Welcome to the exciting world of DSLR photography! When you pick up your first DSLR camera and see that it has a dozen or more knobs and dials and has literally more than a thousand possible settings, it can be a very daunting experience. But the fact is, that shooting with a DSLR can be quite simple and we can have you shooting great photographs in (as promised) twenty minutes.
That is, in part, due to the fact that your DSLR has a computer inside that is thousands of times more powerful than the computer on board the Apollo spacecraft that landed the first man on the moon! Just as a modern automatic transmission in an automobile can shift gears better than all but a professional race car driver, in fully automatic mode your DSLR’s “brain” will make decisions for you that are right 99% of the time.
At some point you will probably want to delve into your DSLR’s more advanced capabilities, but first we’re going to show you how to set up the camera and shoot great pictures today with some of the more automatic and easy to use settings.
DSLR stands for digital single lens reflex. Prior to the digital revolution professional photographers and advanced amateurs took their photographs with single lens reflex cameras, most often with 35 mm film. They were called single lens because there was only one lens; the lens that focused the image on the film was the same lens the photographer looked through to compose the shot. This required a somewhat complex system in which a mirror sent the lens’ image up through what is called the viewfinder for the photographer to see what the shot would produce. When the photographer was happy with the shot and snapped the shutter release, the mirror flipped up out of the way: hence reflex.
When the digital revolution in photography came along a sensor replaced the film but camera manufacturers kept the same basic shape and format, converting the SLR to the DSLR. Why do the new digital DSLRs look and function so much like the old SLRs? Perhaps because the old system had been refined over the years and worked very well. Or perhaps, to at least some degree, because the professional photographers who had been shooting SLRs for years or even decades and were converting to DSLRs clamored for new systems that were, nevertheless, familiar to them in look, feel, and function. But enough history, let’s get to it!
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Buying your first DSLR
If you’ve already bought your new DSLR you can skip this section. But if you are considering what camera to buy, we can offer a few tips.
First, a few questions.
It’s helpful to consider what your goals are first. Are you shooting photos to create family memories? Are you intending on growing an Instagram following with your photographs? Are you in professional sales and want to begin shooting images of your products or services? Maybe you own your own business and need to use images for marketing purposes! Whatever your goals are, you’ll want to first consider which of the two main options you will choose -- full frame or crop sensor. Full frame is used by many professionals because it has some advantages over cropped sensor cameras. But, although the cropped sensor cameras are smaller, they still have very high quality image sizes and in fact have some advantages that are preferred by some. We’ll review some of the pros and cons in a minute.
You might also consider this: What is your budget? This last question is a key one because there is a very wide range in prices. Thus, it ties into the earlier question of whether your ultimate goal is to be a professional photographer or whether you are happy to remain a great amateur photographer. You can purchase a DSLR that will be perfectly fine for 90% of what you want to shoot for as little as $500 or you can spend several thousand dollars on top of the line equipment. Of course you can start out small and if you get the digital photography “bug” you can always upgrade. All that being said - there are some professionals that still prefer the convenience and price of the cropped sensor cameras. This is especially true early in your career when the cost of equipment matters most.
Let’s review one more technical point before we move on. What is meant by full frame? Well, this brings us back to the old 35 mm SLR days. When these cameras were first invented to replace the big, bulky cameras you might see in old movies,35 mm film, then used for movie making, was readily available, and so the manufacturers based their new SLRs on that format. The images on the film were 24 mm high by 36 mm wide. When the DSLRs came along there was no need to keep that image size. But the professionals that used that size when shooting with film for years or even decades preferred the continuity so the manufacturers made their digital sensors 24 mm by 36 mm. Later, because the digital format is capable of incredible sharpness with image sizes less than 24 mm by 36 mm, high-quality DSLRs were made with smaller sensors; not a lot smaller, but enough to make a slight difference. To differentiate between the sensor sizes, the 24 mm by 36 mm sensor DSLR cameras were designated as “full frame.” Various manufactures have their own proprietary names for their slightly smaller format cameras, for example, “DX” for the Nikon brand.
If you are gunning for the cover of National Geographic, full frame is the way to go. But if not, the smaller format has several advantages:
• First of all, the smaller format cameras can be significantly cheaper than the full frame cameras.
• Second, the lenses are usually much less expensive.
• Third, the full frame cameras tend to be bulkier and heavier, which can be a factor if, for example, you want to take your new DSLR on a hike.
• Finally, you can always upgrade. However, be aware that your old lenses may not be fully compatible with your new full frame camera.
One last note on what to buy: If you are making the transition from SLR to DSLR you may have brand loyalty. If you stick with the same brand, the camera will probably have a familiar feel right out of the box. But be aware that your old lenses – even though they might fit – probably won’t be fully compatible, particularly when going from 35 mm film to a small format DSLR.
Click here to see some of the best selling cameras available today.
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What’s in the Box?
