One of the greatest gifts you can give your child as a parent is a visual record of their childhood. Photography is just that—a visual record—but it’s also an art form, and it gives you an opportunity to instill warmth, emotion, realism, and even a touch of whimsy in the images that you capture. Utilizing a knowledge base about light, composition, balance, and unity, photographers have the ability to create visually arresting images that have continuing influence on the world. While technical advances have continued to push the medium forward, the social significance of photography has remained true to its origins. By documenting the social and cultural shaping of modern centuries, photography has become a historical gauge of sorts. It binds us to events, places, and our family, and it will continue to do so.
Whether you are new to the medium of photography or have been shooting for some time, this chapter will guide you through the basics that will best serve your needs as you photograph your child. With the digital age seemingly on fast forward, it can be difficult to keep up with the advances in digital photography. After a quick historical survey, I will break down the basics so that you know what type of camera is the best choice for your experience, potential growth, and lifestyle, and I’ll give you some ideas about how to best use your equipment. This chapter will also touch on the resurgence of film photography and encourage you to explore fun alternatives to digital cameras, such as toy cameras and instant photography.
The invention of photography shifted early perceptions of realism and helped shape the way in which we see the world. By forever recording reality as it was perceived, photography changed not only science and industry, but art as well. In a sense, art and science worked in tandem to further the early technology of photography, just as they do today. The rapid development of photography and its spread throughout the world is directly attributable to the desire for more affordable life-like representations. As artists began to experiment with photography and the cost of producing images fell, even those who could not afford to commission painters could acquire photographs, allowing photography to become a documentary tool as well. Starting in the mid-nineteenth century when Alexander Wolcott opened the first commercial portrait studio, and continuing through the later part of the century, the photographic portrait became a popular way to capture the human expression. Middle- and upper-class families flocked to newly established studios to create keepsakes that could be displayed in their homes as not only art, but as documentation of space and time.
In the modern era, two men, George Eastman and Dr. Edwin Land, pushed the boundaries of photography. In 1888, Eastman invented the first Kodak, a camera that held one hundred exposures within the confines of a small black box. Once the photographer had exhausted every exposure, the entire camera was sent to Eastman’s processing facility in New York, where the film was developed, prints were made, and the camera was reloaded for its next use. In 1948, Dr. Edwin Land released the Land Model 95. It was the first instant camera—producing an image on paper just moments after the shutter button was depressed. Land continued to develop this technology into the 1970s and early 1980s, releasing the SX-70, the first instant single-lens reflex (SLR) camera. These developments changed the way people took photographs. It made photography a highly profitable industry and made accessible a medium that had been confined to the darkroom.
Through all the advances in photography into the twenty-first century, people continue to decorate their homes, and themselves, with photographs of family and friends. Beginning in the Victorian era with the inspiration of lockets containing photographs, creative jewelry designers continue to find new ways to set photos into their work, and such jewelry is an ever growing market. The reason is simple; human interaction—memories, holding onto keepsakes of those we love—doesn’t change with technology. The desire for visual reminders is an eternal condition of the human soul. While the ways photographs are taken and shared has indeed changed over time (sending images via e-mail or over our phones and uploading to photo-sharing sites like Instagram are the most recent methods), the desire remains. And like those before you, you are now setting upon a path to capture and share the everyday moments of your own family.
Now that you know the way the medium has evolved, it’s time to focus on the equipment. The camera is your essential tool in photography. While the camera itself plays a critical role in how you take pictures, honing your artistic eye is of equal, and perhaps greater, importance. We will discuss this in detail in the coming chapters. First, you need to identify the camera that best serves your needs. In the world of digital photography, four types of cameras normally fall into this category, and each possesses its own pros and cons. The four types are: medium format, 35mm digital single-lens reflex (DSLR), point and shoot, and device (the camera in your phone, for example). Medium format digital cameras are used primarily by commercial and editorial photographers, and the systems themselves can cost as much as a luxury car. These are likely to be out of reach of the amateur photographer, and will not be considered here. A lot of passionate photographers do not simply rely on one of the other three types, but use the benefits of each based on the circumstances. For example, point and shoots are much lighter and more compact than DSLRs and may be the best choice when you need to travel light. The selection available to consumers is overwhelming and often intimidating. But if you know what you want and need out of a camera before you start shopping, you are already ahead of the game. Understanding each system will help you make the best choice for yourself and for the way you and your family live.
