Using Your Digital SLR

Transcription

1 APPENDIX B Using Your Digital SLR This appendix contains information about choosing, using, and maintaining your digital SLR camera. In This Appendix The following topics are addressed in this appendix: Topic See Page Advantages of Using a Digital SLR 3 Choosing a Digital SLR 5 Exploring the dslr 6 Choosing Lenses and Filters 19 Choosing Photo Formats 24 Caring for Your Camera 26 SLR cameras were once a luxury to most digital photographers. In the past few years, these cameras have become increasingly affordable. A wide variety of models and sizes are available, so you can choose exactly the right one to suit your needs. In this lesson, you will learn the process of selecting, using, and maintaining a digital SLR camera. You will learn how to choose the right camera for you, the best way to set up your camera, and how to use advanced features like the histogram, custom white balance, and RAW format. You will also learn about lens types and filters to use with your camera. The lesson ends with the care and maintenance of the camera body, lenses, and sensor. Additional learning resources are available at labpub.com/learn/silver/digphoto/ 1

2 dip_appendixb.fm Page 2 Friday, June 1, :18 AM Case Study Russ has owned a digital camera for a few years and has been pleased with the results. He has decided that it is time to buy a new model, and he discovers that he can now afford a digital SLR. He has heard that these cameras offer many advantages over compact cameras, and he s ready to experience the difference. When he starts using the camera, Russ is amazed at the quality of photos he s able to obtain. And once he masters some of the more advanced settings, such as the histogram and temperature control, he s even more impressed with his choice! 2 Appendix B Using Your Digital SLR

3 Advantages of Using a Digital SLR Probably the most notable feature you will experience with your dslr (short for digital SLR) is the lack of shutter lag; instead, you can take shot after shot without waiting for the camera to process the picture. Other advantages include a larger sensor, a more accurate viewing system, true manual focus, more depth of field control, and advanced controls and settings. Faster Picture-Taking Two of the most frustrating things about compact digital cameras are how long it takes to power up the camera and the inability to take picture after picture due to shutter lag. A compact camera may make you wait two or more seconds before a picture can be taken, but you can begin shooting almost as soon as you turn on a dslr. Compacts also go to sleep or shut off automatically, which contributes to lack of speed. Digital SLRs consume very little power when not being used, so you can leave them switched on and ready to go. SLRs have more built in memory than compacts so more shots can be stored before needing to be transferred to the memory card. This means faster picture-taking. Although dslrs have a slight bit of shutter lag, it is almost unnoticeable, especially compared to compacts. Now you actually capture the picture you see, not the moment after. A Larger Sensor Means Less Noise For more information about sensors, see Working with Sensor Sensitivity in Lesson 5. The sensor in a dslr is much larger than the one in a compact camera, thus creating a larger area for capturing light. The difference between an 8-megapixel compact camera and an 8-megapixel dslr is that the dslr has larger photoreceptors distributed over a greater area. So what does this mean to you? It means you can use higher ISO settings DSLR sensor compared to a compact digital camera and capture pictures in lower light situations than you can with a compact camera. This is because the larger sensor has more accurate signals from each light particle due to the increased amount of captured light. Advantages of Using a Digital SLR 3

4 Noise, as you learned in Lesson 5, Exploring Exposure, is the result of overamplified signals from the pixels on the sensor. It occurs when the ISO setting is increased. It is more noticeable when using a compact digital camera because of the smaller sensor size. As the ISO setting goes up so does the amplification. Because the signal is spread over a larger area in the dslr, the amplification is lessened. So the good news is that with your dslr you can capture pictures in lower light with less noise! Using the dslr Viewfinder How many times have you tried composing a picture in bright light using the LCD on a compact camera only to find it is too difficult to see anything clearly? When you look through the dslr viewfinder, what you see is almost exactly what the sensor captures without bright light obscuring the view. Focusing Manually Remember all the times your camera would not focus when you wanted it to; it just whirred in and out, not cooperating at all? Well those days are over because digital SLRs have a very usable manual focus feature. It s simple; turn the switch to manual focus and turn the focus ring on the lens until you see the subject focused in the viewfinder. This is not as easy to do, or as accessible, in most digital compact cameras. Manual focus is separate from the manual-shooting mode; you can use manual focus no matter what shooting mode you use. Gaining More Depth of Field Control For more information about depth of field, see Introducing Depth of Field in Lesson 5. If you were using a compact digital camera when you completed the Hands- On depth of field exercises in Lesson 5, Exploring Exposure, you probably noticed that there was not much visual difference between the smallest and largest f-stop settings. Most of the scene will be in focus unless you are shooting very close to the subject because with a compact you have very little control over depth of field. The focal length (distance between the optical center of the lens and the sensor) of lenses on compact cameras is shorter due to the smaller sensors, and the shorter the length, the greater depth of field. Switching to a dslr gives you the ability to completely control 4 Appendix B Using Your Digital SLR

