Digital Photography 101

Lesson 6 of 36

Camera: Shutter Priority, Manual Modes

 

Digital Photography 101

Lesson 6 of 36

Camera: Shutter Priority, Manual Modes

 

Lesson Info

Camera: Shutter Priority, Manual Modes

So moving over to the other side of the mod ill this is just when some people don't want to read the manual because the manual could be let's face it a little dry I use the manual for reference but I know some people really like to read the manuals and if you're that kind of person that's great but personally I just I can't make my way through it so I just find it situations and I go back in reference the manual but if you want to jump over to the other side you just need to know what it is. And so now here I am to tell you okay on this model we already kind of jumped over to the p for program that's that kind of more sophisticated automatic mode if you moved to tv now this is on a canon camera on a nikon camera it would say s and what that what that represents is something called shutter priority and that means you as the creative person get to choose what shutter speed you want so that's going to depend on do you want it to people or eat or do you want it to be sharp and so you choos...

e that shutter speed and remember I was telling you about all those numbers like one eight thousands of a second is a really fast shutter speed maybe you want to go shoot a picture at that fountain and capture the water droplets in midair you would turn your camera to tv or s for shutter priority you choose the shutter speed and then the camera does everything else you don't have to worry about anything else it just figures it out for the light in the scene because remember that that exposure triangle photographic triangle when you choose when you change one thing everything else changes too well if you're shooting emmanuel if you change your shutter speed you got to figure out the other settings for aperture specifically but if you choose shutter priority it's like a it's like a semi automatic way you choose one thing and then camera does everything else and same thing with aperture priority and that's what molly a likes to shoot in a lot and a lot of people like to shoot in africa priority because you get to choose do you want things to have a shallow depth of field so think about that man with appear you know if I would shoot it in aperture priority if I said hey you know I'm kind of moving around I don't want to play around a lot with my settings but I know that I want a shallow depth of field so I'm going to shoot an aperture priority and I'm going put my aperture setting on my camera to whatever my lens will allow the widest setting to be maybe four or if my lens allows him to do f five point six to try and blur out that background and their other things you can do to to blur out of background, and I'll talk about it a little bit more. We'll do it together, too, but that is to stand back from your subject and zoom in using longest telephoto on whatever lens you're using also helps you kind of blur out that background, too. So ab richard pryor aperture priority is a great creative choice, so allows you to decide one thing, and the camera does everything else. So it's really good to know if you're, you know, when you're on a shoot just shooting anything, especially there, other people around it could be very distracting and it's like, oh, I've got a family at the beach, and so you're thinking about the kid running in the sand and the the dad it doesn't want to be there, and the mom is trying to get everyone's close together and the you know, everything going on. And then you've got your equipment in the sand and the sea, salt and everything else, and here comes the lifeguard and ok, so there's, too many things going on, you know, and what's your exposure said I'm going to be, especially when you're first starting out if you know that, you know, you really want to try and blur out that background if you just put it on aperture priority and go, you could just take some great shots and not have to think about too much else while other than the kid jumping in the ocean or one of the other things I mentioned it za great way to shoot manual is also a great way to shoot and it's a great place to experiment. So you know, as you're learning more about your shutter speed and aperture to start with one thing and just do some experiments with that, if you're shooting in manual mode, play around with your shuttered setting on your camera and just take different pictures and see how that affects things that maybe just do that for a couple days and just kind of ingrained that in your brain, because if you're shooting in manual and just starting out, it starts to get a little overwhelming if you're thinking about the different settings in different waves, so that would be my advice to kind of start out just with one one either shutter, speed or aptitude playing around with that if you want to start shooting an m for manual. And then a depth this is available on some cameras it's like an automatic kind of depth of field so what it does is put up puts out different focusing points in your picture and it allows you to automatically kind of like how landscape mode lets you get things and focus from near to far like that deep depth of field a depth on this particular camera well let me have position the points over save people in the image and that will get those people in the front row in those people in the back row within the rights depth of field so they look properly shirt kind of an easy way to put it so it's just kind of an extra setting that was on this particular camera so exposure compensation I think we talked about this a little bit more earlier someone had a question about it and this is kind of