Taking Pictures with Your dSLR

Setting Up Your Camera

Now that you’ve unpacked and gotten everything attached and ready, it’s time to set up your camera to take the shots you want. While I can’t suggest every possible setting that you might need in every possible circumstance, I’ve tried to list the major options and settings that you should pay attention to when starting out.

Performing an initial checkup

First, perform an initial checkup. Quickly check these things:

Battery level: Note the battery level to make sure you didn’t accidentally load a bad battery. Replace it, if necessary.
Exposures remaining: Check to see if you’re starting out with an empty memory card (like you should be) or not. If not, note how many shots you can take before running out of space. You can continue using it, of course, or swap it out for an empty card. If you are certain that you’ve downloaded the photos already, you can format it.
Knobs and buttons: Make sure that all knobs and switches are set where you want them.
Lens: Configure the lens. Set switches such as auto or manual focus and image stabilization to your preference.

Preparing for still photography

While digital SLRs and SLTs enjoy robust movie-making modes, this chapter is about shooting still photos. If necessary, turn your capture mode switch to still photos. Some integrate this function into the power switch. In that case, make sure you’ve powered on using the correct mode. If your camera has a Movie mode on the Mode dial, you just need to set a still photo shooting mode, which is described in the next section. Some cameras have no separate movie mode. Instead, they have a Start/Stop button, which begins recording a movie in whatever shooting mode you’ve chosen.

Choosing a shooting mode

It's time to decide on a shooting mode. What you decide affects how much control you can exert over the camera, and to what purpose. There isn't a wrong choice here. Some people prefer to let the camera handle most of the work. Others prefer exercising more creative control. Decide on the mode you want to use based on your subject, creative goals, camera, experience, location, and environment. Table 5-1 summarizes typical shooting modes, most of which are directly on the Mode dial. You may need to press and hold an unlock button in the center of the Mode dial to turn the dial and change modes. Note that not all cameras have all the same shooting modes.

TABLE 5-1 Typical Shooting Modes

Name	Description
Automatic (Basic Auto)	The typical automatic mode is basically point-and-shoot. You have very little input over the settings the camera uses.
Flash Off	A quick way to disable the flash from the Mode dial and still take advantage of the camera automatically handling the other settings.
Advanced Auto	Advanced, or Intelligent Auto, modes detect the type of lighting or scene and configure the camera appropriately.
Guided/Creative Auto	In guided or creative auto modes, you give the camera information about what you’re shooting, whether you want sharp or blurred backgrounds, and whether or not to use the flash. It handles everything else.
Scenes	Scenes allow you to identify the specific scene you’re shooting. This enables the camera choose the best settings to use for that scene. Typical scenes are Portrait, Action, Close-up, and Landscape. Many cameras have even more creative scenes, such as Food, Candlelight, Night Portrait, and more.
Specialty Modes	Specialty modes enable you to shoot panoramas, HDR, time-lapse shots, and more. They are unique to specific cameras or brands.
Filters and Effects	The camera processes shots according to the filter or effect you choose. Some cameras place them conveniently on the Mode dial. You typically have little to no control over other camera settings.
Programmed Autoexposure (P)	This mode bridges the gap between the basic automatic modes that give you no control over the camera and advanced modes that enable you to change settings. In this mode, you need not worry about setting the aperture or shutter speed but can configure anything else you like.
Aperture-Priority Autoexposure (A or Av)	In aperture-priority mode, you set the aperture you want to use (larger for more light and blurred backgrounds; smaller for less light and sharper backgrounds). The camera figures out the other settings needed to reach the best exposure. Unlike basic modes, you have total access to all other camera settings.
Shutter-Priority Autoexposure (S or Tv)	In shutter-priority mode, you set the shutter speed you want to use (faster for action, slower for more light and still subjects). The camera figures out the other settings needed to reach the best exposure. Unlike basic modes, you have total access to all other camera settings.
Manual (M)	Manual mode is just that. You’re in charge of everything, especially exposure. The biggest difference between aperture-priority and shutter-priority modes is that after you meter the scene, you must adjust both controls to get the exposure you’re after.
Bulb (B)	Bulb mode is a manual mode that enables you to keep the shutter open as long as you hold the shutter button down.

This decision affects the rest of the checklist. If you choose a more automated mode, you don't have to do certain tasks, such as setting the exposure controls. On the other hand, if you’re more inclined to shoot manually, you’ll be required to adjust those settings.

