Subject movement

Don't forget the polarizer
If you are forced to photograph landscapes or architecture in the middle of the day, a polarizing filter can help you. The polarizer makes the sky darker, eliminates sun glare…

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The complexity of the pictures
Why are Amateur photos so weak for the most part? First of all, because the average photographer is not aware of their weakness. This is not a problem if the…

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Geographical latitude
I am writing this in the most temperate climate, being in the fifty-fourth degree of North latitude. In the southern regions, the light changes much faster, both in the morning…

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Аuto mode

Fully automatic or green mode does not need to be introduced. The camera thinks about everything here. Not only the shutter speed and aperture, but also autofocus, flash, white balance, in short, everything is under her control. Except that she doesn’t press the button herself… Although work is already underway in this direction.

Often, the AUTO mode is supplemented with an almost identical “no flash” mode.

Listen to good advice: if you are still shooting in AUTO mode, try at least experimentally switching to program mode (P). Continue reading

Camera modes

Today, any digital camera offers the photographer a frightening variety of shooting modes. Due to the fact that the instructions for cameras describe the features and purpose of a particular mode is very vague, it can be difficult for a novice Amateur photographer to determine which modes are really useful, and which are marketing nonsense. As a result, many people either spit on everything and shoot exclusively in AUTO mode, without trying to dig deeper, or, believing the authors of the instructions, try to use narrow-minded story modes (Portrait, Landscape, Sports, Macro, etc.), not suspecting that with a minimum of mental effort, you can achieve much more flexible and complete control over the camera without any damage to your own comfort. Continue reading

Dynamic range

Light falling on the photodiodes of the digital camera matrix is converted into an electrical signal. For this to happen, the number of photons that hit each individual photodiode must exceed the sensor sensitivity threshold. If there are not enough photons, the corresponding section of the frame will be completely black. If the exposure is excessive, the photodiodes are saturated with photons and the overexposed area turns out to be white. The ratio between the exposure values required to produce a completely black and completely white color is called the sensor’s dynamic range or photographic latitude. Continue reading

Exposure compensation

Modern cameras are equipped with a built-in exposure meter, which is able to automatically assess the level of illumination and select the appropriate values of the exposure parameters. If the exposure value offered by the exposure meter does not suit the photographer, he can either switch to manual mode and set the exposure independently, or, while remaining in automatic mode, use exposure correction. Exposure correction or exposure compensation is a forced change in exposure relative to the value determined by the exposure meter. Positive exposure compensation causes the camera to increase the exposure by a specified amount, and negative exposure causes it to decrease. For example, if the camera’s exposure meter allows one step overexposure under certain conditions, you should apply an exposure correction of – 1 EV to get a normally exposed frame. Continue reading

Exposure: theory

Good exposure is critical for getting high-quality photos. However, the essence of the exhibition is very simple. Exposure is just the amount of light that hits the photo sensor. The process of shooting a frame is sometimes called exposure.

The exposure can be reduced or increased. That’s all you can influence. A smaller exposure makes the frame darker, a larger exposure makes it lighter. A lack of exposure is called underexposure, and an excess is called overexposure.

Correct exposure
Correctly exposed image.
Underexposure Continue reading

Light
Light is the heart of photography. The camera does not see the image. There are no lines, shapes, or textures for it. A film or digital sensor is only susceptible…

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Technic
Despite the progress in the field of automation of photography, cameras still require people who would suggest them to take pictures of the object and pressed the button. The camera…

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Color balance
The colors of objects that we see are not a property of the objects themselves, but a property of our vision. Grass looks green only because light rays reflected from…

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