INDEX
INDEX
NUMERICS
18% gray, 78
18% gray cards, 81
A
accessory flash
advantages of, 288–290
attaching, methods for, 288
bounce flash, 289
defined, 310
disadvantages of, 290–291
Fill-in flash mode, 296–298
flash bracket as method for attaching, 288
flexibility of, 290
guide numbers, 289–290, 291
hot shoe as method for attaching, 288
overview, 288
power of, 288–289, 290
sync cord as method for attaching, 288
zoom heads, 290
action photography
ghosting, 298
shutter speeds, 54–55
Adams, Ansel
The Negative, 18
photographer, 15, 17–18, 177
Zone System, 85
advanced zoom cameras
electronic-type viewfinder (EVF), 38
exposure controls, 36, 37–39
afterglow, 177, 198
AI (auto-indexing) lenses, 100
Always-on mode, 301
ambient light, 310
angle of view
contrast, used to minimize, 222–223
defined, 310
animal photography and Red-eye Reduction
mode, 303–304
aperture
automatic lens diaphragms, 100
constant maximum apertures, 99
defined, 310
depth of field, aperture used to manipulate, 104–110
exposure controls, 50–52
f-stop numbering system, 96–98
f-stops, 50–52
landscape photography, 105, 106
lens speed, 98–99
overview, 50
portrait photography, 106
shutter speed relationship, 56–57, 126–128
variable maximum apertures, 99
Aperture Priority mode
defined, 310
depth of field, 105–106
exposure controls, 35
overview, 154–155
aperture ring, 96
apps for calculating depth of field, 109
Archer, Fred (Zone System), 85
architecture, assignment for photographing, 31
attaching accessory flash, methods for, 288
Auto exposure mode
defined, 310
overview, 150–151, 284
Auto ISO mode, 46
Auto-HDRI mode, 227
auto-indexing (AI) lenses, 100
automatic lens diaphragms, 100
Automatic mode, 150–152
automatic scene modes, 14
automatic white balance, 180
autumn scenes, 269–271
average gray weathered buildings as middle tone
subject, 83
B
B (Bulb) setting, 129
background
bokeh, 113–115
dark subjects/light backgrounds, metering, 210–211
light subjects/dark backgrounds, metering, 208–210
backlighting
defined, 310
overview, 190–192
white subjects with detail, 212
ballhead
defined, 310
overview, 121
battery power needed for flash, 284
black light (long wave ultraviolet) lamps, 162
boats in fog/mist conditions, 264–265
bokeh
defined, 310
overview, 113–115
bounce flash
defined, 310
overview, 289, 293–294
bounce reflectors, 294
bounce-back, 286
bracketed exposure
defined, 310
overview, 89–90
for sunsets, 277–278
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COPYRIGHTED MATERIAL
318
city skylines
as subject for night photography, 250–251
tripods used for shooting, 120
city street scenes as subject for night photography, 251–252
clear blue sky as middle tone subject, 83
clipping warnings, 209
Close-up mode, 168–171, 299–303
close-up photography
backlighting, 190–191
depth of field, 117–119
sidelighting, 190
cloud formations, 267
cloudy day white balance setting, 180
cloudy days
diffuse light, 194–195
heavy overcast light, 196
CMOS chip, 311
CMYK, 311
color balance, 298–299
color contrast
metering, 217–218
strong, 218–219
color management, 30
Color Management for Digital Photographers For Dummies
(Padova & Mason), 30
color temperature
cool/warm color balance, 298–299
defined, 311
night photography, 241
overview, 178
colorcast, 311
ColorSync utility, 30
commercial labs
exposure element and, 28
finding, 28
compact digital cameras and depth of field, 115–117
compact point-and-shoot cameras, 35–37
comparative photo sets, 120
compression, 311
constant maximum apertures, 99
continuous lighting, 311
contrast
angle used to minimize, 222–223
color contrast, strong, 218–219
as creative element, 223–224
dynamic range, 218
exposure problems corrections, 9–10
fill-in flash used to manage, 220–221
HDRI (High Dynamic Range Imaging), 226–227
histograms, 230–231
overview, 218–219
reflectors used to manage, 220
shadows as design element, using, 223
shadows used to create modeling effects and establish
form, 225–226
bridge cameras
electronic-type viewfinder (EVF), 38
exposure controls, 36, 37–39
