
take some learning though, so I recommend trying one mode at a time and see
how it affects the images you take.

Dennis Gay

Depth Of Field (DOF)
Depth of Field is a term youll hear a lot but its tricky to understand. The Depth of
Field is the distance in front of and behind the focus point that is also in focus.
This can also be called the zone of sharpness. The size of the zone is
determined by three key factors the aperture of the lens, the focal point of the
lens used, and the distance you are from the subject. Well get into those a little
later.
When most of the picture is sharp, we say theres lots of depth of field. When
only part is sharp, the depth of field is limited.

George Lombardo

George Lombardo
This image has a small depth of field. Notice the out
of focus sand both in front of and behind the shell.
The shell is the foal point and the zone of sharpness
extends from just in front of the shell to just behind.
The depth of field is large in this image. The zone of
sharpness extends from a few meters from the
camera to infinity.

As you can see, understanding and using the depth of field goes a long way to
make your images shine.
Changing DOF Lens Focal Length
The first thing we need to understand about changing DOF is the lens Focal
Length. The focal length determines if the lens is a telephoto or wide angle lens.
The focal length normally changes when you zoom in or out.
For various technical reasons, a wide-angle lens has a large DOF range while a
telephoto has a small DOF range. This is why when you use a telephoto lens,
usually only your subject is in focus and the background is out of focus (out of the
zone of sharpness).
Changing DOF The Camera To Subject
Distance
The second factor is how close you are to the subject. Again, for various
technical reasons, the closer you get to a subject, the more limited the DOF
becomes. In fact, when you shoot up close objects, the DOF can be just a few
millimetres in front of and behind the subject.
Changing DOF Aperture
There is a simple, direct relationship between aperture and DOF. The smaller the
aperture, the larger the DOF.
What is the aperture then? The aperture is the mechanism behind the lens that
controls the amount of light entering the camera. Changing the aperture changes
the opening created by a moveable round iris behind the lens. The more the
aperture, the wider the opening and the more light can fall on the CCD.
Heres where we necessarily need to get a bit technical.
Aperture is measured in f-stops and is expressed like f4, f16 or f22. The f stands
for fraction so f4 = and f16 = 1/16. The fraction is the focal point of the lens
divided by the diameter of the lens opening. Lets say the focal point of the lens is
10 meters. At f22, that means the aperture is 1/22 of the focal lens = 45mm
(1,000mm/22).
With an f16 stop, the diameter of the lens opening will be 62mm (1,000mm/16).
This is larger than 45mm, so an f16 will let more light into the CCD than the f22.
F-stops, for mathematical reasons, have the following increments: f1, f1.4, f2, f4,
f5.6, f8, f11, f16, f22, f32, f45 and f64. Each subsequent step lets in half the
amount of light of its predecessor. Remember, its a fraction so f4 () is smaller
than f2 () and thus lets in less light.
Confused yet? The simple way to look at it is the larger the f-stop, the smaller the
amount of light you let into the camera. And, as we said above, the smaller the
amount of light, the larger the DOF. In other words the larger the f-stop, the
larger the DOF.
Changing Aperture means changing the
Shutter Speed
A problem emerges when we increase the f-stop to change the DOF. This
decreases the amount of light that gets into the camera, which means we get a
darker image. To combat this, we need to use a slower shutter speed to allow
more light back in.
In fact, there is a relationship between the aperture and the shutter speed.
EXPOSURE = Aperture + Shutter Speed
To get the same exposure if we increase the aperture (less light), we need to
decrease the shutter speed (so it is open for longer). If we didnt decrease the
shutter speed, the image would look too dark.
With slower shutter speeds, be aware that under certain lighting conditions, you
may need to use a tripod when using small apertures because the resulting long
shutter speeds create a risk of camera-shake.
If this is a lot to remember, dont worry too much. Most of the better digital
cameras come with a semi-automatic adjustment. You can set the camera to an
Aperture Priority which means you select the aperture to determine the DOF
yourself, and the camera will set the appropriate shutter speed to keep the same
exposure. When on Shutter Priority, you change the shutter speed and the
camera will modify the aperture for you. Brilliant!
DOF In Practice
Lets look at some common approaches to help to explain Depth of Field.
Everything Sharp
With landscapes, groups and indoor shots you'll usually want to keep everything
sharp. Using a normal or wide-angle lens set with a small aperture will give you a
very large DOF - perhaps from around one meter through to infinity.
There will be times when your foreground is closer than one meter though. What
do you do to keep that sharp as well as the background? Since with such as
large DOF, everything is in focus, you can bring your focal point a little closer to
the camera (that means focus a closer object). This will bring the foreground
images into focus, but still leave the background in focus as well.
Main subject sharp with background out of
focus
In some shots, you want the main subject to
stand out strongly from an out of focus
background. This is perfect for portraits (where
the emphasis is on the person rather than the

