book

Exposure Digital Field Guide

by Alan Hess

November 2009

Intermediate to advanced

287 pages

7h 8m

English

Wiley

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1.1. Defining Exposure1.1.1. Stop1.1.2. Exposure value1.2. Equivalent Exposures1.3. Exposure Modes1.3.1. Program auto mode1.3.2. Shutter speed priority mode1.3.3. Aperture priority mode1.3.4. Manual mode1.4. Metering Light1.5. Camera Metering Modes1.5.1. Spot metering1.5.2. Center-weighted metering1.5.3. Scene metering1.6. Exposure Compensation1.7. Exposure Compensation versus Flash Compensation1.8. Bracketing Your Exposures1.9. Using the Histogram1.10. Using the Clipping Information1.11. File Formats1.11.1. RAW1.11.2. TIFF1.11.3. JPEG
2.1. Direction of Light2.1.1. Front lighting2.1.2. Back lighting2.1.3. Overhead lighting2.1.4. Side lighting2.2. Intensity of Light2.3. Color of Light2.3.1. Color temperature2.3.2. White balance2.3.3. Daylight2.3.4. Tungsten or incandescent light2.3.5. Fluorescent light2.4. Using a Flash2.4.1. Fill light2.4.2. Color gels
3.1. Controlling the Shutter Speed3.1.1. Camera controls3.1.1.1. Program auto mode3.1.1.2. Shutter speed priority mode3.1.1.3. Manual mode3.2. When Shutter Speed Is More Important Than Aperture3.3. Freezing the Action3.3.1. Superfast shutter speeds3.3.2. Very fast shutter speeds3.3.3. Fast shutter speeds3.3.4. Normal shutter speeds3.3.5. Slow shutter speeds3.4. Very slow shutter speeds3.5. Panning
4.1. Controlling the Aperture4.1.1. Understanding f-stops4.1.2. Camera controls4.1.3. Program auto mode4.1.4. Aperture priority mode4.1.5. Manual mode4.2. Depth of Field4.2.1. Defining the depth of field4.2.2. Controlling the depth of field4.2.3. Shallow depth of field4.2.4. Middle depth of field4.2.5. Deep depth of field4.3. Aperture versus Shutter Speed4.4. Understanding Lens Limitations4.4.1. Lens speeds4.4.2. Diffraction4.4.3. Variable and constant aperture lenses4.4.3.1. Variable aperture lenses4.4.3.2. Constant aperture lenses4.4.4. Macro lenses, aperture, and depth of field
5.1. Understanding ISO and Light Sensitivity5.2. Digital Noise5.3. High ISO Noise Reduction5.3.1. Noise reduction through exposure5.3.2. Noise reduction using software or camera settings5.4. Using a Higher ISO

