A friend recently asked if I had any recommendations for readers who already have a grasp on concepts like shutter speed, ISO, and aperture from using a film camera but have yet to make the move to a digital SLR. The short answer: Of course I do.
My first digital SLR was a very different beast from the Fujica ST-605 I used for over two decades. The 605 was a much more basic camera, offering no automatic functions. Choosing the right shutter speed and f-stop were dependent on me, as was focusing. To Fujica's credit, though, the 605 had two features missing from the digital SLRs I've used. The first was a fantastic focusing screen. Anytime I use manual focus on my digital SLRs—even with an upgraded focusing screen—I wish they were as capable as the circa 1977 ST-605.The other feature I miss is the built-in light meter. Whenever I set exposure manually on my digital SLR, I wish I had the 605's light meter and depth of field preview in the viewfinder. I also liked the mechanical timer on the Fujica. It was very quick to manipulate and could be set to any time interval ten seconds or less.On the other hand, it's great having autofocus, most of the time the camera assists me in setting exposure, and I have a variety of other features on my digital SLRs that relegate the Fujica to the prop shelf. My digital SLRs can do everything my film camera could, and a whole lot more.What will strike you when switching from a film SLR to digital? A lot depends on what you were used to and which model you choose, but regardless you're likely to end up with a camera that's very easy to use simply but will involve a learning curve to use creatively. Many features are accessible only via menus, and you'll need to read the manual (and I say that as someone who often avoids reading manuals).One issue the camera can handle for you automatically that you'll eventually want to tackle is white balance. In some environments, digital cameras have difficulty determining what white looks likeSome good news: Since you're not using film, you can choose your ISO on the camera (or have it chosen for you automatically). Not using film also brings me to perhaps the best advantage of digital, which is the ability to freely experiment with your shots. You don't have to worry about the cost of developing each frame.I plan to write another column on how to decide which digital camera to buy, but I'll offer one piece of advice here. If you already own lenses, buy a digital camera with the same mount. The quality of one brand of camera vs another is frequently debated, but I don't think anything outweighs being able to draw on a selection of lenses that you already own.
Light Factors, Part III: Aperture
In Part I of my series on manually controlling your camera's settings in order to control exposure, we discussed ISO. In Part II, we discussed shutter speed. To complete the series, I'll now discuss f-stop, otherwise known as aperture and often designated f/4, f/5.6, f/11, etc.
Aperture (not to be confused with Apple's photo editing program of the same name) is an indicator of how much light a lens allows into your camera to hit its sensor (where the image is recorded). To make things confusing, the lower the aperture number, the more light is being allowed in. Lenses that are able to shoot at lower apertures (4.0 or less at most focal lengths) are considered fast lenses. Fast lenses are preferable both because they allow you to shoot in lower light and because they allow you to isolate a subject in a photo with a short depth of field. A lens' fastest aperture is often noted on its front or side (e.g., 50mm 1:1.8 indicates this 50mm lens can shoot as fast as f/1.8). [note]If it makes it easier, think of aperture/f-stop like shotgun or wiring gauge, which also gets smaller as the designation grows larger (a 12-gauge shotgun shell is larger than a 20-gauge shotgun shell).[/note]After ISO, the setting most pros choose to exercise control over is aperture (usually by setting their camera's mode to Av, choosing an aperture, and allowing the camera to select the appropriate shutter speed). That is because aperture allows you to control your depth of field, which is the space around your subject that is in focus. If you're photographing something large, like a building or a group of people or the Grand Canyon, you want a large depth of field because you want everything in your shot to be in focus. On the other hand, if you're shooting a child playing (or a senior sitting on a swing), you only want your subject to be in focus and you want everything else to be blurry.[tip]The manner in which a lens blurs that portion of a frame that is not in focus is referred to as its bokeh.[/tip]
I was recently in Times Square at twilight. This offered the opportunity to capture some shots of the buildings, lights, and people who filled the streets that evening. It also required me to shoot in manual mode in order to capture the pictures I wanted.I was using my 12-24mm wide angle lens, which has a maximum aperture of f/4. I typically choose ISO first in a shooting situation, but since it was so dark I knew I'd be pushing the limits of my lens speed. So I set the aperture to 4.0 and the shutter speed to 1/20th of a second. With most lenses this speed would be too slow and I'd wind up with blurry photos, but since I was shooting wide and my guideline for minimum speed is that it should approximate focal length, it was okay for me to shoot at 1/20 since my focal length was typically around 20mm. I also set my camera down on something stable and used its 2-second timer whenever possible, eliminating lens shake as a factor.With aperture and shutter speed chosen, I tried taking a shot at ISO 200; unfortunately, everything was too dark. I jumped to ISO 320 and tried again; this picked up the Times Square lights fine, but it did not show the people and buildings as well as I wanted. Luckily, ISO 400 gave me the exposure I wanted without introducing too much grain to my shots.What would have happened if I'd moved my selector to full auto? First of all, my camera probably would have chosen to try and utilize its flash. An on-camera flash is ineffective when shooting buildings, flattens the features of everybody in its range, uses up battery power, and annoys anyone unfortunate enough to be facing it when it fires. The next thing my camera probably would have done was raise its ISO, thereby introducing grain to my shots. Finally, shutter speed and aperture would have been determined by what I focused on. If that had been something bright, everything else in the shot would have been too dark. If it had been something dark, the shutter probably would have stayed open longer than I'd have been able to hold it still, plus all the lights would have been blown out and lost detail.Most of the time your camera will be smart enough to choose the right settings for you (provided you don't allow it to use its flash indoors), but you may soon find yourself in a Times Square situation where you need to take control of exposure from your camera to capture the shot you want. I hope this series on light factors has provided some assistance in that pursuit.Feel free to share your comments and questions below, and thank you for reading.