Here’s what to expect with your purchase. First, of course, is the camera body itself. Typically, the body will come with a lens attached. Since you are buying a camera kit, the lens is called a “kit lens.” Typically, it’s a zoom lens that zooms from a moderate wide angle to a moderate telephoto. (More about these terms later.) It should come with a lens cap in place. You can also just buy a body without any lens attached, in which case the body will come with a cap where the lens would be. You might take this route if you want something a little more upscale than the kit lens; this is more often the case with full frame cameras. Note that there are also some DSLRs that come with a lens that is permanently mounted and you are unable to change lenses. These are typically lower quality cameras but are still better than the old “point and shoot” cameras like the old Kodak Instamatic. (If you don’t remember the Instamatic, here’s a link: https://en.wikipedia.org/wiki/Instamatic).
Next, you will find a battery and battery charging system. Every function of the DSLR runs on battery power. Typically, the camera is not shipped with the battery installed (side note: take out the battery if the camera is going to be stored for a long period of time). The battery may be less than full or may be totally discharged. So go ahead right now and plug the battery into the charger and plug the charger into the wall while you read on. This should be a fairly straightforward process but look to the Owner’s Manual if you need help. Sometimes the batteries are challenging to mount and dismount from the charger.
When you’ve lived with your new DSLR for a few weeks or months, you will start to get a feel for how many photographs the battery will support and, thus, be able to decide if you need to take your charger with you on a trip. You don’t want to find yourself on a safari in the middle of the Serengeti with a dead battery. Photographers who expect to do a great deal of shooting might consider buying a second battery.
Next, you should find a cable that enables you to connect your DSLR to your computer. One end of the cable should plug into a slot on the side of the camera which is typically covered by a rubber flap and the other end will plug into any HDMI slot; more about your DSLRs connectivity later. Connecting to a smart television is just a bit more complicated, as we explain below.
Finally, you will find a memory card. That’s where all the pictures are stored until downloaded. While it is true that every new DSLR will ship with a memory card, it may have a somewhat small capacity, as measured in the number of pictures it can store. You don’t want to be in a position where you have to delete pictures in order to take new pictures when you are not in a place where you can download from the card, so you may want to consider buying a bigger memory card. Very high capacity cards – over 2,000 photographs – are available and the prices have come down considerably and are now very reasonable.
Unfortunately, you can’t simply insert a memory card and be done. You have to format the card and this means turning the camera on (to do that you will have to install the battery) and then turning on the main screen. Click on “format the memory card” (check your particular manual for where this is located as there are too many types to list here) and the camera will do the rest. It may ask you to confirm that you want to do this. Important: when you format (more accurately re-format) a memory card every photograph on it will be erased! This is not a problem when you first format the card, but if you are re-formatting to make room for new photographs on the card after downloading the photographs already on it make sure the download was successful because otherwise important photographs might be lost forever. Final note: the camera will not shoot without a memory card in place. Further down we’ll have some more advanced information on memory cards.
You will also find an owner’s manual (as mentioned) that will explain all the thousands of settings from which to select, but these are not always written in the clearest manner. (That’s probably why you’ve purchased this book!) Nevertheless, hang onto the Owner’s Manual. There will probably also be a disk with some software that will allow you to download, edit, and organize your new photographs.
There are two things you won’t find in the box but ought to consider. The first is a neck strap. They are inexpensive and can be a lifesaver if you are in a position where you might drop your camera. The second is a lens hood. The lens hood either snaps onto the front of the lens or screws into it. (Lenses are all equipped with a screw in mount on the front to facilitate attaching filters.) The official purpose of the lens hood is to prevent extraneous light from hitting the lens and creating light streaks on the image. However, an important side effect is that the hood also protects the lens from damage if you should happen to bump into anything. It is much better to destroy a $20 lens hood than to break a $200 lens!
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Setting up to Shoot
Okay, let’s set up the camera to start shooting. First off, let’s insert the now fully charged battery into the camera body. It only goes in one way, and if you feel like you’re pushing hard to get it to go in, you’ve got it wrong. Once it’s in, make sure the cover to the battery box snaps shut.
Now, insert your memory card or cards as discussed above. Why do we say “cards,” plural? Some cameras will have two memory card slots. We will explain what your options are when you have two memory card slots later. Typically, a camera with two memory card slots will only come with one card anyway. If you do have two slots, insert the memory card in the slot numbered one, typically the top slot.
If the camera body came with the lens attached, you are all set in that regard. If the body and lens came separately, it is time to attach the lens. Each brand of manufacturer has a different twist (pun intended) on how to attach the lens, so you need your owner’s manual for this one. The body should come with a cover over where the lens attaches and the lens should come with a cover on the back opening. Here is an important point regardless of what brand lens and body you are connecting: take the cover off the lens first and then take the cover off the body. Then immediately attach the lens to the body. Why this emphasis on keeping the camera body opening covered as much as possible? Because when you install or change a lens the camera’s interior, particularly the sensor is exposed to the outside elements. The sensor is particularly sensitive to dust, and cleaning the sensor or having it replaced can be expensive. Never change lenses when you are exposed to sand, or dust, or snow! These tips about protecting the sensor will serve you well if you acquire more than one lens and plan to change lenses from time to time in the field. One other thing, the camera should always be turned off when you install or change a lens.