The digital single-lens reflex (DSLR) camera is the digital incarnation of the original single-lens reflex (SLR) film camera. Early camera models were essentially all built the same way. The film was located just behind the lens so that it could be properly exposed when the shutter opened. The viewfinder was set above or to the side of the shutter and lens. This meant that when you looked through the camera, you were not seeing exactly what would be captured on your film. Inserting mirrors into the body of the camera to redirect light to a ground glass, made it possible for the photographer to see through the viewfinder exactly what the camera’s lens was seeing. The SLR was born. This mirror technology is still used in even the most advanced digital systems today.
Like the SLR film cameras before them, DSLRs are more expensive than point and shoot cameras, and for good reason—they produce the best images. However, many user-friendly and affordable models have appeared on the market over the last few years. What really sets DSLRs apart from point and shoot cameras is the ability to interchange lenses, which gives the photographer much more control over the final image. There is an adage in photography that it’s not about the camera, it’s about the glass (the lens), meaning that your camera is only as good as your lens. I belong to this school of thought: the better the lens, the better your final image. (We will go into this in detail later in this chapter.) A common misconception is that megapixels (Mpx) are solely responsible for overall image quality. In truth, Mpx is only one consideration. Megapixels are, in the simplest terms, small units that make up an entire image. The more Mpx a camera has, the higher the resolution of the final image—and the higher the resolution, the larger the final print can be. But there are two additional critical factors in image quality, the camera’s sensor (the part that transfers light to image) and the lens you are using. DSLRs have larger sensors than point and shoot cameras, and as a result, fewer Mpx in these models will result in better images than more Mpx in a point and shoot camera.
So why might this camera work for you? Let’s take a look at the pros and cons of the system. For someone brand new to photography, there is a lot to learn with DSLR systems. With patience and practice, however, mastery is within your reach. The quality of your images, from both a technical and aesthetic standpoint, will be your reward. The beautiful depth of field (which areas of your photograph are sharp and which are blurred) and control you have with this system simply cannot be replicated with a point and shoot camera. The initial investment in a DSLR system should include a camera body and lens. Several manufactures offer entry-level DSLRs in packages that include both the body and lens (sometimes two lenses) together. This is a cost-effective way to familiarize yourself with this type of camera. Often, though, the lenses are not the highest quality glass. To have more control, my recommendation is to purchase the body and the lenses separately. If this is your first experience with purchasing a DSLR, it is important to visit a local camera store and actually hold the camera—feel how heavy it is and how much heavier with a lens attached. Reflect on how you live and whether you are willing to tote it around with you, or is the additional weight negligible compared to what you normally carry daily? I do not mean to imply that these cameras are all bricks, but it’s important to consider your lifestyle—you do not want to spend a lot of money on a great DSLR system only to have it sit at home because you don’t feel like carrying it. Or maybe you plan on using it at home when photographing your child and carrying something lighter with you when you venture out? A good salesperson in a camera shop will allow you to slide the camera into your bag for a moment to let you feel the weight. The merchant can also be incredibly helpful in showing you the basic operating skills required for each system so that you can get started at home. To get the most out of your camera, however, it is very important to read your manual!
The most popular brands of DSLRs in terms of availability and model selection are Canon, Nikon, Pentax, and Sony. Other good brands are Leica, Sigma, Olympia, and Panasonic. One reason to choose a model from Canon or Nikon is lens availability. My personal belief is that you don’t need an arsenal of lenses—a few will get any job you require done with ease. However, lenses are another factor to consider in your ultimate brand choice, as most are not interchangeable. Beyond lens availability, the choice of one brand over another is highly personal, and this is another reason to spend some time in a camera shop. Look at all of the available models in your budget. Which feels the most comfortable in your hands? Which camera’s settings seem the most user-friendly? Once you’ve decided on a camera body, it’s time to select your lenses.