buffer, 310
built-in flash
advantages of, 283–284
Automatic exposure mode, shooting in, 284
bounce-back, 286
disadvantages of, 285–287
guide numbers, 291
overview, 144
red eye due to, 286
Bulb (B) setting, 129
Burst mode, 310
C
cable release, 310
calibration
hardware, 30
monitor, 28–29
software, 30
camera obscura
defined, 310
described, 52
camera RAW
advantages of, 232–233
for autumn scenes, 269
defined, 315
disadvantages of, 231, 233
dSLR camera support, 41–43
JPEG file format compared, 231–232
JPEG+RAW file format, 313
overview, 231–233
for snow scenes, 273
style modes, 16–17
white balance, 179, 232–233
camera shake, 128
camera vision versus human vision, 19–23
Canon
Picture Styles, 16
Speedlite, 305
Cape Light (Meyerowitz), 177
card reader, 311
carnival lights as subject for night photography, 248–249
Carr, Pete (HDR Photography Photo Workshop), 227
catchlight, 311
CCD chip, 311
cell phone cameras, 44
Center for Creative Photography, 15
center-weighted metering
defined, 311
matrix metering compared, 70
spotlit buildings, 254
TTL (through-the-lens) meters, 69–71
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INDEX
319
INDEX
creative power of, 100–103
defined, 311
factors affecting, 104–114
handheld depth-of-field guide, 109
isolating subject by limiting, 121
large apertures used for extracting subjects, 109–110
LCD display used to view, 109
lens focal length as factor in, 110–111
macro photography, 117–119
middle range apertures used for “safe” subjects, 106–107
Shutter Priority Mode, 156–159
small apertures used for expansive detail, 106
subject distance as factor in, 112–113
tripod use, 119–122
depth of field scale
defined, 311
described, 109
depth-of-field preview button, 109
design, 311
difficult situations for metering, 207–218
diffuse light, 194–195
diffuser, 311
digital cameras
categories of, 35–36
EXIF data recorded on, 22
histograms, 12
LCD panel, 12
light-metering features, 11
metadata recorded on, 22
scene modes, 14
style modes, 16–17
tips on using, 11–15
digital negative (DNG) format, 312
digital noise
defined, 314
ISO speed, 46, 47–49
long exposure times, 146
digital single lens reflex cameras. See dSLR
digital zoom, 311
dimly lit interiors and shutter speed, 144–146
direction of light
backlighting, 190–192
front lighting, 187–189, 202
overview, 185–187
sidelighting, 190
top lighting, 189–190, 199–200
direction of motion as factor in shutter speed, 135–137
distance from subject as factor in shutter speed, 139–140
DNG (digital negative) format, 312
Doeffinger, Derek
Creative Shutter Speed: Master Your Camera’s Most Powerful
Control, 129
photographer, 45, 68, 120, 137, 142
silhouettes, 227–229, 234
time of day for shooting used to manage, 221
using, 223–226
contrast range, 311
cool color balance, 298–299
correct exposure (technically)
good exposures preferred to, 11
mood of photograph, 25–26
myth of, 17
overview, 13–14
Correll, Robert (HDR Photography Photo Workshop), 227
creative element
contrast, 223–224
exposure, 4
shutter speed, 132
white balance, 183–185
Creative Shutter Speed: Master Your Camera’s Most Powerful Control
(Doeffinger), 129
crop factor, 311
Curves feature (Photoshop), 217
custom white balance, 183
D
dappled daylight, metering, 217
dark skin as middle tone subject, 83
dark subjects
with light backgrounds, metering, 210–211
metering, 213–214
dawn, 198
daylight
afterglow, 177, 198
contrast, managing, 221
dappled daylight, 217
dawn, 198
golden hours, 200–201
lighting direction, 185–192
metering white subjects with detail in, 211–213
midday lighting, 199–200
overview, 176–177, 197
quality of light, 193–197
shooting the same scene at different times of day, 177–178
time of day, 177–178, 197–201
twilight, 198–199
white balance settings, 178–185
dedicated flash, 291
default mode ISO speed, 46
defocus control, 114
depth of field
Aperture Priority mode, 105–106, 154
aperture used to manipulate, 104–110
apps for calculating, 109
close-up photography, 117–119
compact digital cameras, 115–117
