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The word exposure relates to how much light is hitting the sensor (or film) throughout the process of taking the photograph. There are three factors that control this amount of light: the aperture (the opening), the shutter speed (how long is the opening letting light in) and the ISO, which determines the light sensitivity of the sensor (or film). The relation between these three values determines what the exposure will be, and it several combinations of these values can give the same exposure. All three factors also influence other characteristics of the photo, and that’s what we’ll look at next.
The opening that lets light through the lens is called the aperture. The larger the opening is, the more light can pass through the lens to finally hit the sensor (or film). The size of the aperture is given as a number called the f-number or f-stop. Examples of f-stop numbers are f/1, f/1.4, f/2, f/2.8, f/4, f/5.6, f/8, f/11, f/16, f/22, f/32, etc. These numbers all have a full f-stop difference, which means that for a step in one direction, the light either doubles or halves from the last one. The smaller the number the larger the aperture and the more light can get through. So if you go from f/2.8 to f/2 you double the light hitting the sensor, and if you go from f/2.8 to f/4 you will only let half the light come through.
The camera usually lets the operator set the f-stop in 1/3 or 1/2 steps. An example of 1/3 steps is f/1.4, f/1.6, f/1.8, f/2, f/2.2, f/2.5, f/2.8, f/3.2 f/3.5, f/4, f/4.5, f/5, f/5.6, f/6.3, f/7.1, f/8, f/9, f/10, f/11, etc. The full f-stop steps within this scale are marked as bold.
The aperture does not only control how big the opening is, but also the depth of field; that is, how much of the photo will be in focus. The smaller the f-number, the larger the aperture, and the shallower the depth of field is. Controlling how much is in focus, and being able to make the background out of focus is one very important artistic tool a photographer has.
At an aperture of f/1.8 the depth of field is very shallow, but as the lens is stopped down to f14, all three bottles are in focus.
Lenses have always got a maximum and minimum aperture, and the maximum aperture is usually noted in the name of the lens, for instance Canon EF 50mm f/1.8, where f/1.8 is the maximum aperture. Zoom lenses can have a constant or variable aperture. If it is a constant aperture, like for instant Canon EF 17-40mm f/4 L USM, the maximum aperture is the same throughout the zoom range. A lens with variable maximum aperture, for instance the Canon EF 28-105mm f/4-5.6 USM, will have an maximum aperture of f/4 when zoomed to 28mm and f/5.6 when zoomed to 105mm.
The shutter speed is the term used for how long the shutter stays open, meaning for how long light is let through the aperture of the lens. Just as with the aperture, the camera usually lets the photographer set the shutter speed in 1/3 or 1/2 f-stop increments. Examples of shutter speed values in 1/3 f-stop increments are: 1 sec, 0.8 sec, 0.6 sec, 0.5 sec, 0.4 sec, 0.3 sec, 1/4, 1/5, 1/6, 1/8, 1/10, 1/13, 1/15, 1/20, 1/25, 1/30, 1/40, 1/50, 1/60, 1/80, 1/100, 1/125, 1/160, 1/200, 1/250, 1/320, 1/400, 1/500, 1/640, 1/800, 1/1000, 1/1250, etc. Again the full f-stop steps within the scale are in bold.
If you go from a shutter speed of 1/200 of a second to 1/100 of a second you will let in twice the amount of light, while if you go from 1/25 of a second to 1/50 you will let in half the light. Most entry level dSLR cameras will be able to use shutter speeds between 15 seconds to 1/4000 of a second. More advanced and professional grade dSLR cameras will go to 1/8000 of a second.
If you are photographing static objects, you can use either a faster or slower shutter speed depending on the amount of available light (and other variables). If you’re using a slower shutter speed it’s a good idea to use a tripod to get sharp photos.
By changing the shutter speed I can either make the moving cars sharp or blurry to illustrate that they are moving.
If you are photographing moving objects, you might want to use a faster shutter speed to freeze the motion in the photograph. However, if you want to include movement blur to illustrate the movement of the object, you can use a slower shutter speed. If you’re using a tripod everything static will still come out sharp, while only the moving objects will be blurry.
The third and final ingredient in the exposure is the ISO. The ISO is the value for how light sensitive the sensor (or film) is. Here there are some huge advantages in shooting digital instead of film. With digital you can change the ISO for every frame (if you want to), while with film, the film is rated as a specific ISO value, and if you want to change the ISO, you’ll need to change the film roll. With digital cameras you are also able to use such high ISO values that would be completely preposterous for film.