an easy breezy way tio affect the light that's coming into your camera so that in essence to affect the look of your photograph so I've showed a dslr here but you can find it in different spots on different cameras so I've blown up the icon really large you're on the left so you've got a plus sign and a minus sign so expose your compensation think about it what it's talking about is the exposure of your picture and it's kind of compensating to either be plus lighter or minus darker and that's what this icon is really trying to tell us they're so whenever you see it, you can think I'm just kind of ingrained that in your brain right now to visual leaves I've got a plus for breyer the minus for darker it's an instant way to make your seeing lighter or darker here's why you'd want to do it the question earlier was, well, why would I just play around with my shutter speed and aperture? You can do that but let's say you're comes starting out or you're sort of doing things on the fly and you just want to quickly make things lighter or darker exposure compensations a great way to do it so here's the instances you it would probably happen let's say you're outside on dh it's snowing and the the snow is reflecting bright, bright, bright light into the camera and the cameras reflective light meter is responding thinking this is very bright I'm going to shut down and expose for kind of a medium gray and that's really how cameras air designed the digital cameras is to recognize reflective light all reflective light kind of average it out as a medium gray they call it eighteen percent gray but it's sort of medium gray color, so if you get something that's super bright white reflecting into your camera it's going to try to make it gray so how do you compensate for that? You go to exposure compensation and go plus plus plus and move it up here's an example of what it would look like. Let me show you the one that goes up. Ok, so here is where this little white thing here would probably be right in the middle. Um if your cameras just you know, you look at exposure compensation sometimes when people are taking pictures and things are turning out to dark and they don't know why check your exposure compensation setting you might have accidentally said it, maybe it's way up on the scale or way down on the scale. Usually it should just be a zero, but I'm showing you that if you do let's say, you're taking pictures of something really quite reflective in your pictures looking gray, just go to exposure compensation and move it up, say, a stop or two sometimes you can go up to three, but I think it's one or two and just kind of move it up incrementally and look at your picture and your viewfinder and see how it looks. And conversely, if if things are a little too dark, you might think, oh, I need to brighten it up, but actually dark in them up, it can actually make your cameras reflective light meter read the scene a little bit differently, so kind of hard to talk about, better to do so we're going to play around with this, too, and we're working with the lights and just playing with exposure compensation. I was teaching on a cruise in september, so I was in the mediterranean, which is really cool, and you can imagine tons of great shots to take in that space in place. And one of my other friends also happen to be teaching on the ship at the same time and he's a big videographer and takes tons of video, and so we were playing around. I'll show you some of the pictures we took later in the course of all the places that we went, but one of the things that he did just instantly and he's been doing this for, like twenty five years is he would have, you know, we'd be all running all over the place sometimes he had to get back to the ship early quick cause the ship's going to take off with a lot of time to play around with settings and things if you're running to get the shot and he was just working that exposure compensation on his camera to, you know, make the scene brighter, darker, not even playing around with anything else, especially when he was shooting video. So exposure compensation can actually be your friend if you're looking you know I was just holding his camera right up to his eye and just playing around with exposure compensation, making it brighter or darker just to get the shot um in terms of let's say you're a navy you're looking through your camera as the light meter you know reed is a light, it starts changing, you know what shutter speed to use so then do you have toe lock in the exposure and then start using that or how does that actually work? Okay, so millions question was she's got her camera sets a a v for aperture priority and she's looking through the viewfinder and she's noticing that in the viewfinder different shutter speeds are showing up because remember when you choose a v aperture priority, you choose the aperture the camera then depending on how it where you're pointing your camera at the light in the scene, the shutter speed is going to change depending on where you're pointing your camera because the cameras doing all the work for you for shutter speed you chose aperture. So what your question was is how do I know what you know what I'm supposed to get her howto I lock it in as soon as you hit that shutter button when you press the shutter button halfway down that locks exposure and focus so sometimes it's you might like, say, I pointed my camera over there, okay, I like the way you know that's looking good. I see the shutter speed is this sometimes it's blinking and maybe you don't have enough light in your scene to use the setting that you have seen we have to do small alterations, but soon as you press that shutter button, it locks exposure and focus that where we have your camera pointed