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320
experience
with tonal range, 9
value of, 15
with visualization, 19
ExpoDisc, 183
exposure
creating a good, 6–7
creative element, 4
defined, 5, 312
importance of, 4–5
overexposure, 6
overview, 4–5
subjectivity in choosing, 17–18
technically correct, 13–14
underexposure, 6
exposure bracketing
defined, 312
overview, 89–90
exposure compensation, 87–88
exposure controls
advanced zoom cameras, 36, 37–39
Aperture Priority mode, 35, 154–155
Automatic mode, 150–152
dSLR cameras, 36, 40–44
ISO speed, 45–49
lens aperture, 50–52
Manual exposure mode, 159–164
mirrorless interchangeable lens (MILC) cameras, 36, 39
overview, 34–35
point-and-shoot cameras, 35
point-and-shoot (compact) cameras, 35–37
Programmed mode, 152
Shutter Priority mode, 35, 156–159
shutter speed, 52–57
subcompact cameras, 36–37
exposure lock, 89
exposure value (EV), 312
exposure-lock button, 70–71
extension tube, 312
external flash
advantages of, 288–290
attaching, methods for, 288
bounce flash, 289
defined, 310
disadvantages of, 290–291
Fill-in flash mode, 296–298
flash bracket as method for attaching, 288
flexibility of, 290
guide numbers, 289–290, 291
hot shoe as method for attaching, 288
overview, 288
power of, 288–289, 290
sync cord as method for attaching, 288
zoom heads, 290
driver, 312
dSLR
advantages of, 40–43
defined, 312
depth-of-field preview button, 109
exposure controls, 36, 40–44
lens interchangeability, 41
Manual Exposure mode, 40–41
Manual mode, 89
mirrorless interchangeable lens (MILC) cameras compared, 39
RAW format support, 41–43
when to purchase, 44
dynamic range, 311
E
Edgerton, Harold E. (inventor of the electronic flash), 282
18% gray, 78
18% gray cards, 81
electronic cable release, 245
electronic flash
accessory, 288–291
Always-on mode, 301
battery power needed for, 284
bounce, 293–294
bounce reflectors, 294
built-in, 283–287
Close-up mode, 299–303
color balance, 298–299
dedicated, 291
Fill-in flash mode, 296–298
flash off, 304
Flash-on mode, 297
Forced mode, 297, 301
guide numbers, 291–293
history of, 282
invention of, 282
modes, 295–304
multiple flash units (wireless), 304–305
in night photography, 242
Night scene modes, 299
overview, 282
Red-eye Reduction mode, 303–304
sync speeds, 298
TTL (through-the-lens), 282–283
wireless flash technology, 304–305
electronic flash setting, 181
electronic-type viewfinder (EVF), 38
EV (exposure value), 312
evaluative meters, 66–69
EVIL (electronic viewfinder, interchangeable lens) cameras. See
MILC
exaggerating motion and shutter speed, 140–144
EXIF data recorded on digital cameras, 22
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INDEX
321
INDEX
flash off, 304
flash sync speed
defined, 312
overview, 298
flashlights, 243, 255
Flash-on mode, 297
flexibility of accessory flash, 290
Flickr, 227
fluorescent setting for white balance, 181–182
focal length, 312
focal plane, 312
fog and mist, 262–265
fog filters, 264
Forced mode, 297, 301
foreground
for sunrises, 279
for sunsets, 279
freezing motion, shutter speed for, 132–140
front lighting, 187–189, 202
front-curtain sync
defined, 312
overview, 299
f-stop
defined, 312
overview, 50–52
f-stop numbering system, 96–98
G
ghosting, 298
golden hour
defined, 312
overview, 200–201
graduated neutral density filter, 312
gray card
defined, 312
described, 81
gray stone (in average light) as middle tone subject, 83
gray value
overview, 78–79
problem situations for light meters, 80–82
shortcuts to middle tones, 82–85
green grass in sunlight as middle tone subject, 83
green mode, 150–151
guide numbers, 291–293
H
halation, 244, 247
handheld depth-of-field guide, 109
handheld meters
incident-light meters, 76
overview, 74–75
reasons for using, 74
reflected-light meters, 75–76
spot meters, 76–78
extraction apertures, 109
Eyedropper tool (Photoshop), 210
F
face-detection technology, 297
fall foliage, 269–271
fast glass, 98
fast lens
night photography, fast lens versus higher ISO speeds in, 240
overview, 98
faster shutter speeds, 54–55, 56
