DIGITAL PHOTOGRAPHY TECHNIQUES. Julie Adair King. McGraw-Hill/Osborne . New York Chicago San Francisco Lisbon London Madrid Mexico City. Aa atmospheric shot of an underground tunnel - digital photography for beginners For all those basics of photography, exposure is the most important. DIGITAL PHOTOGRAPHY BASICS FOR BEGINNERS by Robert Berdan rberdan These notes are.

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This guide covers a lot of digital photography tips and techniques, but there's even more Find out more - get the complete resource for digital photographers. Digital cameras employ an electronic sensor consisting of a large number of square cells or “pixels”. Photons hitting a cell create an electrical charge. PHOTOGRAPHY. TIPS AND TECHNIQUES PHOTOGRAPHY IS A SCIENCE, BECAUSE. THERE ARE ARE USED IN BOTH. FILM AND DIGITAL CAMERAS .

Essential Photography: Pro secrets for unleashing your creativity from Ian Plant. By Kimberly Gauthier : I'm a self taught photographer and was surprised to find very few resources for people, like me, who were learning how to use their DSLR on their own.

Today, I write a photography blog sharing everything that I've learned. My five easy steps to shoot in manual The basics of photography. By Jeff Davies, is a PDF eBook which cover the very basics of photography, where you will learn what is depth of field, shutter speed, ISO and aperture, all that in a very simple and easy way.

Once you have read this ebook, you will not have anymore excuses to fail when you take a picture. The Basics of Photography The basics of photography. By Adam Dachis, is a PDF eBook which cover the very basics of photography, starting with the camera and how the camera works.

Overall you will learn how to take better photos by understanding how your camera is working. The Basics of Photography Basic principles of photography. This digital PDF ebook, by David Capel, will introduce you to the principles of photography and why you get an image. In a very simple way you will also learn the basics of composition, and how to get different effects with your camera.

Basic principles of photography Free guide to digital photography. This digital PDF ebook, by JongPil Cheon, might be a little bit old when he speak about the materials, but he is spot on for everything else, like the composition or how to set up your white balance.

This free eBook has plenty of images and photos as example, which make this PDF file very easy to read and understand. Basic photography using a digital camera Basic photography iBook pdf.

Basic photography by Jeff Curto You might also be interested with the last entry in the blog: Tue 25 Oct How to take great pictures with a smartphone? Nowadays our smartphones have more computer power than a 10 years old desktop computer. We are doing everything with our phone, from a GPS assistant to photograph or record a movie in full p HD, even post processing those images, and i don't even speak about playing 3D games, read some news on internet and so on At the end, when we compare how we use our phone the most, in percentage, I can say safely that we barely use it to call someone, and this is why i call mine a photophone.

Combining the versions in Photoshop or some other editing program also takes time. Of course, there are some compositions in which you want the blacks to be very black and the whites to be very white; these are probably not good candidates for multi-RAW processing. It would not have been possible to hold the detail in both light and dark areas without processing these areas separately and combining them to make the final image.

From a compositional standpoint, this image works because the dark branches in the foreground of the image frame the classic view of Yosemite Valley. Without the ability to extend the dynamic range, the composition would be less subtle because the foreground would be muddy and extremely dark. Yet when I saw this capture of a snowstorm in Yosemite from the famous Tunnel View overlook, the composition seemed a bit bland.

If I processed the photo for the foreground, the sky would be too light; processing for the sky left a foreground dark and without detail.

Fixing the composition called for multi-RAW processing. I created two versions of the photo from the camera RAW: one processed for the foreground, and one processed for the sky. Then I combined the two images using layers, a layer mask and the Gradient Tool in Photoshop. Putting together the two layers took only a couple of minutes and resulted in a composition with a far greater dynamic range than either of the separate conversions. When I processed the sky normally, the Tenaya Valley below Half Dome was pretty much black upper version.

The Ultimate Guide to Learning how to use Your first DSLR

By eye, I could see details in both the sky and in the landscape. Yet I knew that a conventional exposure would not be able to render both areas in my composition with meaningful detail.

By opening up the exposure approximately three f-stops, I was able to create a version in which the valley detail was rendered. This is an eight-timesexposure difference, as each successive full f-stop lets in half the light of the preceding f-stop.

Creative Lens Techniques.

Using multi-RAW processing in Photoshop, I combined the two versions as the basis for an interesting landscape composition with striking star trails and an extended dynamic range. As my eyes adjusted, I could begin to make out detail in Half Dome and along the valley bottom.

I decided to use multi-RAW processing to create an image that showed this entire dynamic range in one composition. Many, if not most, captures require more than one processed version to bring out colors, tones and hidden details in both bright and shadow areas. Photographing wild Calypso orchids can be a challenge because they are very small, prone to movement and usually found in dark areas of the forest.

I processed a dark version for these light areas. I used layers, a layer mask and the Gradient Tool to put the two layers together in Photoshop. You have to know where to look for these tiny flowers, which are often camouflaged in old leaves, pine needles and other forest detritus.

