Back in the early days of digital SLRs, image noise became noticeable and the maximum available sensitivity was a modest ISO1600.

Today many SLRs offer standard sensitivity ranges of at least ISO100-6400, with up to ISO25600 or even more in their extended ranges.

Current sensors are typically designed so that each photosite can capture more light. This is despite featuring much higher resolutions, so the signal to noise ratio gets a boost.

With better quality available from the sensor, a powerful processing engine is able to deliver superb results, reducing image noise with less loss of fine detail.

For optimum image quality, we’d stick to sensitivity settings of up to ISO3200 in most SLRs. This should enable sufficiently fast shutter speeds to give sharp handheld results of static objects, even under dull indoor lighting.

The real challenge is when you need to freeze motion with fast shutter speeds, for example when shooting indoor sporting events. In this case, it’s best to push sensitivity to ISO6400 or higher.

A sharp shot that’s a bit noisy is better than a blurred picture. High-sensitivity quality is more of a challenge for compact cameras, because they have smaller image sensors.

READ MORE

Master your camera’s autofocus: which AF points to use (and when to use them)
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New camera anatomy: 12 key camera settings to get you started right

Camera features on the front of your camera body

01 Red-eye reduction
To stop the flash bouncing off the subject’s retinas and causing glowing red eyes this lamp will emit a burst of light to make the subject’s pupils shrink before the flash is triggered. The lamp also acts as a handy self-timer countdown indicator.

02 Focusing ring
In Auto Focus mode this ring rotates until the camera has focussed on the subject. In Manual Focus mode you can rotate the focus ring with your hand to focus on a specific subject.

03 Zoom ring
Rotate this ring clockwise to zoom out for a wide-angle view. Rotate it anti-clockwise (counter-clockwise) to zoom in for a close-up on your subject.

04 Flash button
When shooting using the Creative Zone or manual modes you can tell the built-in flash to pop up by pressing here.

05 Focus mode switch
Leave this set on AF (Auto Focus) if you want the camera to control the focusing. Flip the switch to MF (Manual Focus) when you want to control the focus yourself. In MF mode you can still use the AF points in the viewfinder to tell you when the subject is in sharp focus.

06 Image Stabilizer switch
The lens’s IS (Image Stabilizer) is designed to stop blur caused by camera shake (which is especially noticeable when you’re zoomed in on a distant subject. Nikon IS lenses have a similar VR (Vibration Reduction) switch.

07 Built-in microphone
Most cameras such as the Canon 500D (pictured above) can now record video. Sound to go with it is recorded through a microphone like this (though it will also record camera handling noises like the zoom ring being rotated!).

08 Depth of Field preview button
By pressing here, you can get the camera to stop down to the lens’s current aperture setting.  You can then preview how much of the shot 
will be in focus by looking through the viewfinder or by checking the Live View display.

PAGE 1: Camera features on the front of your camera body
PAGE 2: Camera features on the back of your camera body
PAGE 3: Camera features on the top of your camera body

READ MORE

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10 reasons why your photos aren’t sharp (and how to fix them)

Here are the top 10 most common camera mistakes that most photographers make at some point and how to avoid them.

Camera Mistake No. 1: Lens cap still on

Image by Peter G Trimming / Flickr

This is a classic error and nothing makes you feel dumber than some smart-Alec pointing out that the camera works better when the lens cap is off.

Most of us manage to laugh it off only thinking of the retort ‘actually I’m just taking a dark frame for my noise removal protocols calibration. Don’t you do that?’ much later in the day. And inside you’re kicking yourself.

Try to get into the habit of tipping the camera up as you lift it towards your eye so that you can check if the lens cap is on.

PAGE 1: Camera Mistake No. 1 – Lens cap still on
PAGE 2: Camera Mistake No. 2 – Wrong sensitivity selected
PAGE 3: Camera Mistake No. 3 – Flat battery
PAGE 4: Camera Mistake No. 4 – Wrong white balance
PAGE 5: Camera Mistake No. 5 – Spot metering still on
PAGE 6: Camera Mistake No. 6 – Memory card full
PAGE 7 Camera Mistake No. 7 – Shutter speed too fast for the flash
PAGE 8: Camera Mistake No. 8 – Missing tripod quick release plate
PAGE 9: Camera Mistake No. 9 – Dust marks
PAGE 10: Camera Mistake No. 10 – Wrong focal length

READ MORE

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15 common photography questions from beginners (and how to solve them)

This guide is written for anyone who wants to get more from their camera, be it an SLR, compact system camera or bridge camera. It works as a complete beginners’ guide, but is also a handy refresher course for people who’ve had their camera for a while.