Ferris wheel as subject for night photography, 248–249
fill-in flash
contrast, managing, 220–221
defined, 312
overview, 296–298
film cameras and ISO speed, 45
filters
fog, 264
graduated neutral density, 312
neutral density, 141, 155, 314
polarizing, 268, 270, 314
star effect, 244
fireworks displays
multiple bursts, capturing, 257–258
night photography, as subject for, 257–258
single exposure for, 258
flash
accessory, 288–291
Always-on mode, 301
battery power needed for, 284
bounce, 293–294
bounce reflectors, 294
built-in, 283–287
Close-up mode, 299–303
color balance, 298–299
dedicated, 291
Fill-in flash mode, 296–298
flash off, 304
Flash-on mode, 297
Forced mode, 297, 301
guide numbers, 291–293
history of, 282
invention of the electronic flash, 282
modes, 295–304
multiple flash units (wireless), 304–305
in night photography, 242
Night scene modes, 299
overview, 282
Red-eye Reduction mode, 303–304
sync speeds, 298
TTL (through-the-lens), 282–283
wireless flash technology, 304–305
flash bracket as method for attaching accessory flash, 288
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322
J
Jackson, William Henry (photographer), 132
JPEG file format
defined, 313
RAW file format compared, 231–232
and style modes, 16–17
white balance, 179
JPEG+RAW file format, 313
K
Kelvin scale
defined, 313
described, 178
L
Landscape exposure mode
defined, 313
overview, 164–166
landscape photography
Aperture Priority mode, 154
autumn scenes, 269–271
backlighting, 190–191
lens aperture, 105, 106
sidelighting, 190
stormy skies, 267
Landscape style mode, 16
large apertures used for extracting subjects, 109–110
LCD display
depth of field, used to view, 109
reviewing exposures on, 12
lens aperture
automatic lens diaphragms, 100
constant maximum apertures, 99
defined, 310
depth of field, aperture used to manipulate, 104–110
exposure controls, 50–52
f-stop numbering system, 96–98
f-stops, 50–52
landscape photography, 105, 106
lens speed, 98–99
overview, 50
portrait photography, 106
shutter speed relationship, 56–57, 126–128
variable maximum apertures, 99
lens focal length
changing, 111
depth of field, 110–111
lens speed
aperture size factors, 98–99
fast lenses, 98
price of lens in relation to, 99
handheld shots, shutter speed for, 128
harbors in fog/mist conditions, 264
hard light, 194
hardware calibration, 30
HDR Photography Photo Workshop (Carr & Correll), 227
heavy overcast light, 196
hiding the sun behind something opaque during sunsets, 277–278
High Dynamic Range imaging (HDRI or HDR), 213, 226–227, 313
high key
defined, 313
metering high key scenes, 214–216
highlight detail
described, 208
for snow scenes, 272–273
histogram
advantages of, 230–231
contrast, 230–231
defined, 313
disadvantages of, 230–231
interpreting, 12
overview, 230–231
history of flash, 282
HoodLoupe (Hoodman), 208
hot shoe
defined, 313
described, 288
Hue control (Photoshop), 229
human vision versus camera vision, 19–23
I
image sensor, 313
image stabilization with tripods, 119–120
image-editing programs, 13
importance of exposure, 4–5
incident-light meters
handheld meters, 76
light meters, 76
indoor photography and Shutter Priority mode, 158–159
infrared light, 313
invention of the electronic flash, 282
ISO speed
Auto ISO mode, 46
default mode, 46
defined, 313
digital noise, 46, 47–49
experimentation with, 58
exposure controls, 45–49
film cameras, 45
Manual ISO mode, 46
manually setting, 45
overview, 45–46
isolating subject by limiting depth of field, 121
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INDEX
323
INDEX
heavy overcast light, 196
normal light, 193–194
overview, 193
light subjects/dark backgrounds, metering, 208–210
lighting. See also natural light
black light (long wave ultraviolet) lamps, 162
off-camera flash, 162
studio, 162
lighting direction
backlighting, 190–192
front lighting, 187–189, 202
overview, 185–187
sidelighting, 190
top lighting, 189–190, 199–200
long exposures versus higher ISO speeds in night photography, 240
long exposures/steady camera and shutter speed, 141–142