5 depth of field settings because the larger sensor allows a longer focal length with all lenses. If you want the background in a scene to be less focused, you are able to do it; the f-stops actually give the amount of depth of field they are supposed to when using a dslr. Magnified area View taken with compact camera Magnification showing no difference in depth of field Choosing a Digital SLR For more information about choosing the right camera for you, see Buying a Digital Camera: Features to Look For in Lesson 1. Good news! The choice of digital SLRs keeps growing and the prices keep dropping. So how do you know which is the right one for you? Besides following the basic guide outlined in Lesson 1, Choosing and Evaluating Digital Cameras, there are some features specific to dslrs you should know about, including processing speed, sturdiness of the camera body, lens quality, and special features. Features to Look For Consider the following when researching SLR cameras. Processing speed: If you specialize in sports photography or like to capture lots of action, then you will need a camera that captures at least three to four frames per second. Choosing a Digital SLR 5

6 Sturdy construction: Digital SLRs come in several sizes and weights. The smaller, lighter ones are great because they are easy to carry around but the material they are made from will probably not be as sturdy and impervious to knocks as the larger, more professional models. Lens quality: Moving up to an SLR is great because you can pick and choose which lenses you want to use. However, as you will learn later, some lenses may not be compatible with your dslr. It is also important to remember that when using non-dslr lenses, the capture range will change when the lens is used with a digital SLR. Special features: If you want to use your camera while it is attached to a computer, you must be sure the camera has the necessary components. Or you might want to use a specific type of lighting equipment; make sure the camera is compatible. Which Model Do I Choose? The camera you choose has to be the one you will take with you and use. This means it has to be the right size and weight, and it must grow with your photographic interests. Consider whether you want to buy a kit, which comes with a specific lens, or just the body because you already have lenses or don t want the one that comes in the kit. Do a lot of research before you make your purchase and you will be a happy photographer! Exploring the dslr Now that you have learned what makes a dslr different from compacts and what features to look for, it is time to delve into using the controls and settings on your camera. Many of these features are similar to those found in compacts but they usually offer more flexibility, ease, and customizable and advanced controls. Basic Controls Many compacts have a feature called manual focus, but using this feature is not as simple as turning off auto and turning a ring on the lens the way it is on a dslr. Exposure modes are also similar on compacts and dslrs but the settings are more accessible on the SLR because they are often located on the camera body, not in a menu. 6 Appendix B Using Your Digital SLR

7 Auto or Manual Focus Two factors affect the focusing system of a dslr: The mechanism in the lens that moves the lens elements to the proper position when directed by the camera, and The electronics, which evaluate the contrast to determine the point of focus. Getting correct focus in the camera is essential because even though you can correct many problems after capturing the picture, focus is not one of them. Depending on the brand and model of your camera and lens, you will have different focus options, and the settings may be found in different locations on the body or in the menu. Following is a list of common focus features. Automatic or manual focus switch is used to switch between manual and auto focus modes. Focus switch located on the lens Focus switch located on the camera body Auto-focus confirm light is seen in the bottom of the viewfinder, usually as a small yellow or green dot. A steady dot confirms that the point of focus is sharp. This can also be a guide when using manual focus. The auto-confirm light comes on when the shutter button is depressed halfway and focus locks on the subject. DSLR viewfinder Exploring the dslr 7

8 Focus area settings let you select the point in the viewfinder that will be the sharpest when you lock in the focus by depressing and holding down the shutter button halfway. You can choose which focus point to use as the primary auto focus area. HANDS-ON B.1 Use Focus Controls In this exercise, you will practice using the auto and manual focus controls on your camera. 1. Switch on your camera and look in your instruction manual for the section on focus. This feature has the same name for almost all digital SLRs, which makes locating it in your manual very easy. 2. Locate where the focus controls are displayed on your camera. On some cameras, focus controls are on the body next to the lens, on others they are on the lenses themselves. 3. Set the focus to automatic. 4. Find a subject that has distinct contrast or edges. 5. Aim the camera at your subject and press down the shutter button halfway. Don t take the picture yet. Repeat the step if you accidentally take the picture. 6. While looking in the viewfinder, find the small circle that will light up when the focus locks in place, and then take the picture. This circle is the focus indicator. 7. Now set the focus to manual. 8. Aim the camera at the same subject and turn the focus ring on the lens until the subject is in focus. Notice that the focus indicator lights up when the subject is in focus. This is a helpful feature to confirm that the focus is correct. 9. Find a subject that does not have distinct edges, like the sky with clouds. 8 Appendix B Using Your Digital SLR