6.1. Exposure Considerations6.1.1. Shooting outdoors6.1.1.1. Using available light6.1.1.2. Using a flash6.1.1.3. Shooting in low light6.1.2. Shooting inside6.1.2.1. Using available light6.1.2.2. Using a Flash6.1.3. Checking the exposure6.2. Concert Photography6.3. The Right Equipment for the Job6.3.1. Camera6.3.2. Lenses6.3.2.1. Fast lenses6.3.2.2. Telephoto and zoom lenses6.3.2.3. Prime lenses6.3.3. Accessories6.3.3.1. Camera bags6.3.3.2. Photo vests6.4. Shooting Events6.5. Shooting Tips
7.1. Exposure Considerations7.1.1. Aperture7.1.2. Shutter speed7.2. Considering Lighting and Location7.2.1. Indoors7.2.2. Outdoors7.2.3. Portrait tones7.2.3.1. High-key portraits7.2.3.2. Mid-key portraits7.2.3.3. Low-key portraits7.3. Working with People7.3.1. Children7.3.2. Groups7.4. The Right Equipment for the Job7.4.1. Lenses7.4.2. Lights7.4.2.1. Studio strobes7.4.2.2. Continuous lights7.4.2.3. Portable flashes7.4.3. Other accessories7.4.3.1. Reflectors7.4.3.2. Diffusers7.4.3.3. Backdrops7.4.3.4. Light meter7.5. Shooting Portraits7.6. Shooting Tips
8.1. Exposure Considerations8.1.1. When to shoot8.1.2. Shoot in Aperture priority mode8.1.3. Metering modes8.1.4. Shooting snow8.1.5. Checking the exposure8.2. The Right Equipment for the Job8.2.1. Lenses8.2.2. Accessories8.2.2.1. Tripods8.2.2.2. Filters8.2.2.2.1. Circular Polarizing filter8.2.2.2.2. Neutral density gradient filter8.2.2.3. GPS receiver8.3. Macro Nature Photography8.4. Panoramic Photography8.5. Shooting Landscapes and Nature Photographs8.6. Shooting Tips
9.1. Exposure Considerations9.1.1. Long shutter speeds9.1.2. Wide open aperture9.1.3. High ISO9.2. The Right Equipment for the Job9.2.1. Cameras and lenses9.2.2. Accessories9.2.2.1. Tripods9.2.2.2. Cable release and remote control9.3. Photographing Light Trails and Fireworks9.4. Photographing Silhouettes9.5. Sunrise and Sunset Photography9.6. Shooting at Night and in Low Light9.7. Shooting Tips
10.1. Exposure Considerations10.1.1. Shooting outside during the day10.1.2. Shooting inside10.1.3. Shooting outside at night10.2. The Right Equipment for the Job10.2.1. Cameras10.2.2. Lenses10.2.3. Accessories10.3. Shooting Sports and Action Photographs10.3.1. Get into position10.3.2. Figure out which mode to use10.3.3. Get good non-action action shots10.4. Shooting Tips
11.1. Exposure Considerations11.1.1. The bride and groom11.1.2. Shooting inside11.1.3. Exposing for movement11.1.4. Evaluating exposure11.2. The Right Equipment for the Job11.2.1. Camera bodies11.2.2. Lenses11.2.3. Dedicated flash11.2.4. Accessories11.3. Shooting a Wedding11.3.1. Getting ready for the bride11.3.2. Getting ready for the groom11.3.3. The ceremony11.3.4. The formal portraits11.3.5. The reception11.4. Shooting Tips
12.1. Exposure Consideration12.1.1. Using Aperture priority mode12.1.2. Picking the right metering mode12.1.2.1. Spot metering mode12.1.2.2. Scene metering mode12.2. The Right Equipment for the Job12.2.1. Cameras12.2.2. Lenses12.2.2.1. Telephoto lenses12.2.2.2. Teleconverters12.2.2.3. Fast lenses12.2.3. Accessories12.2.3.1. Tripods12.2.3.2. Monopods12.2.3.3. Beanbags12.2.3.4. Remote triggers12.3. Pet Photography12.4. Shooting Wildlife and Animal Photographs12.5. Shooting Tips
13.1. Exposure Considerations13.2. High exposure13.3. Underexposure13.4. Using Exposure to Create a Mood13.5. Using ISO Noise Creatively
A.1. Adobe PhotoshopA.1.1. Adobe Camera RawA.1.2. PhotoshopA.2. Adobe Photoshop LightroomA.2.1. Library moduleA.2.2. Develop moduleA.3. Adobe Photoshop ElementsA.4. Apple ApertureA.5. iPhoto
B.1. The Gray CardB.2. The Color Checker

Content preview from Exposure Digital Field Guide

Acknowledgments

Special thanks to my wife for her amazing patience as I wrote this book. I know that I am not the easiest person to get along with when facing deadlines.

I would like to thank my parents, brothers, sisters-in-law, and all the nephews and nieces for being the supporting family that everyone should be lucky enough to have.

Thanks to all my family and friends for allowing me to always be pointing a camera at you and letting me use the photos in this book.

Special thanks to Brian Ross, David Baron, and Maya at PR Photo — you all opened new doors and shooting opportunities for me, and I thank you.

My deepest gratitude to Courtney and Cricket for all their guidance; this is our third book together and I am glad for all your help. Thanks to Haje Jan Kamps and Kim Heusel for all their hard work as well.