I remember how intimidated I was by my first ‘proper’ camera, and how much I could have benefitted from a jargon-free guide like this. In the articles below, you’ll learn all about your key camera controls – what they are, and more importantly, how to use them to get great shots. Read on to discover how to control exposure for perfectly balanced shots, adjust aperture and shutter speed, use flash, and much more. We also explain how to choose and use a lens, and how to get more from your photo-editing software and printer. Enjoy this unique beginners’ guide, and please do share any shots it’s inspired you to take!

Part 1: Set up your camera

Part 2: Explore your SLR

Part 3: Get better exposures

Part 4: Understanding aperture

Part 5: Shutter speed explained

Part 6: Perfect your exposures

Part 7: Focus modes explained

Part 8: Choosing a lens

Part 9: Flash modes explained

Part 10: Image editing, printing & storing

Part 11: Essential accessories

Part 12: Looking after cameras

Congratulations on getting a new camera! It’s only natural that you can’t wait to start using it, but it’s worth spending a few minutes configuring it correctly first. Not only will this save you time and effort in the long run, but it’s a good way of familiarising yourself with your camera’s layout, features and functions. With the help of our quick-start camera set-up guide, it will only take a few minutes…

Select high-quality pictures

When it comes to file format, shoot in raw rather than JPEG. The extra data that’s captured in the uncompressed raw format gives you more flexibility to adjust your shots post-shoot if necessary (see page 7 for more on the raw file format). Try to keep the ISO as low as possible, ideally between ISO100 and 400, because digital ‘noise’ can be a problem at high ISO settings. As for white balance, set it to auto for now – as you progress you’ll become more confident at knowing when to switch to a specific setting, such as Cloudy.

Choose the right exposure mode

SLRs offer a range of exposure modes, from fully automatic – like a point-and-shoot camera – to fully manual. In between these two extremes are the two popular ‘semi auto’ modes – aperture priority and shutter priority – which provide lots of creative control. In aperture priority mode, you set an aperture and the camera automatically works out what shutter speed you need for a correct exposure, while in shutter priority mode, you set the shutter speed and the camera works out the correct aperture. Simple!

Choose the right metering mode

Metering options depend on the camera, but the three most common are multi-zone (also known as evaluative or matrix), centre-weighted, and spot. Multi-zone mode takes a reading from the entire scene and then sets the exposure accordingly. It’s pretty accurate, and is suitable for most conditions. Centre-weighted mode takes a reading that concentrates on the central 60% of the frame, making it ideal for portraits, and spot mode takes a reading from a tiny area and is therefore potentially the most accurate.

Set the aperture and shutter speed

Aperture and shutter speed affect not just the amount of light you let into the lens, but also the way images look. The aperture is used to determine the depth of field, which is the amount of the scene that’s in focus. If you want a blurred background, you need a wide aperture, such as f/2.8; and if you want everything in focus from front to back, you need a narrow aperture, such as f/22. The shutter speed controls whether a moving subject is frozen or blurred; the slower the shutter speed, the more motion blur there will be.

Set the focus and drive modes

To ensure your shots are razor-sharp, SLRs offer a number of focus modes. The two main settings are single-shot, mainly for stationary subjects, and continuous or servo, for moving subjects. Most SLRs feature multiple focus points that can be selected manually. The drive modes enable you to select whether a single shot is captured each time you press the shutter release, whether a sequence of shots are taken in rapid succession, or whether the shutter is fired after a delay of two or ten seconds.

Take a test shot

Now you’ve set up your SLR, it’s time to ensure you’re using its LCD properly. By this we mean using the zoom buttons to zoom in on parts of the image on the rear screen, so you can check for sharpness or excessive noise. And you should also try to get into the habit of checking your image’s exposure by calling up the histogram, or tone chart. A histogram bunched up at the left can indicate under-exposure; a histogram at the right suggests over-exposure. If you’re unsure, adjust your settings and try taking another test shot.

Back to: Get to know your camera – introduction

Forward to: Explore your SLR

With your camera’s basic settings taken care of, you’re ready to start snapping away, but you’ll soon want to know how to take advantage of all the other features your SLR has. Read on to find out how to take your camera craft up a notch.