9 10. Repeat steps 3 8. Notice that it is difficult or impossible to use auto focus in these conditions. 11. Reset the focus mode to the one you will want to use when you next take pictures. Exposure Modes For more information about exposure modes, see Lesson 5, Exploring Exposure. Perfect exposure means there is detail in the dark areas, middle tones, and lightest areas of a photo. Often, you won t be in perfect lighting conditions to capture perfect exposure. Digital SLRs have several features to fine-tune exposure, including metering modes, exposure compensation, and exposure lock. We will focus on metering modes in this section. Center Weighted metering area Matrix (Pattern) metering area Spot metering area Metering Modes Most cameras have three main types of metering modes so you can choose the best mode for the available lighting: Matrix (also called Multisegment, Pattern, or Evaluative): This system calculates exposure by looking at different segments of an image in the entire frame to determine the brightest and darkest parts of the scene. This is usually the best all-around metering mode choice because it does a good job at preserving detail in both shadow and highlight areas. Center Weighted: This system calculates exposure by emphasizing the area in the middle of the frame. This system is a good choice when you know that the most important subject matter is in the center of the frame Exploring the dslr 9

10 but you also want good exposure in the surrounding areas. You can make best use of this mode when photographing portraits and some close-up work. Spot (also called Partial): This system calculates exposure by concentrating on a small area in the center of the focus area in the frame. Use this mode when the subject isn t moving around and there is a strong difference between the light on the subject and the rest of the scene; for example, a person in front of a bright window or a performer under a spotlight. HANDS-ON B.2 Use Metering Modes In this exercise, you will find the exposure mode setting on your camera. Then you will set and use this feature. 1. Switch on your camera and look in your instruction manual for the section on metering modes. This feature has the same name for almost all digital SLRs, which makes locating it in your manual very easy. 2. Locate where the metering mode settings are displayed on your camera. 3. Set the metering mode to Matrix. Depending on your camera, this mode may be called Multisegment, Pattern, or Evaluative metering. 4. Find a subject that is part in the sun and part in the shade, and then take the picture. Note the spot you focused on because you will need to focus on the same place for the next steps. 5. Change the meter mode to Center-Weighted, and then repeat step 4, making sure you are focusing on the same spot as before. 6. Change the meter mode to Spot (Partial) and repeat step 4. Once again, make sure you are focusing on the correct spot. 7. Review the pictures in Playback mode and notice how the metering mode affected (or didn t affect) the exposure. You may need to download your images and view them on your computer to see changes. 8. Now choose a panoramic view where the lighting is relatively the same. 9. Repeat steps Appendix B Using Your Digital SLR

11 10. Choose another student and take turns standing in front of a bright window or any bright background. 11. Once again, repeat steps Reset the meter mode to the mode that best suits your next picture based on the information learned from this exercise. Advanced Controls There are many advanced and custom controls in dslrs and the range of these features depends on the model you have chosen. In this section, you will learn additional settings to fine-tune exposure and ensure correct color rendition in your photographs. Using the Histogram and Highlight Display for Correct Exposure When you first hear the word histogram it might sound mysterious and complicated. A big question mark might appear in your mind. You will find that the concept and use of this feature is really quite simple. The Highlight Display is another useful feature that indicates areas of the picture that are overexposed. Histogram as it looks in Playback mode Underexposed image Histogram representing the underexposed image Exploring the dslr 11

12 Ideal exposure Histogram representing normal exposure Overexposed image Histogram representing the overexposed image Using the Histogram A histogram is basically a chart showing how the tones are distributed in an image. The tones in an image span a range of light to dark shades. The histogram looks something like a mountain and each mountain looks different for each picture depending on the light in the original scene. You can only view the histogram after the picture is taken. It functions as immediate feedback about whether to increase or decrease exposure. The ideal histogram is the one with as many tones as possible within the lightest and darkest tones because the more tones you capture the more there is to work with later in an image editing program like Adobe Photoshop or Photoshop Elements. The tones are represented by a mountain that is in the center of the histogram. If you don t plan on doing anything to the image beyond taking it, then you need to determine correct exposure using the histogram at the time of capture. You might find that the best picture does not have the ideal histogram, which is perfectly okay because the bottom line is to make the photograph you like. 12 Appendix B Using Your Digital SLR