long wave ultraviolet lamps, 162
longest lens used to shoot sunsets, 277
low key
defined, 313
metering low key subjects, 213–214
LumiQuest, 294
M
macro lens, 314
macro photography, 117–119
manual, importance of reading your camera’s, 34
manual exposure, 89
Manual exposure mode
city street scenes, 251
dSLR cameras, 40–41
overview, 159–164
shutter speed, 143
for sparklers, 255
for traffic streaks, 246
Manual ISO mode, 46
manually setting ISO speed, 45
manually setting white balance, 182
Mason, Don (Color Management for Digital Photographers For
Dummies), 30
master photographers, studying work of, 14–16
matrix meter
center-weighted meters compared, 70
fog/mist conditions, 265
overview, 66–69
TTL (through-the-lens) meters, 66–69
McNally, Joe (photographer), 305
medium gray, 78
Meola, Eric (photographer), 177
metadata
defined, 314
recording, 22
prime lenses, 98, 99
single-focal-length lenses, 98, 99
slow lenses, 98
zoom lenses, 98–99
Lensbaby Composer, 161
lenses
defined, 313
interchangeability, 41
longest lens used to shoot sunsets, 277
macro, 314
prime, 98
slow, 98
wide-angle, 110–111
light meter
center-weighted meters, 69–71
defined, 313
evaluative meters, 66–69
gray value, 78–85
handheld meters, 74–78
how it works, 62–65
incident-light meters, 76
matrix meters, 66–69
multi-segment meters, 66–69
overview, 62
problem situations for, 80–82
reflected-light meters, 75–76
shortcuts to middle tones, 82–85
spot meters, 76–78
TTL (through-the-lens), 64–74
light metering
bracketing, 89–90
color contrasts, 217–218
dappled daylight, 217
dark subjects, 213–214
dark subjects/light backgrounds, 210–211
difficult situations for, 207–218
on digital camera, 11
exposure compensation, 87–88
exposure element, 9
exposure lock, 89
high-key scenes, 214–216
light subjects/dark backgrounds, 208–210
low-key subjects, 213–214
manual exposure, 89
night photography, 242–243
spot metering, 72–74
sunsets away from the sun, 276
white subjects with detail, 211–213
Zone System, 85–87
light quality
defined, 313
diffuse light, 194–195
hard light, 194
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324
N
natural light
afterglow, 177
contrast, time of day for shooting used to manage, 221
dappled daylight, 217
lighting direction, 185–192
metering white subjects with detail in, 211–213
overview, 176–177
quality of light, 193–197
shooting at different times of day, 177–178
time of day, 177–178, 197–201
white balance settings, 178–185
nature photography
color contrasts, 218
silhouettes, 227–229
The Negative (Adams), 18
neon signs as subject for night photography, 246–248
neutral balance
automatic, 180
cloudy day setting, 180
creative element, 183–185
custom, 183
daylight setting, 180
defined, 315
electronic flash setting, 181
fluorescent setting, 181–182
manipulating, 183–185
night photography, 241
overview, 179
preset, 183
RAW file format, 232–233
reasons for manually setting, 182
selective settings, 180
shade or open shade setting, 180
tungsten setting, 180
neutral density filter
defined, 314
described, 141, 155
Neutral Picture Style mode, 16
Niépce, Joseph Nicéphore (photographer), 50
night markets as subject for night photography, 252–253
night photography
carnival lights as subject for, 248–249
city skylines as subject for, 250–251
city street scenes as subject for, 251–252
color temperature, 241
fast lens versus higher ISO speeds, 240
Ferris wheel as subject for, 248–249
fireworks displays as subject for, 257–258
flash use, 242
flashlight used during, 243
halation, 244, 247
long exposures versus higher ISO speeds, 240
metering
bracketing, 89–90
color contrasts, 217–218
dappled daylight, 217
dark subjects, 213–214
dark subjects/light backgrounds, 210–211
difficult situations for, 207–218
on digital camera, 11
exposure compensation, 87–88
exposure element, 9
exposure lock, 89
high-key scenes, 214–216
light subjects/dark backgrounds, 208–210
low-key subjects, 213–214
manual exposure, 89
night photography, 242–243
spot metering, 72–74
sunsets away from the sun, 276