Exposure modes

Choosing an exposure mode gives you the freedom to stop worrying about settings and start concentrating on taking great shots. Your camera will offer a number of automatic settings, including modes that help you to shoot action, close-ups and portraits, but these modes can be restricting and should generally be ignored. Get to grips with your camera’s semi-auto and manual settings (below), and you’ll soon see an improvement in the results.

Auto

This is the basic beginner mode, with minimal manual control. The SLR effectively becomes a point-and-shoot compact, with all the exposure settings taken care of.

Program (P)

Here, aperture and shutter speed are set automatically for you. However, you can control ISO, exposure compensation and other settings, enabling you to override the suggested settings if you wish.

Shutter priority (S/Tv)

This mode is similar to aperture priority, but you select the shutter speed and the camera sets the aperture. This mode is perfect for freezing high-speed action or for creating motion blur.

Aperture priority (A/Av)

This semi-automatic mode enables you to choose an aperture value that gives you your desired effect (blurred backgrounds, for example), and the camera then selects the shutter speed that’s needed for a correct exposure.

Manual (M)

In manual mode, you set both the aperture and shutter speed for any given scene, which places you in total creative control. It gives you access to all of the available aperture values and shutter speeds, and an exposure level indicator in the viewfinder (or on the LCD screen) tells you whether your shot is correctly, under- or over-exposed. The Bulb mode enables you to shoot exposures for as long as the shutter button is held down, making it ideal for night photography, when exposures of 30 secs or more are required.

File format

As mentioned here, there are two main options here – JPEG or raw. The JPEG format was created for digital photography, and is now a universal standard that’s viewable on any suitable device. In contrast, raw files are specific to individual makes and models, and specialist photo-editing programs are required to open or edit them. The big advantage of shooting in raw is that the image contains more information, which can be used to get the highest quality images. JPEGs compress the image slightly, losing quality.

ISO sensitivity

Your SLR’s sensitivity to light is determined by the ISO setting. To produce noise-free images, it’s best to use your camera’s lowest ISO, but this isn’t always possible. In low light, for example, a slow shutter speed is often needed to expose the image correctly, and this can result in motion blur caused by camera shake. If you’re already using your lens’s widest aperture, the only way to get a faster shutter speed – and therefore avoid camera shake – is to increase the ISO. And the higher the ISO, the more noisy the image.

White balance

You can rely on the auto white balance (AWB) setting in most shooting situations, but there are some occasions where it can’t be relied upon. If you’re shooting in mixed light or in dark shade, for example, your camera’s auto white balance setting may produce images with a so-called ‘colour cast’. To eliminate this cast, switch to the preset closest to the type of light you’re shooting in. When it’s important to get the white balance exactly right, shoot in raw, because the white balance in a raw file can be fine-tuned later.

Custom functions

Scroll through your custom function menu for the first time and you’ll be amazed at the volume and complexity of the changes you can make to the way your SLR operates. Don’t be daunted, though – configuring some of these to suit your preferences will enable you to work much faster than sticking with the defaults. Some cameras enable you to save the most commonly used functions in a quick-access menu, or to assign custom function settings to different shooting situations. See your SLR’s manual for your options.

Back to: Set up your camera

Forward to: Get better exposures

Digital Camera Tips: 01 Always reset camera settings

There are few things worse than taking what you think is a stunning picture, only to find your camera’s ISO and saturation were cranked right up from a previous shoot and you’ve missed the moment. Avoid this by checking – and resetting – all of your settings before moving from one picture-taking opportunity to the next (find out The right way to set up your camera).

Digital Camera Tips: 02 Format, not erase

Formatting your memory card wipes it clean and rewrites any pertinent camera information. Erasing your images does not. So always format your cards to minimise the risk of any data corruption.

Digital Camera Tips: 03 Update your firmware

Firmware is the in-camera software used for processing images, setting a whole range of parameters and even controlling what features are available to you. Check your camera manufacturer’s website to ensure your digital camera’s firmware is as up to date as possible.

Digital Camera Tips: 04 Charge your batteries

Don’t assume your camera’s battery is fully charged – make sure it is. Charge it before you go out so you’re certain there’s enough life in it, and invest in a spare battery if you regularly find yourself shooting beyond its capacity.