so that's when it starts to press that run the rest of the way down so a shutter but it actually goes into steps halfway down and then the rest of the way down. So halfway down it's locking it in and that's what it is you, khun, hold it there and recompose maybe and then take the shot and it will take that meter reading and put it somewhere else maybe that's what you want, that's. Another thing to your thinking about this is a recommendation, I told people back when cameras were even slower there, they sped up quite a bit now when you press the shutter button, but if you wanted to take a picture of something or someone moving in front of the camera that you kind of get ready, you know, press the shutter button halfway down the lock and exposure focus and as soon as they kind of you know we're in a position that you wanted to capture then you press the shutter button down the rest of the way so it captures the picture faster but it locks in the exposure and focus as soon as you press it then any way once you have suppress it, then you start moving well once you press it down it's locking in that halfway point it's locking in the exposure and focus right there so you can continue pressing it down if that's what you want or if you just want to take that exposure reading so let's say I wanted to do something here this light shining on it here and so I take my camera, press down the shutter button down halfway and then that's it's going to lock in that exposure and focus for whatever I'm pointing at but maybe I want that light exposure reading to be over here and I take it over here and then go click right? But then when are you adjusting exposure compensation? When are you adjusting exposure compensation? Well, that's that's like if you're looking at the back of your viewfinder and you're saying you're thinking the pictures look too dark but also if you're looking through your optical viewfinder and just it's still looking too dark for you, you can use your exposure compensation as you're looking through there so again, that has to do with that reflective light meter in your camera or the lights coming in and it's trying to make all these calculations, but because of whatever that light is reflecting off of might be too much, too little for it to grasp. So cameras air kind of smart, but not a smart is us, so we can actually take control of that just by what we see. And it may tell you one thing, but you can make it look another way, just like playing with that exposure compensation that makes sense, we could try it because a lot of it is just is doing it, you know, you can talk and talk and talk, but when you get in and start playing around and actually doing it, it's going to start to make more sense. So we'll do that when we're working with lights a little, write that down, we're gonna work on that and calling in the chat rooms asked when you change the exposure setting, does that mess up the triangle of settings that you described earlier exposure compensation? Well, you know what I have to say it does, it does take effect on it, but I don't really know what it would be until you won't know what if you're looking at it numerically is what what are the numbers you'd have to go into the metadata in the file in phil once she brought that image up in an image editing software program but just visually what it's doing is it's either letting in more or less light into your camera but I can't tell you exactly I wouldn't know looking through my camera what it's choosing to dio I'd have to look at it later so it's kind of one of those kind of easy fix things I wouldn't call it like the end all thing to do it's kind of something to use to gain more control if you're in a hurry or when you're just kind of starting out or if you're shooting and snow what I was working with when I was shooting pictures of people specifically is I want to make sure that faces are exposed correctly because if you're shooting people especially outside if you're like say underneath the shade of a tree or you know got shadows on someone's face you really have to pay attention to the light falling upon someone's face you could do everything you know you can think of to experiment with different exposure settings but if someone's kind of standing in not very flattering light it really doesn't matter what you d'oh it's still not gonna look great so one thing I try to do whenever I'm shooting specifically portrait's of people is to get them in a lighting situation with the light looks fairly even and in this in this instance we were beneath the shade of a tree it was probably lately after mid afternoon so it was pretty bright outside and I've got the light sort of there in the shade but the light shining towards them so I'm going to go into more of this too, and we talk about quality of light, but if let's say you're outside and that you've gotten contrast ing light it's like harsh sun and shadows it's tough to get a good shot you can and you can kind of play around be created depending on the scene but if you can put people in just a lighting situation that's even light open shade is often a great thing to dio then put the near so let's say let's say this rug is the shade ok? And then outside here on the floor it's all like carson so I would place someone kind of looking out towards the sun but they're not in the sun and they're just in this sort of open shade area and then I would look at their faces and make sure there aren't like spots of light coming through the leaves hitting anyone's face, making weird light patterns on their face on dh then I guy can stand out in the sunshine out there and shoot this way into them so they're facing out towards the light but they're not in the light there in shade and it's nice, soft, even shade