Beginners DSLR Photography: Understanding Your Camera | Sarah Drawwater | Skillshare

Beginners DSLR Photography: Understanding Your Camera

Sarah Drawwater

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8 Lessons (34m)
    • 1. Intro

      3:11
    • 2. Content2

      2:00
    • 3. LessonOne

      5:01
    • 4. LessonTwo

      8:01
    • 5. LessonThree

      8:35
    • 6. LessonFour

      4:10
    • 7. LessonFive

      1:53
    • 8. ThankYou2

      1:11
34 students are watching this class

About This Class

What will you learn?

Learn how to make your DSLR camera work best for you in any light situation with no prior experience and NOT using automatic mode.

 

How will you learn?

With both written content and detailed conversational style videos you can choose how you learn. I am an established photographer but did not learn the conventional way so the way I teach is ideal for beginners who do not want to be confused with pro language. I also offer FREE access to an online community of like-minded people where you can ask both your peers and myself any questions, at any time of day.

 

What does the course include?

I will explain the age-old principals of photography in plain, easy to understand language and back it up with downloadable, printable resource that you can continue to refer to as you grow in experience and knowledge. I will also tell you my best tips on which camera setting to use as you leave the course and put what you have learnt into action. Each main Lesson in the course includes a Quiz which will help you ascertain if you have fully understood the point or if you should go back and re-sit the video and/or hop onto the online community and ask some questions.