Digital Camera Tips: 05 Set the image size

Most times you’ll be shooting at the highest resolution your camera offers, regardless of what it is you’re photographing. But do you always need to? Sometimes a smaller image size might be all you need, and reducing the resolution not only means more images will fit on a memory card, but you can achieve a faster shooting rate, too. If sports photography is your thing, reducing the resolution will help you avoid delays as your camera clears its buffer.

Digital Camera Tips: 06 File format: RAW, JPEG or both?

If you intend to do any manipulation or retouching, shooting RAW is often the best solution thanks to its increased bit depth. However, RAW files are larger, so take longer for the camera to deal with, and you also need to process them before they can be printed.

JPEG files, on the other hand, are processed in-camera at the time of shooting, so you can print or share them immediately, and you’ll find that you can shoot a much longer burst of consecutive frames at a much quicker rate. Providing you don’t want to make too many radical changes to an image after you’ve taken it, you may find you can’t tell the difference between a JPEG file and a RAW one.

For the ultimate in choice, though, and when speed isn’t important, why not shoot both? Most digital cameras give you this option, and you can then decide what you want to do when you’re back at your computer. Just make sure you pack an extra memory card.

Digital Camera Tips: 07 Experiment with settings

When they’re not working on an assignment, professional photographers spend a lot of time testing. This could be testing a new lens to determine which aperture or focal length it performs best at; testing the ISO and white balance to see which options give the very best results; or even testing the dynamic range so you know the sensor’s limitations. You can do exactly the same with your SLR, so you know precisely where its strengths and weaknesses lie. This isn’t about looking for perfect shots – just experimenting with your kit to understand it better, or trying out new techniques that you can employ at a later date.

Digital Camera Tips: 08 Don’t skimp on a tripod

A good tripod is worth its weight in gold, so don’t be tempted by budget options. Pay £20 and it won’t last you long, or do its job properly. Dig deep for a decent tripod and it will give you many years of service, making it a sensible long-term investment (read these essential 4 tips for sharper shots when using a tripod). And don’t forget to take your tripod with you, either!

Digital Camera Tips: 09 Hand-held or tripod mounted?

The simple act of setting up your camera on a tripod will slow you down, and this can be enough to make you concentrate a little harder on what it is you’re photographing and what you hope to achieve. At the same time, locking your camera down for every shot you take can reduce your spontaneity, so don’t be afraid to mix it up from time to time. If you religiously use a tripod, set out without it and see what happens, and if you normally travel without one, take it with you to see how slowing yourself down affects the results you get.

Digital Camera Tips: 10 Impromptu camera supports

You don’t necessarily need a tripod to hold your camera steady – supporting it against a wall or tree will help you avoid camera shake, and a beanbag (or just a bag of rice) can also give you a more stable shooting platform.

Digital Camera Tips: 11 Straighten up

The word horizon is found in the word horizontal, and that’s precisely what it should be. If your digital camera’s got an in-camera level, use it. If not, invest just a few pounds in a hotshoe-mounted spirit bubble. It will save you hours correcting your shots in Photoshop later. A number of DSLRs have a grid that can be activated and superimposed over a Live View image on the rear LCD screen, making getting level horizons a breeze. Alternatively, use the autofocus points across the centre of the viewfinder to do the same.

Digital Camera Tips: 12 Double-check your kit

It might sound obvious, but check your camera bag if you’re going to be shooting away from home. You may have your camera, lenses and tripod, but if you use a quick-release tripod head, is the base-plate attached to the camera or the tripod? Have you got the right diameter adaptor ring if you use Cokin or Lee system filters (see ND Grad Filters: what every photographer should know)? It’s these small things that are more likely to scupper a trip than the major elements of your kit.

Digital Camera Tips: 13 Autofocus or manual focus?

It’s all too easy to become over-reliant on your camera’s autofocus, and there are some situations where focusing manually is definitely a better option – pre-focusing to photograph a fast-moving subject on a race track, or focusing precisely for a detailed macro shot, for example (learn How to use manual focus).

Digital Camera Tips: 14 Which AF point(s) should you use?

Digital SLRs may have a bewildering number of AF points to choose from, but for the majority of shots you only need one – the central one. Place this over your subject, half-press the shutter release to lock the focus, and then simply recompose the shot.

Digital Camera Tips: 15 Buying lenses

A bad lens will always be a bad lens, no matter what DSLR you attach it to. So before you decide that you’ve ‘outgrown’ your SLR and need a ‘better’ one, ask yourself if investing in a new lens might be a better option instead? A few extra pixels and smarter features might sound enticing, but a faster maximum aperture and higher optical quality could go much further in helping you take better pictures with the camera you already have (discover How to find your lens’ sweet spot).