You don’t need to worry about setting the correct exposure yourself unless you’re in manual or Bulb mode. The camera does it for you. If it can’t reach the correct exposure for some reason (if it can’t set the shutter speed fast enough or widen the aperture, for example), it will try to get your attention by beeping or flashing the shutter speed or f-stop display.

Automatic modes

Automatic shooting modes are fantastic helpers. The camera takes most of the load off your shoulders and lets you concentrate on framing the shot. Whether you're more experienced or just beginning, I encourage you to try out your camera's automatic modes, including scenes. Most automatic modes are right on the camera's Mode dial, as shown in Figure 5-1. Simply dial one in and start shooting.

Here's a rundown of the types of automatic modes you might come across:

Auto: This mode (see Figure 5-2) probably needs the least explanation. You point the camera. You press and hold the shutter button halfway to focus, and then press the shutter button down fully to take the photo. The camera does the rest. Simple.

Several cameras have advanced auto modes that are smarter than basic Auto. Sony calls it Intelligent Auto, formerly Auto+. Most Canon cameras have a Scene Intelligent Auto mode. The camera senses the shooting conditions, not simply the exposure, and chooses the best settings for you to take the photo.
Flash Off: This mode is Auto without the flash. It may even be called Auto (Flash Off) on your camera. Use it when you want to be in Auto mode but want to keep the flash from firing. See Figure 5-3.

FIGURE 5-2: Auto mode allows you to focus on photography instead of the camera.

FIGURE 5-3: Flash Off is an automatic mode that prevents the flash from firing.

Ego is the number-one reason people bypass Auto modes in favor of something more complicated. That's a shame, because no matter how smart or technically driven you are, it can be fun to just take pictures.

Guided creativity modes

This section features modes that share an important feature: They actively help guide your creativity. You don't have to do a lot of camera wrangling when using these modes. These modes are often located on the Mode dial (see Figure 5-4), but you may have to make several selections or choices before you can start shooting.

FIGURE 5-4: This dial has Creative Auto, scenes, and a special scene mode with more options.

GUIDED/CREATIVE AUTO

Guided Auto and Creative Auto modes are automatic, but give you several options for how the photos should turn out. Some consumer-level Nikon cameras have a Guide mode that walks you through a series of situations (similar to scenes) or goals (soft backgrounds and the like) to get to the right camera setup; this mode is highly interactive — not hands-off like a standard Auto mode at all. Canon's equivalent is the Creative Auto mode. It's less interactive than Nikon's Guide mode, but has some of the same goal-driven choices.

SCENES

Basic Auto modes have a significant drawback: The camera doesn't know what you're photographing. You could be taking a photo of a running child or a potted plant and the camera may not be able to tell the difference. Scenes are different. You remove the guesswork from the camera by telling it what you’re shooting.

Many cameras represent scenes on the Mode dial with small symbols. You may need to refer to your camera manual to decode them the first few times. Other cameras include a few scenes on the Mode dial itself, plus a Scene mode on the Mode dial to access more scenes. Yet others may just have a Scene mode on the dial instead of individual scenes. Select this mode using the dial and then choose a specific scene from the camera display.

Here's a list of some typical scenes your camera may have:

Portrait: Use when you want to take a nice solo or group portrait. The lens is set so that the background will be nicely blurred, as shown in Figure 5-5. Skin tones are natural.
Landscape: This scene captures scenery in vivid colors and with a large depth of field.
Macro/Close-up: Use this mode to capture close-ups.
Sports/Action: Optimized to photograph moving subjects with a fast shutter speed, as shown in Figure 5-6. You can also use this scene when you're moving in order to reduce camera shake by implementing a fast shutter speed.
Child: A cross between action and portrait. Use when photographing children.
Sunset: You got it. This scene is ideal when photographing sunsets. It brings out the red, orange, and yellow colors well.
Night View/Scene: Think landscape at night with city lights, as shown in Figure 5-7. Some cameras recommend using a tripod with this scene.
Handheld Night/Twilight: Shoot at night without a tripod.
Night Portrait: Shoot portraits in the dark. The idea is to allow the overall scene to remain darker than normal, but still expose the subject properly. The flash may fire.
Candle: Shoot scenes lit by candlelight, as shown in Figure 5-8.
Food: For all you “foodies” out there, a special scene to help you photograph those tasty treats you’ve proud of making.
Others: You may run across more scenes ranging from Blue Sky, Forest, Pet, Kids, and Surf & Snow.

FIGURE 5-5: Portraits often have soft backgrounds.

FIGURE 5-6: The object here is to capture action without blurring.