13 You can learn more about using Photoshop Elements in the Labyrinth book, Welcome to Photoshop Elements 4.0. There is no such thing as the perfect histogram because the picture you want may not be correctly exposed. Using the Highlight Display The Highlight Display feature is a great help, though it can also be annoying. However, the usefulness outweighs the annoyance. The Highlight Display feature must be active to show up in your display monitor. This setting is found in the Photo Information section in your instruction manual. Just like the histogram, you won t see this feature when you are taking the picture; you will see it only in Playback mode. The information is superimposed over the picture when viewing it in single-image playback. There will be flashing black areas to show you where your picture is overexposed. Then you can change the exposure and take another picture. If your image has no overexposed areas, there won t be any flashing. The display will flash black to indicate overexposed areas of the picture. Picture with overexposed areas Highlight Display Exploring the dslr 13

14 HANDS-ON B.3 Use the Histogram and Highlight Display In this exercise, you will use the histogram feature and highlight display to evaluate exposure. Practice with the Histogram 1. Take several pictures under different lighting conditions. 2. Take your camera indoors or to a shady area and switch to Display mode. 3. Press or turn the multi-selector to Histogram mode and examine the images you just shot. You may see the histogram change from picture to picture due to different light and exposures. 4. Now you will make a series of pictures with different exposures. 5. Take three pictures of the same view with the exposure set at normal, -1, and +1, using exposure compensation. 6. Switch to Display mode. Look at each picture and note the difference in the histograms. The underexposed image should show a histogram with the tones crowded at the left side, while the overexposed image will show a histogram with the tones shifted to the right. 7. Practice taking more pictures, using the histogram as a guide for exposure correction and exposure compensation to change the exposure as needed. 8. Reset the exposure to 0 and continue with the next exercise. Practice with the Highlight Display 9. Switch on your camera and look in your instruction manual for the sections on histogram and highlight display. Both topics will probably be located in the same section, possibly under Photo Information. 10. Find a view with has a very bright, light area in it and take several pictures. 11. Take your camera indoors or to a shady area and switch to Display mode. 12. Press or turn the multi-selector to the highlight display mode, and scroll through the images until you find one with flashing areas. If you don t see anything flashing it means there is nothing overexposed in any of the pictures. 14 Appendix B Using Your Digital SLR

15 13. Go back to the view where you shot the overexposed picture, set the exposure compensation to 1, and take another picture. Review Lesson 5, Exploring Exposure for exposure compensation. 14. Switch to Display mode and examine the images to see if the flashing areas disappeared or decreased in size. Underexposing should make the picture darker and the overexposed areas should become less bright. 15. Reset the exposure to 0. Using Color Temperature Settings For more information about color temperature settings, see Lesson 7, Adjusting Color with White Balance Settings. White balance refers to the adjustment the camera makes to reflect the true colors in a scene regardless of the light source; for example, white will always be white. The adjustments made are based on the temperature of the light source. Higher temperatures will look redder (warmer) and low colors will appear bluer (colder.) White balance control on a Nikon D200 LCD showing preset setting There are three ways to adjust white balance in your dslr: automatic settings, custom settings, and adjusting the color temperature manually. Automatic settings are covered in Lesson 7, Adjusting Color with White Balance Settings, so only the latter two will be addressed here. Creating Custom White Balance Presets Although the automatic white balance settings work quite well in most cases, sometimes they don t and your picture will have an unwanted color cast. One way to correct this is to create and store your own preset. In order to use the preset more than once, Exploring the dslr 15

16 your light source needs to remain constant, so this is an especially effective method if you plan on doing a lot of shooting in the same place under the same light. Many dslrs allow you to create and store more than one custom white balance preset. Each dslr brand and model has slightly different controls used to create presets, but the basic steps are the same: Choose something white to use as a reference. It can be white paper, a white shirt, or anything available. You can also use a traditional photographic gray card. Adjust the white balance control to Preset. Make an adjustment that indicates the camera is ready to capture the white balance reference. Point the camera at the white balance reference and press the shutter as if taking a picture. It is a good idea to use manual focus because there will not be any contrast or edge for auto focus to grab onto. The camera should indicate that you have successfully captured the reference and that it is stored as a preset. Access the white balance options and choose preset. Take the picture. HANDS-ON B.4 Use Color Temperature Controls In this exercise, you will practice getting correct white balance by creating a custom preset and by manually adjusting the temperature. 1. Look in your instruction manual for setting custom white balance. Depending on your camera, you will set the white balance using menu options or buttons on the body of the camera. 2. Set the white balance to Preset and make sure the pop-up flash is not engaged, if you have one on your camera. Using the flash will override or skew the results of creating a custom white balance. 3. Find a location where the room is lit by fluorescent light. It s okay if there are windows letting in natural light. 16 Appendix B Using Your Digital SLR