Brian Briscoe
Here the bird is clear but the background is
out of focus.
location).
Use a telephoto lens at its widest aperture (smallest f-stop). It's also worth
moving the subject as far away as possible from any background. With a limited
DOF, you need to make sure you focus accurately, as if you are even slightly out
of focus, the whole of your image including your subject will be out of focus.
Another example is plants and flowers. They usually have distracting
backgrounds so focusing on the flower head and throwing the background out is
a common technique used to isolate the subject.
Main subject sharp, with background
only slightly out of focus
Sometimes making the background completely
out-of-focus is going too far. You want to show
the subject in its natural environment, but with
the background toned down so it doesn't
compete for attention. Examples include a
person on the beach, an animal in the zoo, or a flower in a garden.
Use a standard to short telephoto lens and a middle range aperture of around f8.
Zone of sharpness deliberately limited
Occasionally you may want to limit the DOF to a
very specific zone. Usually used in flower
photography where just the stamen is sharp
leaving the foreground and background petals
out of focus.

Sandesh Gangoda
Here the foreground flower is clear and the
background is not so far out of focus that you
dont see its a pot plant.

Mohd Mansor Bin Sapari
The Zone of Sharpness has been reduced to
only an inch in this shot. Only the right flower
is in focus with the rest of the image (including
the rest of the flower) out of focus.
Does my camera have a Depth Of Field
function?
Cameras dont have a depth of field function rather they allow you to change
the aperture and focal point of the lens. So look for these functions.
Cheap digital cameras however, have a very short focal length so its very hard
to change the depth of field. These cameras give you a Portrait and
Landscape setting which basically means a Small and Large DOF respectively.
This is perfect for most shots, but not when you want to get creative! Only the
high end digitals and SLRs have the ability to change the DOF adequately.

Vlad Sladariu
Shutter Speed
Shutter speed is the amount of light hitting the CCD (charged coupled device
the sensor that converts light into digital information for the camera) and controls
how bright your image will look. The brightness of your image is partially
controlled by the ISO setting (described below). Its also controlled by your
shutter speed. The lower the shutter speed, the longer the shutter is open and
the more light gets to the CCD.
By adjusting the shutter speed, the
movement of the subject can be
controlled. Using a fast shutter speed
will freeze the subject. A slow shutter
speed will give a blurry image as the
subject moves. You can combine flash
with a slow speed to get movement and
blur at the same time.
The lower the shutter speed, the more likely you will need a tripod to hold your
camera otherwise youll get blurry images.
If your digital camera cant change the shutter speed, you can change other
values to get a similar effect. You can change the ISO setting the lower the ISO
setting, the longer the shutter is open. Alternatively, you can purchase a natural
density filter over the lens. This is a grey filter that reduces the light but doesnt
affect the image color.
Shutter speeds are measured in whole numbers, but these are actually fractions
so a larger number means a quicker shutter speed. With a shutter speed of 125,
light comes into the camera for 1/125 of a second. When the shutter speed is 8,
light comes in for 1/8 of a second.

Stephen Anstey
A slower shutter speed has been used here to show the
welding trails.
Common Shutter speeds
! A Dog, particularly one running towards you can be captured with a lower
shutter speed such as 1/350 second. To guarantee that all movement is
frozen, a 1/1000 sec is better.
! Showing a bird in mid-flight and freezing the propellers on a flying plane
will need a 1/1000 sec shutter speed.
! Slightly slower shutter speeds can show some movement. Eg a 1/250 sec
shutter speed can freeze a duck and the pond water, but blur the flapping
wings slightly to give the illustration of movement.
! A Sunset needs a much slower
shutter speed because of the
lack of light. Somewhere
between sec and 10 seconds
will work well.
! Stars needs a much longer
shutter speed from one
minute up to 10 minutes.
Longer exposures are possible
(eg a few hours) to get those
wonderful star trails shots.
Of course, with a digital camera, you
can check your results immediately
and change the shutter speed to get
your desired effect.