FIGURE 5-7: This mode doesn’t attempt to brighten the background at night.

FIGURE 5-8: Special modes like this enable you to capture subjects in different settings.

SPECIALTY MODES

Some cameras have a few specialty modes that deserve consideration:

Sweep Panorama: Instead of manually photographing several frames of a panorama and then using software to stitch them together into a single, large photo, Sweep Panorama handles everything. All you do is point, shoot, and pan. I positively love this mode. A finished photo is shown in Figure 5-9. Sony also has a special 3D Sweep Panorama mode, which saves the panorama in two files: a standard JPEG and a 3D data file.

Panoramas are saved as JPEGs only. You can’t get Raw files. Individual frames from the panorama aren’t saved either.
Continuous Advance Priority AE: This Sony-only mode sets the camera to rattle off photos as fast as possible by locking the aperture open. This removes the delay from resetting it between shots. The camera also determines the shutter speed. It's great for sports, but also when someone’s opening a present or blowing out the candles. Photograph pets or children as they play.
HDR/Dynamic Range: HDR, or high dynamic range, modes (sometimes located with scenes) are designed to capture multiple exposures (normally three) with a higher dynamic range than a single frame, and then automatically process them into a single finished image. Book 5, Chapter 6 has more information on shooting HDR images.
Multiple exposures: Shooting multiple exposures is a creative challenge. The fun part is experimenting with different scenes to come up with two or more that look good together. Figure 5-10 is an example of a dual exposure shot using the Canon 5D Mark III.

FIGURE 5-9: Automatic panoramas are fun photography.

FIGURE 5-10: Creative use of multiple exposures.

FILTERS AND EFFECTS

Your camera may have a special filter or effect mode. Some even have these modes right on the Mode dial. For example, the Canon 80D has a special Creative Filter mode, which enables you to shoot photos with the filter effect applied. There are many different types of filters. To name a few: Soft focus, Fisheye, Toy camera, Miniature, HDR, Water painting, and so forth.

I strongly encourage you to play around with creative filters and effects. This is fun and creative photography. You can also shoot photos normally and apply special effects later, either using the camera or special photo-editing software.

Classic autoexposure modes

Three classic autoexposure modes are shown on a Mode dial in Figure 5-11. They evaluate the exposure automatically, but allow you to control everything else (metering mode, autofocus options, white balance, drive, and so on).

The modes are:

Program Auto (P): Also known as Programmed Auto, Program AE (for autoexposure), or programmed autoexposure. Program Auto is basically an advanced Auto mode. The camera is set on automatic exposure and selects an aperture and shutter speed combination that it thinks is best. You control all other settings. It’s great for snapshots.

Most cameras have modes called either Program Shift or Flexible Program mode. This mode let you choose a combination of shutter speed and aperture that you want to use. Use this mode if you have a particular aperture or shutter speed you want to achieve a certain depth of field (for aperture) or to freeze action (for shutter speed). You have more creative input this way. Figure 5-12 shows a camera display in Program Auto mode.
Aperture-priority (A or Av, which stands for Aperture value): Also known as aperture-priority auto or aperture-priority AE. In aperture-priority mode, you set the aperture and the camera determines the shutter speed needed to reach the proper exposure. This mode is good when you want to control the depth of field. Use it for portraits, landscapes, and close-ups. Aside from exposure, you control all the other settings. Figure 5-13 shows a camera display in aperture-priority mode.
Shutter-priority (S or Tv, which stands for Time value): Also known as shutter-priority auto or shutter-priority AE. This mode works the same as aperture priority, only you set the shutter speed instead of the aperture. It’s best used when you need control over the shutter speeds. Use it for sports, action, and when you are moving. Aside from exposure, you control all the other settings yourself. Figure 5-14 shows a camera display in shutter-priority mode.

FIGURE 5-12: Programmed auto screen with typical options.

FIGURE 5-13: Settings you might see in aperture-priority mode.

FIGURE 5-14: A shutter-priority shooting screen.

Manual mode

Switch to manual mode when you want full control over exposure. While “manual mode” sounds intimidating, you can exercise as much or as little control as you want in other areas. I recommend using manual mode when aperture- or shutter-priority modes aren’t able to capture photos with the exposure you want. You also benefit from manual mode when you want the exact same settings for every photo in a session. There are two manual modes, which are shown on a Mode dial in Figure 5-15:

Manual (M): You control all camera settings, including the exposure controls. Auto ISO may not be available in manual mode. Manual mode is shown on a camera display in Figure 5-16.
Bulb (B): Bulb mode is a special type of manual mode. You select an ISO and aperture normally, but the shutter is untimed. When you press the shutter button, the shutter opens, and when you release the button, the shutter closes. This mode is great for long exposures and fireworks. If your Mode dial doesn’t have a B setting, try entering manual mode and lengthening the shutter speed until it reads B (Bulb). A camera in Bulb shooting mode is shown in Figure 5-17.