Lenses are the most important accessory you will purchase for your camera body. They come in an array of sizes and corresponding price ranges, some that might make you balk. I encourage you to spend some time researching your chosen brand of lenses. I have made the initial mistake myself on more than one occasion to save money and go with a lesser quality lens. It showed in my work immediately, and I then had to deal with the aftermath of selling the lens at a loss and purchasing the better lens. That is not to say that you have to buy the three most expensive lenses in a brand’s line to be a successful photographer—not at all! It is more important to have one incredibly well-made lens than multiple lesser quality lenses. Camera lenses are differentiated by focal length and aperture. The focal length determines your field of view. A lens with a small number such as 14mm or 24mm (wide lens) will grant a rather wide field of view as shown in figure 1. A lens with a focal length of 80mm or 110mm will give you a narrower field of view (figure 2). So what is the difference in simple terms? If you are photographing the interior of a home or a landscape, for example, you likely will want to capture the whole room or as much of the horizon line as possible. In this case, a wide lens is ideal. However, if you plan on taking portraits, you probably want to focus on your child’s face and the immediate surroundings, and a 50mm, 80mm, or 90mm lens is the best choice.
What makes some lenses more expensive is the second element, aperture. The aperture is noted as an f-number on the lens. The numbers can be confusing for beginners, because lower numbers indicate “larger” apertures. (I’ll clarify this later in the chapter.) A lower number, f/1.8 or f/2.8, for example, will give you more control of your depth of field. In addition, you should note that the lower the f-number, the higher quality the glass and the more expensive the lens. In simplest terms, the depth of field determines what is in focus and what is not. Often, the most flattering portraits have a shallow depth of field (a low f-number/large aperture), the face is in focus and the background is almost hazy and dreamy. This can be achieved in-camera with a lens with a large (which means smaller number—it won’t be confusing forever!) aperture. I say “in-camera” because some photographers achieve this effect with lower quality cameras in post-production software such as Photoshop; we will touch on post-production later in the book.
So what lens should you start with? Let’s take a moment to look at your needs. You will probably find the most joy with the most versatile lens, one that allows you to capture close-up portraits of your child in their environment. I believe your best investment is a 50mm prime lens (also called fixed, meaning it cannot zoom) with an f-number of either f/1.4 or f/1.8. Your budget will be the determining factor. The 50mm is highly versatile, and even if you begin to amass a collection of lenses, you may find yourself relying heavily on the 50mm (I do!). Prime lenses do not zoom, which means you have a little more work to do to capture the image you’re after. However, it’s widely held that fixed lenses are often of higher quality. If you think that a zoom lens is the only type that will fill your needs, try to find one with the lowest f-number and widest range of focal lengths. Photographers are passionate about lens choice, and most are very opinionated on the matter. While I swear by the 50mm for portraiture, another photographer may believe that nothing beats an 85mm. If you are wavering, many camera stores allow you to rent lenses by the day, week, and month so that you can test the lens before you buy. If you live in a smaller town, you can rent lenses from any of several excellent online rental companies. (You will find them listed in the Resources section.) When you are ready to expand your lens collection, I believe that a wide-angle lens between 24mm and 28mm and a macro lens at either 105mm or 110mm will meet all your needs. A zoom lens of 24mm to 70mm is another option. But try them out. Explore, push yourself, and have fun! Know that one amazing lens can change your photography life forever. I promise.
fig. 1
fig. 2
If you have decided to enter the world of DSLR photography, here is a quick list of what you need to get started (and what you can add later):
» Camera Body. Most bodies come with a camera strap, a battery charger, and one battery.
» Lens. Many lenses come with a lens bag and all should come with a lens cap.
» Memory Card. Your retailer can tell you which card will work in your cameras. Sizes from 1 gigabyte to 128 gigabytes of space are available. A 2 or 4 gigabyte card should serve your initial needs quite well.
Once you are comfortable shooting, you may want to add accessories to make your experience a bit easier in certain shooting situations. This list simply gives you an idea of the most popular accessories. You by no means need them to be an amazing photographer. Juergen Teller, one of the most sought-after fashion photographers working today, often uses cheap, disposable cameras!
» External Flash. If you do decide to shoot with the flash, an external one will give you much better control over where the light bounces and how it illuminates your subject.