Digital Camera Tips: 16 Manual lenses

There are thousands of lenses left over from the days of 35mm film, and as many digital SLRs are ‘backwards compatible’ (most notably Nikon and Pentax) they can still be used in the digital age. Moreover, as many of them are dirt-cheap it’s a great way of expanding your focal length repertoire. But there is a downside. Some lenses perform better than others, and the only real way of weeding out the good from the bad is to give them a go. In general, zoom lenses and wide-angle focal lengths tend to be the worst performers. In addition, there is the need to focus manually, and in-camera exposure metering can be unpredictable and unreliable. That said, there are some cracking manual focus lenses out there, and in certain situations they can actually outperform contemporary low-cost zooms in terms of sharpness (Read more: Your lens markings explained).

Digital Camera Tips: 17 Focal length

Wide-angle lenses can give the impression of increased distance between near and distant elements, while telephoto focal lengths appear to compress perspective. Consider this when you’re framing a shot and position yourself to use the focal length that’s best for the image, rather than simply choosing a focal length that fits everything in.

Digital Camera Tips: 18 Use the hyperfocal distance

If you want to maximise the depth of field in your shot at a given focal length, then focus manually at the hyperfocal distance; the point at which everything from half the hyperfocal distance to infinity will appear sharp (Read our quick guide for calculating hyperfocal distance in 6 steps).

Digital Camera Tips: 19 Check the frame edges

The majority of viewfinders (find out How to use a viewfinder) don’t provide you with 100% coverage, so it’s easy for unwanted elements to creep into a shot. The only way to be certain is to check your camera’s LCD screen once the shot is taken. If there’s anything untoward in the frame, simply adjust your composition and shoot again.

Digital Camera Tips: 20 Shoot more than you need

Even with static subjects, consider shooting a burst of frames using your camera’s continuous shooting mode. Subtle variations in the light as clouds move across a landscape, or a portrait subject changing expression, are both examples of a ‘perfect moment’ that could be missed with just a single shot, so shoot a burst and pick the best frame later.

Digital Camera Tips: 21 Preset exposure modes

‘Serious’ photographers may frown upon them, but your DSLR’s preset modes shouldn’t be disregarded entirely, especially for candids. ‘Landscape’ mode will typically set a small aperture and boost saturation, while ‘Portrait’ mode combines a wide aperture with more muted colours. Both can be used beyond their intended purpose – it’s just a question of understanding what the preset parameters are and exploiting them creatively (Read more: Your exposure modes exposed).

Digital Camera Tips: 22 Don’t forget Program Shift

Grossly underrated, your camera’s Program (P) mode effectively gives both aperture and shutter speed priority in one semi-automated package. If you want a wide aperture, simply ‘shift’ the Program to get it. You want a slower shutter speed? Then shift in the opposite direction.

Digital Camera Tips: 23 Which is best – Aperture or Shutter Priority?

In a nutshell, the aperture controls the depth of field in an image and the shutter speed controls how movement is recorded. Not sure which shooting mode to go for? Decide which of those two things you want to keep most control over in your shot and that’s the priority option to go for.

Digital Camera Tips: 24 Determine your camera’s dynamic range

Unless you know the dynamic range of your sensor, you won’t know when a scene exceeds it and you’ll lose highlight or shadow detail. There are numerous ways of measuring dynamic range, but as DxO labs has tested many digital cameras, you could always use their figures as a guide. Visit www.dxomark.com to see how your camera measures up.

Digital Camera Tips: 25 Try bracketing

You may be able to adjust the exposure of an image in your editing software, but lightening an under-exposed shot will exaggerate any noise, while over-exposed highlights are impossible to recover. If you’re in any doubt, bracket your shots to be sure you’ve got one that’s correctly exposed – even if you choose to shoot RAW files.

Digital Camera Tips: 26 Read the histogram

While your DSLR’s LCD screen will give you a guide to how well an image has been exposed, it shouldn’t be relied on. In bright light, images will appear darker than they actually are, while looking at the screen at night will make images appear bright, even if they’re actually slightly under-exposed (learn How to read a histogram). The histogram is the only way to accurately assess an exposure on your camera, and the main thing to avoid at the time of shooting is clipping the highlights and, less serious, the shadows. If the histogram hits the right edge of the scale, consider reducing the exposure and shooting again.

