When we make photographs we aim not only for correct exposure but also the clearest, sharpest photos possible, unless of course we are embracing the blur for creative reasons. How many times have you captured a favorite shot that looked clear in Playback mode on the little LCD screen, only to find it was blurry when you saw it on the big screen? It happens to everyone, even professionals. The following tips and techniques will help you achieve tack-sharp photos of which you can be proud.
In Program AE (P) mode, Aperture Priority mode, Shutter Priority mode and Manual mode you can utilize your camera’s Autofocus (AF) modes to help you achieve tack-sharp photos. (Full Auto mode and the Scene modes have built-in focusing protocols.) There are basically two AF modes, also referred to as drive modes: One Shot and Continuous.
Canons have three AF modes: One Shot mode (AF-S for Nikon); AI Servo mode, which is its continuous Focus mode (AF-C for Nikon); and AI Focus mode.
Use One Shot focus mode for shooting a still subject; press the shutter release button halfway down to lock focus (your camera will beep and show a focus confirmation light when it has locked focus), then press the button all the way to take the shot. If you have a moving subject, set your camera to Continuous Focus mode and it will continually focus as your subject moves around.
AI Focus mode for Canon is really like One Shot mode with an automatic sensor that allows it to go into AI Servo (Continuous Focus) mode when it detects motion. Use AI Focus mode when you are not sure whether to choose One Shot or Continuous Focus mode.
In some instances, manual focusing is your best choice. I use manual focusing for taking close-up shots with my dedicated macro lens, as it often has trouble honing in and locking focus on my subject in Autofocus mode. I just set my lens to manual focus and twist the focus ring until I find good focus on my subject.
Other situations where the camera will have a hard time finding focus on its own are with low-contrast subjects, subjects in low light, objects that are highly reflective, subjects with extreme backlighting, objects with repetitive patterns, and instances where you have both a near and a far subject.
Aside from special situations like these, I’m a fan of using autofocus over manual focusing because it tends to be more accurate.
Tack-Sharp Close-up - Use One Shot focus mode with the center autofocus point for shooting a still subject. The center AF point is the most sensitive. 100mm f/2.8 macro lens, ISO 100, f/5.6 for 1⁄400 sec.
Tack-Sharp Landscape - Forest landscapes are tough to photograph because the ground is usually covered with natural debris that distracts the eye. Snow-covered forests, on the other hand, are just perfect, and the clean backdrop makes the stark, crisp trees stand out. I further sharpened the trees with Photoshop’s Sharpen tool. 15–85mm f/3.5–5.6 lens at 17mm, ISO 400, f/11 for 1⁄100 sec.
When you look through your camera’s viewfinder, you will see an array of focus points. The center focus point—the most sensitive point—should be pointed straight at your subject. In One Shot focus mode, press the shutter button halfway down to lock focus on your subject, then while the button is depressed halfway you can recompose your shot if you want (the subject does not have to be in the dead center of your composition), then take the photograph by pressing the shutter button all the way down. Pressing the shutter button halfway down also locks exposure settings on my Canon when I use Evaluative Metering mode in conjunction with P mode or the semiautomatic modes. Check your DSLR instruction manual for your camera’s specifics.
Recomposing the shot is referred to as lock focus/recompose. If your subject is way off center, you’ll get a clearer shot if you select an off-center AF point that lines up with your subject.
If you have a subject that is moving all about your scene, your best bet is to choose the All autofocus points option and let the camera automatically choose the best autofocus point, or choose Continuous focus mode. Some higher-end DSLRs actually allow you to use more than one AF point at a time.
If taking a landscape shot that has a lot of depth, the general rule of thumb is to focus 1⁄3 of the way into the scene for the best results. For portraits, focus the camera on the person’s eyes. If one eye is closer to you, focus on that eye.
DO NOT use the lock focus/recompose method if you are shooting with a very shallow DOF, as your subject will probably not stay in focus. Instead, choose an AF point that’s closest to your subject.
