Photography 101
#102
01-21-2012, 03:51 PM
EDIT: and your edits look AMAZING!! must spread rep though
#103
01-22-2012, 02:04 AM
You will need an SLR, tripod, and I like to add a remote shutter release
Place your camera on a tripod and set it to aperture priority mode… to start with maybe try an aperture value of 8 or 5.6 to avoid a very shallow depth of field. Next set your ISO value of 100 or lower, this might need to be raised depending on the available lighting and the effect you want. Now comes focusing and metering which is a great time to understand and try out the AE-Lock “*” bottom on your SLR.
How To Use Auto Exposure Lock on a DSLR Camera – PictureCorrect
...
The AE-L function is best used with spot or partial metering in order to fix the meter reading from a small area in the scene. This is very useful in lighting conditions that may fool the metering system.
For example, if you shoot a scene that has a bright source in part of the image, an evaluative, matrix or multi-zone meter can easily force underexposure. To get the right exposure, you need to take a reading away from the bright region.
This can be easily be done by taking a spot or partial meter reading from a mid-tone area of the scene and then locking that reading by pressing the AE-L button, and keeping it pressed until you’ve recomposed and taken the shot. On some cameras you don’t need to keep the AE-L button depressed, on others you do.
The AE-L button can be used if the subject or subjects are positioned off-centre in the scene. It is also useful when you are shooting a sequence of images that you want to be stitched together in order to produce a panoramic photograph. The AE-L function makes sure that every shot taken in the sequence has exactly the same exposure settings.
Author
Chris Smith gives photography tips in his ezine that you can get every week for no cost. He has also put together a complementary report for you called How To Master White Balance, which helps you solve any white balance problems. To download it instantly and to obtain the ezine please visit: photography-expert.com.
...
The AE-L function is best used with spot or partial metering in order to fix the meter reading from a small area in the scene. This is very useful in lighting conditions that may fool the metering system.
For example, if you shoot a scene that has a bright source in part of the image, an evaluative, matrix or multi-zone meter can easily force underexposure. To get the right exposure, you need to take a reading away from the bright region.
This can be easily be done by taking a spot or partial meter reading from a mid-tone area of the scene and then locking that reading by pressing the AE-L button, and keeping it pressed until you’ve recomposed and taken the shot. On some cameras you don’t need to keep the AE-L button depressed, on others you do.
The AE-L button can be used if the subject or subjects are positioned off-centre in the scene. It is also useful when you are shooting a sequence of images that you want to be stitched together in order to produce a panoramic photograph. The AE-L function makes sure that every shot taken in the sequence has exactly the same exposure settings.
Author
Chris Smith gives photography tips in his ezine that you can get every week for no cost. He has also put together a complementary report for you called How To Master White Balance, which helps you solve any white balance problems. To download it instantly and to obtain the ezine please visit: photography-expert.com.
Focusing in low light can be tricky for your autofocus function, so what do you do?
- You can manually focus which to me is the way to go…
- Use a flashlight to help your camera set its focus
- Set your focus to infinity which is fine for landscapes
Now, why the remote shutter release… cause when you push and release the shutter button on your SLR the camera will move/shake slightly and over long exposures this will be noticeable in the photo (so you can use a remote shutter release or set the camera to self-timer)
After you take a few pix you can adjust the aperture value to get the effect you want… or now that you know the ideal settings you can switch to manual mode and play around with all the different settings
#104
01-22-2012, 09:58 AM
That is a great tip. I don't have a remote, so I just put the delay setting on so there's a 2 or 3 second delay until the shutter releases.
#105
01-22-2012, 10:13 AM
Another thing to add to that is using "mirror up" lock. When the camera lifts the mirror to take the shot, there is an ever so slight vibration that can also be noticeable in a long exposure.
#106
01-25-2012, 10:12 AM
I have a total noob question.
Does the quality of your memory card make any difference in the picture quality. I was thinking about this because I received a GoPro Hero 2 for Christmas and they recommend a 32gb class 10 SD card, which I bought for it, but it got me thinking about my digital camera, and whether it makes any difference?
Does the quality of your memory card make any difference in the picture quality. I was thinking about this because I received a GoPro Hero 2 for Christmas and they recommend a 32gb class 10 SD card, which I bought for it, but it got me thinking about my digital camera, and whether it makes any difference?
#107
01-25-2012, 11:27 AM
I have a total noob question.
Does the quality of your memory card make any difference in the picture quality. I was thinking about this because I received a GoPro Hero 2 for Christmas and they recommend a 32gb class 10 SD card, which I bought for it, but it got me thinking about my digital camera, and whether it makes any difference?
Does the quality of your memory card make any difference in the picture quality. I was thinking about this because I received a GoPro Hero 2 for Christmas and they recommend a 32gb class 10 SD card, which I bought for it, but it got me thinking about my digital camera, and whether it makes any difference?
#109
01-25-2012, 12:27 PM
Well, wow...I'm late as usual to the party. I don't usually check new threads only the ones I'm already subscribed to so that's probably what happened here. I have much to contribute to but I don't even know where to begin. Looks like most of the basics were already covered. I'd like to add a few things.
Here's another automotive rig setup that me and Aaron used with my Turbo a while back.
We basically drove my Turbo in a circle a couple times and then took the rig off positioning the camera in the exact same position using a tripod snapping off a static shot. Then in Photoshop we merged the two together and this is the result:
For this setup, we used several flashes triggered remotely. Three of them. One off the rear wheel and two in front both corners.
One of the 3 flashes
The placement
This is what it looks like
The result
I'll have more including a tutorial on how to do a model shoot if you guys are interested or did you only want me to stick with cars?
Here's another automotive rig setup that me and Aaron used with my Turbo a while back.
We basically drove my Turbo in a circle a couple times and then took the rig off positioning the camera in the exact same position using a tripod snapping off a static shot. Then in Photoshop we merged the two together and this is the result:
For this setup, we used several flashes triggered remotely. Three of them. One off the rear wheel and two in front both corners.
One of the 3 flashes
The placement
This is what it looks like
The result
I'll have more including a tutorial on how to do a model shoot if you guys are interested or did you only want me to stick with cars?
#110
01-25-2012, 12:40 PM
^^ Been waiting for you to get here, Jason 
Thanks for the write up on the rig & flashes. Excellent stuff, as usual.
As a budding amateur, I've got a question directly aimed at you. How do you always seem to snap off such incredibly sharp and well-composed images? In this case, I'm questioning in particular some of the candids I've seen you post (recently recalling some of the pics you posted in the ski/snowboard thread or others that you've posted up of friends/family, etc.). Nearly every single shot is so incredibly crisp, that I always wonder how you do it. Would you attribute it to equipment or is it an insanely great knowledge of precisely which camera setting to use for each moment? Or, if it's something else altogether, I'd greatly appreciate any explanation you could give.
I'll try to do a quick search to post up some examples of what I'm referencing and post them here, if you don't mind.
Thanks for the write up on the rig & flashes. Excellent stuff, as usual.
As a budding amateur, I've got a question directly aimed at you. How do you always seem to snap off such incredibly sharp and well-composed images? In this case, I'm questioning in particular some of the candids I've seen you post (recently recalling some of the pics you posted in the ski/snowboard thread or others that you've posted up of friends/family, etc.). Nearly every single shot is so incredibly crisp, that I always wonder how you do it. Would you attribute it to equipment or is it an insanely great knowledge of precisely which camera setting to use for each moment? Or, if it's something else altogether, I'd greatly appreciate any explanation you could give.
I'll try to do a quick search to post up some examples of what I'm referencing and post them here, if you don't mind.