Light Factors, Part II: Shutter Speed
In Part I of this series on creatively manipulating exposure in your photography (aka using your camera in manual mode), we explored the effects caused by changing ISO. A high ISO allows you to shoot in lower light, but may introduce grain to your photograph.Shutter speed also has its trade-offs. The slower you shoot, the lower the light you can shoot in. Unfortunately, slower shutter speed also makes it harder to nail your focus, and can introduce an unacceptable amount of blur to your shot.Shutter speed is often designated by an integer (e.g., 60, 125, 250), but that integer typically represents a fraction. If your shutter is set to 60, that means the shutter is open for 1/60th of a second. That means light is being recorded on your camera's sensor for that amount of time. If there's a lot of light to record, the shutter does not need to be open for long. Shooting in bright sunlight will sometimes allow you to fire your shutter at 1/1000th of a second. If you're indoors, you'll never shoot at that speed unless you're using studio strobes, taking pictures of a light, or something very bad is going on.Why is there blurring when your shutter is open too long? Your body is always moving. Even if you tuck your elbows into your sides when you shoot and squeeze the shutter release button instead of pushing it (both recommended practices), if you try to shoot with a 300mm lens at 1/30th of a second, you'll end up with a lousy picture.A good rule of thumb for finding the slowest speed at which you can shoot in a given situation is to reference the focal length at which you're shooting. If you're using a 100mm lens (or your zoom lens is set at 100mm), you shouldn't shoot slower than 1/100th of a second. Shooting with a wide-angle lens at 20mm allows for a slower shutter. If your lens has image stabilization (aka IS, referred to as vibration reduction by Nikon and other terms by other lens makers), you may be able to double the amount of time your shutter is open (thus, 30 instead of 60).But wait! The above only applies if you're holding your camera to shoot. If you have a tripod handy, you can shoot much more slowly. You can even allow your shutter to stay open for multiple seconds without having much of a negative effect on your picture (unless your subject is moving). The same is true if you set your camera on a still platform, like a chair or the ground. Try this: With your camera secured in a dark setting, set your shutter speed to 15 seconds, release the shutter, and take a picture of yourself walking slowly across the scene.A camera on a tripod (or even a one-leg monopod) allows a lot more flexibility when it comes to low light. Unfortunately, even pressing the shutter release button can introduce movement, so for better stability use your camera's timer, a shutter release cable, or a remote. Beyond this point, you only need to worry about the actual movement of the shutter and the earth, and those will only be factors in specific situations (like taking pictures of stars).The easiest way to experiment with the effects of shutter speed is to set the dial on top of your camera to Tv (location may vary by camera; SLRs typically have that dial on top of the body). That way, you can set the ISO and shutter speed manually, and the camera will dial in the appropriate aperture (f-stop). Set your shutter to 1/15 and take a picture of running water to get a glassy effect. Slow it down slightly while watching outdoor sports and see if you can capture a nice amount of motion without losing too much clarity. Set it to open for a few seconds by an intersection at night and capture the lights from passing vehicles.In no time, you'll be capturing photographs you never could using automatic settings.When you're ready, check out Part III of the series.