» Filters. Filters serve a multitude of purposes from cutting glare to infusing color, and there are hundreds of them. It’s best to shoot without one in the beginning to determine what your needs are in terms of this accessory.
» Additional Batteries. If you are shooting over several hours, at a family reunion, for example, it is helpful to have a back-up battery charged and ready to go.
» A Battery Grip. A grip that attaches to the camera and houses batteries to extend shooting time even further is another option. Fair warning: these grips add often unneeded weight to your camera.
» Tripod. If you want to try your hand at more formal portraiture or your available light is dim, a tripod can be a lifesaver. One of the primary causes of blurry pictures is camera shake; using a tripod avoids this mistake.
» Light Meter. DSLRs are equipped with internal light meters. However, in some circumstances, an external meter will serve you well. For example, if you are in a patch of sun and shooting your child in light shade, your camera will probably give you the wrong reading. You will get a better exposure if you use a light meter to determine the reading where the child is seated. A trick you can use if you don’t have a light meter in this situation is to walk over to the child and meter your camera there for correct exposure. Then walk back to where you want to stand and shoot without adjusting your f-stop or shutter speed for the sun.
» Remote Shutter. This is a great tool for self-portraits and any time you want to appear with your child. The remote shutter syncs wirelessly with your camera to fire the shutter at a push of a button. The remote is also helpful in very low light situations when even pressing the shutter could cause enough shake to create unwanted blur in your image.
» Camera Bag. The more accessories you accumulate, the more important it is to have them all in one place.
» Additional Lens (discussed on page 24).
Known for their light weight and ease of use, point and shoot cameras are the entry point for many people who want something to simply capture the important events in their lives. Point and shoots make up the majority of the digital cameras sold today, and the technology has advanced quickly so that high-quality models can be found for less than three hundred dollars. Point and shoots are just that. The camera will—and can—do everything for you. This is one of the reasons it is the most popular type of camera. Advanced models that have more functions and settings give you more control over your photograph. While you will not be able to achieve the range of depth that you can with a DSLR, you can still shoot beautiful photographs. New to the point and shoot market are hybrid cameras. Hybrids are still small and compact, but they have larger sensors and superior, interchangeable lenses. The hybrid is a great option for those who don’t want to invest in a DSLR system.
If your main goal is to photograph your children, you should look for certain features and settings to be most successful. Remember megapixels? While more megapixels will give you a large image, it may not be a great image. What matters most, especially in point and shoots where you cannot change the lens, is the size of the image sensor. The larger the sensor, the better the quality of the image. This technology is constantly evolving in point and shoot models, so be sure to ask your salesperson which models have the largest sensors. Another important factor is optical image stabilization; this greatly reduces blur and can be quite handy if you are photographing children who are just learning to move and crawl—they are all over the place. In addition, select a model with a fairly high ISO setting. We will get into ISO in depth later, but in short, a higher ISO gives you more light, which gives you a faster shutter, which means less blur. Again, this feature makes photographing toddling little ones a bit easier. As with the DSLRs, you should do your research on specific brands and visit a camera store to test the controls and functions on several models. You are unlikely to find point and shoots available to rent like DSLRs, which is all the more reason to spend an afternoon in your local camera store.
So why would you choose a point and shoot over a DSLR? There might be several reasons, including price point and ease of use. Again, I encourage you to look at the way you want to use the camera. Do you simply want something reliable that you can take on family vacations and snap photos of your children to share with friends and family? If so, a point and shoot with its automatic settings and compact size is probably the right choice. If your decision hinges on price, you can still achieve gorgeous photographs with these cameras, and a little post-production can make them look like they were shot with a much higher end camera.
As the demand for more streamlined and multifunctional electronic devices has increased, so has the quality of cameras found on these devices. None is more popular and easily used than the phone camera. There are many advantages to using phone cameras. Not only are you able to streamline what you’re toting around, you can quickly share and even edit these images now. Countless user-friendly applications let you edit your photographs on the go, and some include their own built-in community (Instagram is one). Phone photography, or phonography, as it is sometimes called, is becoming an art form in itself. See the Resources section for some wonderful reads on this subject.
