The Digital Photography Companion

GAINING SPEED

SHOOT UNDERWATER PORTRAITS

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For best results, use a tripod when shooting to ensure that each frame is perfectly

aligned with the next. is will make it easier for Photoshop to merge the images later.

Before you begin, set your camera to shoot at the highest resolution and with the least

amount of compression possible. (You want to squeeze every bit of information out

of your JPEGs.) en put your camera in Program mode, compose the scene, and lock

the tripod.

To capture a simple three-frame series, use the camera’s exposure-compensation con-

trol to underexpose the first shot by two stops. For the second shot, set exposure com-

pensation to 0, which represents your normal exposure. Finally, take the last picture at

+2 exposure compensation to overexpose by two stops. You can play with this formula

depending on the tonal range of the scene. For example, you may want to bracket only

one stop instead of two, or you might take five photos, bracketing from -2 to +2.

If you don’t have your tripod handy, you’re not necessarily out of luck. Here’s a work-

around that I use for those situations. First, turn on your camera’s continuous-capture

mode so that you can record frames in rapid succession. en find the Auto Bracket-

ing setting and select an exposure variance, such as -1, 0, +1 or -2, 0, +2. Compose your

scene. While keeping the camera very steady, hold