Digital Camera Tips: 27 Expose for the highlights

It’s far easier to recover detail in areas of shadow than it is to disguise burnt-out highlights, so when the contrast is high, expose to preserve the highlight detail.

Digital Camera Tips: 28 Spot the midtone

While your camera’s Pattern metering mode (aka Matrix or Evaluative) will deal with most scenes, a Partial or Spot metering pattern can also be invaluable when you’re shooting in mostly bright or mostly dark situations, when you can use it to take a reading from a nearby midtone, such as a pavement or grass.

Digital Camera Tips: 29 Assess the contrast

As well as enabling you to take a precise meter reading, you can use your camera’s Spot meter to determine the contrast in a scene. Take one reading for the brightest highlight area, and another for the deepest shadow to determine how many stops separate the two readings. If this exceeds your camera’s dynamic range, you’ll have to accept some clipping in the shadows, highlights, or both, or consider shooting a bracketed sequence for an HDR (High Dynamic Range) shot (find out how to Make HDR images from 2 exposures).

Digital Camera Tips: 30 Shoot for HDR

To determine the exposure range for an HDR image, take Spot meter readings from the highlights and the shadows in the scene, with the camera set to Aperture Priority. Switch to Manual, set the aperture, and use your Spot readings as the start and end points of your HDR sequence. Adjust the shutter speed a stop at a time until you have covered the exposure range. The exposures can then be combined in software such as Photomatix. (Want to see how it’s done? Take a look at 21 great examples of HDR photography.)

Digital Camera Tips: 31 Use an ND grad filter to balance exposures

You can banish featureless skies from your landscape shots by using a graduated ND (neutral density) filter to balance the exposure between the sky and land. It’s best to have a set of ND grads with different transitions so you’re prepared for a variety of conditions. Alternatively, make two exposures – one for the sky and one for the foreground – and then blend them in your photo-editing software (see ND grad filters: what every photographer should know).

Digital Camera Tips: 32 Use a solid ND filter to extend exposure times

Solid ND (neutral density) filters are great if you want to extend your shutter speed, but they can be used to control the aperture as well. A three-stop ND filter would allow you to open the aperture by three stops to get a shallow depth of field, even in bright conditions.

Digital Camera Tips: 33 Polarisers

The effect of a polarising filter is impossible to recreate digitally, which makes it the number one filter choice for outdoor photographers looking to cut down reflections or intensify blue skies. Don’t skimp on price, or you’ll be skimping on quality.

Digital Camera Tips: 34 Black & white: in-camera or in-computer?

Unless you know that you definitely want to print black-and-white images from your memory card, it’s best to shoot in colour and then convert to mono later in your image-editing software – it will offer a lot more control than your camera. If you decide to shoot black-and-white JPEGs, don’t forget about in-camera filters: red, orange and yellow filters can all add drama to boring skies, while an orange filter will reduce the appearance of freckles and blemishes in portraits.

Digital Camera Tips: 35 Use a white balance preset

Because they’re processed in-camera, you’ll want to get the colour right for JPEG files at the time of shooting. So use your camera’s preset options (Daylight, Shade, Tungsten, etc) instead of relying on the auto option to get it right. Although Auto White Balance is often considered a little ‘basic’, if you’re shooting RAW files there’s no reason to choose anything else – you can set the white balance when you process your images.

Digital Camera Tips: 36 White balance bracketing

If you’re shooting JPEG images and your camera allows it, try activating white balance bracketing. JPEG files take up minimal space on your memory card and it could save you hours on your computer spent correcting a slight unwanted colour cast.

Digital Camera Tips: 37 Using the wrong white balance

Deliberately setting the wrong white balance can add an overall colour cast to your images – blue if you shoot in daylight with a Tungsten white balance, and a warm orange if you shoot under tungsten lighting with a Daylight white balance. During sunsets, an auto white balance setting can try and correct for the overall warm tone, which is exactly what you’re trying to capture. ‘Trick’ your camera by using the Cloudy preset, which is designed to warm up cool scenes.

Digital Camera Tips: 38 Shoot a colour target

If you want your colours to be consistent from shot to shot, include a colour target in the first frame of a sequence. When it comes to processing, set the grey point (and black and white points) using the target reference frame, and your software will match the subsequent batch of images.