LockFocus Recompose - The lock focus/recompose technique comes in handy when you don’t want your subject to be dead center in the photo. I didn’t use a shallow DOF here, so I felt safe making such a significant recomposition. I was pretty confident the subject would remain in focus. I might have been safer choosing an AF point closer to the gull, but sometimes I like to live on the edge. 15–85mm f/3.5–5.6 lens at 85mm, ISO 100, f/11 for 1⁄250 sec.
I would be remiss if I did not include information on how to focus your smartphone’s camera. It’s very simple. The native iPhone camera will automatically focus in the center of the screen, and will properly expose and apply a white balance setting for this area. If you wish to place the focus elsewhere in the scene, just tap the screen over your subject and the focus will relocate to that spot. The camera will adjust exposure and white balance for the new focus area. If there is more than one subject to focus on, like two faces, the camera will detect this and automatically create two focus points, one over each face. The camera apps Camera+, PowerCam and 645 Pro Mk II function a little differently, as they allow you to separate focus from exposure if you wish. Meaning, you can focus on one area, but set exposure from another (like the AE lock feature on your DSLR, which we’ll discuss). Each camera app works a bit differently, so familiarize yourself with how focus and exposure work in your camera apps.
It is very important to hold still when snapping the shutter release button on your DSLR, especially when the shutter speed is on the slower side, as even the smallest camera shake can yield a soft or blurry photo.
I often hold my elbows in close and breathe out slowly when I shoot. If I’m using a longer, heavy lens like my 24–70mm f/2.8 lens, I place my left hand under the lens barrel for added support. Having good posture can also help you make tack-sharp photos. I draw on aspects of my correct flute-playing posture (yep, I’m a flutist), my choral teaching skills for a good singing posture and yoga skills, which all call for a comfortable stance with feet shoulder-width apart and knees that are not locked.
I stand tall, imagining there is a string being pulled upward through the center of my head. I don’t recommend leaning forward, as it will cause strain on the neck and shoulders, which can also cause problems with the wrist/hand, as everything is connected. Sometimes leaning forward is unavoidable, but be mindful of it.
If I need to be in a lower position, I step forward a bit with one leg and bend my knees slightly—a little bit like doing a lunge—or I go all the way down on one knee, always keeping a straight back. If I need to go lower still, I get down on my belly.
Why am I so mindful of shooting with good posture? I have caused injury to my body over time due to a poor flute-playing posture when I was younger combined with overuse of tendons/muscles. I want to help you prevent injury, avoid fatigue in the field that can lead to blurry photos, and help you get the sharpest photos possible.
If you know the shutter speed will be too slow for a handheld shot, look for a support (like a table) or use a monopod or tripod.
So how exactly does one know at which point the shutter speed is too slow for a handheld shot? There is a rule of thumb regarding minimum shutter speed, but before I share it, know that it is a rough guideline. I say that because I take handheld shots that are well beyond what I should be able to do according to this guideline.
It all depends on your body positioning and your ability to hold still, but even those who can hold very still have their limits.
The minimum shutter speed is the slowest possible speed with which you can safely take a handheld shot. Anything slower would require the use of a monopod or tripod. Basically, you need a support if your shutter speed is slower than your camera’s 35mm-equivalent focal length. In plain English, let’s say you are using a 50mm prime lens on a full-frame, 35mm-equivalent DSLR. That would mean your minimum shutter speed for a handheld shot would be 1⁄50 of a second.
What if you have a cropped-frame camera? Easy. Just multiply by your camera’s crop factor to determine the minimum shutter speed. So for a 50mm lens on a cropped-frame DSLR with a 1.6 crop factor, your minimum shutter speed would be 1⁄80 of a second, because 50 × 1.6 = 80. What if your calculations produce a nonexistent shutter speed? Easy, just round up to the next closest speed.
There is another thing to consider when it comes to avoiding blur in your photographs, and that is what you are photographing. If you are photographing an inanimate subject with a low ISO, slow shutter speed and a tripod, you won’t have any trouble getting a sharp photo. What if you are taking a portrait with a low ISO, slower shutter speed and a tripod? Using slower shutter speeds with portraits can be tricky, especially if the speed is slower than 1⁄60 sec. And by the way, I don’t recommend doing that unless flash is involved.