FIGURE 5-15: Manual is always M; Bulb (B) may or may not be on the dial.

FIGURE 5-16: In manual mode you can play around with custom exposures without the camera interfering.

FIGURE 5-17: In Bulb mode the shutter duration is up to you.

Setting the image quality

If you’re in an advanced mode, set your image quality now. The Image Quality option is located on a Shooting menu for most cameras. Your dSLR will have a number of options. I prefer to have the camera record Large/Fine JPEGs and Raw images simultaneously because it gives me a high-quality JPEG right out of the camera. I can process the Raw version later at my leisure. In fact, all the photos in the book using advanced exposure modes were shot this way, whether they are photos of cameras or something more picturesque. You may not need the largest, highest-quality images. Book 1, Chapter 4 has more details.

Choosing a viewing mode

Digital SLRs offer two ways for you to view the scene through the lens: using a viewfinder (optical or electronic) or the monitor on the back of the camera. Using the viewfinder is a time-honored tradition that harks back to the days of manual focus SLRs. It’s still here because viewfinders are very effective. The latter is generally called Live View mode, Live View, LCD mode, or sometimes Live Preview. There are unique benefits to using the monitor on the back of the camera instead of the viewfinder. Which one you choose depends on the situation at hand and your personal preferences.

Viewfinder

The viewfinder is a great way to compose and take photos, as shown in Figure 5-18. I like it for most situations because it pulls my attention into the scene and keeps it there with minimal distractions. Some dSLRs have large, bright viewfinders that make looking through them a joyful experience.

You will see a number of exposure settings as well as autofocus points and possibly metering aids. You may be able to turn on grid lines and other indicators (a level, for example) that will help you line things up in the viewfinder. Use everything at your disposal if you need to.

In general, I find that viewfinders (electronic and optical) focus my attention better in most situations than when I use the LCD screen. I tend to hold the camera steadier because I'm able to support it with my body. However, I often use the LCD monitor in the studio or when I can’t hold the camera and look through the viewfinder.

Live View

If you prefer to compose shots using the LCD monitor, switch to your camera’s Live View mode, as shown in Figure 5-19. To make this choice, you may need to use the menu, press a button, or move a switch. You may need to enable Live View from the menu. In some cases (Sony’s electronic viewfinders, for example) you simply pull back from the viewfinder. The Eyepiece sensors recognize this and switch viewing to the monitor. If you have an articulated LCD monitor, swing it out to an appropriate position if you need to.

Live View works great in the studio, where you can mount your camera on a tripod and take the time to precisely compose the scene and focus. Live View, especially in tandem with an articulated monitor, makes it easier to shoot in some funky positions where the viewfinder is inconvenient. You can hold the camera over your head and shoot over obstacles, or hold the camera down low without having to lay down on the ground. Be prepared to turn up your monitor brightness when using Live View outside in bright daylight. Look in your camera's menu system (see Book 1, Chapter 4 for more information on menus) for Live View settings.

When using Live View, you can zoom in when focusing (generally by pressing some sort of zoom button, depending on the camera). The magnification, which is far more than you can get through a viewfinder, makes getting the precise focus a snap. In addition, some cameras have focus helpers. Sony dSLTs, for example, have a feature called Focus Peaking. When on, edges in the area in focus are highlighted with the color of your choice. It's a very nice visual indicator to have.

Configuring the display

Quickly decide if you want to change the display. As shown in Book 1, Chapter 4, you can turn on a grid, use an electronic level, and show or hide different warnings and alerts. You can also change the amount of information shown.

When you’re setting up your camera using Live View and working out the exposure, it helps to have everything turned on and at your fingertips. However, when you’re framing, turn off everything except the grid.