17 4. Use a piece of white paper as a target to capture the correct white balance settings under the current light source. 5. Set the camera to manual focus. The white paper has no distinct edges so auto focus will not work in this instance. 6. Make the proper adjustment to prepare the camera to take a white balance setting. You will have to carefully follow the instructions in your manual since each camera has its own method for capturing the setting. Try again if it doesn t work the first time. 7. Point the camera at the white paper, filling the frame so the viewfinder only shows white, and then press the shutter button. The camera will indicate if you have successfully captured the setting. You are not really taking a picture; you are capturing a setting that is stored in the white balance presets. 8. Make sure your camera is in the Preset mode and take a picture in the room. 9. Now change the white balance setting to automatic and take another picture. 10. Compare both pictures in Display mode to see if one of them shows the correct colors. 11. Repeat steps 5 9 using different light sources. Additional Custom Settings You will find that your camera offers oodles of custom settings, from turning on a grid in the viewfinder to choosing the function of dials and buttons. There are far too many to go over in this lesson. Too, these settings vary from model to model. They are accessed through the menu and are essentially preferences for the way you want settings and functions to perform. For example, if you want the bracketing sequence to be normal, under, over instead of under, normal, over, all you have to do is locate the setting and choose it. It will remain set this way until you change it in the custom settings menu. Exploring the dslr 17

18 Custom setting on a Canon dslr Some models have two custom settings menus: Simple and Detailed Custom setting on a Nikon dslr HANDS-ON B.5 Set Custom Settings In this exercise, you will choose a custom setting, locate it in the menu, and change it in your camera. The setting in this exercise is for setting file number sequence. It is very useful because it determines how sequential numbers are applied to files as they are shot and stored. When turned on, file numbering continues each time you take pictures, whether you have turned the camera off and on, reformatted, or changed memory cards. Turning the setting to On ensures that you will not have duplicate file numbers until you reach the maximum amount, which is usually quite high. Turning the setting to Off makes the numbering start over at 1 each time you reformat or use a new memory card. 1. Look in your instruction manual for file number sequence in custom settings. Custom settings are located in the menu and will look slightly different for each camera model and brand. 2. Press the Menu button and choose Custom Settings from the major categories. Depending on your camera, the categories may be on the left side or at the top of the display. 18 Appendix B Using Your Digital SLR

19 3. Scroll until you see a custom setting that includes File Number Sequence; for example, it is found within the Shooting/Display custom setting in the Nikon D Press or turn the multi-selector to the right, and then scroll until you see File No. Sequence. Once again, depending on your camera, it might be a number that coincides with the setting rather than the exact words. 5. Press or turn the multi-selector and choose On and choose OK. 6. That s it! Now you don t have to worry about having multiple files with the same number. Choosing Lenses and Filters Unlike compact digital cameras that come with only one lens attached to the camera, dslrs give you many lens choices. You can choose one multipurpose zoom lens or you can buy a lens for each type of scene. Filters allow you to further fine-tune your shot to get better exposures and also good for creative uses. Lenses Interchangeable lenses are synonymous with SLRs. Being able to choose the right lens for each photographic situation gives you flexibility not possible with compacts; you have to decide on the lens when you buy a non-dslr because it is built into the camera. Not only can you choose the size of the lens, you can also select one within your price range. Lenses are what give you creative control over the look of your photograph. You can usually use the lenses you used with your film SLR with excellent results. Because the sensor on a dslr is often smaller than the traditional 35mm frame size, the lens may not produce the same uniform results. Image quality may be affected, but often unnoticeably. Lenses designed specifically for dslrs are available, but there is no need to rush out and replace your old lenses unless it is the right time anyway. Lenses made for dslrs are not compatible with film SLRs, but film lenses can be used with either type of camera. Choosing Lenses and Filters 19

