How To Use A Pro Camera скачать в хорошем качестве

How To Use A Pro Camera

You have this sexy camera someone gave you for Christmas, or you inherited it, or a photographer friend upgraded, and you said you’d like to try it, but it’s been sitting in your closet staring at you like a glass cyclops. You pick it up and spin that little dial on the top left. M, A, S, P. If it’s a Canon, it’s even weirder — M, Av, Tv, P, B. There might be some little icons of people skiing, a flower, or a generic face. First, forget Auto, A+, and the icon modes. By the end of this article, you’ll enjoy photography much more without them. Then, let’s talk about the exposure triangle. Many photographers have mysteriously disappeared and never come back from the exposure tri — no, sorry, the exposure triangle consists of three settings that control the creative outcome of your photo. I want you to think about it that way; this is not a technical exercise. These settings are creative tools. The setting I always think about first is aperture. The aperture is how wide your lens opens. It’s also called “f-stop,” but that’s a confusing, technical way to think about it. The most important thing to remember about aperture is that it controls your depth of field. Yes, it lets more or less light in, but most professional photographers rarely think of it that way. A wide aperture has a shallow depth of field, like portrait mode on a phone. The subject will be in focus, and the background will be blurry. A narrow aperture will have a deep depth of field, like a landscape photo — the rock in the foreground is in focus, but so are the mountains miles away. It’s a creative decision. Aperture is the one choice most professionals will not allow their camera to make for them because it dramatically influences the story an image tells. A portrait is about the person; a landscape is about the landscape. Look at the difference between these two photos. The one on the left is shot at a wide aperture, f/2.8. The one on the right uses a narrow aperture, probably f/11 or f/16. (Other things affect depth of field, but please, no pedantry in the comments. I’m talking to beginners.) The subject is obvious in both images, but the aperture changes how the environment helps tell the story. The doll was in the woods; the dreamy, out-of-focus leaves evoke the childlike story-space of dolls and also complement the golden sunlight in her hair and shining through her sweater. The rose was in my mother’s garden in the suburbs; not only does the house gives us context, the water on the leaves also has a relationship with the moody sky. The second part of the exposure triangle that I think about is shutter speed. It means literally, how long does your shutter open for? A good camera shutter can open and shut in less than a millisecond or stay open for minutes. With a little imagination, you can see how a slow shutter would create blur, like those night photos of taillights streaking through the city streets or the soft waterfalls that landscape photographers love. You can also see why a hummingbird photographer would push their shutter to be as fast as possible. Again, the shutter controls the amount of light we let in, but that’s not how most experienced photographers think about it. We think about the story we are telling. What is the story being told in these photographs? One image dramatically illustrates motion; the other freezes it in vivid detail. How might a different shutter speed have affected these images? The last part of the exposure triangle is less of a creative decision nowadays as cameras and processing software improve. That is ISO. ISO adjusts how sensitive your camera sensor is. In the days of film, you would put in a different ISO film if you were going to shoot a concert at night vs a press conference on a sunny day. Digital cameras allow you to tell the sensor how sensitive to be. On a bright day outside, you will want a very low ISO, probably as low as the camera will go — 100 or sometimes 50. Astrophotographers often push their ISO as high as it will go to collect all the starlight they can get. The higher the ISO is, the more grain and noise the image will have, but lately, this is becoming less of a problem. I don’t have examples of photos shot at different ISO settings because you probably wouldn’t be able to tell anyway. Some gearheads will obsess over noise in images. Gearheads obsess over a lot of inconsequential things. Don’t listen to them. You should use whatever ISO you need to capture your vision. You’ve made it through the exposure triangle alive! Now, you’re ready to learn what those settings are about. P is program mode, and I’ve never known a professional photographer who used it. Some people call it “semi-automatic,” and it allows the camera to control the aperture and shutter speed while you set a specific ISO or tell your camera that you want a brighter or darker exposure. Most experienced photographers don’t use it because it takes away perhaps the most importa...