Table Of Content

DIGITAL PHOTOGRAPHY COMPLETE COURSE DIGITAL PHOTOGRAPHY COMPLETE COURSE Contents GGeettttiinngg ssttaarrtteedd 66 DK London 01 Senior art editor Phil Gamble K MAKING YOUR E SUeSn ieodri teodri tCohrr Hisatinnnea Hh eBilomwaenn WE FIRST PHOTOS 25 Managing art editor Lee Griffiths Managing editor Gareth Jones What makes a good photo? 26 Settings and subjects 28 Publishing director Jonathan Metcalf Importing images 30 Shooting different subjects 32 Art director Phil Ormerod Reviewing your shots 36 Using post-production fixes 38 Publisher Liz Wheeler What have you learned? 40 Jacket editor Claire Gell Jacket designer Mark Cavanagh 02 Jacket design development manager Sophia MTT K E FOCUSING Pre-production Pprroodduucceerr MNiaknodleyt aIn Pnaersassaki, Gillian Reid WE 41 Illustrations Phil Gamble, Peter Bull Where should you focus? 42 Manual and autofocus 44 Produced for DK by Tall Tree Ltd. Selecting autofocus points 46 Focusing for effect 48 Editors Joe Fullman, Camilla Hallinan, Jon Richards Reviewing your shots 52 Sharpening a photo 54 Designers Malcolm Parchment, Ed Simkins, Jonathan Vipond What have you learned? 56 DK Delhi 03 Project editor Antara Moitra K USING SHOOTING ManagAinsgs iestdaitnotr e Pdaitkosrh Iarlaik Pau Jnadyeaeprrakash WEE MODES 57 Senior DTP designers Vishal Bhatia, Harish Aggarwal Pre-production manager Balwant Singh Which mode is right? 58 Basic camera modes 60 Picture researcher Deepak Negi Scene modes 62 Exposure compensation 64 Jacket designer Dhirendra Singh Exploring camera modes 66 Reviewing your shots 68 Managing jackets editor Saloni Singh Adjusting brightness 70 What have you learned? 72 Consultant David Taylor 04 K GETTING THE Written by David Taylor, Tracy Hallett, Paul Lowe, Paul Sanders E WE RIGHT EXPOSURE 73 First American Edition, 2015 Published in the United States by DK Publishing Assessing exposure 74 Controlling exposure 76 345 Hudson Street, New York, New York 10014 The exposure meter 78 Fine-tuning exposure 80 Exploring exposure 82 Reviewing your shots 84 Copyright © 2015 Dorling Kindersley Limited Reducing noise 86 What have you learned? 88 A Penguin Random House Company 15 16 17 18 19 10 9 8 7 6 5 4 3 2 1 05 001–266553–Aug/2015 K ACHIEVING THE RIGHT E All rights reserved. Without limiting the rights under WE CONTRAST 89 the copyright reserved above, no part of this publication may be reproduced, stored in or introduced into a retrieval What is the right contrast? 90 The effects of contrast 92 system, or transmitted, in any form, or by any means Dynamic range 94 Shooting an HDR photo 96 (electronic, mechanical, photocopying, recording, or otherwise), Playing with contrast 98 Reviewing your shots 100 without the prior written permission of the copyright owner. Adjusting contrast 102 What have you learned? 104 Published in Great Britain by Dorling Kindersley Limited. 06 K USING DEPTH A catalog record for this book E is available from the Library of Congress. WE OF FIELD 105 ISBN 978-1-4654-3607-8 What is depth of field? 106 Depth of field 108 Using DK books are available at special discounts when purchased in shallow depth of field 110 Using deep depth of field 112 bulk for sales promotions, premiums, fund-raising, or Exploring depth of field 114 Reviewing your shots 116 educational use. For details, contact: DK Publishing Special Adjusting depth of field 118 What have you learned? 120 Markets, 345 Hudson Street, New York, New York 10014 [email protected] 07 K Printed in China E LENSES 121 E W A WORLD OF IDEAS: Which lens should you use? 122 Primes versus zooms 124 SEE ALL THERE IS TO KNOW Lens distortions 126 Changing perspective 128 Testing out lenses 130 Reviewing your shots 132 www.dk.com Correcting lens problems 134 What have you learned? 136 08 15 K WIDE-ANGLE K THE COLOR E E WE LENSES 137 WE OF LIGHT 249 Assessing wide-angle shots 138 Wide-angle The quality of light 250 Color and white balance 252 perspectives 140 Shooting landscapes 142 Setting white balance 254 Using white balance 256 Using a wide-angle lens 144 Reviewing your shots 148 Reviewing your shots 260 The Color Balance tool 262 Fixing perspective 150 What have you learned? 152 What have you learned? 264 09 16 K TELEPHOTO K USING NATURAL E E WE LENSES 153 WE LIGHT 265 Assessing telephoto shots 154 Telephoto perspectives 156 Can you read light? 