To avoid subject blur with a shutter speed on the slower side, your subject needs to stay still. If there’s potential for movement, bump up your ISO to get a faster shutter speed that will shorten exposure time. We’ll go over ideal shutter speeds for many scenarios when we discuss the semiautomatic exposure modes (coming up in just a few pages).
Some lenses have an image stabilization feature that you can activate with the flip of a switch (called vibration reduction in Nikons). This feature can allow you to take handheld shots at slower shutter speeds; photographers claim this feature allows them to go two to four stops more before having to use a tripod (and yes, I can attest to that).
Tips: Do not use this feature when you place your camera on a tripod, as it can damage the mechanisms of the camera. Also, make sure it’s turned off for shots with faster shutter speeds, as it will slow down the autofocus speed and potentially make your images less sharp.
Lock your DSLR’s mirror in its up position, called mirror lockup. This makes a small difference, but increases the chances of sharper photos when used along with other tricks.
If the weather is chilly, dress warmly and wear fingerless gloves. No need for camera shake due to a shivering body and chattering teeth.
The iPhone 5s (which is current as I write this) has a new image stabilization feature, where the native camera quickly takes four shots in a row and merges them into one, reducing the chance of blur. Apps with image stabilization features include Camera+ and ProCamera.
Mobile device camera apps with self-timers include Camera+, Camera!, 645Pro, Pure and ProCamera. Attach your phone to a special mount that then connects to your DSLR’s tripod or monopod.
Tack-Sharp Portrait - Focus on the subject’s eyes, whether a human or a pet. If one eye is closer to you, focus on it. I don’t recommend using too wide an aperture with a close-up portrait (no wider than f/2.8), as some facial features might become blurred, unless of course you want that look for creative reasons, which I definitely do at times. This photo was taken by pet photographer Lara Blair. View more of her amazing work in the e-companion to this book. Visit CreateMixedMedia.com/artofeverydayphotography to learn more. 24–70mm f/2.8 lens at 45mm, ISO 200, f/11 for 1⁄125 sec.
It is very important to hold still when snapping the shutter release button on your DSLR, especially when the shutter speed is on the slower side, as even the smallest camera shake can yield a soft or blurry photo.
I often hold my elbows in close and breathe out slowly when I shoot. If I’m using a longer, heavy lens like my 24–70mm f/2.8 lens, I place my left hand under the lens barrel for added support. Having good posture can also help you make tack-sharp photos. I draw on aspects of my correct flute-playing posture (yep, I’m a flutist), my choral teaching skills for a good singing posture and yoga skills, which all call for a comfortable stance with feet shoulder-width apart and knees that are not locked.
I stand tall, imagining there is a string being pulled upward through the center of my head. I don’t recommend leaning forward, as it will cause strain on the neck and shoulders, which can also cause problems with the wrist/hand, as everything is connected. Sometimes leaning forward is unavoidable, but be mindful of it.
If I need to be in a lower position, I step forward a bit with one leg and bend my knees slightly—a little bit like doing a lunge—or I go all the way down on one knee, always keeping a straight back. If I need to go lower still, I get down on my belly.
Why am I so mindful of shooting with good posture? I have caused injury to my body over time due to a poor flute-playing posture when I was younger combined with overuse of tendons/muscles. I want to help you prevent injury, avoid fatigue in the field that can lead to blurry photos, and help you get the sharpest photos possible.
If you know the shutter speed will be too slow for a handheld shot, look for a support (like a table) or use a monopod or tripod.
So how exactly does one know at which point the shutter speed is too slow for a handheld shot? There is a rule of thumb regarding minimum shutter speed, but before I share it, know that it is a rough guideline. I say that because I take handheld shots that are well beyond what I should be able to do according to this guideline.
It all depends on your body positioning and your ability to hold still, but even those who can hold very still have their limits.
