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Index
Chapter One Using Flash Like a Pro If You Hate the Way Photos Look with Flash, You’re Not Alone
10 Thing You’ll Wish You Had Known…
…Before reading This Book!
Here Are Those Last Three Things
Pop-Up Flash: Use It as a Weapon
The Advantages of a Deficated Flash
Get Your Flash Off Your Camera
Making Your Flash Wireless
Going Wireless (Nikon), Part I
Going Wireless (Nikon), Part II
Going Wireless (Canon), Part I
Going Wireless (Canon), Part II
“Drag the Shutter” to See More Background
How to Soften the Light from Your Flash
Softer Light by Bouncing It
Softbox-Quality Light from Your Flash
Tip for Shooting Through a Diffuser
Putting That Nice Twinkle of Light in the Eyes
Why you Might Want a Stand for Your Flash
Mounting Flashes Anywhere
Rear Sync Rocks (& Why You Should Use It)
The Fourth Secret to Pro Flash Results
Using Gels (& Why You Need Them)
Using Gels to Get That Sl Look
It You Have to Use Pop-Up Flash, Do This
Using a Second Flash
Controlling Your Second Flash (Nikon)
Controlling Your Second Flash (Canon)
How Far Back Can You Stand Using Flash?
How to Stand Back Even Farther
Controlling Your Light to Add Drama
Shooting Sunset Portraits with Flash
Chapter Two Building a Studio from Scratch It’s Much Easier and Less Expensive Than You’d Think
Studio Backgrounds
Using Studio Flash (Called Strobes)
Softening Harsh Studio Strobes
Why I Prefer Softboxes to Umbrellas
What a Speed Ring Does (& Why You Need It)
Using a Modeling Light
Firing Your Studio Strobe
Firing Your Studio Strobe Wirelessly
Using Continuous Light Instead
Choosing the Size for Your Softbox
Why You Really Need to Use a Light Meter
How to Use a Light Meter
Adding a Hair Light
Where to Position Your Hair Light
Testing Your Hair Light’s Position
Keeping Your Hair Light from Spilling
Which Mode to Shoot In
Where to Position Your Main Light
Using a Fan for Windblown Eff ects
Want Softer, More Even Light? Feather It!
What That Extra Panel in Your Softbox Does
Using a Pop-Up Collapsible Background
The Least Expensive Extra Light
Three Backgrounds for the Price of One
Using Off -Camera Flash to Light Backgrounds
The Advantage of Shooting Tethered
Getting Super-Saturated Background Color
Lighting a White Background
Which Color Refl ector to Use
Where to Position a Refl ector
Refl ectors Without an Assistant
Seeing the Light from Your Refl ector
Keep Light from Hitting the Background
Chapter Three Shooting Portraits Like a Pro More Tips to Make People Look Their Very Best
Don’t Leave Too Much Headroom
Shoot in Portrait Orientation
Shooting Portraits? Get a Battery Grip!
The “Sun Over Your Shoulder” Rule Is Bogus
Shoot Wide and Push in Tight
Shoot Profi le Shots in Horizontal
Shoot Long for More Flattering Portraits
Why Diff users Rock for Outdoor Portraits
Making a Better Background for Portraits
Trendy Composition Tip
Cropping Off the Top of Their Head
Group Photos Are Easier Outdoors
Tip for Posing Group Portraits
Great Tip for Casual Group Shots
Don’t Light Your Entire Subject Evenly
Want Better Portraits? Don’t Count Down!