Curtis Routh
ISO
You are probably familiar with ISO on film used in a film camera. It's the 'speed'
of the film - higher ISO values mean you can take photos in lower light.
But what about in the digital world?
Surprisingly, there is an ISO setting on your Digital camera. And although there is
no longer any film, the ISO setting still plays a vital role.
ISO indicates your digital camera's sensitivity to light. The higher the number, the
less light is needed to take a photo that is bright enough (correctly exposed).
In bright light (like the middle of a sunny day), you'll normally use ISO 50 or ISO
100. These are the lowest settings and can be used because there is lots of light
around.
However, in lower light, your camera needs some help. There are two ways of
doing this:
Decrease Shutter Speed
With a slower shutter speed, the camera has more time to 'take in' the amount of
light it needs. Unfortunately though, the slower the shutter speed, the more
chance that your images will turn out blurry.
Increase ISO
Rather than decrease the shutter speed, you can increase the ISO. As I said
above, this will increase the sensitivity of the camera which means you can get
the same shot with less light entering the camera. Thus the shutter speed can be
kept low enough to avoid blurry images.
As increasing the ISO will increase the shutter speed, a high ISO will also help
when taking fast moving sports shots. You'll get clear, crisp shots with no blur.
However, I still recommend you use the lowest ISO possible. Why?
Problems of using a high ISO
Using a higher ISO means the camera has less light to work with. Unfortunately
this also means that 'noise' is introduced into your camera. If you'd like to find out
exactly what noise is and how to eliminate it, check out the bonus on noise that
comes with this book.
Your camera's highest one or two ISO values will produce a lot of noise in your
image, so I suggest avoiding them unless the light is so low that you have no
other choice.
Auto ISO
Fortunately most of the time you don't need to worry about selecting the correct
ISO. Most cameras have an "Auto ISO" setting. With Auto ISO, the camera will
look at the amount of light in the scene and change the ISO appropriately so that
the shutter speed doesn't get too slow.
ISO Values
If you choose to use a manual ISO, what values should you use?
ISO 50-100. Suitable for bright light (like outdoors on a sunny day.
ISO 200. Great for overcast or cloudy days. However on budget cameras some
noise will be seen in your image.
ISO 400 and above. Use for indoor or night shots (even if you use a flash). Also
useful to freeze the action in sports shots. These values will produce the most
noise.
It's also useful to set the ISO manually in some circumstances as sometimes
your camera gets the exposure wrong. For instance, you may be taking a sunset
and the bright light of the sun fools the camera into using a low ISO setting. The
problem with this is you wont get the wonderful colors in the sky! You can thus
change the ISO of the camera up a few notches to tell the camera to use a
slower film. This will over-expose the sun, but that wont matter as you have the
wonderful colors of the sky back.
Exposure Value
Some digital cameras dont allow you to change the ISO. In the digital world its a
made up number anyway because digital cameras dont have film. Instead, they
can have an Exposure Value setting. You can set the EV usually from 2 to +2.
Plus or minus 1 EV is equivalent to one ISO adjustment. Use the EV if your
camera doesnt have an ISO adjustment. See the separate section on Exposure
Value for more information.
Image File
Formats
Most modern digital cameras give you a choice of file formats when saving your
image. It's very helpful to know the benefits (and disadvantages) of each file
format so you can make the best decision on the file format to save your images.
Why do we need file formats?
A standard photo taken with a 4.3 megapixel camera has 4.3 million little pixels,
or pieces of information, that comprise the image. Each of those pieces needs to
store a red, green and blue color value so the color of the pixel can be recreated
by a computer or printer. Each color value records the strength of that color on a
scale from 1 to 256.
This is a lot of information! Each pixel needs three bytes to store the three color
values, and there are 4.3 million pixels. 4.3 million times 3 is around 13 million
bytes, or 13 Megabytes.
If each image took 13 Megabytes of storage, you'd run out of space pretty quickly
on your memory card! So the file formats used to save images compress the
image down to a smaller, more manageable, size.
JPEG
The JPEG, or JPG format was invented to help make image sizes more
manageable. JPEG is the most popular format used in digital cameras today
because it's a simple and versatile format, and is supported by all image related
software.
JPEG works by compressing the image to a much smaller size at the expense of
some image quality. Normally you won't see any difference because the JPEG
format looks at the image and removes only the information that it can recreate
by looking at adjacent pixels when the image is displayed again.
You can specify the amount of compression with JPEG images. Your camera will
usually have a quality setting - low, medium or high. Low quality increases the
JPEG compression, and although your images will be smaller, they won't look at
good.

