By Dennis Curtin
I purchased this ebook after you have my insurgent xt and could not watch for it to reach. The consumer handbook that got here with the digital camera did not support in any respect and that i was once watching for getting a e-book which can support get me begun within the correct direction.
Well, it took over 6 weeks for the e-book to reach and while it did i discovered it to be not anything yet a glorifed consumer guide. Very disappointing.
I have had greater good fortune from well known images journal and studying from books written through execs like John Shaw and artwork Wolfe.
This e-book wasn't well worth the cost and watch for it to reach.
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Additional info for A Short Course in Canon EOS Digital Rebel Photography (book/ebook)
Use AE lock (page 41) from that position to lock in the exposure. Another way to deal with high contrast is to lighten the shadows by adding fill flash. A portrait, for example, lit from the back or side is often more effective and interesting than one lit from the front. But when the light on the scene is contrasty, too much of the person’s face may be in overly dark shadow. In this case use fill flash (page 97) or a white reflector card to fill and lighten the shadows. WHEN TO OVERRIDE AUTOMATIC EXPOSURE HARD TO METER SCENES Occasionally it’s not convenient or even possible to meter a scene.
Most of the time this works very well because most scenes have an overall reflectance that averages out to middle gray. But some scenes and situations don’t average out to middle gray and that’s when autoexposure will lead you astray. A continuous spectrum of tones, ranging from pure black at one end to pure white at the other is contained in most scenes. In simple terms, this continuous scale can be thought of as being divided into a series of individual tones called a gray scale. Each of the tones in this scale has received 1 stop more exposure than the next darkest tone in the series, and one stop less exposure than the next lightest tone.
Manual focus is useful when the main subject doesn’t fall on one of the seven focus points, or when you want to focus on a very specific spot such as the eye of a moth. 56 CONTROLLING DEPTH OF FIELD CONTROLLING DEPTH OF FIELD Sharpness—or the lack of it—is immediately noticeable when you look at a photograph. If you are making a portrait, you may want only the person to be sharply focused, but not a distracting background. In a landscape, on the other hand, often you may want everything sharp from close-up flower to distant mountain.
A Short Course in Canon EOS Digital Rebel Photography (book/ebook) by Dennis Curtin