Window Light: Where to Position the Subject
Window Light: Where You Should Shoot From
Six Quick Tips for Fixing Facial Challenges
Don’t Shoot with Their Shoulders Straight On
Making Your Subject Look Slimmer
Using a Posing Chair
Keeping Your Subject “In the Zone”
Avoid Dappled Light
Window Light: Where to Position the Refl ector
Get Couples Really, Really Close
Which Color Refl ector to Use
Shoot Outdoor Portraits Shallow
Minimizing Shadows Under the Eyes
Chapter Four Shooting Landscapes Like a Pro More Tips for Creating Stunning Scenic Images
The Secret to Shooting Sunsets
Cutting Refl ections in Water
For Landscapes, You Need a Clear Subject
Using Your LCD Monitor Outdoors
How to Shoot a Panorama That Works
How to Have Photoshop CS3 Put It Together
Shoot Fast When Shooting Landscape Panos
A Timesaving Pano Trick
The Trick for Using a Fisheye Lens
When to Shoot Streams
Don’t Stop Shooting at Sunset
How to Shoot Fog
Getting Shots of Lightning (Manually)
Getting Shots of Lightning (Automatically)
A Trick for Shooting Great Rainbows
Removing Distracting Junk
Where to Focus for Landscape Shots
Find the Great Light First
How to Shoot on a Gray, Overcast Day
A Trick for Great-Looking Flower Shots
The Full-Frame Camera Advantage
Chapter Five Shooting Weddings Like a Pro How to Get Professional Results from Your Next Shoot
Create a Shot List
Have Backups for Everything!
Silencing Your Camera’s Beep
Backlighting Your Bride
Don’t Changes Lenses, Change Cameras
Bring a Stepladder for a Higher Vantage Point
Why You Want a Second Shooter
When to Shoot in RAW
Where to Aim Your Flash
Shoot in Lower Light Without Raising Your ISO
A Recipe for Balanced Flash in Church
Compose to Include the Church
Add B&W to the Album
The Advantage of a Flash Bracket
Tip for Posing the Bride
Keeping Detail in the Bridal Gown
Getting More Flashes Per Wedding
How to Lessen Noise in Your Photos
Tips for Shooting the Bride’s Profi le
Wedding Zoom Eff ect Made Easy
Read David Ziser’s Digital ProTalk Blog Daily
Chapter Six Shooting Travel Like a Pro How to Bring Back Photos That Really Make Them Wish They Were There
In This Case, Less Gear Is More
Working People into Your Travel Shots
Getting People to Pose
What to Shoot on Overcast Days
Shooting from Your Hotel Room
The Magic Time for Cityscapes
Get These Shots Out of the Way First
Shooting Famous Landmarks
Air Travel with Photo Gear
Shoot the Food
Get a GPS for Your Digital Camera
Shooting Where They Don’t Allow Flash
Look for High Vantage Points
Give Yourself a Theme
Chapter Seven Shooting Macro Like a Pro How to Take Really Captivating Close-Up Photos
Maximize Your Depth of Field
Why You Should Turn Auto-Focus Off
Don’t Touch That Shutter Button!
Which f-Stop Works Best
Point-and-Shoot Macro Photography
A Trick for Visualizing Macro
Why You Might Want to Shoot Indoors
Buying a Macro Lens
Perfect, Even Light for Macro Shots
Making Your Lens into a Macro Lens
Chapter Eight Pro Tips for Getting Better Photos Tricks of the Trade for Making All Your Shots Look Better
Which Mode to Shoot In
Choosing the Right ISO
Which Format to Shoot In (RAW, JPEG, or TIFF)
Which Size to Shoot In
WHIMS Will Keep You Out of Trouble
How to Lock Focus
Moving Your Point of Focus
Zooming in Close? Use a High Shutter Speed
When It’s Okay to Erase Your Memory Card
Why You Need to Get in Really Close
What to Use Your Histogram For
Leave Your Lens Cap Off
Removing Spots and Specks After the Fact
What Looks Good in Black & White
Recompose, Don’t “Fix It” in Photoshop
Want to Be Taken Seriously? Start Editing
Label Your Memory Cards
Go Square
Tip for Shooting at Night (Long Exposure Noise)
The Very Next Book You Should Get
Chapter Nine More Photo Recipes to Help You Get “The Shot” The Simple Ingredients to Make It All Come Together
Index
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