Digital cameras have a base ISO, which is usually ISO 100 or ISO 200. In entry level dSLR cameras you are usually just allowed to set the ISO in full f-stop steps, while with more advanced models you are able to set it in 1/2 or 1/3 f-stop steps. Examples of the ISO values are: 100, 125, 160, 200, 250, 320, 400, 500, 640, 800, 1000, 1250, 1600, 2000, 2500, 3200, etc. Again full f-stop steps are in bold.
The general rule for setting ISO is to set it as low as possible. The closer to the camera’s base ISO, the better image quality you will get. You will start loosing finer details as well as accurate colors as you are setting the ISO much higher. The introduction of noise is also something visible at quite low ISO, especially in the darker areas of the photo. Getting your exposure correct is much more important at higher ISO as underexposed high ISO photos contain a lot more noise than necessary.
Getting better image quality at higher ISO is something camera manufacturers have been putting a lot R&D money into the last years and this is an area we can see a big difference between new cameras and cameras that are only a few years old.
The best way of learning is by doing, and if you’re using a dSLR camera all you need to do is set it to manual mode and start playing around. It doesn’t cost you anything but time and you will get instant feedback on the cameras LCD. Use the camera’s built-in light meter (the needle going between -3 (or -2) and 2 (or 3)) as a guide and take it from there. You can always take a photo in the green box mode and see what the camera is suggesting as a good exposure, but take that only as a suggestion, and play around in manual mode to see what happened when you change the aperture, shutter speed and ISO. This way you are making the artistic decisions in your photos, and not the camera.
As a lot of us immigrate to the dSLR camp from digital point & shoot (henceforth P&S) (compact) cameras, we tend to carry over some baggage from the P&S usage. Most people shooting P&S cameras are extremely comfortable in the full automatic world, where the camera makes all most decisions. That’s why these compact cameras are called “point and shoot” cameras (you just point it at something and click). A lot of these P&S cameras even lack most of the manual controls, and usually it’s very cumbersome to use them in manual (even if would be possible).
Now, I’m not saying there’s anything wrong with using a dSLR in the green box mode / full automatic (we all need to start somewhere), but in reality this is almost the same as turning your dSLR into a de facto very expensive P&S camera (and probably not a very good one). This is because the dSLR is foremost designed to give the photographer as much control as possible (both when it comes to technical control as well as control over the image processing).
So why am I saying it’s such a good idea to start learning the more technical aspects about photography? (I’m the first to say that it’s possible to take spectacular pictures in the green box. But no matter how well the full automatic mode works, the camera cannot know what kind of a photograph you want to take.) By taking the step out of the green box (and by that I mean using the camera in manual, aperture priority or shutter speed priority mode… we’ll get more into that later), you will get a lot more creative control over the photographs you take. You would indeed be going from taking pictures to making photographs.
So, you want to learn. Where should you start? Photography is something that anyone can pick up pretty fast… but it will take a lifetime to master. However, in this digital era, you’ll be able to learn much faster than anyone could in the days of analogue film cameras. Getting instant feedback helps a lot… and after you’ve invested in the gear, taking pictures… lots of pictures doesn’t really cost you anything but time.
Picking up a book (or two) is a great way to start. If you’re just starting out I would recommend taking a look at Langford’s Starting Photography by Michael Langford and Philip Andrews or Photography by John Freeman (or both). The Internet is also abundant with great resources (for instance photograhpy forums), and often you can pick up some ideas and tips from photosharing sites like for instance flickr.
We’ll talk more about aperture, shutter speed, ISO in part two of the article.
Three aspects of a camera where you really should not listen to anyone else than yourself are size, weight and ergonomics. These three are something people have highly objective views on.
Let’s start with size. Do you have large or tiny hands? If you have large hands some of the smaller entry level camera models perhaps feel too small for you. It might be hard to get a comfortable grip around the camera, making it uncomfortable to use. Then again if you have small hands the smaller bodies might feel just right. If you’re a previous user of a film SLR you will probably not have any problem with the larger dSLR bodies, but if you come from a digital compact point and shoot, a larger dSLR body perhaps seems way too big to carry around.
Whether you have got small or large hands, how you feel about the size of the camera might also be affected by what you will use the camera for. Will you be doing stealthy street / urban photography where you rather not be noticed or will you be shooting birds with large, long lenses.
When it comes to the weight of the camera, heavier is better to some while lighter is better to others. If you will be using heavier and / or longer lenses, a bit heavier camera body will usually feel more balanced. But if you will be carrying along the camera for long days, a lighter body might be more comfortable. (If the camera is way too heavy, you can always terminate your gym membership.)
Talking about camera ergonomics, what we’re really looking at is the form of grip, the placement of buttons and wheels, and how the menus in the camera are designed. Does the camera have a comfortable grip for you? Are the buttons and wheels placed correctly for your hands and does their layout make sense? How about the design of the menus? Are the most used functions easily accessible?