If your kit lens has a vibration reduction system (VR) go ahead and turn it on. Usually, the kit lens will have this option. This computerized system minimizes vibrations and is very helpful when shooting in low light situations, where you are shooting with a slow shutter speed (more about that later), with a very long telephoto or telephoto zoom, or (frankly) where the hand is a little shaky. The complexities of how it works are not important, BUT you do need to turn it off when you aren’t using it because it draws its power from the camera. Even with the camera turned OFF, it will still be adjusting for vibrations and will run the battery down at least a bit.
You kit lens may also have the option of manual or automatic focus. Some lenses don’t even have what’s called a focus ring, so this is not an option. But in any case, for now, leave it set on automatic, which is how it probably came from the factory.
We’re almost there. Go ahead and turn the camera on! Usually the on/off is on the top right (again like the old film SLRs). Your DSLR should have a dial near the viewfinder that allows you to make adjustments for your eyesight. While looking through the viewfinder (lens cap off!) turn the dial back and forth until the commands in the viewfinder look the sharpest. If more than one person is using the camera they may have to adjust this each time the camera changes users. This feature does not affect the camera’s ability to focus.
Depending on the brand and model you will have many different screens with many different options. Because you have adjusted for your eyesight, these screens should appear clear and in focus. You should see a screen that indicates battery power (it should indicate a fully charged battery) and also an indication of how many photographs you have room for on your memory card(s).
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The Basics
We’ve already talked about how a sophisticated DSLR camera might have dozens of buttons and knobs and more than a thousand combinations of settings. So, for these first few shots we are going to keep it very simple to stick to our twenty-minute promise. We are helped by the fact that the camera will have come from the factory, set in the most basic modes. Later, you may want to play with various settings and so, we’ll show you a few tricks!
There are three more things to understand. First, set the selection dial to automatic. On the top right side of the camera, you will find a dial that shows various shooting modes. Each brand is different, but you should see the following options:
• Automatic. This is where we are going to stay for now.
• Automatic with the pop up flash turned off. This is a tiny bit more complicated, but it simply means that all functions remain automatic but the pop-up flash on top of the camera is disabled. So if the light is low the camera will automatically compensate by other means. You might use this wherever flash photography is prohibited.
• Aperture priority. You control the aperture of the lens, but the camera still does everything else. We discuss this more fully below.
• Shutter speed priority. You control the shutter speed, but the camera still does everything else. We discuss this more fully below.
• Other pre-set (scenes) but still automatic settings for specialized situations, we discuss this more fully below.
Second, you should select single frame versus continuous or burst mode. Your camera should already be set to single frame. Single frame means just what you would expect: every time you press the shutter button, the camera takes one picture, and you must press it again to take a second picture. In continuous mode the camera will keep taking pictures as long as you hold the shutter down. This is the equivalent of a motor drive on an SLR. The difference however is that the motor drive on an SLR was bulky and expensive and you could go through a 36-exposure roll of costly film in seconds flat. We’ll talk about shooting in the continuous mode later. For now, let’s stick with single frame.
Third, a word about your kit zoom lens. We have been describing your DSLR as having a fully automatic mode where all you have to do is compose the shot and press the release button. But, your kit lens is probably a zoom and your camera won’t decide for you whether to zoom in or out. That’s up to you! So when composing your picture play around a bit with the zoom and see what effect it has on the look of the picture when set at wide angle, telephoto, and in between. More details about this later.
For now, follow these easy steps:
• Take the lens cap off (you knew that!).
• Turn the camera on and, as we discussed above, make sure you have battery power and available space on your memory card.
• Make sure your lens is set on autofocus (if that is an option).
• Make sure your lens’ VR is turned on if it has that function.
• Set your shooting mode at fully automatic.
• Set your DSLR to single shot mode.
Now you’re almost ready to shoot! We say almost, because we want to give you one final tip about holding your camera like a pro. Don’t hold the camera with one hand on each side of the body like you see many amateurs do. This allows the camera to tip up and down and particularly causes trouble with the longer telephoto lenses. Instead, cradle the camera from the bottom in your left hand. The left hand will be used to adjust the zoom ring on the lens, which you will remember is the only non-automatic function you will have to worry about when in the fully automatic mode we have instructed you in setting up. The right hand will then rest on the top of the camera with the index finger hovering over the shutter release. (In a sense, all cameras are built for right handers.)
So, now pick a subject (inside or outside!) It doesn’t matter what subject because shooting is free. Go ahead and compose you picture and zoom in or out as you like, and gently squeeze the shutter release. Use what you may already know about composition: texture, symmetry, asymmetry, depth of field, lines, curves, frames, contrast, color, viewpoint, or depth. Why not make your first shot a work of art and use some of these principles to compose your photograph? Here’s a great introduction to photographic composition. You should hear a click, and you did it! Your first DSLR photo, in less than twenty minutes. Take several different shots so that you can experiment with the slide show functions on your camera, computer, and, if you have the right equipment, your smart HDTV. If it looks like a professional-quality shot you can save it; if not, simply delete it.
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View Your First Photo
There will be a button on the back of your camera that allows you to open the big screen in the view mode; on the diagram it is labeled, play button. The good news is that you can see your first shot immediately (faster than the old Polaroids!) The bad news is that the image is fairly small and you can’t judge things like sharpness very easily. In addition, in bright ambient light the screen may be difficult to see. But you can get a general idea of whether you got want you wanted. Just to be safe, take a number of shots of the same subject. There will be buttons that allow you to move forward from shot to shot or backward. These are easy to work with, just play around with them a bit.