Digital Camera Tips: 39 Fill-in flash

Fill-in flash is great for lifting shadows, but it can also be used to create quite dramatic images. Use your camera’s Exposure Compensation to reduce the overall exposure by 1/2 a stop, and then increase the Flash Exposure Compensation to +1/2 to balance the exposure. (Some cameras enable you to adjust the exposure for the ambient light without affecting the flash exposure, and in this case you wouldn’t need to dial in +1/2 for the flash.) The result is a flash-dominated shot where a well-lit subject stands out against a subtly darkened background.

Digital Camera Tips: 40 Get the flash off-camera

Getting your flash away from your camera will transform your portraits, especially if you use a dedicated flash that can be controlled wirelessly by the camera, and reflectors to reduce any harsh shadows.

Digital Camera Tips: 41 High speed flash

The duration of a flash is much shorter than your DSLR’s exposure times, which allows it to ‘freeze’ high-speed events. Water drops are the easiest place to start, and all you need is a dark room, a flash, and a whole heap of patience. Follow this guide to amazing water drop photography to take your first steps in high speed flash.

Digital Camera Tips: 42 Shooting video on your DSLR

Video-enabled DSLRs that use a CMOS sensor utilise a ‘rolling shutter’, which can cause some peculiar artefacts when you shoot video (find out How to set up your DSLR for shooting video). A rolling shutter exposes each individual frame in a video sequence in rows, starting at the top and working down – similar to the way a scanner scans a document. If the camera doesn’t move while this is happening, there’s no problem, but if you’re panning – particularly horizontally – vertical lines in a single frame can become distorted. Handholding the camera and using telephoto lenses can exacerbate the effect, so use a tripod and/or wider-angle focal lengths. Cameras with a CCD sensor are unaffected as they use a ‘global shutter’ that exposes each frame in its entirety – just like shooting stills.

Digital Camera Tips: 43 Choosing video frame rates

Most SLRs that let you shoot video offer a range of frame rates. In the UK, the television standard is PAL, which operates at 25 frames per second (fps). This is the rate you should consider as ‘standard’ for your video if you intend to show it on a TV. However, if your camera lets you, you can also shoot at 50fps to create a slow-motion effect – when it’s played back at a rate of 25fps it will effectively be seen at ‘half speed’, so a second of recorded footage will play for two seconds on screen. The other frame rate to consider is 24fps, the standard rate for film (as opposed to video). Although a single frame per second difference doesn’t sound much, it is enough to give your footage a ‘cine look’ that is favoured by many pro film and video makers.

Digital Camera Tips: 44 Changing lenses

So much has been said about ‘dust bunnies’ (small particles of dust that can land on your camera’s sensor and cause dots in images) that many photographers seem paranoid about changing lenses – but that’s one of the main attractions of DSLR photography! There are some simple precautions to take though. Always switch the camera off when changing lenses, as this removes any static charge from the sensor which can attract dust particles. Shield the camera from the wind and weather and make sure you have the replacement lens ready to fit. Finally, keep the camera’s lens opening pointing downwards when changing lenses, to minimise the risk of anything falling into it.

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Digital Camera’s 10-part series ‘Teach Yourself Photoshop’ builds into a complete reference library. These easy-to-follow video guides will take you on a start-to-finish journey through perfecting your photos in the digital darkroom. In this second part you’ll find a heap of information about Adobe Camera RAW. In the fourth video you’ll see how to adjust the default settings in the Raw editor to match your own camera. Follow the links on the right to watch more videos from this series.

Like Aperture Priority, Shutter Priority is a semi-automatic shooting mode designed to bridge the gap between automatic and manual exposure. Shutter Priority (sometimes called Tv) enables you to pick a desired shutter speed and then the camera selects an aperture to match the cameraís light meter. The shutter speed you select performs two functions. First, it controls the length of time that light is permitted to reach your image sensor; and second, it governs the degree of subject movement that’s recorded in your shot.

Like Aperture Priority, Shutter Priority is a semi-automatic shooting mode designed to bridge the gap between automatic and manual exposure.

Shutter Priority (sometimes called Tv) enables you to pick a desired shutter speed and then the camera selects an aperture to match the camera‘s light meter.

The shutter speed you select performs two functions. First, it controls the length of time that light is permitted to reach your image sensor; and second, it governs the degree of subject movement that‘s recorded in your shot. Shutter Priority is an great tool for sports and action photographers who need to freeze fast-moving subjects. It’s also good for the creative use of blur to emphasize movement.