20 Because many dslrs use a sensor smaller than a 35mm frame, non-dslr lenses crop out part of the image resulting in what seems to be a lens conversion. This causes the range of telephoto lenses to become longer and wide angle lenses to become narrower. For example, a 200mm lens could become 300mm and a 20mm lens increased to 32mm. It s great on the telephoto side, but this effectively eliminates the wide angle view when using traditional SLR lenses on dslrs. Wide angle lens Telephoto angle lens 24mm 35mm 50mm 105mm 200mm 500mm Angles of view of different lens sizes COMMON TYPES OF LENSES Lens Type Characteristics Common Available Size(s) Uses Prime or Fixed This lens is fixed; it cannot be zoomed in and out. Almost all lens sizes You want faster aperture and auto focusing speed You want a lighter lens Normal This lens approximates what we see when looking straight ahead. 50mm Zoom This lens combines a range of lens sizes into one lens. 35mm to 115mm 18mm to 200mm, 300mm, 400mm etc. You want flexibility You want to carry only one lens (Many more combinations) 20 Appendix B Using Your Digital SLR

21 COMMON TYPES OF LENSES (CONTINUED) Lens Type Characteristics Common Available Size(s) Uses Wide Angle This lens captures a wider angle of view than a normal lens. 20mm to 35mm Architecture Panoramic landscapes Small spaces You want to work close to the subject Telephoto This lens magnifies the subject by bringing the subject closer to the camera. 85mm to 1200mm Wildlife Sports Candid shots of people Bringing distance subjects closer You can t get close to the subject Macro This lens allows you to focus within a few inches of the subject. 50mm or 100mm Close ups of flowers, objects, etc. Each lens has similar characteristics, including a focus ring, distance scale, zoom ring, and zoom scale. Some lenses include other features like depth of field indicator and lens lock. Zoom ring or focus ring (depends on brand of lens) Distance scale Focus ring or zoom ring (depends on brand of lens) Zoom scale Components of a typical zoom lens Choosing Lenses and Filters 21

22 HANDS-ON B.6 Find Lens Characteristics In this exercise, you will locate several lens characteristics on your camera lens. You may use any lens that is attached to your camera. 1. Find the ring on your lens that displays a range of numbers; for example, 18, 35, 50, 70, etc. This ring is called the zoom ring. It will probably be located near where the lens is attached to the camera. If your lens is not a zooms lens, you will not see a range of numbers. 2. Notice how the numbers line up with the white line as you turn the ring. The number at the line indicates the angle of the lens you are using. Each time you turn the ring, another angle is selected. 3. Switch your focus to manual if it is not already. 4. Now, locate the other ring on your lens and turn it. This ring is the focus ring, and it won t turn unless you are using manual focus. 5. Find the area on your lens that shows a scale in feet and meters, and then turn the focus ring. This is the distance scale. It moves in unison with the focus ring and shows the approximate distance to the object of focus. 6. Mount other lenses on your camera if you have more than one, and repeat steps 1 5, noting any differences. Filters A cool thing about digital cameras is that many of the white balance settings effectively replace traditional add-on filters used in film cameras. Filters have been used to balance unwanted color casts or to create special effects. The color correction can be handled with custom white balance settings or by dialing in a color temperature, which is the equivalent of putting different color filters on the lens. However, there are still uses for external filters, and they are easily added to dslrs by screwing them directly on the lens. 22 Appendix B Using Your Digital SLR

23 Polarizer filter Polarizer filter on the lens UV filter Picture taken without polarizer filter Picture taken with polarizer filter QUICK REFERENCE: Reviewing the Types of Useful Filters Filter How It Works What It Does UV Neutral Density Polarizer Mounts on lens; there are no movable parts Works like a dimmer switch, lessening the amount of light that reaches the sensor Available in different densities to block varying amounts of light Rotates the movable part of the lens to adjust the amount of the polarizing effect Protects lens without changing the amount of light entering the camera Filters UV light Correct overexposure on bright, sunny days Darkens blue skies Removes or reduces reflections Increases color intensity Choosing Lenses and Filters 23