Two final notes on viewing and deleting on your camera’s screen. With the screen on, pull up any photo you want to delete. There will be a delete button, probably with a trash can icon. When you push the delete button, you will probably get a prompt asking you if you are sure you want to delete. That’s because there is no way to undo a deletion! Also, recall that re-formatting deletes everything on the card (also permanently), whereas the delete button allows you to selectively delete photographs one at a time. Finally, because the screen drains your DSLR’s battery, the screen will automatically go black if you don’t do anything on it for a few minutes. Don’t worry, just press the shutter button again and it will come back to life.
As we mentioned earlier, you can also view your first picture on your computer or smart television. If you want to do that now, skip ahead to the chapter below on how to do that.
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Aperture Priority Mode
Our next two sections are going to talk about the Aperture Priority mode – or “A” – and the Shutter Speed Priority mode – or “S.” (These may be indicated differently on your particular camera. However, the help screens will have the particular name of the setting you are on listed for your reference.)
As promised, we are now ready to show you a few simple steps to take you beyond 100% automatic and have you take over some control from the camera’s automatic processing for more creative work. Many photographers and photography teachers would agree selecting the aperture rather than letting the DSLR do it is the best first step. As we showed you earlier, your DSLR’s will have a dial that allows you to switch from automatic (the DSLR selects the aperture and shutter speed) to aperture priority where you select the aperture and the camera selects the appropriate shutter speed for that particular aperture.
First, we need to talk about what we mean by aperture, shutter speed, and how the two interact. Basically, aperture refers to the size of the opening in the lens through which the light that hits the sensor passes. Somewhat counterintuitively, the smaller the number, the bigger the aperture. About the biggest aperture you will see is f 1.2. The smallest may be as small as f 32. Why the “f” preceding the number? We’re sure there is a good historical reason. Just know that when talking about aperture, you will use the term “f stops,” as in “I set the f stop to 5.6.” It may be helpful to think of the “f” in “f stop” as standing for “focus”, but is actually a technical geometry term we need not worry about here!
There are several important points to be made about f stops. First, because a smaller f stop number (i.e. the bigger the aperture) will allow more light to hit the sensor, an f stop such as f 1.2 will enable you to shoot in lower light conditions. If you are doing a lot of low light shooting without a flash, the f stop on your lens can be very important. We should point out that lenses with very large maximum apertures can get a lot more expensive than lenses with smaller maximum apertures. Thus, a 50 mm f 1.2 lens can easily cost twice as much as a 50 mm f 2.0 lens.
Second, the aperture interacts with the shutter speed. We haven’t talked about shutter speed yet, so let’s do that first. As you now know, when you hit the shutter release button, the mirror flips up out of the way and the camera opens up to let light hit the sensor. As we have just seen, the aperture --either as set by the camera or as set by you -- determines how much light comes in. How long the camera allows the light to come in is determined by the shutter speed. The shutter speed is measured in hundredths of a second and refers to the amount of time that the shutter STAYS OPEN. When you take a typical outdoor photograph on a sunny day in the automatic mode, the shutter speed might be 1/500th of a second. Shutter speeds can range up to 1/2000th of a second or even faster! Likewise, shutter speeds in very low light situations can be as long as 1 second or even longer. For special situations and to create special effects there is even a shutter speed known as “bulb” where the shutter stays open as long as you hold the shutter release button down. Why is it called bulb? In the very early days of photography, the photographer used a bulb and air pressure to hold the shutter open. Photographers kept the term to this day.
Even with VR, there is a limit to how slow a shutter speed you can hand hold. For most people that would be 1/60th of a second or even 1/30th of a second. Longer than that, and you will get an unacceptable blur (Of course, you may like the blur. That’s one of the wonderful things about photography, beauty is in the eye of the photographer!). The shutter speed will show in the viewfinder so you will know if your shutter speed is too low. What can you do about the blur? There are several options:
• In aperture priority mode switch to the lens’s widest (lowest number) aperture.
• Switch to a lens with a lower f stop number.
• Be aware that the longer the lens – i.e. telephoto or long telephoto – the bigger the blur problem becomes.
• Switch back to fully automatic and let the camera decide to activate the pop up flash
• If you have one, consider using a more powerful attachment flash.
• If you have one, consider using a tripod. Of course this won’t help if the blur is caused by subject movement.
• Lacking a tripod, use whatever is at hand to brace the camera.
• [Finally adjust the ISO to a higher number. This is a more advanced option and we are going to talk about it later. For now, use one of the above options.]
We’ve saved the most important aspect of aperture control photography for last. You might consider this to be your first departure from fully automatic shooting. To discuss this, we must first talk about “depth of field.” Depth of field refers to the range of distances from the camera in which the subject(s) remain in an acceptably sharp degree of focus. In a simple example, assuming you are taking someone’s portrait. He or she is standing six feet from the camera and your DSLR automatically focuses on his or her face.