High Quality Setting Low Quality Setting (exaggerated for effect)
Uncompressed TIFF
TIFF is another file format popular because while it still compresses the image, it
does so in a way to ensure that the full image can always be restored. There's no
loss of image quality. It works in the same way as ZIP files on a computer. They
are compressed, but you can always get the original file back.
RAW
Images stored in RAW format are exactly what the camera 'sees'. There is no
processing done by the camera before the image is saved. This is one of the
major advantages of RAW.
Remember when I said above that each color value strength is stored on a scale
from 1 to 256? Modern cameras can actually detect more than 256 levels of
strength. But since the TIFF and JPEG formats don't allow more than that
number, the camera throws the extra information away. The RAW format saves
these extra strength levels resulting in a better image with more contrast levels.
There's another advantage - the camera doesn't correct for exposure or white
balance before it saves in RAW format. Meaning you have ultimate control in
manipulating the image in a paint program - so your image looks exactly how you
want it to look.
All these advantages come at a cost. RAW images don't use any compression so
they are large files and take a long time to store and copy. Also, there is no
single RAW standard for all cameras, so you usually will need to use your
camera manufacturer's software to read the RAW file.
Note that most cheaper cameras wont have the RAW file option, as its only for
those who need that extra bit of quality (or who dont like the camera playing
around with their settings!)
Which format should I use?
While TIFF and RAW do give you superior images, I personally don't think the
hassle of much larger file sizes are worth it unless you have a really high end
camera and need to produce really large prints. Not only do the images take
longer to save, but you need to purchase larger (and more expensive) memory
cards; a larger hard drive; and more CDs to back up to.
The JPEG format is the most popular - and it's not hard to see why. It provides a
much smaller image size without losing a lot of quality. I recommend using the
JPEG format set to high image quality on your own camera.
Note that some cameras can store a Jpeg image as well as the RAW file, so you
get the best of both worlds. You can quickly use the Jpeg file, but you have the
RAW data to fall back on. This does take up even more storage space though so
be careful!

Converting
from Film to
Digital
How do I bridge the gap
between Film and Digital?
There are a large number of differences between film and digital cameras but
you dont have to throw all your knowledge out! Most of the knowledge from the
film camera is useful with digital cameras. How to compose your shots properly
wont change, and digital cameras still have the more advanced features of film
cameras like Depth of Focus. It can actually be easier to take better shots as with
a digital camera you can see your results immediately and if its not good enough
can re-take.
How can I produce the same film images
with a digital camera?
The best way to ensure you get the same results is to buy a digital camera with
the same brand as your existing film camera. Here the controls will be very
similar to your film camera. If you used to enlarge your film prints, ensure you get
a camera with a high megapixel count.
ISO
Many will be familiar with ISO settings found on film. Film can be purchased with
different ISO standards like ISO 100, ISO 200 etc. The lower the number, the
less sensitive the film is to light. Therefore a film rated ISO 400 is more sensitive
to light than ISO 100. Higher ISO film is better at capturing action shots because
the shutter can open and close faster while still giving the film enough light to
expose properly.
Digital cameras follow the same basic idea but go about it in a very different way.
To achieve the same effect, digital cameras amplify the output coming from the
image sensor so less light is needed to produce a bright image. Most digital
camera manufactures still use the ISO term to allow you to change the sensitivity
of the film by changing an ISO setting, but its only to help consumers who have
come from a film background.
The biggest difference with a digital camera is you can change the ISO setting for
each shot! With a film camera, you need to swap the roll of film - impossible to do
without ruining the rest of the film.
Slow
Focus
If you are used to
film cameras, you
may find digital
cameras to have a
comparatively slow
focus and you find
you may not be
able to take photos as quickly. This is a problem particularly with the cheap
digital cameras as they take a long time to prepare to take the shot. Either
ensure you invest in a higher quality digital camera, or use some of the tips in
this document like continuous shooting and pre-focusing to help
Developing Prints
Is the printing process the same as for film cameras? The answer is yes. Most
photo labs now have a printing machine that can print photos from both film and
digital sources. For the film source, they now scan the negatives and print from
the digital scans.

