Digital Photography Complete Course

362 Pages·2015·66.19 MB·English

by  DK Publishing

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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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.
This book is a comprehensive guide to
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by-step pattern and can be tackled in one week. 234/ LESSONS IN COLOR LESSONS IN COLOR /235
By the end of the book, you should understand 1 Test your knowledge
Introductory quizzes test what you
what it takes to make a good photo. Mastering
already know about each subject.
photography is a journey that can last a lifetime.
Enjoy your first steps on that journey.
Inspirational yet achievable
Briefs tell you the where, what, photos showcase the range of
how, and why of each assignment effects you can create
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240 / LESSONS IN COLOR LESSONS IN COLOR / 241 244 / LESSONS IN COLOR LESSONS IN COLOR / 245
4 Practice and experiment 5 Assess your results
Themed creative assignments Interactive image galleries identify and
help you to apply your new troubleshoot common problems and show
photographic skills. you how to avoid mistakes in the future.
6 / GETTING STARTED
Photography is still a very new medium
and everything must be tried and dared.
BILL BRANDT
Artworks show
you where to find
settings and tools
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236 / LESSONS IN COLOR LESSONS IN COLOR / 237 238 / LESSONS IN COLOR LESSONS IN COLOR / 239
2 Understand the theory Illustrations 3 Learn the skills
Graphic theory spreads help explain Step-by-step guided shoots show you
demystify the principles key concepts how to master the essential techniques.
that underpin each topic.
Before...
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246 / LESSONS IN COLOR LESSONS IN COLOR / 247 248 / LESSONS IN COLOR
6 Enhance your images … and 7 Review your progress
Step-by-step tutorials explain after shots End-of-module tests recap what
how to use post-production you’ve learned, and see whether
techniques to give your you’re ready to move on to the
photos extra polish. next module.
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