Page 13 - (DK) Advanced Photography Guide

A B O U T T HIS B O O K 11

EXPLAINING | APPLYING |
The “Explaining” pages in the book take a more in-depth look at The “Applying” pages provide inspiring photographic tutorials
a particular aspect of photography. It could be an explanation that show you step-by-step exactly how to put the theory
of autofocus modes, how different types of flashes work, or the into practice on particular projects. There are feature boxes
ways in which you can adjust your photo in postproduction. on points of technique and plenty of helpful tips on how to
The technical know-how is presented clearly throughout. apply the techniques to different subjects and situations.

80 EXPLAINING | AUTOFOCUS FO CUSING 81 114 APPLYING | EXTENSION TUBES L ENSE S 115
AUTOFOCUS MODES CALIBRATING AF FOCUS LOCK FOCUSING CLOSER MAGNIFICATION
DSLR phase-detection AF is fast, but it can be imprecise – With Single-shot AF selected, focus is locked as long as the The level of magnification is determined x1 x2
Modern autofocus (AF) systems are a miraculous blend of sophistication and the lens sometimes focuses slightly behind the subject or shutter button is half-pressed. This lets you recompose and Extension tubes let you temporarily modify any lens an aperture ring. Extension tubes with electronic by the focal length of the lens and the
convenience. Unfortunately, this doesn’t mean that you just point your camera and slightly in front, known respectively as back and front shoot without the focus distance changing. This technique so that it can focus closer than usual. The simplest contacts are far more convenient. These let you set length of the extension tube or tubes.
To shoot at 1x magnification, the length
focusing. Many dSLRs let you calibrate individual lenses
is useful if want to shoot an off-centre subject that would
it will focus exactly where necessary. To get the optimal performance from the AF to compensate for this shortcoming, and the details are otherwise be outside the AF area. Locking focus with extension tubes do not maintain an electronic the aperture via the camera, and allow autofocusing. of the extension tubes should match
Infinity focus (see p.66) is not possible with extension
connection between the lens and camera, so you
system, you need to choose the best focusing mode for your subject. If you select saved to the camera so that they may be applied whenever Continuous AF is slightly more complicated. Professional have to set both the focus and aperture manually, tubes; if you want to shoot a distant subject, you will possible. Magnification greater than 1x
the focal length of the lens as closely as
cameras and lenses often have a dedicated focus lock
that lens is fitted. You can calibrate accurately by using a
the wrong mode, you may still be lucky and achieve sharp images, but choosing the commercial distance scale that enables you to take precise button that pauses AF. Consumer cameras don’t usually although the latter is only possible on lenses with need to remove them. is only possible when the extension tubes
right mode will help you to improve your chances of success every time. measurements and correct such errors. have such a button, but you can assign the task to a are shorter than the focal length of the
customizable function button if your camera allows this. lens. If you want to shoot at less than 1x
magnification, use one or two extension
tubes and split them into shorter lengths.
SINGLE-SHOT CONTINUOUS AUTO
Single-shot AF (also known as One-shot and AF-S) is the You should use Continuous AF (also known as AI-Servo and Auto (or AF-A) is a mix of Single-shot and Continuous AF.
default mode on most cameras. Press halfway down on the AF-C) when shooting subjects moving towards or away from If the subject is static, the camera will lock focus when the THE RESULT
shutter button, and the camera will focus, using one or more the camera. Position the subject at the selected AF point, and shutter button is partially pressed down, as for Single-shot. CAMERA SETTINGS
of the AF points. Once correct focus has been acquired, it will half-press the shutter button to activate the AF system. The But if the subject then moves, the system will start tracking Here, a large aperture has been used to minimize depth of field and create 1/8 ISO
lock and remain locked at the same distance until you either focus will continually adjust to keep the subject sharp but will the movement exactly as it does when using Continuous AF. a softer image. This works well with organic subjects such as flowers. The Av f/3.2 SEC 200
press or release the shutter button. Single-shot is ideal for not lock focus until the shutter button is fully pressed. If you Although this sounds ideal, there’s often a very slight lag key is to focus precisely on the part of the subject you want to be sharpest.
static subjects or subjects that remain a constant distance combine this mode with Zone or Automatic AF Point selection, before AF begins to track the subject. This pause can be
from the camera. It’s also the mode to select if you want to it will enable the camera to automatically select the required enough to miss the moment you wanted. If your subject
focus and recompose, using the focus-lock technique. AF point to keep a sideways-moving subject in focus. is likely to move, Continuous AF is a better option.