Kevin Watson
Which Digital
Camera Should
I Buy?
Which Digital Camera Should I
Purchase?
As a digital camera owner, you will often be asked the question Which digital
camera should I buy? from those who are newer to the hobby. This is probably
because they might rightly consider you an expert on digital photography. And
after reading through this book you are right?
I remember my first purchase. I was inundated with options and models and
features. We have a choice between megapixels, Digicams, SLR Digitals,
Interchangeable or Integral lenses, short and long range zooms, movie modes
and pocket size or full bodied cameras. There are different memory card formats,
cameras that offer RAW, TIFF and JPG, or just RAW and JPG. No wonder it can
be an overloading experience.
The best way to answer the question is to turn around and pose more questions.
There are four main questions to ask. What do you want to do with you images?
What do you want to photograph? How often will you use your camera? And
whats your budget?
What do you want to do with your images?
If they just want to shoot images to use on the web or snapshot-sized images, a
3 megapixel unit will be fine. These models are small, handy and budget priced
and have a nice range of features like Zoom, LCD monitor and movie mode.
If the aim is for larger prints, a 5 or 6 megapixel with a 3x or 4x zoom is the way
to go. These will make quality 8x10 prints with ease.
If they need to print any larger, then you can recommend an 8 megapixel camera
or higher, but the price will be rather high as well.
What do you want to photograph?
What does your questioner want to photograph? If its sports and action or long
range nature photography, then it really needs to be a Digital SLR. These high
end cameras come with the ability to change lenses, which can make the
difference between being just too far away from your subjects and being up close
and personal. You can also use a Wide Angle lens which will get landscape
photos that a normal lens cant even dream about.
Another option could be the Digital Movie Cameras. They come with a very large
(12x) zoom but the more you zoom, the lower quality your image is so wed
recommend the interchangeable lenses and an SLR.
How often will you use the camera?
Chances are, if theyre just starting out with cameras they wont know a lot about
composition, lighting, depth-of-field or any of those more advanced topics. Thus
a really expensive and feature-laden camera like an SLR will probably be wasted
on someone newly into the sport.
Whats Your Budget?
This is probably the clincher. Id recommend they purchase the best camera they
can afford and spend some money on training their brain on how to take good
photos. As you have already found out, the difference between an ordinary and
stunning shot is usually not the camera its the thought that goes into taking the
shot. This book is an example of training your mind, and there are photo clubs
and courses in most cities worldwide.
Caring for your
Camera
Essential Maintenance
Youd be surprised at the difference in quality between shots taken by a
photographer who knows how to hold the camera correctly and one who does
not.
Inexperienced users often make basic errors like allowing a neck strap or stray
finger to hang in front of the lens. This is more of a problem with compact
cameras, as there is less camera body to hold without getting in the way of
important places like the lens.
Take care of the case
Clean your cameras body regularly by either rubbing gently with a dry duster, or
slightly damp cloth. Steer clear of the lens and doors into the cameras body (like
the battery and memory card doors).
Weather-proof protection
If you shoot outdoors a lot, consider purchasing an underwater housing. These
keep your camera dry to photograph underwater. Even if you do not plan to shoot
underwater, it is one of the best ways to keep your camera protected from rain,
snow and dust.
Battery Power
All batteries have a shelf life, after which they need replacing. To extend the life
of your battery, completely exhaust its power before recharging and avoid
topping up the charge. Another option to make your camera battery last longer
is to use a card reader to transfer images to your computer rather than the
cameras inbuilt mechanism. Buying an extra battery, or carrying a portable
charger can make all the difference when shooting for extended periods of time.
Another option if you are short on battery power and dont have a spare handy is
to turn off the LCD. This uses most of your battery power so turning it off and
using the viewfinder will increase your photography time.
Look after your
Lens
Your lens is one of the most
important parts of the camera, so its
crucial to keep it clean. The most
effective way to clean your lens is to
purchase a lens cleaner but other
options are available. Grease and
dirt on your lens can best be
removed by using an alcohol-free
eyeglass cleaner applied in a
smooth, circular motion. Dust can be
best removed with a clean anti-static
cloth. Sand is the biggest enemy of
cameras and should only be
removed with a soft paintbrush or blower brush.
Dont wait until grease and dirt become a noticeable problem before cleaning
your lens as grime affects your image quality long before it becomes noticeable
to the eye.
Memory Cards
These are susceptible to static electricity, so always keep your memory cards
either inside the camera, or in a protective plastic case. Dont leave them near a
computer screen or TV either. If you use your cards a lot, it is worth periodically
wiping and reformatting the memory to ensure they stay reliable.

Ben Durrant
Printing Your
Images
Photos are memories and unfortunately it seems we are losing them at a rate of
knots. With the number of digital cameras being sold increasing every year,
millions of precious pictures taken with them will never be printed!
When shooting with film, many prints were
wasted. I know I would not have paid money to
have some photos printed if I could have seen
them first. Digital means that is no longer the
case, and even when the best images are saved
for printing at a later time, this often never
happens. At best, they end up as a digital album on your computers hard drive.
Maybe its the instant gratification of digital photography that dissuades people
from actually printing their images, or maybe its too much hassle to go down to
the photo store because you no longer need to do so to see your photos.
Whatever the reason, it seems we are printing less and less each year.
Keep in mind that the value of photos change over the years. What is now a
relatively uninteresting picture now can increase in value dramatically with time.
Remember the 20 or 40 year old images you value now? At the time, they would
have not have been as important because they now serve as an irreplaceable
record of people we love and moments we treasure.
There are still a few very good reasons to print your photos:
! We are a tactile species and enjoy looking at prints in our hands. The
family album is definitely not a thing of the past.
! Image longevity. Hard drives fail. CDs with images may become
corrupted, or the technology may change and you may no longer be able
to read them. Computers are not the best way to store data for a long
time.
So making prints is a good idea.