By combining the lighter and darker versions of this capture, I created a composition that is pleasing across its entire dynamic range. In my opinion, hand HDR leads to more natural compositions with increased dynamic range — although combining separate images by hand is time consuming. So I made a number of different exposures at a constant aperture, bracketing the shutter speeds. I then combined the different exposures to create a single image with greater dynamic range than any one if the individual captures.

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For example, this view of Zion Canyon could not encompass both clouds and shadow in a single exposure. With digital, it is possible to combine exposures and create compositions that show detail across a tremendous exposure range. To the eye, this landscape looks natural because it mimics the dynamic range of human perception. Yet the photo presents a pleasing composition that could not have been obtained conventionally and works because it combines the best tonal range of several exposures.

The combination of sharp and soft elements, derived from the different captures shown on page 76, make a composition that is striking and unusual. This high-focal-range technique creates a kind of hyper-real impact and is a powerful compositional option that would not have been possible prior to the advent of digital technology.

Generally, each exposure in a focus stack should be at the same aperture. Be sure to pick your focus points with this issue in mind. In other words, images of the same subject that are focused differently will look bigger or smaller. This means that you need to choose focus points that are fairly close.

If out-of-focus elements are an annoyance rather than an elegant part of your composition, you can consider extending the in-focus areas of an image using multiple captures at different focus points. This technique makes it possible to create compositions with greater apparent clarity.

Yet I could not get both the style which sticks out a bit and the anthers the things covered with pollen in focus.

My solution was to extend the field of focus by taking two separate photographs, each with a different point of focus. Since I used the same aperture in each exposure, I could manually combine the two images as layers in post-processing to extend the field of focus.

In this case, I took two captures—one focused on the style and one focused on the anthers. I focused on three different points, using two different exposures for each focus point, and later combined the six captures by hand in Photoshop to extend both the dynamic and focal ranges.

Although there is software that automates the process, I prefer to manually combine images with different focus points in Photoshop. By combining the different focus points in this image, I managed to create a composition that contrasts the entirely in-focus rail with the blur of the water in the pool.

Creative Composition: Digital Photography Tips Techniques

If the rail was not completely sharp, this composition would not work. Photos that require multi-RAW postprocessing see pages 66 —73 involve multiple captures to extend dynamic range pages 74 —77 or to extend focal range pages 78 — Plus, if you like to play in Photoshop, as I do, that will burn through even more space. Set up a folder for each year; and within any given year, list folders chronologically by year, month, and day.

DVD disks are not generally very stable, so the best bet is to store your backups on hard disk drives. There were numerous intermediate steps in this process, and I ended up saving 25 different files in the process. The post-processing work involved more than layers. What do you see?

Does this image show a Chinese landscape of mountains? Look again. Look more closely. If this is a photo of a landscape painting of mountains, why are there footsteps running across the tops of the mountains? And, could that be driftwood speckling the scene? A moment of closer inspection will reveal that you are looking at a pattern made by waves on a beach. In fact, the photo on the facing page is a cropped and rotated version of the photo shown below.

An implication is that photographers often miss visual ambiguity. But ambiguity packs real compositional punch. Seeding this kind of doubt in the viewer—at a conscious or unconscious level—adds power to your compositions.

Look for opportunities to create compositions that compel a double take and offer the delicious vertigo of visual ambiguity. Start by learning to identify visual ambiguities yourself.

Watch for visuals that can be interpreted in multiple ways. I used a Polarizing filter to bring out the color in the water. Once you begin seeing these opportunities, you can work photographically to emphasize the ambiguity. Sometimes the overlooked aspect of a subject is exactly what will make an interesting photo. Sometimes a very simple move can vastly change the way an image is seen. I confess: I like to read fantasy and adventure novels.

In these stories, the hero, often a daring and dashing captain of a small but powerful frigate, invariably saves his command from surprise attack—because he is able to see the unexpected, such as an enemy ship where no ship ought to be.

On my assignments—whether from a client or self-assigned—I always try to look beyond the literal project. I ask myself: Is there another way to approach this? What if I try a new direction, even though it is not quite where I expected to be going?

Yet the stairs and empty stands in the golden late afternoon light made an interesting pattern. So I let go of my preconception for this shoot and made the photo that was there for the taking. Which interpretation is more real, which is closer to what is really there, and which is more interesting? Without a camera, observe a scene closely.

Photography for Beginners: A Complete Guide

Look for the abstract pattern that dominates the scene. Decide whether you get more mileage from the content of the photo or from the abstraction. Either way, having more than one way of seeing a thing helps to expand your world of artistic options.

Now, let go of your preconceptions about the subject. Study it carefully. I guarantee that there are new ways to see any subject—no matter how often you have looked at it.

Keep on the lookout for unexpected subjects. So I was surprised to look down and see this beautiful blue feather.The bright snowy background caused my camera to underexpose this scene by nearly two stops, which could have been corrected by exposure compensation in camera.

Just snapping photos when you see something worth recording will help. There are a few ways you can try to tackle this problem, and we'll go over two of the best here. Basic principles of photography Free guide to digital photography. Plus, if you like to play in Photoshop, as I do, that will burn through even more space. As beginner photographers, we tend to be visual learners.

VIRGIL from Gilbert
Feel free to read my other articles. I have always been a very creative person and find it relaxing to indulge in storm chasing. I do like frightfully.