behind him. So that's one thing you really want to pay attention to two when you're working with your exposure settings is just, you know, look with your eyes got so they look good right now. Are they beneath, like, the open shade of a doorway beneath the shade of a tree? You know where they stand ng look and see also, if you can see light reflecting in their eyes, like right now, all of you, my fabulous city audience you all have light reflecting in your eyes because we have these nice studio lights everywhere on dh they're shining down on me and on you and even in my eyes right now you can see there's a reflection of those lights so that's called a catch light and it's nice also have that in any kind of portrait that you take so when you're out outside, say, look for even lighting but also look to see if someone has a catch light in their eye. It makes them look alive makes him look vibrant is opposed to, well the opposite so it that light source in their eyes going to show up somewhere so let's say, if I were standing here is going to show up in their eye as a shape that light source whatever that issue right now, the shape of the catch light in my eye is that light right there, which is like kind of a long rectangular light, but if I had the open sky out there, I'm standing in the open shade here but its sun and the horizons out there I'm going to actually see a reflection of the horizon in my subjects eyes so that's kind of a cool thing to d'oh is when you're looking at pictures in magazines or anything, look and see if you can find the catch light in their eye and then see if you can see the shape of that catch light and that's going to tell you the light source so all these little things you're going to start looking for now when you look at photographs um and then when you're taking photographs so one thing that will really help you is to kind of learn all these these things have started looking at other photographs and kind of pointing them out articulating wow, ok, this this person has catch light in their eye. Okay, what shape is that? Catch light oh, it's round okay, that must they must have been in a studio kind of start thinking about that and then when you were outside and looking at the subjects that you're shooting, you know, look in their eyes like looking and my subjects eyes here I can see it's kind of a weird catch light in their eye, but what that is is just the light of the horizon. It looks, it looks fine, you know, it's, that's, that's what you want, you want that lively catch light, but little things like that, you're going to start noticing more and that's going to just kind of it'll be feel trading back here as you're shooting as you have the camera and funder in front of you and some things that will start to become more intuitive, same thing with working with the settings on the camera, the more that maybe you just play with a couple things, you know, each day or a couple times a week, and they just start to kind of they filter and they become something that you just do without even thinking. But you have to do them that's the thing, and you can't just do them all at once. I would just, like, start with one or two things and just practice all these wrote things will then just be more intuitive, you just become the machine of expression. You know to create your shots because it will just all sort of be here and you won't even have to think that much about the technical part of it so that's why I'm kind of trying to get through a little bit more techie stuff in the beginning even I'm trying to kind of do it conceptually but just a so you're taking notes and thinking about it and then we're going to actually apply that later on but things will get even they'll get more interesting and entertaining once we get more into light and composition and everyone comes out in a different way to mean if you're a really technical person and you're into numbers and in ratios and lenses and things like that you know you're going to think a different way that maybe someone that's coming at it from maybe they're an artist and everything they look at you know is they're thinking about the composition of how is this aligned and how do I feel about it and you know you can bring your own sensitivities to that but whatever you're strong in that's great whatever your intuitively already doing fantastic and you can make that better but think about what you might be weekend and that's what you can start to work on a little bit that's going to help build you up and make you even better towards recognizing things and then capturing them when you're taking the picture so just you know, little things I learned along the way like remember I told you I started off in um I was a sales and I you know, I was always an entrepreneur making love beads and seventh grade working as a model all those things that I kind of learned about being the fly on the wall and picking up tips and techniques in different situations you know, I bring to the table you all have different experiences of things you're doing in different different you know times and era is that you're from thatyou conglomerate from um I mean, gosh what's going on right now with the internet and photography and just everything happening is so exciting to me and some of it seems a little like a nerve ing like what's going to happen next I don't know but that's the fabulous opportunity that's that's awaiting us as we get to experiment and play and do things that people have never done before but also learned from some of the past that people like these basic photo techniques you can apply to everything that you're doing moving forward somalia, you know, has a a great education in taking film photographs and knows about composition and things