USE A TRIPOD PICK AN EXTENSION TUBE SELECT APERTURE PRIORITY
BEST FOR BEST FOR BEST FOR Shooting at high magnifications Choose the level of magnification The higher the magnification, the
appropriate lens and extension tube.
produced. The Aperture Priority mode
◾ ◾ Still-life, food, and product photography in a studio ◾ ◾ Wildlife and moving macro subjects ◾ ◾ Studio photography FOCUS YOUR CAMERA always results in light loss and longer you want to shoot, and combine the smaller the depth of field that will be
shutter speed times. Use a tripod
Set Single-shot AF and Single point selection (see
◾ ◾ Landscape and static macro photography ◾ ◾ Sports and action photography ◾ ◾ Wildlife and macro subjects that are still but may move p.83) on your camera. Select the central AF point, then to lower the risk of camera shake For the highest magnification, use a wide- will give you the necessary control
move your camera so that it covers the subject. Press the without the need for a high ISO. angle lens with the maximum extension. over aperture and depth of field.
◾ ◾ Posed portraits of older children and adults ◾ ◾ Younger children, who are difficult to pose or keep still ◾ ◾ Most portrait work
shutter button halfway to activate and lock the focus.
RECOMPOSE THE SHOT FOCUS THE LENS SET THE APERTURE
▲ Single-shot AF is perfect for subjects that are static by ▲ Continuous AF is ideal for subjects that move predictably, ▲ Auto AF is not generally the best mode for shooting wildlife. Keep the shutter button held down and move the Take extra care when focusing to make sure that the You often have to use very small apertures when shooting
nature, such as still lifes, particularly when you are shooting such as motor vehicles or runners, but pre-focusing (see The exceptions are animals that are relatively tame and are camera to compose the shot correctly. Press down fully most important area of your subject is sharp. Use Live View close-ups. If the image is underexposed, you may need to use
in controlled studio conditions. pp.88–89) is often more reliable for fast or erratic subjects. behaving in a predictable way. on the shutter button to take the picture. on your camera’s LCD screen and zoom in to the image to flash. However, using larger apertures, such as shown here, and
check the critical focus. a narrower depth of field can suit some subjects.
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124 APPLYING | TEN-STOP FILTERS FILT ER S 125 176 APPLYING | CROSS PROCESSING
CREATING EXTREME BLUR ATTACH THE FILTER COLOUR CAST ADJUSTING COLOUR
Fit the filter to the lens,
being careful not to move the Most ten-stop ND filters add a blue or sepia
In bright light conditions you can use a ten-stop exposure calculator apps that are available for focus ring. Shoot the photo, colour cast to the final photo. Auto White Cross processing is a darkroom method in which are no longer true-to-life, most notably in the shadows
review the image, and then
neutral density (ND) filter to blur any movement in a smartphones and tablets. If you are shooting in low adjust the exposure and Balance (AWB) will reduce the cast but will not one type of film, such as print, is developed in and highlights. You can simulate the effects of cross
remove it entirely. It is better to create a Custom
scene – rivers, seascapes, and wind-blown foliage are light, fitting a ten-stop filter can result in an exposure re-shoot if necessary. chemicals that are normally meant for a different processing digitally by adjusting the relative brightness
White Balance setting (see pp.46–47), with the
subjects that work really well. When using an extreme longer than 30 seconds. This means that you will filter fitted, before you shoot the final photo. type of film, such as transparency. Contrast is of an image’s individual colour channels: red, green,
ND filter you will need to calculate the shutter speed, need to use the camera’s Bulb mode (see pp.60-61), heightened in the resulting images and the colours and blue.
and you can do this with one of the many simple in which you manually time the exposure.