So far, so good. But what if there is a potentially distracting background six feet behind the subject? If the camera’s lens is set to a very small aperture, the background will also be in focus and will be a distraction. But if the camera’s lens is set to a very large aperture the background will become a pleasant, non-distracting blur. That’s because – and this is the key point – the aperture determines the depth of field, from very shallow to very deep. The camera, no matter how smart, doesn’t know what you want. But you do. Typically, you would want a shallow depth of field to single out the subject of a portrait; you might want the maximum depth of field to capture all the elements of a landscape. By selecting the aperture control option, you control the depth of field, and, thus, have a greater degree of creative control.
Here’s an important point regarding depth of field. When looking through the lens to compose you picture the lens will be wide open regardless of what f stop you have selected. That is to make it easier to see your subject and compose the shot. The camera only adjusts the lens to the f stop you selected (or the one it selected if in automatic mode) when you press the shutter release. So you are unable to tell what is in focus and what is blurred. However, somewhere on your DSLR body (each brand is different, consult your manual) you will find what is called a “Depth of Field Preview” button. Press this and you will shut the lens down to the f stop you selected and you can see for yourself what will be in focus and what will not. Alternatively, since you are not shooting with expensive film, take several shots at different f stops and select the one that matches your artistic intent.
It is important to remember that in aperture priority mode (or any mode for that matter), as the f stop goes up the shutter speed comes down and as the f stop goes down the shutter speed goes up. This is because the camera needs to make sure that the sensor gets the right amount of light for a correct exposure, and if the aperture is smaller it has to be open longer. Where shutter speed becomes an important factor there is a limit to how wide a range of f stops will work for you.
Why not try a few shots right now?
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Shutter Speed Priority Mode
As we said earlier, two of the options on the control dial are typically A for aperture priority and typically S for shutter speed priority. (The designations may vary depending on what brand your DSLR is.) As we explained in the last section, changing the aperture in A mode results in a change in the shutter speed as we, and, likewise, changing the shutter speed in S mode changes the aperture as well. So you already know that when you move to a faster shutter speed your DSLR will move you to a wider aperture. This can sometimes be a hindrance, in the sense that your DSLR may select an aperture that isn’t to your liking, but it can also be used creatively.
Note that in the “old days” of SLRs you had to change the aperture by moving a ring on the lens itself. With a DSLR you simply turn a dial on the camera body and you can see the selected f stop on the viewfinder (Again, each brand is different. You’ll need to consult your manual to find this feature on your camera. Our purpose is to give you the process involved and inform you of the best options for moving forward with your photography skillset).
We also showed you that your DSLR has a very wide range of shutter speeds, from 1/200th of a second and even higher to a full second or even lower. As was the case we described regarding aperture priority, note that in the “old days” of SLRs you had to change the shutter speed mechanically with a dial on the body. With a DSLR you simply turn a similar dial on the camera body but you can see the selected shutter speed on the viewfinder.
There are at least two ways to creatively use the shutter speed priority mode.
But first, we need to mention how to change the shutter speed and what the speeds represent. Because your DSLR is fully electronic, it will be set up so that one of the dials can be rotated to change the shutter speed and the selected speed will be visible in the viewfinder. Shutter speeds are measured in fractions of a second. For example, a shutter speed of 1/1000 indicates that the lens will be open allowing light to hit the sensor for 1/1000th of a second. Modern DSLRs have shutter speeds up to as fast as 1/4000, and as slow as 1 second.
The first way to use shutter speed priority mode creatively, which is kind of obvious, is to capture fast-moving subjects without any blur. That could be anything from a race car, to your child’s soccer game, to a cheetah on that dream vacation. Shutter speed priority is often used in conjunction with a telephoto lens. It is also often used in continuous shooting (which is the next topic). When shooting in action or fast-moving situations set the camera to the speed you want; you don’t want to be fiddling with a dial when you child is scoring a goal or that cheetah just spotted its prey and is about to take off on a 60 mph run.
The second creative use of shutter speed priority mode is where you want to intentionally blur the subject. You don’t necessarily have to use the shutter speed priority mode to speed up the shutter; you can also use it to slow it down. Everyone has seen a photograph of a waterfall where the scenery around the waterfall is in sharp focus but the water is a pleasant blur. The use of a long exposure of this sort will require a tripod.
One final note: When shooting with a very long telephoto you may want to consider using the fastest shutter speed possible to minimize blur.
Go ahead and experiment with taking the same subject, preferably with some motion in the scene, at various shutter speeds. For example, take the same shot at 1/30 and at 1/1000 and see the difference.
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Continuous Mode
So far, we have been shooting single shots: one image is captured every time you press the shutter release button. But as we mentioned earlier, most DSLRs will have a continuous shooting mode in which the camera keeps shooting continuously as long as the shutter is held down. Your DSLR may have two speeds as well: high and low. This is a great feature, replacing the motor drive on SLRs. Feel free to blast away to see the results and delete the shots that are bad (there will be many) and just keep the ones that are good.
Since the continuous mode shoots rapid bursts of exposures to capture rapid action, you may wonder, how fast is fast? There are a lot of factors to consider. Your camera’s instruction manual will give you a number, for example six shots per second, but that represents your DSLR’s theoretical maximum, and there are some limiting factors.