When Apple introduced the iPhone 4S, in 2011, it possessed an 8 megapixel camera coupled with the largest aperture available on a phone, allowing for better use in low-light situations. Users are able to shoot high-quality photographs that can be printed up to 8 inches by 10 inches and appear to have been photographed with a high-quality point and shoot camera. With demand on the rise, other companies are following Apple’s lead and are creating phones with better cameras every year.
The primary advantage of a phone camera is sharing images on the go. What many have been calling “the new Flickr,” Instagram allows you to take a photograph with your phone, edit it (allowing you to adjust focus and apply one of nearly twenty filters), upload it to a mobile site, and “like” and comment on other photographs—all within the platform. Through their own mobile site, you are able to link your Instagram account directly with your Facebook and Twitter feeds.
Everyone seems to love the phone camera for its portability, ease of use, and image sharing. Many professionals now use the phone camera to shoot quick tests for composition and light. Like everyone else, I love the fact that I can quickly, and beautifully, share photographs with friends and family while out and about. There are no cords, no memory cards, and no card readers needed—just you and your phone and instant sharing.
Film photography is both wholly tangible and all at once magical. Whether or not you’ve stood in the pungent, rose-tinted light of a darkroom, there is a thoughtfulness and reverence to shooting with a film camera. If you are new to photography, I encourage you to seek out a film camera to play with. It by no means needs to be an expensive model. It can even be a “toy camera,” but you will not have a better lesson on patience and light than what that camera can teach you. Each frame is its own little universe and should be respected as such; the more you shoot with a film camera and note the results once they’ve returned from the photo lab, the more your confidence as a photographer will grow. Ultimately, you will be that much more efficient at shooting digitally.
You can choose from any number of film cameras including the 35mm SLR (the forebearer of the DSLR), medium format cameras, and toy cameras, as well as instant cameras. A 35mm is a wonderful place to start to practice the basics, as we’ll discuss shortly. You can hone your knowledge of aperture and shutter speed with an older, fully-manual camera, or just experience the beauty of film with an automatic. Medium format cameras come in all sort of varieties, from the top-end Mamiya and Hasselblad professional models to the Twin Lens Reflex (TLR) cameras and even toy cameras such as Holga and Dianas.
TLR cameras, shown in the image to the right, are nostalgic fun, and children find them especially fascinating. Instead of viewing your subject directly through the viewfinder in front of you, you look down into the viewfinder, which reflects the image back to you. Most of these cameras are fully manual, but some are equipped with light meters to help you set your aperture and shutter speed. They take medium format film and produce square images.
TLR cameras are also ideal for building TTV (through-the-viewfinder) cameras. A TTV is a twin reflex that has been fitted with a long box atop the viewfinder. Using a macro lens on a digital camera, you shoot through the box and viewfinder, which results in a digital image with a very nostalgic look. (Many fans of this technique have also been successful using the macro setting on point and shoot cameras.) This look is ultimately created by the small scratches and blemishes on the lens of the TLR you are shooting through. The best camera to use for this technique is the Kodak Duaflex, which is inexpensive and fairly easy to find on eBay. You will not be inserting any sort of film into the body of this camera, but do ensure that the listing for the camera you buy states that the viewfinder and lenses are fog free. Small scratches are okay, as they will add to the overall feel of the final photograph.
Another medium format option is the toy camera. The most popular brands on the market today are Holga and Diana. Both have simple, inexpensive, light-weight plastic bodies and lenses. Most are fully automatic and provide only a dial for adjustments for indoor and outdoor lighting. Because they are built so cheaply, they often produce light leaks, and this unpredictability is one of the reasons photographers are drawn to them. Some people use black tape to cover all the seams of the plastic housing to ensure that no light leaks penetrate to the film. Others, however, embrace the nuances of the camera. These cameras are also easy to use to create double exposures. Simply do not advance the film after you press the shutter and take the second exposure. When developed, the images produce an almost ghost-like effect.