THE RESULT ▼ SHOT WITHOUT TEN-STOP ND FILTER SOLARIZATION
The movement of the sea and the clouds is significantly blurred, creating
an abstract, misty effect that is totally absent from the photo shot without A photo is solarized when either its Curves
shadows or its highlights are tonally
the filter. The strong, dark shapes of the seaweed and the pier form a inverted. The effect works best with Custom
striking contrast to the swirling mist of the sea. Layers
high-contrast photos. Using the Kind Red Auto
Curves tool, add a control point
CAMERA SETTINGS halfway along the tone curve. To Normal Opacity: 100% Fill: 100%
M ƒ/5.6 SEC 8 ISO 200 AW B solarize shadows pull the point down Background Curves… Gradient… Pattern…
to the bottom of the Curves box, then
pull the shadow control point in the
Levels…
COMPOSE THE SHOT SELECT APERTURE PRIORITY SWITCH TO MANUAL FOCUS bottom left corner up to the top. To Brightness/Contrast… Input: Output:
Curves…
solarize highlights, pull the control
Start with Aperture Priority, and set
Choose a scene that will have a
Use the camera’s autofocus system
Exposure…
lot of potential for movement during the aperture needed to obtain sufficient to focus the scene, then switch the lens to point to the top of the box, then ASSESS YOUR IMAGE SELECT CURVES ADJUST THE RED CHANNEL
move the highlight control point,
the exposure. If you are shooting with depth of field. Press on the shutter button Manual focus. This will stop the camera in the top right to Select a photo that you think the Add a Curves adjustment layer Select the Red channel from the
a wide-angle lens, you may need to to take a meter reading, and note the from trying to re-focus once you have the bottom. technique might suit. Simple, colourful to the photo. This will make it easier to RGB menu on the Curves panel. Add
position the camera close to the subject. shutter speed suggested by the camera. fitted the filter. images with a single subject work well, change afterwards. You also have the two control points spaced equally apart.
especially if they have strong shadows option to change the layer’s Opacity Pull the left-hand point down, and the
6 Stops 10 Stops 15 Stops and highlights. to vary the strength of the effect. right-hand point up, to create an S-shape.
Curves Curves Curves
SELECT MANUAL EXPOSURE ▲ SOLARIZED SHADOWS Custom Green Auto Custom Blue Auto Custom RGB Auto
Switch the camera setting to
Manual Exposure and set the aperture THE RESULT
setting to the same value that you
originally set in step 2 above. Digital processing has transformed an everyday
photo into an image with a stylish, retro feel. A few
FIT THE REMOTE RELEASE tweaks to the colours and contrast have created a
Fit a remote release to make sure Input: Output: Input: Output: Input: Output: completely different atmosphere and look.
CALCULATE EXPOSURE that the camera does not move when
Enter the shutter speed suggested the shutter is fired. For exposures longer ADJUST THE GREEN CHANNEL ADJUST THE BLUE CHANNEL ADD CONTRAST
at step 2 into an exposure calculator to than 30 seconds, when the Bulb mode is Select the Green channel and add Select the Blue channel and add Select RGB and add contrast to
find out what shutter speed you need Timer required, a remote release is essential. two control points. Pull the left-hand point two control points. Pull the left-hand the photo by creating an S-shape with
when the filter has been fitted. Set this ▲ SOLARIZED HIGHLIGHTS down and the right-hand point up, though point up and the right-hand point down two control points. There’s no right or ▶ BEFORE ADJUSTMENT
new shutter speed on your camera. Normal Shutter Speed With the Big Stopper not as far as for the Red channel. to produce an inverted S-shape. wrong adjustment. It’s up to you.
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Close-up camera The result A brief
details These photos overview of the final
in the tutorials show image sums up how it
you exactly which was created and what
Apps Screenshots buttons and dials on makes it successful.
of apps are your camera to use.
included in cases
when you may
need help in Screenshots These show you
calculating the Boxes These provide what the window or panel will
best camera additional information look like when using a particular
settings to use. or tips on technique. editing software on a PC or Mac.
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