We’ll tell you how to achieve maximum rates of six frames per second or even higher, but first we have to throw in a bit of technology. When your DSLR takes a photograph it does immediately go directly to the memory card. First, it goes to what is called an internal memory buffer in the camera body. From there, it goes to the memory card. The size and speed of the internal memory buffer may put a limit on how many shots you can take in continuous mode. For example, you may only be able to take 24 shots before the internal memory buffer is full.
So how fast is fast? Most DSLRs can shoot up to six frames per second (fps); some high-end cameras are faster than that. But remember that if your buffer holds 24 shots and you are shooting at 6 fps, you will run out of room in four seconds and have to wait for the internal memory buffer to clear the shots to the memory card. Again, the very top of the line cameras will have
Here are the factors that will determine the real top speed you can achieve:
• The maximum speed as claimed by the manufacturer
• The size of the buffer
• Shutter speed (the faster the better)
• Whether you are recording in JPEG or Raw (more about that tricky subject later)
• The Vibration Reduction function (turn it off for maximum speed
• A weak battery
Finally, note that the continuous mode does not work with flash. Thus, you will probably want to confine use of the continuous mode to outdoors in daylight or in otherwise adequate light.
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Using "Scene" Presets
Most DSLRs have a number of preset modes that mimic what settings an expert photographer would do to set up his or her camera for a shooting session. Think of this as a half-way point between giving the camera full control in the automatic mode and taking full creative control for yourself. It is a fast and easy way to quickly move beyond the very basic shooting. You can even get started within our twenty-minute window! You just need to find the button that controls the mode and find a mode that lines up with what you are going to shoot. Just remember to switch out when you change your subject. Each camera is different, so we will give you an example from a medium range DSLR that uses the term “Scene” to describe these modes:
• Portrait – This mode will adjust the aperture much as you would in aperture mode to create a sharp face and a soft background. But it will also adjust the skin tones, which is a fairly advanced technique.
• Landscape – This mode will give you a deep depth of field, manipulate the image to make it crisp, and enhance blues and greens. It will look like it belongs in a travel magazine.
• Child – Similar to portrait mode, but with the colors made more vivid.
• Sports – The DSLR selects a high shutter speed (similar to what you would do in shutter speed priority mode). The flash is disabled.
• Close-up – This mode creates a blurry background to emphasize the subject. (We talk about close-up lenses later).
• Night portrait – This mode requires a few choices and is a bit complicated. It works with the flash on and red-eye elimination or with the flash off.
• Night landscape – This mode requires a tripod. It avoids unnatural colors that are common in long night exposures.
• Party/indoor – The camera will adjust to compensate for a mix of flash and indoor (ambient) lighting.
• Beach/snow – Both the sandy beach and a snowy landscape can fool the camera in automatic mode; this mode won’t be fooled.
• Sunset – Sunsets can be spectacular without help, but this mode enhances the already brilliant colors. Flash is turned off and a tripod is helpful.
• Dusk/Dawn – A photographer’s favorite times of the day! Flash is turned off and a tripod is helpful.
• Pet Portrait – This similar to sports mode but the flash is available unless you disable it.
• Candlelight -- Flash is turned off and a tripod is helpful.
• Blossom – Specifically designed to enhance photographs of flowers.
• Autumn Colors – This mode does some technically advanced color shifting to enhance reds and yellows.
• Food – This mode enhances color saturation in a way that makes food photographs more delicious.
As we said, each camera is different and may have more or less modes than we’ve listed, or perhaps none. Why not try a few on your camera? As an experiment, take one shot in the appropriate scene mode and then take the same shot in the fully automatic mode. See if you can tell the subtle differences.
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About Storage Media
We have already talked a bit about memory cards. As we noted, your camera came with one that is fine for getting started but may be less than adequate over the long haul. When selecting a new memory card or cards there are two things to consider: speed and capacity. Card speed, in conjunction with buffer speed, is important when shooting in continuous mode. Card speed is also very important if your DSLR has a video mode and you plan to use it. But that is beyond the range of our twenty minute guarantee. Check with the manual that came with your camera to find out what type of card is best for video.
The speed of the fastest available card is always increasing. For a long time, cards were numbered in speeds of 2 to 10, with 10 being the fastest. Then along came Ultra High Speed 1 or UHS 1. As of this writing there is only a UHS 1, but don’t be surprised when a UHS 2 comes along. As you might expect as the speed goes up so does the price, but high speed has its advantages.
Most cards come with the designation HC for high capacity, or XC for extended capacity; HC cards hold from as little as 4 to as many as 32 gigabytes of data; XC cards hold more than 32 gigabytes. Wow! That last sentence was a mouthful. You may already know what a byte or a gigabyte is, but we don’t need to get technical. They’re just units measuring the photographic storage capacity of the card. It is impossible to say exactly how many photographs a given card can hold because there are many variables, including whether you are using a full frame camera or one with a smaller screen and whether you are shooting in JPEG or Raw (more about that later). We can tell you that a XC card can handle 2,000 images or more. That’s the equivalent of 55 rolls of 35 mm film; probably more than the average photographer would take on a vacation. Thus, if you have no way to download for a bit of time you can simply store all the photographs in your DSLR. When you load a card into the camera it will indicate how many shots the card will hold. You can watch that number go down as you take photographs.