white subjects with detail, 211–213
Zone System, 85–87
metering modes, 314
Meyerowitz, Joel (Cape Light), 177
midday lighting, 199–200
middle range apertures used for “safe” subjects, 106–107
middle tones
average gray weathered buildings, 83
clear blue sky, 83
dark skin, 83
defined, 314
gray stone (in average light), 83
green grass in sunlight, 83
identifying, 91
light metering, 82–85
overview, 77
red-brick buildings, 83
MILC (mirrorless interchangeable lens camera)
defined, 314
dSLR compared, 39
exposure controls, 36, 39
mist, 262–265
monitor calibration
hardware, 30
overview, 28–29
software, 30
mood
exposure element, 23–27
technically correct exposures and, 25–26
moon as subject for night photography, 259
motion shots, shutter speed for, 140–144
moving subjects, shutter speed for, 129–131
multiple fireworks bursts, capturing, 257–258
multiple flash units (wireless), 304–305
multi-segment meters, 66–69
Muybridge, Eadweard (photographer), 134
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INDEX
325
INDEX
pan-tilt heads, 121, 141
parallax error, 314
peak of motion as factor in shutter speed, 137–139
pentaprism, 314
photographers
Ansel Adams, 15, 17–18, 177
Brian Oglesbee, 177
Carleton E. Watkins, 132
Derek Doeffinger, 45, 68, 120, 137, 142
Eadweard Muybridge, 134
Edward Steichen, 15
Eric Meola, 177
Fred Picker, 22
Galen Rowell, 177
Gavin Zau, 136–137, 252–253
Jennica Reis, 15, 102
Joe McNally, 305
Joseph Nicéphore Niépce, 50
Leonard Lee Rue, 209
master photographers, studying work of, 14–16
Pete Turner, 177
William Henry Jackson, 132
photography, studying, 14–16
Photomatix, 227
Photoshop (Adobe)
Curves feature, 217
exposure corrections, 13
Eyedropper tool, 210
Hue control, 229
Saturation control, 229
software calibration, 30
Picker, Fred (photographer), 22
Picture Controls (Nikon), 16
Picture Styles (Canon), 16
pixel, 314
Plowden, David (Vanishing Point), 177
point-and-shoot cameras
defined, 314
exposure controls, 35
point-and-shoot (compact) cameras, 35–37
polarizing filter
defined, 314
for fall foliage, 270
rainbows, 268
portable reflectors, 220
Portrait mode
defined, 315
described, 168
portrait photography
backlighting, 190–191
bracket-mounted flash for location, 288
flash, taking a nighttime portrait with, 306
flash used in, 191
lens aperture, 106
continued
Manual exposure mode, 162–164
metering, 242–243
moon as subject for, 259
neon signs as subject for, 246–248
night markets as subject for, 252–253
overview, 238–240
sharpness in, 244–245
Shutter Priority mode, 158–159
shutter release, methods for, 245
sparklers as subject for, 254–256
spotlit buildings as subject for, 254
star effect filters used during, 244
steadying camera without tripod, methods for, 240
subjects for, 246–258
time exposures, 254–256
traffic streaks as subject for, 246
white balance, 241
Night-portrait mode, 167–168
Night-scene mode
described, 167, 299
for sparklers, 255
Nikon
Picture Controls, 16
Speedlight, 305
noise
defined, 314
ISO speed, 46, 47–49
long exposure times, 146
normal light, 193–194
notes on your photographs
metadata, digital cameras’ recording of, 22
visualization skills improved by taking, 21
Nüchterlein, Karl (engineer/inventor), 65
O
off-camera flash, 162
Oglesbee, Brian (photographer), 177
open shade white balance setting, 180
optical viewfinder, 314
optical zoom, 314
overexposure
defined, 314
described, 6
reasons for, 6–7
P
Padova, Ted (Color Management for Digital Photographers For
Dummies), 30
panning
defined, 314
shutter speed, 140, 142–143
Panorama mode, 171
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326
Reis, Jennica (photographer), 15, 102
remote shutter release, 245
resolution, 315
Rowell, Galen (photographer), 177
Rue, Leonard Lee (photographer), 209
Rue Groofwin Pod (Leonard Rue Enterprises), 209
S
Sandburg, Carl (poet), 262–263
Saturation control (Photoshop), 229
scene modes
avoiding, 14
Close-up mode, 168–171
Landscape mode, 164–166
Night-portrait mode, 167–168
Night-scene mode, 167
overview, 164