like that but you know needs to learn some of the newer things now about digital cameras and alex, you know, you want to take some great selfies and you've got a camera phone but you're interested and maybe moving up and trying other things too so you're coming at it from a different angle so just I think to just collectively sharing information with all of us together here and then everyone all of you out there you know, friends that you know, camera groups whatever you can do to kind of start the conversation and talk about photographs and that's going to help you take a better photograph have any questions about anything for sports shots where there's football field living and action from a distance what settings do you use if you don't want blur that sort of thing? Okay, so football field day or night let's make a way well, you know you get us without your compact cameron turn on the flash of light up ahead of the guy sitting in front of you or you could to get a great shot say, of something far away a sports field the sports fields going to be lit with you know they've got those fluorescent lights out there whatever they're using the light I don't know what the sports lights are they're pretty bright whatever they're using the light to feel there's going to be light down there because they're you know, taping it we need to see what's going on but you still especially if you're sitting back up in the seat you're going to need to keep your camera fairly stable I haven't talked about this yet but there's something called a mon a pod that a lot of people bring with them to sporting events and sports shooters use them it's just one I should get one and I'll show you after this in the next segment but you can attach that to your camera to stabilize it because you know on much movement longer lens you can kind of zoom in and capture what's going on on the field and then you're going to have to I would say try using a fast shutter speed if at all possible because you need to capture that action going on out there and you're probably going to need to use a lens that's expensive that lets in a lot of light on bill talk about this a little bit more to it it's called a fast lin so actually has a a wide aperture on it and lets you use remember that photographic triangle let's use the faster shutter speed which is why they call those fast lenses so if you really want to get good sharp shots at a at a football game, you're probably going to need to invest a little bit of money otherwise I would suggest at least if you had a flash are compact camera or even a smartphone to turn off your flash for one and try to hold the camera still is possible and zoom inasmuch as you can so a couple different ways you could do it depending on how much money you want tio it's always it's always the question isn't it well I think you could spend as much as you want yes, yes you can and then on and then some I know I've become like a lens collector you know over time and that's what's great once you invest in a dslr you buy the lenses and you buy different lenses and then you just get new camera bodies along the way in those lenses we'll keep fitting those camera bodies will hopefully but they have so far and that's when you can really start you know, building up here your photographic uh, collection a lot of us so those of you that have shot with t s dollars how many lenses do you have? Two two lenses one one lens ok, which lens is it? I don't think it didn't come with the camera. No was from a thirty five millimeter camera. Uh, so oh that's right it was was it your dad's lund my husband he's he's actually pretty good photographer but not a good teacher. So well, you know what I should or whatever we all have a lot of good photographers and our lives somewhere and I know that's can also be something that might be a little unnerved ing maybe they do just don't have the the desire to teach or, you know the patients, but sometimes, if you're related to that photographer can be really difficult or married to them. So you know it's good to come out and get basic photo education whenever you can and tune into creative live because they've got tons of great classes. You can pick up all kinds of information, but so yes, different ones is eighteen, fifty five, nineteen, fifty five. All right, and that's that's like that's. The kind of lens that most people get when they first get a digital slr is an eighteen to fifty five, and I'll talk a little bit about lenses to see kind of have a better idea of what that means and how you can capture pictures with different lenses. But once you kind of buy in, then when she find out more about it, we got started off with talking about spending money. You can spend a lot of money and photography if you want. But you can also get some good shots just with some very basic equipment to. So I want you to feel confident that that's possible.

Class Description

Are you ready to start taking amazing digital images? Join award-winning photographer Erin Manning for a three-day introduction to the fundamentals of digital photography — frustration-free.

Whether you take pictures with your phone, a point-and-shoot digital camera, or a DSLR, Erin will give you the tools you need to capture beautiful digital images. You’ll learn about light and exposure, including how to work with and modify your on-camera flash. You’ll learn about common errors beginning photographers make and develop strategies for troubleshooting. Erin will also guide you through the basics of digital image editing and sharing your images online.

By the end of Digital Photography 101, you’ll have the creative and practical skills to create, edit, and share stunning digital images.

Reviews

user-9eeff8
 

Good basic or "refresher" course.