If you want to completely freeze the action, use a fast shutter speed. The exact speed depends on a number of factors – the speed of the subject, the direction in which it‘s moving and its size in the frame. For example, if a horse galloping towards you requires a shutter speed of /500 sec to freeze it, the required shutter speed will be much faster - around /2000 sec - if it‘s moving across the frame at 90 degrees to the camera.

Subject size is also important. A subject that appears small on the horizon will require a much slower shutter speed than one that‘s looming up close in the viewfinder.

Be a more effective photographer

Choosing the right shutter speed when you‘re intentionally introducing blur for creative effect is far from a precise science.

The degree of blur that works best for a subject is a matter of personal taste. A good starting point is to make a set of test shots using shutter speeds ranging from 1/30 sec to 1 sec, moving beyond these parameters if the resulting blur is too weak or too strong.

When you find a shutter speed that works well, use your auto-exposure bracketing facility to give you a selection of three or more options. The difference in shutter speed between each shot will depend on the bracketing exposure increment selected.

Warning!

When shooting handheld remember to use a shutter speed equal to or faster than the reciprocal of the focal length of the lens. For instance, if you‘re shooting with a 300mm lens, use a shutter speed of 1/300 sec or faster to avoid camera shake.

Keep an eye on your aperture value too - because your camera varies this for you as the light changes it‘s easy to overlook. Aperture also changes when you dial in EV compensation, and too wide an aperture may result in overly shallow depth of field.

All pictures by Andrea Thompson

Most cameras offer a selection of exposure modes ranging from fully automatic to fully manual. Automatic modes are best avoided unless you want your camera to make all the crucial creative decisions for you. But if you’re not confident about setting both shutter speed and aperture manually, a semi-automatic shooting mode is the perfect solution.

Most cameras offer a selection of exposure modes ranging from fully automatic to fully manual.

Automatic modes are best avoided unless you want your camera to make all the crucial creative decisions for you. But if you’re not confident about setting both shutter speed and aperture manually, a semi-automatic shooting mode such as Aperture Priority (often abbreviated to A or Av) is the perfect solution. In Av mode you choose the aperture and the camera selects the shutter speed to match the internal light meter reading.

The main advantage of Aperture Priority is that it enables you to vary the depth of field - the zone of acceptably sharp focus that extends in front of and behind the point you focus on - with a minimum of fuss. The larger the aperture you pick, the narrower the depth of field. Conversely, smaller apertures extend the zone of sharp focus.

Aperture Priority is ideal for portraits when you need mid-to-wide apertures to blur distracting backgrounds.

It‘s also handy for macro work because you can set narrow apertures to bring entire subjects into focus, and then quickly switch to wider apertures to create abstract compositions featuring minimal depth of field. Av mode is also popular with landscape photographers who need to maximize the depth of field across a whole scene.

Be a more effective photographer

When light levels drop it‘s tempting to open up to the widest aperture in order to maintain a suitable shutter speed. However, if you‘re shooting with macro or telephoto lenses, depth of field can become too narrow (often just a few millimeters) to ensure precise focusing.

In these conditions boosting your ISO is a more sensible way to increase shutter speed. A shot with a slight increase in noise is better than no shot at all.

Assessing depth

Depth of Field Preview can help you ascertain if your subject is ‘in focus’ from front to back. You‘ll find the button on the front of your camera next to the lens. When you press it, the lens will be stopped down to the selected aperture enabling you to preview the depth of field in the viewfinder.

This works well in bright conditions, but in lowlight levels and very small apertures the viewfinder becomes quite dark, making it hard to accurately assess the zone of sharpness.

WARNING!

One of the drawbacks of Aperture Priority is that it‘s all too easy to overlook your shutter speed, which can prove disastrous if you‘re shooting handheld.

For example, if you were using a wide-angle at f/8 and 1/125 sec, then switched to a long telephoto without selecting a wider aperture or boosting the ISO, there‘d be a severe risk of camera shake.

Under and overexposure is another thing to watch out for - but your camera should flash a viewfinder or LCD warning at you, like this…

Nikon

Select an aperture that lets in too little light and the Nikon system warns you of the ‘Lo‘ light levels.

Canon

In the Canon system, the shutter speed readout flashes when the exposure time is longer than 30 secs.

All pictures by Andrea Thompson