| Once the purchase of a digital camera is made, | | | | subject. The subject at a greater distance will |
| the beginning steps have begun as a professional | | | | have greater depth of field than one that is |
| photographer. Correctly handling the camera is a | | | | close-up. This will reduce the noise level in your |
| great tool to begin learning. The images it sends | | | | photographs. Also, less worry needs to be given |
| out are pretty close to perfect, but it takes a | | | | to being out of focus, bringing in clarity and |
| little while to get to that point. Understanding how | | | | sharpness to the image. |
| it runs, what steps need to be learned, how to | | | | 5. When a picture is overexposed, too much detail |
| shoot indoor and outdoor pictures, or just limiting | | | | is too high in tonal range. Just as under exposure |
| ourselves to a point-and-click style of | | | | makes a picture dark and toneless, over |
| photography are all part of knowing what to do. | | | | exposure makes colors too rich giving the picture |
| To not understand any of this is doing great | | | | an artificial hue - causing highlight to lose their |
| injustice to the camera, which is made for better | | | | detail. Over exposures also blanks out light and |
| use. To avoid not learning, or simply not knowing, | | | | dark effects, along with the tones that give an |
| how to take a picture - we need to follow ten | | | | image a natural look causing everything to look |
| top shooting tips. | | | | gray with less saturation. |
| 1. Too many novice or amateur photographers | | | | 6. Exposure warning lights have a purpose - with |
| rely entirely on photo-editing tools to digitally | | | | the word "warning." We must learn to look and |
| enhance the photograph. Do not depend on this - | | | | respect under exposure warning lights just like a |
| in the back of the mind will always be the | | | | red flashing light at an intersection. These are |
| thought, "if it does not turn out, I can always fix | | | | especially good for beginners who can change the |
| it with software". The pleasure of photography | | | | exposure until the blinking areas disappear. Later, |
| should begin with the way the picture is shot, | | | | the user can start using their own insights in |
| along with its emotional connection, not the result | | | | deciding the exposure levels. |
| of the digital manipulation with a half-done picture. | | | | 7. The camera can take a great picture, but we |
| There is nothing the matter with the photo-editing | | | | as the photographer prepare before then. The |
| tools, only what we do with them to make our | | | | best photographs are those whose parameters |
| photos look good. | | | | are decided by the human mind. No amount of |
| 2. Underexposure lacks color quality, so it really | | | | automation can change this fact. We, too, should |
| should be avoided. What happens is the sensors | | | | gradually move away from automated functions |
| fail to read the colors that form the image. | | | | and start making our own combinations when it |
| However, if given a choice, several photographers | | | | comes to exposure, color, noise etc. Only then will |
| choose underexposing above overexposure. This | | | | we find gradual, but unmistaken, improvement in |
| is because even if underexposed, the details of | | | | the quality of photographs taken. |
| the photograph are still recorded. In addition, it can | | | | 8. Thinking of the composition should be the focus |
| still go into an editing program over overexposed | | | | before clicking the button. Composition is the art |
| photographs. | | | | of focusing on the subject using frames, |
| 3. Digital cameras use millions of assorted pixels to | | | | movement, lights etc. We can learn composition |
| produce the final image, with each sensor | | | | techniques either from a senior photographer or |
| designed to capture a certain tonal range. When | | | | from a book. Then we should start practicing |
| we do not allow full light to fall on the sensor, we | | | | them with new techniques. We will find an |
| are doing a great injustice to the image. Most of | | | | automatic improvement in the quality of our |
| the pixels are unable to capture the tonal range in | | | | photographs. |
| their full sweep and brightness, which ends up | | | | 9. To constantly improve one's photography skills, |
| lowering the picture quality. The choice of sensor | | | | take as many different pictures as you can - all |
| size is equivalent to choosing between | | | | the time. Take enough pictures that you can tell |
| assortments of formats - 35mm, medium and | | | | how they will turn through experience, fixing them |
| large format cameras. There are many different | | | | in advance. |
| sensor size options regarding depth of field, image | | | | 10. The last one tip is to think ahead, think what |
| noise, diffraction, cost and size/weight. | | | | you want to shoot, think how it is to be shot, |
| 4. When focusing on a subject, there are three | | | | think about its exposure, color, noise - all about |
| factors which affect the depth of field: focal | | | | visualization. We must learn to critically examine |
| length of the lens; distance from the camera to | | | | each image that we shoot as if it were our last. |
| the subject; and the size of the aperture or | | | | Try and find out the weaknesses of the |
| setting of the f-stop. You must focus on the | | | | photograph. Shoot again to remove the |
| subject, and not on people or objects around the | | | | weaknesses - until we are completely satisfied. |