Francisco Alvarez
Digital Printing Options
There are a number of options available for printing your digital images. Each
has advantages and disadvantages. Lets look at each one to see which is best
for your particular situation.
Inkjet Printers
These have been responsible for most of the boon in digital printing. Being able
to print your images at home is a big benefit, and if printed properly, the prints
can be almost indistinguishable from photographic prints.
But printing from your Inkjet printer is not as
simple as it looks. Its not just as simple as
pressing a button no matter what the glossy
brochures say.
The cost is a large problem one that is
exacerbated if you make mistakes. For most
snapshot-sized images, it is still more cost effective to take your images to the
local photo store. Inks and paper to print them on are still horrendously
expensive. Printer companies have a tendency to sell the printers cheap and
make their money on the ink the Make money on the razor not the shaver
technique.
There can also be problems in getting the image color correct. What you see on
the screen will not necessarily be what you see on paper. This is because the
printer uses a subtractive method to create color, whereas your computer
monitor uses an additive method. Color correction can be a time consuming
process with trial and error, but fortunately some newer specialty photo printers
now walk you through the process.

Brian Briscoe
Inkjets have an advantage with larger than postcard sized images and when you
need to have access to the prints instantly.
For more information on how
to print to your Inkjet printer,
see below.
Photo Kiosks
Most large general retailers
now have Photo Kiosks
which you can use to have
your photos printed. You can
use these yourself by inserting your CD or memory card and selecting the
images that appear on the screen for printing. Many kiosks allow you to crop,
sharpen or color boost your images before printing, and some even allow you to
create borders or create greeting cards.
These are a great advantage if you dont have a computer at home. You can take
your memory card straight out of a camera and select just those images you
want to print. They are also handy if you dont have a photo shop close by.
The disadvantage of this method is they dont have the extra options you can
order from a photo store like automatic color correction, or personal service. You
also need to be able to work out the often complex menu of choices offered by
these machines.
Photo Store
This is the same option as has been available with your film cameras for all these
years. The big advantage of the digital age is that like with a kiosk, you can
select only those photos you wish to print and put them on a memory card or CD
before you head to the store.

Bill Liversidge
The other advantage of this method, is you can
prepare your digital photos for printing
beforehand on your computer. Cropping out
parts of the image you dont like; Sharpening;
adding color saturation to add punch. And you
get to keep the CD and can use this for backup
purposes.
If you arent handy with technology, you can take
your full memory card into the store and have
them help you select the photos to print.
The disadvantage? You need to leave your house! Seriously though, they tend to
be more expensive than the Kiosk option but you have a more personalised
service.
Online Printing Services
Another option gaining in popularity is to use one of the many online printing
services. These services allow you to upload your images directly from the
Internet to their website. From there, you can modify your images, and select
options like type of paper, and special requests (like thank you cards, or
personalised calendars) before submitting the image for printing. Most places
also store your digital images for you without charge. You pay by credit card and
have them delivered. Your prints usually arrive in 5-7 days.
This is a very competitive industry, so pricing is relatively cheap, and they tend to
throw in extra bargains.
If youre in the USA or UK, try Shutterfly. Weve found they are cheap and
reliable.
http://www.digital-photo-secrets.com/r/shutterfly

Iva Villi
Prolabs
Once exclusively for the use of professional photographers, Professional Labs, or
Prolabs, are more and more catering for the general public. These places ensure
you always get a high quality result at a reasonable price. Their staff have
decades of experience to ensure an exposure is printed just right, or a color
balance is spot on.
You pay more for this service though.
Pro-labs are the most expensive, so we
recommend not using them until your
skill improves to a level where youve
outgrown your local photo store.
If you wish to try a Prolab, here are
some tips
! They usually only accept bulk
orders (more than 50 images at
a time, or multiples of each
image)
! Ask for color correction on each
image. This can cost a little more, but is worth it in better image quality.
! Most Prolabs can add a border around your images. This can make the
prints stand out more. Ask them to show you a sample first so you can see
what they look like.
! You can bargain down the price if you have a lot of images to print, so
store your printing needs up and get them all done at once.

Luis Gomes
Printing on Inkjet Printers
You have your photos on your computer and want to print them. Will your current
color inkjet printer do the job? Most of the time, the answer is yes, but you will
need to invest in some good quality photo paper and inks.
Photo Cartridge Kits
For most printers, you can get a photo cartridge kit which will contain special
paper and special ink that has been designed to print photos. Printing on normal
paper wont work well because the ink from inkjets tends to run causing awful
images.
Be aware of a few gotchyas when purchasing these kits
! Make sure they are specific for your brand of printer
! Where possible, use same brand of cartridge and paper as the printer
itself. The printer manufacturers usually ensure their paper works best
with their printers. The clone brands can work well but to save on costs
they tend to use inferior inks. Also, placing inks on a page is an exact
science and using a different brand may mean your colors wont be
exactly right.
! Ensure the inks used are rated to a 60 year lifetime or more. Without this,
your images can fade in as little as 2 years.
! Use Archival paper for longer lasting prints. It costs a little more, but for
some shots its worth the investment. It does tend to dull the image
though.
Photographic Quality Inkjet Printers
There are a number of photo printers on the market now that have been
specifically designed to produce true photographic quality images. Some
examples are the HP PhotoSmart and Epsons Stylus Photo. Most other brands
have photo printers too, so do your research. Youre looking for printers designed
to produce true "photographic" quality continuous tone prints.
These printers use a different
process called dye-
sublimation. The printers are
small, more compact and
easier to load (because the
ink is already embedded in
the paper, there are no ink
cartridges to worry about).
They use heavier, slightly
more durable paper, so the
prints may last longer than the ink-jet prints.
A standard printer with a "photo cartridge kit" will not even come close to these
printers in quality of output. If you havent purchased a printer yet and want to
use a printer only for printing photos, these are a good way to go.
How to ensure sharp photos
To ensure you always print sharp images, you need to ensure the resolution of
your pictures are close to the resolution of the print. Heres a good guide for the
image resolution (and megapixels) needed for the different print sizes.

