Today, any digital camera offers the photographer a frightening variety of shooting modes. Due to the fact that the instructions for the cameras describe the features and purpose of a particular mode is very vague, it is difficult for a novice amateur photographer to determine which modes are really useful and which are marketing nonsense. As a result, many either spit on everything and shoot exclusively in AUTO mode, without trying to dig deeper, or, believing the authors of the instructions, try to use narrow-minded scene modes (Portrait, Landscape, Sports, Macro, etc.), without suspecting that with a minimum of mental effort, you can achieve much more flexible and complete control over the camera without any harm to your own comfort.
Understanding the modes of a digital camera is the simplest thing that you, as a photographer, should learn. If you are familiar with the concepts of shutter speed and aperture, then it will not be difficult for you to deal with shooting modes. Continue reading
I recommend to any novice photographer, whenever possible, to actively use the automation of the camera. This applies to matrix metering, autofocus, automatic white balance, and everything else that only lends itself to automation, and with which modern cameras often cope better than modern photographers. Put all the black work on the camera, and pay more attention to the search for beautiful scenes and the harmonious composition of the frame.
But there are cases when a camera imagining itself too smart has to be taken in hedgehogs.
Shot on a full machine. What nonsense? Continue reading
Imagine a terrible picture: you bought a reflex camera, and the pictures from it come out fuzzy. However, if you look closely at the pictures, you will find that the camera is focused, it’s just that a completely different object fell into the focus area, not the one you shot as the main one. Well, by the way, if your software supports focus points right on the picture.
Everything seems to be fine, but focused on the left eye (relative to me)
Focus, in such cases, “creeps” back to the background
(ie, further than the object, then its name is “back focus”, from the English back focus) or vice versa, Continue reading