Different camera manufactures have different ergonomics and sometimes the same manufacturer has different models with different ergonomics.
To find out how a camera feels in your hands and how the buttons and menus work, I really think it’s a good idea to go to a camera store and try one out.
When choosing the brand of our dSLR camera, the brand name probably plays a role. (These companies don’t have huge PR and marketing departments for nothing.) However, it’s important to remember that if you’re taking up photography as a serious hobby, you’re not only choosing a camera, you’re in fact choosing a system.
If you buy a kit (most people buy a kit, a camera body plus a relatively inexpensive lens), you will probably feel at some point that the kit you’ve got is limiting your photography. Now, the good thing with dSLR system cameras is that you’re able to buy more lenses (and flashes and other equipment) for your camera. But all systems are not alike. Some brands have lenses and flashes that others don’t. Some brands have more available third party lenses and equipment.
The key here is, when you have invested in your system for several years, and you have a setup of different lenses, a flash or two etc, the lenses and other accessories will probably be worth more than your camera body. So when it’s time to upgrade your camera body, and buy a new dSLR, you will probably not be tempted to switch to a different brand because your large investment in the brand you first chose.
Now a last thing I think you should consider before buying your first dSLR camera is, does someone in your family or any of your friends photograph with a dSLR? If so, what are they using? I’m not only thinking of being able to share information about photography and the equipment, but also being able to share and borrow lenses and other accessories.
Choosing your first dSLR is not an easy task. Taking your time and trying to read as much as possible about different models is the best way to go. Thinking about what you want to do with the camera and choosing a model that will give you some time to grow is always a good idea. Armed with as much information as possible, go to a real camera store and look at different models, try how they feel in your hand, check out their interface and take a lot of time to figure out which will be your first camera. I’m sure you will be very happy with it.
When you’re upgrading to a dSLR you’re probably a previous owner of a film or digital compact camera, or perhaps a film SLR. (Of course for some the dSLR will be their first camera.) Depending on what you’re upgrading from, you probably have different questions and concerns.
A calm winter landscape photograhped with a digital point and shoot camera.
A dSLR (digital single lens reflex) camera is a digital still image camera that uses a single lens reflex mechanism. When using a dSLR, the photographer composes the image by looking through the viewfinder (most of the dSLRs today actually allows the photographer to compose using the LCD screen as well). By looking through the viewfinder, the photographer sees the image through the actual lens that is mounted on the camera. This way he or she can not only determine the exact composition of the image but also the focus. The viewfinder should also be an optical viewfinder, meaning that the photographer is actually looking through the lens and not at a secondary LCD (EVF).
(All film compact cameras and most digital point and shoot cameras also feature viewfinders. However, these are a completely different kind of viewfinder. First, you’re not actually looking through the lens that the picture will be taken through. Therefore, if the composition is critical, the viewfinder will probably not cut it. Especially if the object you’re photographing is close to the camera, the viewfinder’s view will differ from that of the lens that the photo will be taken through. Secondly, the viewfinder on this kind of cameras is useless for focusing. Looking through the viewfinder, you have no idea what the camera has focused on, since this kind of viewfinder is not focusing at all.)
Most dSLR cameras are also system cameras which means that the lenses are removable and interchangeable. This is important since there isn’t a single lens that will be perfect for all kind of photography, and being able to change lenses is a necessity for many photographers. There are lenses that are trying to accommodate the photographer with a “one to do it all” lens, but these lenses are always a compromise in image quality and maximum aperture.
“How many megapixels does your camera have?” How many times have we heard this question? It’s true that the amount of megapixels a camera had did impact the image quality… five to six years ago! As the different manufacturers waged their megapixel-war, they soon made the whole megapixel concern a non-issue. It’s true that the amount of megapixels does affect image quality when you print your photos large, but how often do you get really large prints from your photos? The only real upside to having lots of megapixels is that you have pixels to spare. If you’re unhappy with your composition and you need to crop the photo, you’ll be able to crop more without the image quality suffering.
A downside with having too many megapixels (pixels you don’t use) is noise. Noise, the digital variant of grain, usually becomes more of a problem when the pixels become smaller and smaller. Since dSLRs have larger censors than the digital compact point and shoots, their pixels are usually a bit larger which in turn results in less noise. Of course a lot of cameras claim zero noise thanks to in-camera noise reduction, but that always comes at a price of a less detailed image. Noise is seldom a problem when shooting in well lit places where the censor’s light sensitivity (ISO) is set to low, but when the light becomes dimmer and the ISO level is cranked up, noise will show its ugly head.