Setting exposure controls

If you’re using one of the advanced shooting modes, you need to set the exposure controls to the values you want before shooting. Aperture and shutter speed are normally set by a dial, or graphically using a shooting information screen. ISO often has its own button, but can also be changed graphically or from a menu. Here is a quick review of the controls:

Aperture: The opening in the lens, as expressed by an f-number. I cover aperture more in Book 3, Chapter 2.
Shutter speed: How long the shutter stays open, measured in fractions of a second or seconds. For more information on shutter speed, turn to Book 3, Chapter 3.
ISO: ISO controls how sensitive the image sensor is to light. Most of the time you can leave it on Auto. If you need to set it manually, use the lowest ISO you can. You’ll get less noise (graininess). You may need to raise the ISO if you can't open the aperture on the lens any more than it is and need a fast shutter speed. When necessary, set your camera to Auto ISO and specify a maximum ISO for your camera. I cover ISO in Book 3, Chapter 4.

For more information on exposure, turn to Book 3, Chapter 1. Here are some guidelines for each shooting mode:

Program: Setting exposure controls isn’t necessary, but you may want to use your camera’s Program Shift feature to choose a specific shutter speed/aperture combination.
Aperture-priority: Set the aperture to achieve the effect you’re after. Large apertures (small f-numbers) let in more light and are very useful in low-light situations. They also create pleasingly blurred backgrounds. Small apertures (large f-numbers) let in less light and take photos with sharper backgrounds.
Shutter-priority: Set the shutter speed based on the conditions. Faster shutter speeds let in less light but capture action without blurring. Slower shutter speeds let in more light, but your subjects (and you) need to be still.
Manual: Set the aperture and shutter speed to achieve the exposure and creative side effects that you want.
Bulb: Set the aperture that you want and time yourself or guess how long you need to keep the shutter open when you take the photo.

Setting other parameters

Depending on the mode you’re in, you may need to set a number of other parameters, some of which are outlined in this section. If you choose an automatic or guided mode, the camera does most of this work for you. That’s the idea, and why those modes are very popular. They remove a lot of the guesswork for people who don’t know how to set up everything.

Flash

Configure the flash if you're in a mode that allows you to. If you’re using the camera's built-in flash and in an advanced mode, open it pressing the Flash button. For more information on setting up and using a pop-up flash, or using a flash, refer to Book 4. I'll wait for you here. If you’re using an external flash, make sure it's mounted and turned on. Attach any flash modifiers, such as a diffuser. Set the flash type you want to use: Slow Sync, Red-Eye Reduction, or Rear-Curtain Sync. Use your experience as a guide, or take a few test shots and compare. Don’t forget about using flash compensation or controlling the flash’s output manually in certain situations.

Drive (a.k.a release) modes

Set the drive/release mode (see Figure 5-20) to match the type of shooting you’re doing. Some cameras have a Drive button. Others require you to set the drive from a shooting settings screen.

Single shot: Take one shot at a time (also known as single-frame shooting). Use this deliberate mode whenever you just need a single picture.
Continuous (a.k.a. sequential or burst): Continuous modes (there are two types: high-speed and low-speed) fire off exposures for as long as you hold the shutter button down or until the memory card is full. Capture speeds slow down as the camera’s buffer gets filled and images wait to be stored on the memory card. How quickly this happens depends on the image size and quality, type (JPEG+Raw, or just one format), and size of the buffer. Choose low-speed when you want to capture a few shots in sequence but don’t need 50. Depending on the action or the moment, you may want to switch to high-speed continuous. It’s perfect for capturing fleeting moments and slices of action. Use continuous mode when you’re shooting brackets of any kind (white balance or exposure brackets for HDR).
Self-timer: Many cameras have 2 and 10 or 12-second timers. These are great if you want to take a self-portrait or if you want to minimize camera shake when using a tripod.
Remote: By the same token, if using a wireless remote, set the drive to the correct mode to support it.

FIGURE 5-20: Set the drive/release mode to take single, consecutive, timed, or remote shots.

Focus mode

Choose a focus mode using the switch on the lens. Some cameras also have this switch on the camera body. Here are your options:

Autofocus (AF): Most people prefer using autofocus. If you do, you have options of changing the AF point selection method (manual or some form of automatic) and the AF mode of operation (single versus continuous).
Manual focus (MF): If you want to switch to manual mode, now is a good time.

AF modes

If you’ve decided to use autofocus, you have quite a bit of control over how the system works. Your camera has AF modes (sometimes called AF Operation), which determine whether the camera focuses once and then beeps or continues to focus while you have the shutter button pressed and held halfway. You can change them using your camera’s menu or shooting information display. See Figure 5-21. Here are three common types of AF modes:

Single focus: The camera focuses once and beeps at you. The AF point used might light up in the viewfinder. This works well for portraits and other non-moving subjects. Also called one shot or single-servo AF.
Continuous focus: The camera focuses continually for as long as you hold the shutter halfway down. Use this mode to track moving subjects, or if you’re moving. Continuous focus is also called AI servo or continuous-servo AF.
Automatic switching: In this mode, the camera automatically switches between single focus and continuous focus as the need arises. Also called AI focus or auto-servo AF.