266 Light and shadow 268 Photographing wild animals 158 Using a telephoto lens 160 Using light and shade 270 Playing with light 272 Reviewing your shots 164 Creating a panoramic photo 166 Reviewing your shots 276 The Levels tool 278 What have you learned? 168 What have you learned? 280 10 17 K TAKING CLOSE-UP K WORKING WITH E E WE PHOTOS 169 WE FLASH 281 How close is close-up? 170 Close-ups versus macros 172 What does flash do? 282 Using a flashgun 284 Shooting a close-up 174 Exploring close-ups 176 Using flash off-camera 286 Using fill-flash 288 Reviewing your shots 180 The Adjustment Reviewing your shots 292 Reducing red eye 294 Brush tool 182 What have you learned? 184 What have you learned? 296 11 18 K CONVEYING K WORKING IN E E WE MOVEMENT 185 WE LOW LIGHT 297 Looking at movement 186 Freeze and blur 188 When does low light work? 298 Ambient light 300 Mastering panning shots 190 Freezing movement 192 Using a wider aperture 302 Using constant light 304 Freezing and panning 194 Reviewing your shots 196 Shooting in low light 306 Reviewing your shots 308 Adding blur 198 What have you learned? 200 Lightening key areas 310 What have you learned? 312 12 19 K HOW TO K BLACK AND E E WE COMPOSE 201 WE WHITE 313 Looking at composition 202 The “rules” of composition 204 Will black and white work? 314 Color to black and Lines, curves, and diagonals 206 Using the rule of thirds 208 white 316 Shooting in black and white 318 Removing Using composition 210 Reviewing your shots 212 color 320 Reviewing your shots 324 Black-and-white Cropping photos 214 What have you learned? 216 conversion 326 What have you learned? 328 13 20 K COMPOSE LIKE K WORKING ON E E WE AN EXPERT 217 WE A PROJECT 329 Assessing composition 218 Contrast and composition 220 Which project suits you? 330 The perfect photo story 332 Capturing reflections 222 Mastering composition 224 Editing a photoshoot 334 Taking on a project 336 Reviewing your shots 228 Targeted adjustment 230 Reviewing your project 340 Adding keywords 342 What have you learned? 232 What have you learned? 344 14 K LESSONS IN WEE COLOR 233 What next? 345 Glossary 350 The importance of color 234 Color relationships 236 Optimizing color 238 Playing with color 240 Index 354 Reviewing your shots 244 Adjusting color 246 Acknowledgments 359 What have you learned? 248 GETTING STARTED How to use this book Photography is more popular than ever before, Answers are located with billions of photos shot and shared each year. in the top right- hand corner If photography has never been so popular, it is largely because it has never been so simple. 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GETTING STARTED / 7 GETTING STARTED Camera types Improving your photography means taking full camera (or system camera for short). The latter control of your camera. Many smartphones and type is preferable because, as the name suggests, compact cameras lock you out or restrict control you can switch lenses to suit a particular task. of certain aspects of photography, such as the System cameras also let you expand their ability to set exposure. To get the best out of capabilities by adding other accessories, such this book, it’s highly recommended that you use as flashguns. System cameras can be neatly split either a bridge camera (also known as a hybrid into two groups: digital single lens reflex (dSLR) or prosumer) or an interchangeable lens system and mirrorless. COMPARING CAMERAS TYPE PROS CONS Cameraphone ◾ Easy to carry around ◾ Fixed focal length lens ◾ Apps allow you to alter images ◾ Resolution and image quality can be restrictive Compact ◾ Easy to carry around ◾ Limited number of physical ◾ Inexpensive controls on camera body ◾ Good zoom lens range ◾ Restricted range of shooting modes ◾ Low-light capability is lacking ◾ Often can’t shoot RAW Bridge / ◾ More control over exposure ◾ Lower image quality than Prosumer than compact or cameraphones system cameras ◾ Relatively inexpensive ◾ Zoom lens is fixed, so less versatile than system cameras System ◾ Image quality ◾ Bulky ◾ Expandable capability ◾ More expensive ◾ Versatile 8 / GETTING STARTED

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Digital Photography Complete Course PDF

362 Pages·2015·66.19 MB·English
by  DK Publishing