The minimum shutter speed is the slowest possible speed with which you can safely take a handheld shot. Anything slower would require the use of a monopod or tripod. Basically, you need a support if your shutter speed is slower than your camera’s 35mm-equivalent focal length. In plain English, let’s say you are using a 50mm prime lens on a full-frame, 35mm-equivalent DSLR. That would mean your minimum shutter speed for a handheld shot would be 1⁄50 of a second.
What if you have a cropped-frame camera? Easy. Just multiply by your camera’s crop factor to determine the minimum shutter speed. So for a 50mm lens on a cropped-frame DSLR with a 1.6 crop factor, your minimum shutter speed would be 1⁄80 of a second, because 50 × 1.6 = 80. What if your calculations produce a nonexistent shutter speed? Easy, just round up to the next closest speed.
There is another thing to consider when it comes to avoiding blur in your photographs, and that is what you are photographing. If you are photographing an inanimate subject with a low ISO, slow shutter speed and a tripod, you won’t have any trouble getting a sharp photo. What if you are taking a portrait with a low ISO, slower shutter speed and a tripod? Using slower shutter speeds with portraits can be tricky, especially if the speed is slower than 1⁄60 sec. And by the way, I don’t recommend doing that unless flash is involved.
To avoid subject blur with a shutter speed on the slower side, your subject needs to stay still. If there’s potential for movement, bump up your ISO to get a faster shutter speed that will shorten exposure time. We’ll go over ideal shutter speeds for many scenarios when we discuss the semiautomatic exposure modes (coming up in just a few pages).
Some lenses have an image stabilization feature that you can activate with the flip of a switch (called vibration reduction in Nikons). This feature can allow you to take handheld shots at slower shutter speeds; photographers claim this feature allows them to go two to four stops more before having to use a tripod (and yes, I can attest to that).
Tips: Do not use this feature when you place your camera on a tripod, as it can damage the mechanisms of the camera. Also, make sure it’s turned off for shots with faster shutter speeds, as it will slow down the autofocus speed and potentially make your images less sharp.
Lock your DSLR’s mirror in its up position, called mirror lockup. This makes a small difference, but increases the chances of sharper photos when used along with other tricks.
If the weather is chilly, dress warmly and wear fingerless gloves. No need for camera shake due to a shivering body and chattering teeth.
The iPhone 5s (which is current as I write this) has a new image stabilization feature, where the native camera quickly takes four shots in a row and merges them into one, reducing the chance of blur. Apps with image stabilization features include Camera+ and ProCamera.
Mobile device camera apps with self-timers include Camera+, Camera!, 645Pro, Pure and ProCamera. Attach your phone to a special mount that then connects to your DSLR’s tripod or monopod.
In low-light situations a fast lens can make all the difference. I tend to grab my 50mm f/1.8 prime lens (50mm f/1.4 is preferable, but more costly). It’s an affordable fast lens with a wide maximum aperture that can let in more light than a typical zoom lens, which allows for taking photos with faster shutter speeds (thus the moniker “fast lens”).
A faster shutter speed prevents blur, plain and simple, whether it be subject blur or blur from camera shake. A faster shutter speed can help you avoid using flash and can also prevent you from having to bump up the ISO too high. The wide apertures you can access on a fast lens give a lovely, soft background, but I caution you to be careful when using its wider apertures, which create intensely shallow depth of field (DOF).
If you are taking a close-up shot of a person at f/1.8, you will get some features out of focus. On the flip side, if you are using an aperture smaller than f/22 on any lens, you can also cause blur; this phenomenon is known as diffraction. Lenses tend to be blurriest at their widest and smallest apertures.
Remember the rule of thumb that lenses tend to be at their sharpest two stops down from their widest aperture. Your lens’s sharpest setting is best used when the elements in the scene are at the same focal distance (on the same plane). Using your lens’s sharpest aperture for scenes with depth, especially landscape shots with depth, will not be effective; instead use a smaller aperture (f/11–f/22) for decent overall sharpness.
Let’s say you have a low-light situation and you do not have a particularly fast lens or a tripod. What to do to get a clear shot? You need a fast shutter speed. Get it by using the widest aperture available and bumping up your ISO.