FIGURE 5-21: This mode determines whether or not the camera keeps autofocusing.

AF point selection methods

Another way to refine how the autofocus system works is to change how it determines what AF points (specific points in the camera’s viewfinder it uses to focus) to use. Some cameras have an AF Point Selection button. Others require you to use a function or settings screen, as shown in Figure 5-22. There are two broad categories that define how AF points are selected:

Automatic AF point selection: You let the camera decide which points to use. Most of the time, it does a pretty good job. However, it does have a tendency to focus on the closest object, whether that's what you intend or not.

Automatic AF point selection may not be precise enough when you’re working with extremely shallow depths of field (the area that appears in focus) or when needing to focus on one of several objects at different distances.
Manual AF point selection: You select the AF point yourself. You generally have to press an AF Point Selection button or make a menu choice to make your selection. Depending on your camera, you may be able to choose a point, a zone, a group of points, a dynamic group of points, or other AF point selection methods.

FIGURE 5-22: You can allow the camera to decide or take control of the AF points yourself.

More expensive cameras have additional AF point selection options. The Canon 5D Mark III professional-level full-frame camera has no fewer than six AF area selection modes. They are: Single-point Spot AF (Manual selection), Spot AF (Manual selection), AF point expansion (Manual selection, 4 surrounding points), AF point expansion (Manual selection, 8 surrounding points), Zone AF (Manual selection of zone), and 61-point automatic selection AF.

Live View focus modes

Most cameras use different autofocus routines when using Live View. Newer Canon cameras, for instance, offer three ways to use autofocus in Live View: Face Detection + Tracking, FlexiZone Multi, and FlexiZone Single (see Figure 5-23). Each mode has its pros, cons, and quirks. Cameras like the D3400, on the other hand, offer four AF area modes when in Live View: Face-priority AF, Wide-area AF, Normal-area AF, and Subject-tracking AF. You can change focus modes generally from the menu or the Live View shooting display.

FIGURE 5-23: Investigate your camera’s Live View focusing modes.

Metering modes

Your camera should have a number of metering modes that enable you to prioritize how it reacts to light in different parts of the frame. Pattern, Evaluative, Matrix, or Multi-segment metering modes evaluate the entire frame to determine how bright the scene is. Center-weighted Average uses the entire frame but gives priority to the center of the frame. Partial covers a large area in the center of the frame. Spot metering meters a small circle in the center of the frame or the selected autofocus point (depending on the camera). Check your camera for specific metering modes. Some cameras have a Metering mode button. Others require you to access the menu or a shooting information display. I go into more metering detail in Book 3, Chapter 1.

White balance

When your camera’s white balance is set correctly, you won't even notice it. Photos will look good and that's that. When white balance is off, photos will have an unnatural-looking color cast to them. Here’s what’s happening: Digital cameras assess light based on temperature (daylight, for example, has a color temperature that’s different from shade or man-made lighting) and use that information to make recorded colors and shades of gray look correct.

I advise changing the White Balance setting on your camera only if you notice that photos look overly blue, yellow, or have a distinctly odd look to them. If you want to experiment, change the White Balance setting to match the lighting conditions of your subject. Some cameras have a White Balance button. Others require you to access them from the menu or a shooting information display. Typical presets shown in Figure 5-24 and described in this list:

Auto: The camera figures out the conditions and sets a color temperature. This setting works well outdoors and when you’re using a flash, but not so well indoors without a flash.

Auto isn't foolproof. The camera can get it wrong. When working with Raw files, you can reset the white balance as if nothing ever happened, without any loss of image quality. This is one of the best reasons to shoot Raw photos.
Direct sun: Use this White Balance setting whenever you’re outdoors in the sunlight.
Flash: When you’re using flash, choose this setting.
Cloudy: Use this setting on cloudy days.
Shade: The Shade setting is used differently from the Cloudy setting.
Tungsten lights: Use it when you’re indoors, working with normal “old-fashioned” light bulbs with a tungsten filament in them.
Fluorescent lighting: You may have a few options for fluorescent lights. For example, higher-level Nikon cameras offer Sodium-Vapor Lamps, Warm-White Fluorescent, White Fluorescent, Cool-White Fluorescent, Day White Fluorescent, Daylight Fluorescent, and High-Temp Mercury-Vapor.
Custom/Set temperature: Set the color temperature based on a photo of a white object you take on location (see Figure 5-25), or manually, in (geekazoid alert) degrees Kelvin.