Panorama mode, 171
Portrait mode, 168
Sports/Action mode, 166–167, 172
scouting locations for sunsets, 275–276
Seascape style mode, 16
selective focus, 315
selective white balance settings, 180
settings for shutter speed, 128–129
shade or open shade white balance setting, 180
shadows
as design element, 223
used to create modeling effects and establish form, 225–226
sharpness in night photography, 244–245
shutter, 315
Shutter Priority mode
defined, 315
exposure controls, 35
overview, 156–159
shutter speed, 143
shutter release, methods for, 245
shutter release button, 70
shutter speed
action shots, 54–55
aperture relationship, 56–57, 126–128
B (Bulb) setting, 129
choosing, 129–131
creative power of, 132
defined, 315
dimly lit interiors, 144–146
direction of motion as factor in, 135–137
distance from subject as factor in, 139–140
exaggerating motion, 140–144
exposure controls, 52–57
faster shutter speeds, 54–55, 56
freezing motion, 132–140
portrait photography (continued)
low-key subjects, 214
Red-eye Reduction mode, 303
reflectors used in, 191
wireless flash technology, 305
Portrait Style mode, 16, 17
power of accessory flash, 288–289, 290
preset white balance, 183
price of lens in relation to lens speed, 99
prime lenses, 98, 99
problem situations for light meters, 80–82
Programmed mode, 152
Q
quality of light
diffuse light, 194–195
hard light, 194
heavy overcast light, 196
normal light, 193–194
overview, 193
quick-release mounts for tripods, 121
quick-release plate, 315
R
rainbows, 268–269
rainy days, 266–267
range for shutter speed, 128–129
RAW file format
advantages of, 232–233
for autumn scenes, 269
defined, 315
disadvantages of, 231, 233
dSLR camera support, 41–43
JPEG file format compared, 231–232
JPEG+RAW file format, 313
overview, 231–233
for snow scenes, 273
style modes, 16–17
white balance, 179, 232–233
rear-curtain sync
defined, 315
described, 299
red eye
built-in flash, due to, 286
defined, 315
red-brick buildings as middle tone subject, 83
red-eye reduction, 315
Red-eye Reduction mode, 303–304
reflective light meter, 75–76, 315
reflectors
contrast, managing, 220
portable, 296
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INDEX
327
INDEX
star effect filters used during night photography, 244
steadying camera without tripod, methods for, 240
Steichen, Edward (photographer), 15
still subjects, shutter speed for, 129–131
stop-action shots, 132–140
stormy skies, 267–268
studio lighting, 162
studying photography, 14–16
style modes
disadvantages of, 16–17
experimentation with, 17
JPEG format, 16–17
landscape, 16
Neutral Picture Style, 16
overview, 16–17
portrait, 16, 17
RAW format, 16–17
seascape, 16
vivid, 16
subcompact cameras, 36–37
subject distance as factor in depth of field, 112–113
subject modes
avoiding, 14
Close-up mode, 168–171
Landscape mode, 164–166
Night-portrait mode, 167–168
Night-scene mode, 167
overview, 164
Panorama mode, 171
Portrait mode, 168
Sports/Action mode, 166–167, 172
subject speed as factor in shutter speed, 134–135
subjectivity in choosing exposure, 17–18
subjects for night photography, 246–258
sunrises
foreground, shooting with an interesting, 279
shooting, 273–277
sunsets
bracketing exposures by a full stop or more, 277–278
foreground, shooting with an interesting, 279
hiding the sun behind something opaque, 277–278
longest lens used to shoot, 277
metering away from the sun, 276
overview, 273–274
scouting locations for, 275–276
silhouettes, 229
super zoom cameras
electronic-type viewfinder (EVF), 38
exposure controls, 36, 37–39
switching between TTL (through-the-lens) meters, 66
sync cord as method for attaching accessory flash, 288
sync speed
defined, 312
overview, 298
handheld shots, 128
long exposures/steady camera, 141–142
Manual exposure mode, 143
motion shots, 140–144
for moving subjects, 129–131
overview, 52, 54–56
panning effects, 140, 142–143
peak of motion as factor in, 137–139
range for, 128–129
settings for, 128–129
Shutter Priority Exposure mode, 143
slower shutter speeds, 56
