Basic settings of the camera
I recommend that any novice photographer actively use the camera’s automation whenever possible. This applies to matrix metering, autofocus, automatic white balance, and everything else that can only be automated, and with which modern cameras often cope better than modern photographers. Load the camera with all the menial work, and pay more attention to finding beautiful scenes and harmonious frame layout.
But there are times when a camera that thinks it’s too smart has to be taken in hand.
Shot on full automatic. What the hell?
It didn’t look like that at all!
Exposure correction + white Balance + image Style
This is different. I reduced the exposure by 1.3 feet (- 1.3 EV), changed the white balance to cloudy, chose the vivid image style, and added 2 points of color saturation. As a result, the rich colors of the sunset sky fully manifested.
It turns out that some simple manipulations can significantly improve the appearance of your images. I mean, your good pictures. Mediocre images with weak composition or dull lighting will not stop being mediocre, no matter how much you mess with the camera settings.
The two most important parameters that you should be able to adjust are exposure compensation and white balance. These settings are available for all cameras – the only difference is the convenience of working with them. More expensive cameras allow you to adjust exposure and white balance directly, and cheaper ones can make you crawl through the menu. Check the instructions for your camera to find out more.
Keep in mind that the much-loved green mode (AUTO) usually does not allow the photographer to control the exposure, white balance, or many other useful camera options. The same applies to stupid story modes (portrait, landscape, macro, etc.), which greatly limit the flight of imagination.
Be reasonable and shoot in one of the four traditional professional modes: P, A, S, M or P, Av, Tv, M. All of them (except, perhaps, the manual mode M) can be automated no worse than the modes for Housewives, but at the same time leave you the freedom to flexibly manage any parameters of the camera in accordance with a specific photographic situation. For more information about shooting modes, see the article “camera Modes”.
Exposure compensation (exposure compensation) is used to force changing the exposure in automatic modes. Matrix metering of modern cameras works well in most situations, but in difficult lighting situations can make a mistake. Many cameras tend to overexpose when the scene contrast is high, as well as underexpose when shooting low-contrast light scenes. It is for these cases that expocorrection was invented . If the image is too bright, you reduce the exposure, i.e. enter a negative correction and get the frame correctly exposed. If the image is too dark, you need to increase the exposure.
On most cameras, you need to press the +/- button and rotate the wheel to adjust the exposure up or down. Some cameras are equipped with a separate exposure control, and some have to set the appropriate correction through a special menu.
White balance is so called because its task is to keep the white color in the images white regardless of the lighting, whether it is the reddish rays of the setting sun or the blue-green light of a mercury lamp. By choosing a white balance value that matches the current lighting conditions, you achieve the most natural color scheme. In addition, like any other customizable camera parameter, white balance can be used for creative purposes. After all, no one forbids setting the” wrong ” white balance to deliberately distort the colors in the picture. Automatic white balance usually produces an acceptable result in daylight, but unusual light often requires you to interfere with the camera.
Why is all this necessary?
And then, that the camera sees the world not as a person. She is not able to appreciate the beauty and exclusivity of the scene being shot. The algorithms that control it are designed to get more or less acceptable images in conditions close to the standard ones, and it is non-standard conditions that are most often most attractive for shooting.
It is not enough just to see a photogenic story, you need to imagine how the camera will see it, and make appropriate adjustments. In the digital age, this is easy to do. Take a test shot and look at the screen – if the image doesn’t look the way you would like it to, make corrections and shoot again until you are satisfied with the result. Over time, your experience will allow you to anticipate the necessary adjustments before shooting.
I am not asking you to blindly copy the reality around you. I usually shoot not what my eyes see, but what my mind sees. Nature is beautiful, but why not make it even better if it is necessary for creative expression?