FIGURE 5-24: There are a number of white balance options to choose from.

FIGURE 5-25: The camera evaluates the light and sets a custom white balance.

However important, don't confuse a good White Balance setting with reality. I noticed this effect when sitting in church one day. I could see the pastor in person and a Live Video display of him at the same time. He was in warm light and had a nice golden glow on his shirt and skin. The video, whose white balance had been set to counteract the color of the light, negated the golden glow and made him “cooler” than he actually was. It looked nice, but wasn't a totally accurate depiction of the scene.

Configure other parameters

Make sure to configure any other features or parameters that are important for this sequence of shots. They are available from your camera’s menu or a shooting information display. Here are a few things to think about:

Exposure helpers: If necessary, set or change options like the Auto Lighting Optimizer or Highlight Tone Priority (Canon), D-Lighting (Nikon), Dynamic Range Optimizer (Sony), and any others.
Noise reduction: Set any noise reduction options your camera has for using long exposures or high ISO speeds.
Lens corrections: Ensure any automatic lens distortion or chromatic aberration correction features on your camera are enabled if you desire.
Brackets: Set the number of brackets and any other parameters now. You may be able to shoot either white balance brackets or auto exposure brackets (AEB). Some cameras shoot other types of brackets. The Sony A77, for instance, has a special Dynamic Range Optimizer bracketing mode. For more information on brackets and HDR, see Book 5, Chapter 6.
Mirror Lockup or Mirror Up setting: This setting (see Figure 5-26) reduces camera shake caused by mirror slap, which are vibrations created when the mirror swings up and out of the way to take the photo. When this setting is enabled, the camera flips up the mirror and delays the shutter for a moment. You don’t need this feature unless you’re using a tripod or another type of support and want the most stable, shake-free shot possible. On some cameras, you'll get a mirror lockup indicated on the camera display or top LCD panel.

Don't forget to revert to normal mirror operation when you finish. I've used mirror delay and forgotten about it, and then wondered why a delay occurred between the time I pressed the shutter button and when the camera took the photo the next time I went out.

FIGURE 5-26: Use Mirror Lockup to dramatically reduce camera shake.

Taking and Reviewing Photos

Are you ready to take photos? I bet! Follow these steps:

Confirm the camera is ready and check shooting options.

Make sure the lens cap is off and out of the way, the camera and any powered attachments are on, you’re in a still photography mode (as opposed to movie), you’ve set the correct shooting mode, and the focus mode is set correctly. Nothing hurts more than not realizing the camera was set to manual focus mode after shooting 20-30 photos.

Double-check settings for image quality (see Figure 5-27), exposure controls, color space, noise reduction, red-eye reduction, image review, creative styles, and so forth. Your specific checklist depends on your camera.
- Canon users should check Picture Style, Auto Lighting Optimizer, Creative Filters, and the like.
- Nikon users should look at Picture Control, Auto Distortion Control, Active D-Lighting, and so forth.
- Sony users should check settings like Creative Style, Picture Effect, and D-Range Optimizer.
These options are dependent on the shooting mode you're in. The more automatic modes keep you from changing certain settings.

After completing this step, you need not obsessively check these options before every photo. This step is to make sure the camera is set up the way you want before continuing.

Unless you’re engaging in tripod-mounted landscape, macro, or other studio-type photography, it will take longer for you to read through the next few steps than it will to actually accomplish them. That’s because composing, focusing, and metering can take place almost simultaneously.
Compose the scene.

Aim the camera at the subject and place it in the frame of the viewfinder or monitor. If desired, zoom in or out to alter the composition. If you’re using a prime lens, you can move yourself closer to or farther away from the subject to change how the photo is composed.

When shooting certain types of shots (animals, people, or action shots), this step may only take a moment. When you’re setting up a portrait or shooting macros in a studio, you’ll spend more time perfecting the scene.

If things are totally out of focus and impossible to see, quickly press the shutter button halfway to autofocus or turn the focus ring on the lens to manually focus. Otherwise, you'll be looking at blobs and vague shapes. You need to see your subject with some clarity to compose, even if you have to refocus later.

There's a tried and true framing rule you should know about. It's called the Rule of Thirds. The rule suggests that you divide the frame vertically and horizontally into thirds — like a Tic-Tac-Toe board (see Figure 5-28). The idea is to place dominant vertical or horizontal lines in the scene (like building edges, the horizon, people, and so forth) on the dividing lines. You should place important objects at the intersection of those lines or within them. You can also work along the diagonals.