24 Choosing Photo Formats For more information about photo formats, see Lesson 6, Exploring Resolution, Compression, and File Formats. The data collected to form a picture is stored in a standardized form, and this standardization is called a file format. You learned about the different file formats in Lesson 6, Exploring Resolution, Compression, and File Formats. Fewer and fewer compact cameras are including the RAW format, so it is an important feature in dslrs. You have three format choices on your dslr: JPEG, RAW, and JPEG+RAW. You may have heard that RAW is the only way to go; not necessarily. High-quality JPEGs can give you excellent quality pictures. JPEG The JPEG format is great because it is convenient. The files are small so you can get a lot of them on a memory card. Just about any image editing software supports JPEG images. The files are compressed so you may lose some detail and color. Be sure to choose the best compression setting for your needs. RAW The RAW format gives you a larger file size, taking up more storage space on your memory card. It also preserves more detail and color. When you process the RAW file in a conversion program like Adobe Camera Raw, you have the ability to change some settings as if you were still in the camera. In general, you also have more flexibility during the editing process. You do have to know how to use the conversion program, and it s not as hard as you might think. RAW+JPEG Many dslrs have the ability to take both RAW and JPEG files at the same time, producing two separate files. This allows you to use the JPEG files to quickly view your images, attach them to , or even process and print them. You also have the RAW files, with which you can process the raw data in Adobe Camera Raw or a similar program. 24 Appendix B Using Your Digital SLR

25 Indicates resolution setting Indicates compression setting Indicates RAW setting Nikon D200 format settings Nikon D200 format settings No matter what kind of camera you have, the JPEG file has the same extension:.jpeg. This is not the case with RAW files. Although all camera manufacturers produce a universal RAW file (unprocessed data), they don t give them the same extension, therefore they have different names. Nikon:.nef Canon:.crw, ccr2 Olympus:.orf Fuji:.rof Kodak:.kdc,.dcr Minolta:.mrw Pentax:. ptx,.pef Sony:.orw,.srf Sigma:.xSf Choosing Photo Formats 25

26 HANDS-ON B.7 Set the Correct Format In this exercise, you will practice using the JPEG, RAW, and RAW+JPEG formats, and compare the storage capacity for each format. Before You Begin: Use a formatted, empty memory card with a minimum of 512 megabytes. 1. Switch on your camera and locate the controls for choosing formats. 2. Set the quality for the highest resolution and least compression JPEG file and write down how many pictures you can take. Don t take any pictures. This exercise is only for comparing the memory card storage capacity in each format. 3. Set the quality for RAW and write down how many pictures you can take with this format. Note that you can take about one-third the amount of pictures compared to JPEG format when in RAW format. 4. Now set the quality for RAW+JPEG and note the change in storage capacity. You have several JPEG combinations to choose from, just as if you were only using JPEG settings. 5. Continue choosing different formats, noting how the storage capacity changes with each setting. Caring for Your Camera The better care you give your camera, the longer it will last and the better it will operate. Caring for your camera includes the camera body, lenses, LCD displays, and the sensor. If you need to store your camera for an extended period of time, be sure to remove the battery and keep the camera in a dry, ventilated area. Cleaning the Camera Body Use a blower to remove dust from the camera body, and then wipe the camera with a soft, dry cloth. If your camera needs more cleaning than a simple wipe down, use a cloth dampened slightly in distilled water then thoroughly dry it before using it. 26 Appendix B Using Your Digital SLR

27 Cleaning supplies Blower Cleaning and Caring for Lenses Have you ever prepared to take a picture of someone and they pointed out that your lens looked dirty? Obviously, smudges on the lens will affect the sharpness of your pictures. First, use a blower-brush to remove dust from the lens, both the front and rear elements. For more persistent problems, apply a little lens cleaner to a soft cloth or lens cleaning paper and clean with care. Microfiber cloths are a good lens cleaning choice and can be purchased at photo supply stores and electronic stores. Keeping them in a small plastic zip-top bag keeps them easy to find and free from dirt. Be sure to blow the dirt off before you wipe, but don t use canned air because liquid can come out instead of air. Do not apply lens cleaner directly to the lens! Cleaning LCD Displays It s important to keep the displays clean and free of scratches so you can clearly see your images, menus, and other information. Many dslrs come with a clear plastic cover for the LCD display to protect it. If your camera did not come with a protective cover, you can buy screen protectors that adhere to the displays and can be easily removed and replaced when needed. They come in sheets and can be custom fitted for any display size. Caring for Your Camera 27