In some cases, your DSLR may have two card slots. There are four ways to use two slots in a DSLR:
• You can simply ignore the second slot. It isn’t absolutely necessary. As noted, one card can hold 2,000 or more shots.
• You can use the second card for overflow. When the first card is full the camera automatically starts filling the second card.
• You can use the second card as backup. The camera will automatically record every image on both cards. Thus you are covered if one of the cards malfunctions (which is very rare).
• The last option is a bit complex and goes beyond the twenty-minute limit. You can configure one card to record in JPEG and the other to record in Raw. When we get to the section on JPEG and Raw we will explain why this useful. For our purposes, you will be shooting in JPEG but there may be a time when you appreciate having the images saved in Raw.
When you are getting started you can simply stick with the card that came with the camera. If you feel the need to upgrade your card(s) size and speed you can come back to this section later.
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Viewing on the Computer
As we noted in an earlier section, your DSLR should have come with a cable that connects your camera to a USB port on your computer. There are also options for connecting to your smart television, and sometimes your printer. Let’s start with the computer.
First, find the plug to insert the cable. It’s probably on the side of the camera under a protective cover of some sort, such as a rubber flap. With the camera turned off, insert the other end of the cable into the computer. Turn the camera on and you should see an icon to click on that will open up your photographs. What exactly you will see depends on your hardware (Macintosh or Window-based) and software.
There are three things you can do once you open the photographs on your computer. First of all, you can view them. Most computers have high definition screens of a decent size (you can also download to a tablet but it won’t be as impressive.) Second, you can download them to a file. Third, if you have accessibility, you an upload to the cloud. Make 100% sure that your photographs have successfully downloaded/uploaded before deleting them. We’ll talk about basic editing functions on the computer later. Be sure to turn you DSLR off before unhooking from the computer.
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Viewing on Your HDTV
Compared to your computer, there is one additional complication when attaching your camera to a smart HDTV. You will need a Type C mini-pin HD cable. (This is different than the cable that connects the camera to your computer.) That sounds complex but it really isn’t that difficult. On your HDTV you may already have a cable box or other device(s) plugged into HDMI slots.
Using you smart HDTV’s controlled, switch over to the slot that connects you to your camera. You will go to a set-up menu on your camera’s big screen and select HDMI. It will then ask you to determine the output resolution. There should be a default that says “auto,” which allows the camera to select the best resolution. Turn on the camera and you should see your photographs displayed in high definition on a nice large screen. Depending on your camera and HDTV, you may be able to advance from one picture to another from your couch. Alternatively, in the display function on your camera there is probably a “slide show” function, which allows you to sit back and let the camera/HDTV function give you a slide show of all the images on your card.
We know this sounds a bit complicated, but it is worth the trouble to see your photographs on a large HD screen soon after shooting them. If you're going to be taking photos on vacation, bring your cable with you in case the television in your hotel room has the capacity to allow this function!
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Printing Photos
It is fair to say that more photographs are viewed in various electronic media than are viewed on paper. But there will still be times when you want to print out a photograph and frame it. Many printers have a photo-quality print mode and even a tray for photographic paper. You can print on traditional four inch by six inch photo paper or even eight and a half by eleven paper, or anything in between. Some printers can even go larger, but they become pricier. The cost of printers that can produce quality photographs has gone down, but printer ink remains costly. You can also take your photographs on a flash drive to a commercial printer. Some commercial printers only do snapshots while others do very high end work up to and including poster size.
The easiest way to get your photographs to your printer is to first download them to your computer and then send them to the printer either via Bluetooth or with a cable. The other alternative is that some printers have slots, one of which mike be compatible with the memory card in your DSLR.
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RAW versus JPEG?
For your first twenty minutes, you won’t need to worry about digital format as it relates to image quality; the camera’s factory default setting will be just fine (it will be in JPEG). Also as noted above, if you have two slots you can shoot in JPEG and Raw at the same time.
So, let’s talk about JPEG first, since that is what you are shooting right now. In case you are wondering what JPEG stands for, it is not some arcane computer term; it stands for Joint Photographic Experts Group. The Photographic Experts Group created and standardized this compression format.
Compression is a key word here. JPEG eliminates some data in a way reduces the file size without degrading the image to a noticeable degree. There are a number of advantages to shooting in JPEG:
• JPEG images can be immediately shared on all social media. Raw images can’t.
• You can print and edit immediately, although if you are doing a lot of editing you may consider Raw.
• Most commercial printers will print from JPEG but will not accept Raw files.
• JPEG images take up less space on you DSLR’s card.
• JPEG images take up less space on your computer hard drive or in your cloud account.
• Because they are smaller, they can transfer from media to media more quickly.
So, why even worry about this thing called RAW? First, as we noted, JPEG eliminates some data that the RAW retains. JPEG uses something called “lossy compression” when it records you images. Lossy simply means that when the data is eliminated for compression it is lost forever. This is as opposed to lossless compression, where the compressed data can be restored.
There are typically three levels of JPEG compression available:
• Fine – The compression ratio is 1:4, meaning the file is one fourth the size of an uncompressed file. This is the best JPEG configuration.
• Normal – Here the compression ratio is 1:8. Your DSLR might have come with this setting.
