Summary of the content on the page No. 1
FREE
THE COMPLETE GUIDE
TO DIGITAL SLRS
• MASTERING THE MENUS
• METERING AND EXPOSURE
• FOCUSING MODES
• ISO AND WHITE BALANCE
• FLASH MODES
• CHOOSING LENSES
I N A S S O C I AT I O N W I T H
Summary of the content on the page No. 2
P002_WDCS_Feb07 9/1/07 21:00 Page 1 GETTING TO KNOW YOUR DIGITAL SLR Your Digital SLR (DSLR) has a host of controls and functions that will enable you to take complete control of almost every aspect of your picture taking. We will start by looking at some of the key controls you will fi nd on your DSLR and what they do THE FRONT Pop-up Flash/ Hot Shoe Control Wheel All but the top pro DSLRs feature a Adjusts the shooting modes pop-up fl ash which, depending on and/or settings. Some DSLRs
Summary of the content on the page No. 3
It is always a good idea to shoot using the optimal SETTING UP settings in your DSLR and, with the following information, we will have a close look at the key settings within menus on a DSLR to help optimise AND MENUS it for top-quality shots Image quality Menus and settings The ‘image quality’ setting The settings information may be refers to the compression housed within a menu or on an used. You’ll have various external control or sometimes on options. There’ll be a series of bot
Summary of the content on the page No. 4
METERING, SENSITIVITY AND WHITE BALANCE Metering, sensitivity and white balance are three key aspects of the way your image looks once you press the shutter button, irrespective of the focus, sharpness or number of pixels you throw at it. Here we will look at key components of the DSLR that make an image look right in terms of colour, image noise and exposure Sensitivity MATRIX OR EVALUATIVE A camera’s ISO setting defi nes its sensitivity LOW ISO These are many small (in some cases over to
Summary of the content on the page No. 5
PORTRAIT MODE Sets the camera to meter from a smaller, central portion of the frame. A large aperture EXPOSURE: MANUAL will be selected to help blur backgrounds, the focus will be switched to use the more central set of AF points (or the central, single AF), and less sharpening will be used to help get more fl attering skin. Colours will AND SCENE MODES be set to a more muted (or natural) palette and, to help make the most of and get natural skin rendition, white balance will switch ov
Summary of the content on the page No. 6
TELEPHOTO Lens focal length LENSES: FOCAL LENGTH Focal length is the name for the distance between the fi lm plane and the focal point (or the optical centre of the lens) when the lens is focused at infi nity and expressed in millimetres and shown on the lens. In plain AND FOCUS MODES speak it is the name given to an indication of the angle of view of a particular lens, WIDEANGLE where a shorter focal length lens – such No matter what digital SLR you own, there will be a range of lenses a
Summary of the content on the page No. 7
Flash modes DRIVE MODES and what they do AUTO FLASH The basic point-and-shoot fl ash setting that fi res when the camera ‘thinks’ it is FLASH AND FLASH MODES Flash and fl ash settings needed. In many cases, the fl ash pops up automatically (if using a built-in unit), Many DSLRs have a built-in pop-up fl ash unit. saving you the worry of knowing when The pop-up fl ash is great for fi lling in shadows Be it a high-speed action shot or something more sedate, your DSLR to use it. In some modes th
Summary of the content on the page No. 8
Third-party accessories ACCESSORIES Filters One of the key benefi ts of the DSLR is that it is part have a look at some of the key accessories that Filters screw on the front of the lens to perform a variety of functions. A UV or of a system of equipment allowing almost limitless can help make your photography and photography skylight fi lter on each lens will protect the photographic potential to be realised. Here we will experience more enjoyable and more versatile front element from damage
Summary of the content on the page No. 9
P016_WDCS_Feb07 9/1/07 21:00 Page 1 S e e t h e l i g h t T h e S a m s u n g G X 1 0 i s m o r e t h a n a c a m e r a . I t ’ s a c o m p l e t e p h o t o g r a p h i c s y s t e m w i t h a l e n s m o u n t d e s i g n e d t o a c c e p t b o t h S c h n e i d e r K r e u z n a c h a n d P e n t a x l e n s e s . I t ’ s a l s o p a c k e d w i t h a d v a n c e d p h o t o g r a p h i c t e c h n o l o g y t o g i v e y o u f u l l c r e a t i v e c o n t r o l . F e a t u r e s i n c l