Tony Micallef

Print Size Good Results (200 ppi) Excellent Results (300 ppi)
4 by 6 inches 800 by 1200 pixels
(about 1 megapixel)
1200 by 1800 pixels
(about 2 megapixels)
(about 1.5 megapixels)
1500 by 2100 pixels
2400 by 3000 pixels
3300 by 4200 pixels
4800 by 6000 pixels

Remember that bigger is not always better. If you have a 7 megapixel image,
dont try to print a 4x6 without resizing the image to a more appropriate size first.
There just arent enough pixels in the print to print every one, so the printer will
need to scale the image down. Modern printers cant scale well, so it is better to
use an image manipulation program to scale to a more appropriate size (2
megapixels in this case) before printing.
Printing Paper
There is a confusing array of printing paper available now.
Glossy Photo Paper. Glossy paper uses a resin coating material to make a high
gloss photographic paper. There are premium versions that have a porous
surface so the ink dries instantly. There are less expensive versions that still
produce a nice glossy finish but the paper is thinner.
Semi-gloss Photo Paper. This is the same paper as the Glossy paper, but the
surface of the gloss has a texture applied to it that is designed to scatter light and
reduce glare. The result is a paper with the color and clarity of a mirror-finish
gloss, but with significantly less reflection off the surface and a smoother-looking
finish. This also has a cheaper version with thinner paper.
Lustre Photo Paper. This paper is almost identical to the semi-gloss. If you look
close the bumps of the texturing may be a little taller and the paper slightly
shinier. Another word for this type is Pearl.
Photo Quality Glossy Film. This is a sheet of pure white glossy plastic. Its not
the best paper to work with because of the low ink penetration. It creases very
easily as well. Used mostly for backlit photos.
Colorlife Photo Paper. This is a brand of paper made by Epson and is a
special semi-gloss paper made from an absorbing polymer. The result is a paper
that chemically absorbs and encapsulates the ink beneath the surface for great
protection against the atmosphere. Seems to have a longer archival period than
Glossy.
Matte Paper. This paper has no gloss at all but is photo quality. Images printed
on Matte paper dont look like traditional photos because traditional photos have
a glossy finish. There are versions like Double Sided, and Heavyweight that can
suit different needs.
Photo Quality Inkjet Paper. It looks and feels like plain paper with a matte
finish. This paper works well for proofs.
We recommend always choosing a brand name paper even better choose the
same brand as your printer. Generic photo glossy paper is not worth the time or
expense. Use the professional grade photo paper where possible. The added
expense is worth it in the results.
General Tips for printing
! Ensure you dont reduce the size or resolution of your images before
printing unless you know your image is too large. Because your
computers screen resolution is relatively small, an image that looks fine
on a computer screen after a resolution change may look blurry in print.
See the previous section for a good guide to the appropriate resolutions
for the different sized prints.
! If youre not sure if an image is good enough quality to print, look at the file
size for a guide. A size of 100 kilobytes is on the small size. 400 kilobytes
is better and will normally allow a photo at 8x10 dimensions.
! Before you start each print job, check the printer settings (or preferences)
and make sure you have selected the proper print size and type of paper
(eg glossy, matte, plain).
! To save money, print a few different images on each sheet. The print
wizard should give you a chance to select a particular page layout (eg two
5x7s, four 3.5x5s etc).
! Keep photo paper stored in a dark and cool place. Dont leave it sitting in
the printer tray. Exposure to sunlight and humidity will degrade this paper
(as well as the prints you produce with it).
! Ink cartridges are expensive, so conserve ink wherever possible. If the
image you are printing is, 400K in file size (or has a picture resolution of
300 dpi), and your print size is a small size (5x7 or smaller), select
"normal" or "standard" print quality. If you select "high" or "best" or
"maximum dpi" the printer will pump out more ink than is necessary
without any real improvement in print quality. On the other hand, if you are
printing large 8x10s, or if you have zoomed in, choose the top-quality print
setting.
General
Questions and
Answers
Why are the images I print
always cropped on the sides?
This is a common problem caused by the
different image aspect ratio between digital
cameras, and 35mm film. The aspect ratio is the
ratio of the length of the sides of the images. A
traditional 35mm film frame is approximately
36mm wide and 24mm high to give an aspect
ratio of 3:2. Most digital camera images are
shown on a computer monitor. With this in mind,
the digital camera makers chose the same
aspect ratio for their cameras: 4:3.
The size of a standard print is 4x6, which has
the same 3:2 aspect ratio as 35mm film. A digital
print, because of the different aspect ratio of 4:3
will be sized to either 4x5.3, or 4.5x6. The
first way, it doesnt quite get to the 6 length so
you will have white parts. The second way, you
lose the top and bottom quarter inch of the photo
to fit the 4 height.
If you want your whole image, ask for the
images not to be cropped. They will have white
borders on the left and right which are easy to
cut off.
Note Some high end digital cameras (including most digital SLRs) have a 3:2
aspect ratio like their film counterparts.
4:3 ratio verses 3:2 ratio