An advantage of using the Rule of Thirds is being able to align or balance objects in the scene against each other and the empty space. Balancing a scene involves weighing things in the frame (take size, shape, color, brightness, texture, and other factors into account) and positioning them so that most things average out. You can train your eye to see balance well enough that it becomes more of a gut feeling than a conscious act. You'll start to frame photos with balance because they “just feel right.”

Do you have to use the Rule of Thirds? No. Should you? Mostly. Although there are always exceptions, humans find it more visually pleasing when things are arranged this way.
Focus.

If using autofocus, press the shutter button halfway to establish autofocus. Don't stab at the button — press it smoothly. Practice a bit to know what halfway feels like, and how much more pressure causes the camera to take a photo. If you’re focusing manually, use the focus ring.

If you’re using Live View, focus according to the procedures for your camera. That may involve moving a focusing frame over the subject you want to be in focus. If using Live View and a tripod, you can zoom in and check focus very precisely. I use this technique all the time when shooting close-ups in my studio.

Metering also occurs when you press the shutter button halfway. The camera quickly evaluates the brightness of the scene and calculates the correct exposure to produce a good photo. If desired, enter exposure correction now. If you’re in manual mode, make changes to the exposure controls now. Watch the exposure index to see what affect they have on the exposure (more on this in Book 3, Chapter 1).

When you’ve focused and the exposure looks good, you may have time to quickly adjust your aim. At times, you won’t have this luxury. If you only get one take at it, make it a good one. However, many types of photography give you plenty of time to compose the scene, focus and meter, adjust exposure settings, think about it for a while, fine-tune the focus, and then readjust the composition of the scene.

Here are some thoughts to keep in mind when focusing and metering:
- You may be able to press a different button than the shutter button to autofocus. This reduces the chances of accidentally taking photos when focusing. You may also be able to change button assignments.
- In low light, you may have an AF-Assist beam shine out from the camera or flash to help the camera lock onto the target. If this bothers you, you may be able to disable it. Other cameras use a pulse from the built-in flash to help autofocus.
- If you're using autofocus and there is a problem focusing on the subject you want, change focusing modes or focus points if necessary.
- If you’re using AE lock, you’ll compose the scene differently than normal. Center your subject, focus, and then press and hold the AE Lock button. While holding the AE Lock button down, recompose and take the photo.
Reality check.

Check focus indicators, exposure settings, and, if possible, depth of field. This may take only a fraction of a second. Get used to working quickly. For example, if you see the ISO spiking and don’t want a noisy photo, you may want to make changes before you take the shot. By the same token, if you’re photographing people and notice that the shutter speed is so low that they will be blurred, change it. See Figure 5-29.
Press the shutter button fully to take the photo.

If you released the shutter button earlier, press it halfway again to focus and meter. When focus is confirmed, press the shutter button fully to take the shot.
Review the photo.

I like reviewing every photo unless the action is fast and furious. Then I review the first few and glance at the rest until there is a break in the action. At a minimum, you should periodically review sample shots to make sure you're not wasting your time.

Check to see that photos are in focus, well-lit, have good color, and framed the way you want them to be. If necessary, use the zoom in or zoom out buttons in Playback mode to look closely at the photo, and the left, right, up, or down buttons to pan. This is also a good time to look at the histogram. Figure 5-30 shows the final shot.
Correct problems.

Correcting problems is an important step. If you identify problems when reviewing photos, make changes to correct them.

You're looking to solve these general issues:
- Composition: Level, even, or as planned.
- Exposure: Good, with details in bright and dark areas, or as intended. Check metering mode if necessary to get a better reading of the scene.
- Focus: Sharp, unless you're after a special effect.
- Color: Good, with correct white balance.
- Subject-related: Eyes open, looking at the camera or where you intend.
Rinse and repeat.

Depending on what you’re shooting, you may be able to quickly cycle back to Step 2 and keep at it. If you want to make dramatic changes to your setup, such as changing lenses, trying different shooting modes, or changing other major settings, return to the earlier section “Setting Up Your Camera” and reconfigure the camera.

FIGURE 5-27: Check settings before you begin shooting from your camera’s settings screen.

FIGURE 5-28: Visualizing using the Rule of Thirds.

FIGURE 5-29: Quickly confirm that everything is within normal parameters.

FIGURE 5-30: Review photos to ensure they captured what you intended.