By Jennifer Way
Instant cameras are near and dear to my own heart. They capture light like no other camera ever made. Though the Polaroid Corporation gave up the production of instant film in 2008, a new sun has risen in the hearts of instant photographers. The Impossible Project (TIP), a company based in the Netherlands, purchased the European Polaroid film production facility and essentially saved integral film. TIP now makes products for all Polaroid integral film cameras. Both TIP film in black and white and color is beginning to equal the quality of the original Polaroid films. The magic has been reborn.
Fuji also continues to make films for both older model Polaroid cameras that take peel-apart (or pack) film and their own creation, the Instax. Produced in a Mini and a Wide model, the Instax is all about point and shoot instant fun. Fully automatic, the camera is a great, inexpensive entry to instant photography, and it’s even more fun when you put the camera in little hands (more on that soon!).
Now that you have your camera, you are likely very eager to start using it. Though your manual may look slightly intimidating with too much technical jargon, you should read it before shooting. But before you read your manual, read this section of the chapter. Knowing some of the key terms used, what they mean to you, and how you shoot will make reading that seemingly boring manual more interesting and understandable. While I will not flat out tell you not to use the automatic settings—I want you to be comfortable—I will do everything in my power to convince you to try shooting manually. I cannot overstate the difference you will see in your images if you take the time to learn a few easy steps. Shooting manually is not as difficult as it used to be, because digital cameras are all equipped with internal light meters. The more informed you are about some rather simple settings, the more confident you will feel about shooting.
Regardless of brand name, most 35mm film and DSLRs operate the same way. When you shoot in A (or Automatic) the camera decides what f-stop and aperture your subject requires. But maybe you don’t like what the camera does. Figure 3 is a photograph shot in A and then again shot in M (Manual). Do you see the difference? The colors in the second image are richer, the depth of field is stronger, and the overall light is more flattering.
fig. 3
Let’s start with what an f-stop actually is. (You may see this also referred to as f-number.) F-stop refers to the setting that dictates how much light is being allowed inside the camera. When you press the shutter button (to take a photograph), you are opening a hole that permits the sensor to see your subject and allows light into the camera. The f-stop controls tell the camera how large or small that hole will be. A smaller hole (or aperture), which is indicated by a higher f-stop number, will allow less light into the camera; while a larger hole/aperture (and smaller f-stop number) will let more light into the camera. Figure 4 shows how the aperture (hole) size corresponds to f-stop numbers. Refer to this chart as we continue the discussion.
fig. 4
The f-stop is important for controlling not only the light, but also the depth of field. Depth of field describes which areas of the photograph are in focus and which are not. Of course, focus (or sharpness) is also controlled by what you allow your lens to focus on; but depth of field describes the entire photograph. In figure 5, the first photograph is shot with a large aperture—and remember that a large aperture means a smaller f-stop number. Do you notice that the subject’s face is in focus (or sharp) but everything around her is out of focus (often called soft focus)? In the second photograph, the background is as sharp as the girl’s face. Which do you think is more appealing for a portrait? Keeping your subject’s face as the primary focus is exceptionally flattering and much more aesthetically interesting. The viewer is not overwhelmed with everything else in the scene, and is drawn to just the quiet beauty of the child’s face. The f-stop numbers are drastically different in these examples. Why does the light look the same? Let’s move on to talk about shutter speed to find out.
fig. 5
Remember that hole that opens and closes? The one that your f-stop controls dictate the size of? You can also control the speed with which it opens and shuts. The mechanics of the camera make that hole open every time you press the shutter, then close immediately once you’ve captured your image. A faster shutter speed means that the shutter will open and close quickly, letting little light in; a slower shutter speed means that the shutter stays open longer, allowing more light into the camera. Knowing how the shutter works, let’s revisit the images in figure 5. If I shot the first image with a smaller f-stop (a large hole), did I need a quick or slow shutter speed to control the amount of the light entering the camera? A quick shutter speed, because that hole is already wide open, letting lots of light in, right? For the second image, the larger f-stop (a small) hole would require a slower shutter speed to let as much light in as possible to ensure the correct exposure. One consideration about slower shutter speeds, however, is camera shake. The longer the shutter is open, the longer it’s exposing your subject. If you even take a breath, you may end up moving the camera just enough while the shutter is open to create a bit of blur in your image. But there is a solution for that as well! You can put your camera on a tripod to ensure that it stays perfectly still, or you can change your ISO settings.