Original Image. This was taken with a Digital
camera and has a frame ratio of 4:3

When printed on 3:2 photo paper, the top and
bottom parts of the image will be cut where
the yellow bars are, losing part of the chin.

If you ask for images to not be cropped, you
wont lose any of the image, but will get white
bars on the left and right of the image.
Which is the best way to name
your digital files?
If you want to keep track of your digital images, you need some kind of filing
system. Otherwise your images will quickly get out of hand and you wont be able
to find anything. I use the following method to store my digital images
1. Turn on the date storage function of my camera. This tells the camera to
store the images I take in a new folder with the days date.
2. When I copy my images from my camera, they will be automatically
arranged by date. I simply copy the date folders (with all my images
inside) to my computer.
3. I then rename the date directories and add the activity I was doing. For
instance, if the folder name was 20050301 meaning the first of March,
2005, and I photographed my nephews birthday on that day, I would
rename the folder to 20050310 Joshuas Birthday.
4. I leave the images themselves with the same filename as the camera
gives them. Mostly because when I view the images, I use Windows XPs
slideshow feature to see all the images and dont normally need to select
a particular image.
5. If you need to select particular images, it would be worthwhile going
through each image once youve copied it to your computer and renaming
the file to explain what the image is about.
Why doesnt my photo look the
same on the screen as it did
when I took the image?
The most common reason for the image color looking different is White Balance.
See the section on White Balance earlier in this document.
Another reason could be because your monitor isnt calibrated. Calibrating your
monitor changes its color and brightness settings until it provides an accurate
display. Calibration isnt difficult and free software is available. Search for free
monitor calibration using your favorite search engine
.
Ruxi Stanescu
Why doesnt my printed photo
look the same as on my
monitor?
There are many reasons why monitor displays and printed output are different.
These include:
! Monitors use additive color (starting with black and adding Red, Green
and Blue to get the desired color) whereas printers use subtractive color
(starting with white and subtracting Cyan, Magenta and Yellow to get the
same effect).
! Ink layering in printouts can cause small color imbalances in the image
where the layers arent aligned properly.
! Printed images dont have the same color range as a monitor meaning the
colors are typically darker and less vibrant than on screen.
! The texture of the paper can affect the printed image.
The most common problem is printer heads that are not aligned. This can be
easily corrected by calibrating your printer. Your printer driver will usually provide
controls for aligning the heads and also for calibrating colors the printer
produces.
Acknowledgements
This book would not have been possible without the generous help from my
family, friends and fellow Internet users.
My family and friends (particularly the professional photographers) have been
invaluable in ensuring the text of this book is easy to read and contains factual
information.
Thanks also to the following people who have generously offered the use of their
images to illustrate the tips and techniques. Without them, the book would not be
anywhere near as effective. Thank you all from the bottom of my heart.
Photographic contributions gratefully accepted from:
Iva Villi - http://www.betterphoto.com/gallery/dynoGallByMember.asp?mem=51528
Stephen Anstey - http://www.pbase.com/steveanstey
The Anderson Family
Amanda Radovic
Ben Durrant
Bevan Timm
Bill Liversidge
Brian Briscoe
Brian Smith
Curtis Routh
Dennis Gay
Fernando De Paternal
Francisco Alvarez
Gary McGowan
George Lombardo
Giulliano Spitaletti
Janet Kinney
Kevin Watson
Kristina Sitton
Luis Cruz
Luis Gomes
Mark Bowden
Michele Chi
Mohd Mansor Bin Sapari
Mufaddal Tapia
Ruxi Stanescu
Sandesh Gangoda
Shelly Van Camp
Simon Peter Barbara
Theresa VanderStaay
Tessa Campbell
Tony Micallef
Vlad Sladariu
Victoria Vinnikava
Wendy Arthur

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