28 Two kinds of screen protectors Protective cover for the LCD display Cleaning the Sensor Each time you change a lens you increase the possibility of getting dust on the sensor, so pay attention to where you change the lenses. Keep the camera shielded from wind and dust. The sensor is what captures the image; dust spots on the sensor will show up when you view the image on the computer or on a print. You don t actually clean the sensor; you clean the filter in front of it. It is a very delicate operation, and you certainly don t want to damage any part of the camera. If you have any reservations about doing it yourself, have it performed by an authorized repairperson. Incorrectly cleaning the sensor can be a very costly mistake. The sensor is underneath the mirror Dust on the Sensor So how do you know if there is dust on the sensor? You won t see it in the viewfinder. If you do see spots it is usually inside the viewfinder itself, not on the lens or sensor. It won t affect the picture, but it can be annoying. You will have to have it cleaned by a camera repairperson. To check if there is dust on the sensor, take a picture of the sky or a lightcolored wall and look at the image on your computer. Dust shows up as small soft dark spots. It won t be very noticeable in the darker areas of a picture. Your camera may have a built-in cleaning setting, or you can try cleaning it yourself. 28 Appendix B Using Your Digital SLR

29 Dust may not be visible unless magnified or printed Dust spots magnified Built-In Cleaning Some cameras have a built-in cleaning system, which works by vibrating the sensor every time the camera is turned on. The dust is shaken off and collected on adhesive strips along the sides of the sensor. Other cameras use a different type of self-cleaning system that also removes dust particles. Cleaning the sensor with a blower Blower used for cleaning the sensor Manual Cleaning If your camera doesn t have a built-in sensor cleaner, you have some options: Blow the dust from the sensor and/or buy a sensor cleaning kit to remove dust directly from the sensor. If you choose the second option, you will actually be touching the sensor, so make sure you know what you re doing. Blowing the dust from the sensor is a pretty simple operation and the only tool you need is a big photography blower bulb and your instruction manual. Your manual will tell you how to lock the mirror Caring for Your Camera 29

30 (this information is usually located in a section on sensor cleaning). First, remove the lens, and then lock the mirror, which exposes the sensor. Second, use the blower to blow air on the sensor while holding the camera upside down. Usually this is all you need to do to remove most of the dust. Of course, you don t want to touch the sensor during the process. Do not ever use canned air to clean the sensor! 30 Appendix B Using Your Digital SLR

31 Concepts Review True/False Questions 1. You can use higher ISO settings and get less noise with a dslr than a compact camera. 2. You can control depth of field better with a compact camera than with a dslr. 3. A histogram shows how tones are distributed in an image. 4. You can only see the histogram and highlight display when the camera is in Playback mode. 5. White will always appear white if the white balance setting is correct. 6. The equivalent of using some filters on a dslr is using the white balance settings. 7. You can tell if there is dust on the sensor because you can see it in the viewfinder. 8. Digital SLRs consume a lot of battery power when not being used so you should always turn them off when they are not in use. 9. Basic controls are usually easier to access on a dslr than on a non-dslr. Page number true false true false true false true false true false true false true false true false true false 10. The focus switch is always found on the body of dslrs. true false Concepts Review 31

32 Multiple Choice Questions 1. Which of the following is important to consider when buying a dslr? Page number: a. Processing speed b. Construction c. Lens quality d. All of the above 2. Perfect exposure means. Page number: a. detail in the dark areas b. detail in the middle tones c. detail in the lightest tones d. All of the above 3. Which of the following indicates ideal exposure? Page number: a. Most of the tones appear on the left side of the histogram. b. Most of the tones appear in the middle of the histogram. c. Most of the tones appear in the right of the histogram. d. None of the above 4. Raw format files. Page number: a. are smaller than JPEG files b. preserve more detail and color than JPEG files c. are compressed d. All of the above 32 Appendix B Using Your Digital SLR

33 Skill Builders SKILL BUILDER B.1 Use Metering Modes and the Histogram to Determine Proper Exposure In this exercise, you will choose subjects with different lighting conditions and use metering modes and the histogram to make the best exposure. 1. Find a subject in bright sunlight and set the metering mode to Matrix. Depending on your camera this mode may be called Multisegment, Pattern, or Evaluative metering. 2. Take the picture, and then activate the histogram in Playback mode. 3. Take your camera into the shade or indoors and look at the picture you just took. Note the shape of the histogram. Does it show that the picture is correctly exposed? 4. Deactivate the histogram and view the same picture. Does it look correctly exposed? 5. Does the information from the histogram match what you see in the picture? Sometimes the histogram will not look correct but the picture will look exactly how you want it. 6. Repeat steps 1 5 using Center Weighted and Spot meter modes. 7. Find a subject that is entirely in the shade and repeat steps Find a subject that is in part sun and part shade and repeat steps Download the images and view them on your computer. Would you change any conclusions you made when you were only looking at the display on the camera? Skill Builders 33