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DIGITAL PHOTOGRAPHY COMPLETE COURSE DIGITAL PHOTOGRAPHY COMPLETE COURSE Contents GGeettttiinngg ssttaarrtteedd 66 DK London 01 Senior art editor Phil Gamble K MAKING YOUR E SUeSn ieodri teodri tCohrr Hisatinnnea Hh eBilomwaenn WE FIRST PHOTOS 25 Managing art editor Lee Griffiths Managing editor Gareth Jones What makes a good photo? 26 Settings and subjects 28 Publishing director Jonathan Metcalf Importing images 30 Shooting different subjects 32 Art director Phil Ormerod Reviewing your shots 36 Using post-production fixes 38 Publisher Liz Wheeler What have you learned? 40 Jacket editor Claire Gell Jacket designer Mark Cavanagh 02 Jacket design development manager Sophia MTT K E FOCUSING Pre-production Pprroodduucceerr MNiaknodleyt aIn Pnaersassaki, Gillian Reid WE 41 Illustrations Phil Gamble, Peter Bull Where should you focus? 42 Manual and autofocus 44 Produced for DK by Tall Tree Ltd. Selecting autofocus points 46 Focusing for effect 48 Editors Joe Fullman, Camilla Hallinan, Jon Richards Reviewing your shots 52 Sharpening a photo 54 Designers Malcolm Parchment, Ed Simkins, Jonathan Vipond What have you learned? 56 DK Delhi 03 Project editor Antara Moitra K USING SHOOTING ManagAinsgs iestdaitnotr e Pdaitkosrh Iarlaik Pau Jnadyeaeprrakash WEE MODES 57 Senior DTP designers Vishal Bhatia, Harish Aggarwal Pre-production manager Balwant Singh Which mode is right? 58 Basic camera modes 60 Picture researcher Deepak Negi Scene modes 62 Exposure compensation 64 Jacket designer Dhirendra Singh Exploring camera modes 66 Reviewing your shots 68 Managing jackets editor Saloni Singh Adjusting brightness 70 What have you learned? 72 Consultant David Taylor 04 K GETTING THE Written by David Taylor, Tracy Hallett, Paul Lowe, Paul Sanders E WE RIGHT EXPOSURE 73 First American Edition, 2015 Published in the United States by DK Publishing Assessing exposure 74 Controlling exposure 76 345 Hudson Street, New York, New York 10014 The exposure meter 78 Fine-tuning exposure 80 Exploring exposure 82 Reviewing your shots 84 Copyright © 2015 Dorling Kindersley Limited Reducing noise 86 What have you learned? 88 A Penguin Random House Company 15 16 17 18 19 10 9 8 7 6 5 4 3 2 1 05 001–266553–Aug/2015 K ACHIEVING THE RIGHT E All rights reserved. Without limiting the rights under WE CONTRAST 89 the copyright reserved above, no part of this publication may be reproduced, stored in or introduced into a retrieval What is the right contrast? 90 The effects of contrast 92 system, or transmitted, in any form, or by any means Dynamic range 94 Shooting an HDR photo 96 (electronic, mechanical, photocopying, recording, or otherwise), Playing with contrast 98 Reviewing your shots 100 without the prior written permission of the copyright owner. Adjusting contrast 102 What have you learned? 104 Published in Great Britain by Dorling Kindersley Limited. 06 K USING DEPTH A catalog record for this book E is available from the Library of Congress. WE OF FIELD 105 ISBN 978-1-4654-3607-8 What is depth of field? 106 Depth of field 108 Using DK books are available at special discounts when purchased in shallow depth of field 110 Using deep depth of field 112 bulk for sales promotions, premiums, fund-raising, or Exploring depth of field 114 Reviewing your shots 116 educational use. For details, contact: DK Publishing Special Adjusting depth of field 118 What have you learned? 120 Markets, 345 Hudson Street, New York, New York 10014 [email protected] 07 K Printed in China E LENSES 121 E W A WORLD OF IDEAS: Which lens should you use? 122 Primes versus zooms 124 SEE ALL THERE IS TO KNOW Lens distortions 126 Changing perspective 128 Testing out lenses 130 Reviewing your shots 132 www.dk.com Correcting lens problems 134 What have you learned? 136 08 15 K WIDE-ANGLE K THE COLOR E E WE LENSES 137 WE OF LIGHT 249 Assessing wide-angle shots 138 Wide-angle The quality of light 250 Color and white balance 252 perspectives 140 Shooting landscapes 142 Setting white balance 254 Using white balance 256 Using a wide-angle lens 144 Reviewing your shots 148 Reviewing your shots 260 The Color Balance tool 262 Fixing perspective 150 What have you learned? 152 What have you learned? 264 09 16 K TELEPHOTO K USING NATURAL E E WE LENSES 153 WE LIGHT 265 Assessing telephoto shots 154 Telephoto perspectives 156 Can you read light? 266 Light and shadow 268 Photographing wild animals 158 Using a telephoto lens 160 Using light and shade 270 Playing with light 272 Reviewing your shots 164 Creating a panoramic photo 166 Reviewing your shots 276 The Levels tool 278 What have you learned? 168 What have you learned? 