• Basic – This mode compresses to a whopping 1:16 and is of the lowest quality. Where speed of transfer and storage space are more important than image quality, this is the way to go.
We would recommend sticking with “JPEG Fine” for most situations, even if it does take up a bit more space.
By contrast, RAW is a very advanced format. RAW takes up a lot of space on your card or computer hard drive, and requires work before it is ready to show, but it ultimately provides the best images. RAW is also best when you are using a post-shooting enhancement tool such as Photoshop or Lightroom (although JPEG images can also be used in Photoshop or Lightroom).
Finally, RAW images can be converted to JPEGs but JPEGs cannot be converted to RAW because, as you will remember, the JPEG compression is lossy compression. Finally, as we noted earlier, if your DSLR has two card slots you can shoot in JPEG and RAW simultaneously. If at some point in the future you want to get into more advanced techniques you will your RAW images to work with.
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Beyond the “Kit Lens”
As we mentioned earlier, the kit lens is the lens that came with the camera. It typically zooms from a moderate wide angle to a medium telephoto. At some point, you may want to explore more options: wide angle, zooms, telephotos, long telephotos, close-up lenses (aka Macro or Micro). So, let’s talk about lens options now.
We’ve already talked a bit about the popular zoom lenses. A zoom lens is a lens with a variable focal length. But what do we mean by focal length? The focal length – which is always given in millimeters – determines the angle of view that the camera can capture and also has an impact on the depth of field that the photographer can achieve. Here are what the numbers mean on a full frame camera (and what they meant on the old SLRs):
• 21 millimeters and lower – extreme wide angle; can seem distorted but can also be dramatic
• 24 and 35 mm – common wide angle sizes that can achieve artistic effects but do not appear distorted or “unnatural”
• 50 mm—this is what is considered a “normal” lens, meaning that it sees why the eye sees. Often referred to as a “nifty fifty”
• 80-135 mm – short telephotos that can bring a subject in closer and create a dramatic point of view
• 200-400 mm – long telephotos that are still easy enough to handle but can bring in more distant subjects
• 500 mm and up – these are extreme telephotos that are more difficult to handle and may even require a tripod
With a smaller frame camera, the numbers can provide a useful point of reference. Let’s introduce two new terms for smaller frame cameras: “crop factor” and “35 mm equivalent.” The crop factor is the degree to which the smaller sensor size crops down the old 24 x 36 screen. Thus, a camera with a crop factor of 2.0 would have a sensor half the size of a full frame camera. You won’t see a camera with a crop factor as high as 2.0, that so let’s use a real life example. The Nikon DX system has a crop factor of 1.50. So it has a sensor that is about 66% the size of a full frame camera. Knowing that, we can calculate the 35 mm equivalent for any given lens. Here are the small frame equivalents of the Nikon example we used above:
• 14 mm and lower – extreme wide angle; can seem distorted but can also be dramatic
• 16 and 23 mm – common wide angles sizes that can achieve artistic effects but do not appear distorted or “unnatural.”
• 33 mm—this is what is considered a “normal lens, meaning that it sees what the eye sees.
• 53-90 mm – short telephotos that can bring a subject in closer and create a dramatic point of view.
• 133-267 mm – long telephotos that are still easy enough to handle but can bring in more distant subjects.
• 333 mm and up – these are extreme telephotos that are more difficult to handle and may even require a tripod.
The way this works is that because a given focal length of lens casts a different image on a sensor depending on its size, a lens of a given focal length would have a very different feel on a full frame camera than a lens of the same focal length on a Nikon DX. The lens will appear 1.5 times longer on a DX camera. For example, as we showed above, a 50 mm lens on a full frame camera appears to be what we have called “normal” approximating what the human eye sees. However, on a DX camera the 50 mm lens would appear to be a 75 mm short telephoto. It would take a 33 mm DX lens to deliver the same normal effect.
This can be very beneficial with telephotos, where length is money. For example, a 300 mm DX telephoto is the equivalent of a 450 mm full frame camera lens. That literally allows the DSLR photographer to get more “bang for the buck.” The opposite holds true with wide angle lenses. A full frame 15 mm lens is truly a very wide angle lens. But it would take a 10 mm DX lens to achieve the same effect. Because every brand’s crop factor is slightly different, the DSLR’s 35 mm equivalent might be 1.4, or 1.5, or 1.6. So to make sure everyone is on the same page regarding the effective focal length, the industry standard has become describing lenses in 35 mm equivalence.
There is one other lens that we shouldn’t forget about because a lot of photographers enjoy macro or micro photography. A macro lens might be a great addition to your kit. Generally of a fixed focal length around the normal range, these lenses are engineered to sharply focus at very close distances. They can also be used for normal photography in a pinch.
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Now, Go Shoot!
Today’s DSLR seems complicated at first, but as we said on page one, every DSLR comes with a fully automatic mode. You truly can shoot great pictures within twenty minutes of opening the box. You can view them quickly on your camera, computer, or smart HDTV and quickly get even better. Once you are comfortable with the fully automatic mode, we've given you some options that allow you to move beyond the basics and into some more creative ways of taking photographs. Time to get started!
Thanks for reading this book. I truly hope it was helpful and enjoyable. If it was, please leave a review here.
Happy shooting!
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