Light Factors, Part I: ISO
This is part one of my series on using your camera in manual mode.There was a time when your camera's ISO (light sensitivity) was determined by the film you loaded. Once you had your roll in place, you were stuck with that ISO for 12 or 24 or 36 exposures (or you had to waste exposures when you loaded a new roll). A digital camera—which captures the image on its sensor rather than a frame of film—allows you to change ISO as often as you like.What's important about ISO? A high ISO (400, 800, 1600) is considered fast, and it allows you to shoot in darker conditions. The trade-off is that your exposures are more likely to be grainy, at least on close inspection. That is becoming less of an issue as many of the latest cameras (e.g., the Canon 5D Mk II or Nikon D700) can shoot at those ISOs (and even higher) without much loss of quality.The same may not be true of your camera, and by going manual you'll learn more about its capabilities. If you're shooting in full auto mode, your camera will choose the ISO. Don't let it. Try setting the ISO yourself and see how that affects the speed and f-stop at which your pictures are taken. In general, you'll want to use ISO 200 when shooting outdoors, ISO 400 when shooting in a reasonably-lit room, and ISO 800 or 1600 when there's not much available light.To experiment, try setting your ISO to 100 when shooting indoors. Your camera will have to compensate by using its widest f-stop (to let in as much light as possible) and a slow shutter speed in order to capture the picture. That slow speed will probably result in some blurring. Try also shooting at your camera's highest ISO in that same environment. When you look at the picture later, zoom in and check its quality.Shooting frames at different ISO settings isn't much fun, but it's an essential piece of the light factor puzzle. The next two posts, which will cover shutter speed and f-stop (aperture), will complete the picture and illustrate how manual control of your camera's settings can give you more creative control of your pictures.
Going Manual
If you've purchased a camera in the past few years, be it an SLR or a point-and-shoot, it's probably pretty smart. In most situations, it's going to make good decisions about where to focus, how much light to allow onto the sensor, how long to open the shutter, and whether to fire the flash (recall that flash isn't always a good thing). At other times, however, you may need to exert some control over your camera in order to capture what you want in a given scene.The good news is, many of those aforementioned cameras sold in the past few years also include a few buttons and switches that allow the kind of control you need to take more creative (or just better) photos. I'm not talking about general settings with names like "landscape", "portrait", and "sports"; rather, I'm referring to the same settings you would have found on your grandfather's camera 40 years ago.In my next few photography tips posts, I'll be discussing some of those settings. And since light is the most important element of photography, I'll begin with the settings most closely related to light: ISO, aperture, and shutter speed. I hope you find them worthwhile.
Don't get a flat (photo)
This is going to sound funny, but it's best if you don't use your camera's flash indoors. I know there are occasions when you absolutely need it, but the cost is that your photos will lose depth.
Photographs are two-dimensional, but photographers strive to add depth to them. This depth comes in part from light sources that aren't positioned directly in line with the viewer. Unless you've explored off-camera flash, your flash is likely firing from right above your lens. This introduces an unnatural, overpowering light to your photo, thereby flattening your subject.
A nice thing about using flash is it freezes your subject, preventing the blur introduced by your movement. So what do you do to compensate for having no flash? Here are a few suggestions:
- Turn on additional lighting, if available
- Use a tripod or set your camera on a stable object (e.g., an end table or chair, or even the floor)
- Use your camera's timer to trip the shutter
- Tuck your elbows into your sides to keep the camera steady
- Use your biggest aperture and ISO (I'll discuss this more in future tips)
So what good is your flash? It's actually quite useful for shooting outside. When you're outside during the day, the sun provides plenty of light that can't be overpowered by your flash. Have you ever shot a picture of someone during the day and found that they wound up with dark, Lurch-like shadows under their eyes? Your flash can help eliminate those shadows by throwing some light into those areas.So it may sound funny, but today's tip is to only use your flash outdoors during the day.
Getting in close
Have you ever taken a picture of yourself and found that your facial features wound up distorted? Have you tried to zoom in close to something a couple feet away and found your camera wouldn't focus?Some lenses are made to take shots up close. They're referred to as macro lenses, and macro photography is a discipline unto itself.Macro lenses are not a particular focal length; I used to have a 70-300mm macro lens, and now I have a 90mm. Canon makes a well-regarded 100mm macro lens. The key is that the lens is made to take pictures close up. The most important designation you'll see is the ratio. The 70-300mm macro I used to own was a 1:3; my current lens is a 1:1. The 1:1 allows me to get extremely close to my subject, and the resulting photo reflects what I saw through the viewfinder (thus the 1:1). A 1:3 does not allow the same closeness.I should note that macro lenses are not only useful when taking close-up shots. They work fine as "normal" lenses, too.Macro photography can be rewarding in that it allows you to capture things from a different perspective. I had the opportunity today to stroll around town with my daughter and take shots of some early spring flowers. I wound up with dirty knees and some funny looks from people who saw me kneeling in front of flower beds, but it was worth it.
Get down!
Or up or closer or wherever you need to be to get the shot. Don't depend on your camera's zoom to get close if you can close part of the distance the old fashioned way. The best application of this is to shoot at your subject's eye level, especially when photographing a child.