for still subjects, 129–131
stop-action shots, 132–140
subject speed as factor in, 134–135
zoom effects, 143–144
shutters, 52–53
sidelighting
defined, 315
described, 190
white subjects with detail, 212
silhouettes, 227–229, 234
single exposure for fireworks displays, 258
single-focal-length lenses
constant maximum aperture, 99
lens speed, 98, 99
slave, 315
slow lenses, 98
slower shutter speeds, 56
small apertures used for expansive detail, 106
snow scenes, 272–273
soft light, 315
software calibration, 30
sparklers as subject for night photography, 254–256
speed (lens)
aperture size factors, 98–99
fast lenses, 98
price of lens in relation to, 99
prime lenses, 98, 99
single-focal-length lenses, 98, 99
slow lenses, 98
zoom lenses, 98–99
sports photography
Fill-in flash mode, 298
Shutter Priority mode, 158
wireless flash technology, 304, 305
Sports/Action mode, 166–167, 172
spot meter
defined, 315
overview, 76–78
spot metering
TTL (through-the-lens) meters, 72–74
wildlife photography, 74
spotlit buildings as subject for night photography, 254
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328
tungsten white balance setting, 180
Turner, Pete (photographer), 177
twilight
city skylines, 251
shooting in, 198–199
silhouettes, 229
U
underexposure
defined, 315
described, 6
reasons for, 6–7
V
Vanishing Point (Plowden), 177
variable maximum apertures, 99
visualization
experience and, 19
human vision versus camera vision, 19–23
notes on your photographs, visualization skills improved
by taking, 21
overview, 17–18
tips for, 21–23
Vivid style mode, 16
W
warm color balance, 298–299
Watkins, Carleton E. (photographer), 132
weather
fog and mist, 262–265
overview, 262
rainbows, 268–269
rainy days, 266–267
stormy skies, 267–268
wedding photography
bracket-mounted flash for, 288
white subjects with detail, 213
white balance
automatic, 180
cloudy day setting, 180
creative element, 183–185
custom, 183
daylight setting, 180
defined, 315
electronic flash setting, 181
fluorescent setting, 181–182
manipulating, 183–185
night photography, 241
overview, 179
preset, 183
RAW file format, 232–233
reasons for manually setting, 182
T
technically correct exposures
good exposures preferred to, 11
mood of photograph, 25–26
myth of correct exposures, 17
overview, 13–14
telephoto lens
depth of field, 110–111
fog/mist conditions, 265
thought process for taking a photograph, 4
through-the-lens meters. See TTL (through-the-lens) meters
time exposures and night photography, 254–256
time of day
afterglow, 198
contrast, managing, 221
dawn, 198
golden hours, 200–201
midday lighting, 199–200
overview, 197
shooting the same scene at different, 177–178
twilight, 198–199
tonal range
dynamic range, 218
experience with, 9
exposure element, 5
overexposure, 6–7
spot metering, 77
underexposure, 6–7
top lighting, 189–190, 199–200
traffic streaks as subject for night photography, 246
travel photography
lens aperture, 106
top lighting, 189
tripods
ballheads, 121
city skylines at night, 120
comparative photo sets, 120
defined, 315
image stabilization with, 119–120
overview, 119–122
pan-tilt heads, 121, 141
purchasing, 121
quick-release mount, 121
using, 119–122
TTL flash, 282–283
TTL (through-the-lens) meters
center-weighted meters, 69–71
defined, 315
matrix meters, 66–69
overview, 64–66
spot metering, 72–74
switching between, 66
TTL flash, 282–283
types of, 66
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INDEX
329
INDEX
Z
Zau, Gavin (photographer), 136–137, 252–253
Zone System
defined, 315
overview, 85–87
zoom effects, 143–144
zoom heads, 290
zoom lens
defined, 315
lens speed, 98–99
variable maximum aperture, 99
selective settings, 180
shade or open shade setting, 180
tungsten setting, 180
white card, 315
white subjects with detail, metering, 211–213
wide-angle lens, 110–111
wildlife photography
Fill-in flash mode, 298
Shutter Priority mode, 158
spot metering, 74
wireless flash technology, 304, 305
wireless flash technology, 304–305
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