The last consideration in proper exposure is the ISO. In film cameras, ISO refers to the speed of the film. Films with lower ISO numbers, like ISO 100, require more external light in order to be exposed correctly, while higher numbers, such as 800 and 1200, require less. Although digital cameras do not use film, they do still have ISO settings and operate the same way a film camera would. Instead of the light hitting the film, however, it’s hitting the image sensor. ISO is another tool to help you control the light. If you are shooting on a bright, sunny day, you will find that setting your ISO low, at 100 or 200, for example, will give you plenty of light. If you are shooting in a darker room lit only by one small window, though, one option is to use a slower shutter speed to get enough light into the camera. But how do you avoid camera shake? Set your ISO number higher, allowing your f-stop, shutter speed, and ISO to work together to create a perfectly lit photograph. Something to be aware of, however, is that the higher the ISO number, the more “noise” you will see on the image. In film photography, this is called “grain” and can be very beautiful in black and white film images. However, digital grain, or noise, is not as attractive. Placing your camera on a tripod in low light situations, will allow you to balance your ISO with your shutter speed to avoid heavy noise.
Now that you know how to control the camera settings, you need to ensure that you and the camera are on the same page. On most DSLRs, when you look through the viewfinder on your camera and press the shutter button halfway, you see a little chart. It may be on the bottom of your screen or to one side depending on the model. This is your internal light meter.
The (+) numbers show how many f-stops overexposed the camera believes your image to be; while the (-) numbers show how many f-stops underexposed the camera is seeing. (Overexposure results in a washed-out image, and underexposure in an image that is too dark.) As you shoot more, you will determine the best method for controlling your settings. Personally, I start by thinking about how much depth of field I want and set my f-stop accordingly. Based on that information, I am then able to set my shutter speed according to the light meter. In theory, your image will be perfectly exposed when the little dot or needle (depending on what your meter chart looks like) is right in the middle. However, because lighting situations vary widely, you cannot always believe what the meter is telling you, and this is why it is so important to play! (We’ll talk more about lighting in the next chapter.)
Nearly all point and shoot cameras are equipped with manual settings and work somewhat the same as DSLRs. You do not have as much control over your depth of field, however. The sensors in these cameras are simply too small. Instead, you can use the f-stops to control how much light you are letting into the camera. Point and shoot cameras, especially when shooting in automatic mode, will likely fire the flash when you need more light. TURN THE FLASH OFF! You are now equipped with enough knowledge that you do not need to rely on a tool that will probably wash faces out and create unflattering shadows. If you need more light, try setting your ISO higher and your f-stop lower. As we have already discussed, these are the primary tools for allowing more light into the camera. This is also helpful when babies and little ones are on the move, as motion causes blur. Speeding up the shutter (i.e., using a higher ISO and a lower f-stop) will make it easier to capture your little one scoot across the floor. If you’ve really fallen in love with that soft focus achievable in DSLRs with a low f-stop, you can simulate this look in photo-editing software.
Most DSLRs and point and shoots give you more options than just manual and automatic settings. Some allow you to set your f-stop, and then the camera automatically determines your shutter speed (and vice versa). However, keep in mind that sometimes the camera simply cannot read the lighting situation correctly, and your exposure still may not be what you had in mind. It is best to play with these settings and determine for yourself if you like the look of the final images.
In this chapter we have touched on the fundamentals of photography. There is much more to learn and explore on this subject, and I have provided a list of some of my favorite photography books in the Resources section of this book. Read as much as you desire, but remember that, ultimately, the old adage that “practice makes perfect” holds exceptional truth in photography. With time, you will look at the scene before you and have a good idea of what your f-stop should be and where to set your ISO. Shooting manually, you will not only gain confidence in your skills, you will have much more control over your image and be able to spend more time shooting than editing your images on a computer.
And though I speak very highly of film and its wonderful capacity to teach you patience when shooting, there is something to be said about the ability to shoot more freely with a DSLR system. Film is expensive, and related processing takes time and money. When you are starting out, shooting digitally lets you see your mistakes immediately and correct them immediately. But do remember that if you feel your passion for photography flowing, explore everything, film included.