What lots of megapixels are good for is marketing. It’s easier to sell something when you can put a number on it. Since image quality is very objective, megapixels have definitely worked well as a marketing tool. “Yes sir, this camera is a few hundred bucks more expensive, but it does have double the amount of megapixels!!!”
I personally think 6 to 8 megapixels would ideal for most people. More than 10 is usually not necessary, but it’s almost impossible to find a new dSLR with 10 or less megapixels. If you’re shooting for billboards, you’re not reading this site anyway.
I am of course talking about the much-debated accessory, the battery grip. Some people say it’s just an overpriced, unnecessary, “fashion” accessory to make your camera look bigger and more professional. Others swear by it, and put a battery grip on every camera they own.
Back in the day, when cameras were using film and you actually had to forward the film by hand, a motor grip could be used to make continuous shooting with a higher frame rate possible. Of course, having the limitation of about 30 frames per film roll, it wasn’t a good idea to shoot with the “spray and pray” style. It wasn’t only an expensive style, there was a real risk of being in the middle of changing rolls as something interesting happened.
The grip does make the smaller camera look more robust.
So which are the benefits of using a grip today and are there any real downsides? (1) Well, for one you gain another set of buttons (shutter, etc) and a vertical grip. This comes handy when you shoot in portrait format. (2) The added size and weight can also help balancing the camera when used with longer and/or heavier lenses. (3) You’re able to use two batteries that will give you twice the amount of use without needing to change batteries. (4) Many grips also come with an AA battery holder, which means that you can use AA batteries instead of the battery your camera is normally using. This can be very useful if you’re traveling in parts of the word where AC power isn’t available everywhere. AA batteries are sold pretty much all around the world. (5) Some brands and models offer an increased frame rate if used with a specific battery (for instance Nikon D300 and Nikon D700). As for downsides (1) it does make the camera bigger and heavier. (2) Battery grips are also usually not cheap.
Considering that most professional dSLR camera bodies have a built-in grip does make a point for that there are more advantages with a grip than disadvantages.
Here is a list of often used photography related abbreviations.
| AF | = | auto focus |
| AWB | = | auto white balance |
| BG | = | background |
| CA | = | chromatic aberration |
| DOF | = | depth of field |
| DSLR | = | digital single lens reflex |
| EC | = | exposure compensation |
| FEC | = | flash exposure compensation |
| FOV | = | field of view |
| FOVCF | = | field of view crop factor |
| FPS | = | frames per second |
| FTM | = | full time manual focus |
| GND | = | graduated neutral density |
| HDR | = | high dynamic range |
| HSS | = | high speed sync |
| IQ | = | image quality |
| MLU | = | mirror lock up |
| MP | = | megapixel |
| ND | = | neutral density |
| OOF | = | out of focus |
| SLR | = | single lens reflex |
| SOOC | = | straight out of camera |
| SS | = | shutter speed |
| TC | = | teleconverter |
| TTL | = | through the lens |
| UWA | = | ultra wide angle |
| VF | = | view finder |
| WB | = | white balance |
There are of course a lot more of them 
Bokeh (a word coming from the Japanese word boke, roughly translated to “blur” or “haze”) seems to be a word everybody likes throwing around, many times without really knowing the correct meaning of it. As soon as something is OOF (out of focus), the usual comment is: “That’s some nice bokeh!”
What the word bokeh really relates to, is how a lens renders OOF areas, and especially the OOF highlights. The more pleasing to the eye these OOF areas appear, the better the bokeh. If this area of the picture is distracting, we usually talk about bad bokeh. So, it’s not about how much out of focus parts of a picture are, it’s how creamy and nice these out of focus parts look. Of course, what we are talking about is subjective quality, and therefore it’s something hard to measure.
Two things that play a big role when it comes to the bokeh quality of a lens are the optics and aperture shape. Some optical aberrations will add to the pleasing look of the bokeh, while others will detract. The rounder the shape of the aperture diaphragms is, the better the bokeh.
When is good bokeh important? When a lot of the photo will be out of focus, the quality of the bokeh starts to play a bigger role. This means that portrait lenses, macro lenses, longer telephoto lenses and large-aperture lenses all benefit a lot from being able to render a pleasing looking bokeh.
From a Canon point-of-view, lenses that are particularly known for their outstanding bokeh are the EF 85mm f/1.2 L USM and EF 135 f/2 L USM. A lens that many mistakenly think has a good bokeh is the EF 200mm f/2 L IS USM. It might be a master at blurring the background, but when it comes to good bokeh, it’s not a winner.
So, next time you are about to use the bokeh word, you know you’re using it correctly.
As updating the blog hasn’t been my forte the last years, I thought it would be appropriate with a new start. Using WordPress as my new content management system, I’m sure I’ll be able to keep this blog fresher and more interesting.