280 10 17 K TAKING CLOSE-UP K WORKING WITH E E WE PHOTOS 169 WE FLASH 281 How close is close-up? 170 Close-ups versus macros 172 What does flash do? 282 Using a flashgun 284 Shooting a close-up 174 Exploring close-ups 176 Using flash off-camera 286 Using fill-flash 288 Reviewing your shots 180 The Adjustment Reviewing your shots 292 Reducing red eye 294 Brush tool 182 What have you learned? 184 What have you learned? 296 11 18 K CONVEYING K WORKING IN E E WE MOVEMENT 185 WE LOW LIGHT 297 Looking at movement 186 Freeze and blur 188 When does low light work? 298 Ambient light 300 Mastering panning shots 190 Freezing movement 192 Using a wider aperture 302 Using constant light 304 Freezing and panning 194 Reviewing your shots 196 Shooting in low light 306 Reviewing your shots 308 Adding blur 198 What have you learned? 200 Lightening key areas 310 What have you learned? 312 12 19 K HOW TO K BLACK AND E E WE COMPOSE 201 WE WHITE 313 Looking at composition 202 The “rules” of composition 204 Will black and white work? 314 Color to black and Lines, curves, and diagonals 206 Using the rule of thirds 208 white 316 Shooting in black and white 318 Removing Using composition 210 Reviewing your shots 212 color 320 Reviewing your shots 324 Black-and-white Cropping photos 214 What have you learned? 216 conversion 326 What have you learned? 328 13 20 K COMPOSE LIKE K WORKING ON E E WE AN EXPERT 217 WE A PROJECT 329 Assessing composition 218 Contrast and composition 220 Which project suits you? 330 The perfect photo story 332 Capturing reflections 222 Mastering composition 224 Editing a photoshoot 334 Taking on a project 336 Reviewing your shots 228 Targeted adjustment 230 Reviewing your project 340 Adding keywords 342 What have you learned? 232 What have you learned? 344 14 K LESSONS IN WEE COLOR 233 What next? 345 Glossary 350 The importance of color 234 Color relationships 236 Optimizing color 238 Playing with color 240 Index 354 Reviewing your shots 244 Adjusting color 246 Acknowledgments 359 What have you learned? 248 GETTING STARTED How to use this book Photography is more popular than ever before, Answers are located with billions of photos shot and shared each year. in the top right- hand corner If photography has never been so popular, it is largely because it has never been so simple. Sophisticated modern cameras make it easy to TThEeST iYmOUpRo KrNtOaWnLcEeDG oEf color ANSWERS htolcs dfon oemcelaip d aye brnaaogb uk plsise mfeeoh lf scpoaru -ard-e eenhsnucootolitCSPS :::4:361////HGEFFF nmoeuogmldlaeibrh s trrnnieaiaad-sttwnoyouhrhpo ec mnu ela bagid nndnaonIr aolru e wtfbhromoglillioerlBCYC ::::5287////ADBC WEEK14 1 3 4 6 8 shoot and upload photos, while editing software can give dramatic results. The downside is that 5 this exciting technology makes it all too tempting 2 7 to ignore the fundamentals of photography. 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GETTING STARTED / 7 GETTING STARTED Camera types Improving your photography means taking full camera (or system camera for short). The latter control of your camera. Many smartphones and type is preferable because, as the name suggests, compact cameras lock you out or restrict control you can switch lenses to suit a particular task. of certain aspects of photography, such as the System cameras also let you expand their ability to set exposure. To get the best out of capabilities by adding other accessories, such this book, it’s highly recommended that you use as flashguns. System cameras can be neatly split either a bridge camera (also known as a hybrid into two groups: digital single lens reflex (dSLR) or prosumer) or an interchangeable lens system and mirrorless. COMPARING CAMERAS TYPE PROS CONS Cameraphone ◾ Easy to carry around ◾ Fixed focal length lens ◾ Apps allow you to alter images ◾ Resolution and image quality can be restrictive Compact ◾ Easy to carry around ◾ Limited number of physical ◾ Inexpensive controls on camera body ◾ Good zoom lens range ◾ Restricted range of shooting modes ◾ Low-light capability is lacking ◾ Often can’t shoot RAW Bridge / ◾ More control over exposure ◾ Lower image quality than Prosumer than compact or cameraphones system cameras ◾ Relatively inexpensive ◾ Zoom lens is fixed, so less versatile than system cameras System ◾ Image quality ◾ Bulky ◾ Expandable capability ◾ More expensive ◾ Versatile 8 / GETTING STARTED

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