Transcripts

1. Intro: I finally, in savagery water, I'm an established photographer. I'm currently working in property photography, first agents, product photography in my studio. They also work as a on location photographer, both for family photography. So out in the woods or any garden or people's house or anywhere I work in school photography and Children's group photography. All of my on most of my own location photography. I work without any studio lighting or anything like that, because the best way to get laughs off Children if t let them be, take protest of them, doing what they do without having a flash going off in their faces all the time. Stripping the personality from the photos. I also have a photo editing business. Or I edit other people's photos using photo shop, anything that fighter Schalken dio, which is anything I can dio professional levels on personal levels, photographs I think anybody needs doing on the person, so my business is named nostalgia. I also offer online training courses on 1 to 1 sessions. People would like to learn. I didn't learn in the conventional way to be a photographer. Therefore, I don't speak the jargon. I'm another normal person he knows how to use setting on my camera and how to use them in a way that makes produces good in this course has been written both in writing so that you can follow it on your phone or your laptop. The benefit having on your phone. It's that you can live wherever you are. If you're on the train on a busy commuter, anything, you can watch it without people wondering what you do, because you could just read carefully through the content on your own urine speed. There's also a video content to go alongside this, explaining the same theories, but in a slightly different way. Health. When you get to grips and get your head around at the different ideas in the different settings for different laws of photography that will tell you all about Um, And then there's I have a Facebook community group, which is free for access only for people who purchase my courses on. And I am on there all the time, answering any questions of anybody, anybody, that anything toe ask. But also your peers will be on there. Other people who are going through the same thing as you trying to work out what they need to do with their cameras. Ask questions, answer other people's questions. It's a It's a great place to meet people like you who want toe want to learn the same sort things as you do, but also when they're all the time to answer any questions that you might have during or following the course. So if you got a DSLR camera, we're about to invest in one you like, and I have to take the automatic off automatic mode in this course is is definitely for you . Thank you. 2. Content2: wait. Three big roles Talk me that I've been talking about. You really need to know. I shutter speed. I want to go into detail about how these three factors effect on each other. But how in the changed individually impact on your images wasn't some push ups to show you she how things change at you. About 15 down, each of them work individually, I said to each other I think about is how she have wife imported to shoot this a four sheet to get before you to give you a visual aid. I say aperture and shutter speed. What they how they change on your camera, how the little changes, what impact it has on your images on also how you recognize one another in eras in your cover and therefore you know more about how to change them Is a setting on your camera with a four sheet is a principle for you on, uh, these as different as you go out. You keep coming back to see Oh, yeah. Okay, so that would make it more real. That's why I've got lots of great doctor reference point 3. LessonOne: Okay. Say fest of the three yours that we need to learn about If I say I s stands for International Standards Organisation that abusing title It's just one of those things that's always beaten so always will, because there's no need to change its A I s is Onda number ranging from 100 at the bottom on most cameras might go a little bit lower and some but probably on you. It will start at 100 and go up to about 3200 or 6400. Probably 100 to 3200 is the main raved I s 0 100 We'll give you a better quality image. No grain visible on top. No black flecks being the great I s 0 6000 sent 400. We'll give you a lower quality image. Lots of black flecks grain added onto the image. I s 0 100 Let's less light than the lower the number. The left light is left of the sense of the lower sensitivity it has to light. Therefore, it doesn't get the blacks flex, but it does make a darker image if they use the same testings on camera, but just changed the I s I 2 3200 or six possible 100 A high number you will get but also grain on your image. A brighter image because it's higher Got higher sensitivity to light so that adds grain. But also let more light to the center in three or lends it gets you a brighter image. Okay, Sigh. It's a constant balancing act. Photography is a constant balancing act. You're very rarely unless you've got perfect lighting in the studio setting, you will very rarely get that perfect balance. You always have to compromise on something to get the other thing just right. So with I So if you want to let more light in because it's darker anyone to make the image brighter you wanna hire I s a number upto for like 1000. Sorry from I s I 800 up to 3200 somewhere out. But if you want, If you've got more light in a situation so you're outside you can almost always get away with 102 104 100 Those low numbers of I s O where you get low grade on your image, but it lets less light in because you're outside, got more light available and let less light in and get that high quality image. So you want to aim for his low numbers. You can, but you might have to adjust that up to let more light in if it's dark. Hey, so I put some examples together for you. This is an indoor image, no flashes used, just like coming in through the window. In the living room, you can see the I S 0 100 image is a bit darker, but if you look at the zoomed in the close up of the table leg and see, there's no grain on the picture at all. It's dark, but there's no grain. If you look at the other image, the I s 0 6400 image, it's brighter. You could see the shady areas more in the picture. Still, no flashes used exactly the same set up same settings used all apart from the ice I. But if you look at the zoomed in version of the picture, you can see that there's grain there. Those black spots that I was talking about on the image somewhere in the middle would have given you probably the perfect balance. Once you've learned about aperture and shutter speeds, you can adjust those two factors as well. At the moment, just looking at I s I the lower I number I 100 even know great on the image, but it was dark. The I say 6400 had a lot of grain on the image, but it was brighter, so you can see the difference. And as you go out the scale in between 102 104 108 100 doubles, every time you can see how it effects image if you have a play with your camera, testing of exactly the same shop just changed the I s I and you'll see the difference just only if you find on your camera it's hard to see. But you will see that difference in quality and the grain amount that appears on your picture. Always aiming for as low as possible. You will have to adjust depending on your situation. Okay, 4. LessonTwo: so photography rule number two is aperture. Apertura is another way to control the life, enters your camera and therefore effects. You'll find final pictures with their brighter or darker aperture, the way actual controls the light entering different toy. So the lens of your camera you change when you change the appetite. You changed the size of the hole inside, so you control how much like it's all the way through to the back in the center, in here, by how big this hole is in the lens, you see Apertura written down as an F number, so F 2.8 F four F 32 at the other end. The lower the F number. You probably see the lowest F number on your camera may well be F four. The lower the F number, the bigger the whole in your lens. So let's more light in so F four. Well, a lot of light in F 22 somewhere at the other end. Well, let less lighting If you're using a full, it also narrows your depth of field. So your depth of field is a certain distance from your camera to another certain distance. I mean on from your camera between those two areas. If your depth of field so if you're using a low F number four depth of field will be fairly narrow, depending on how far from your subject will get narrow or bigger. If you're closer, will be narrower. So when you got low depth of field, anything that sits between these two areas thes two distances from your camera will be in focus. I am in focus from my camera. Therefore, I am within that debt for field. Outside of that depth of field so closer to the camera and further away from the camera will be out of focus. You can really use this to your advantage to get some beautiful creative shots. It makes your subject pope. Even if a subject is right over on the side of the picture, it would draw your writer that it's in focus. So if you've got if you want to let a lot of light into your camera, you need lower F number because you're in indoors, you don't have much light available to you will need a lower number. You might want to use that loan over number outside as well because it gives you the narrative, the field and therefore blurry background. If you're outdoors, you will be able to use a higher F number 20 to 32 but the other end spending your cameras capable but off, and that will give you a really big depth of field. So if you're if you're using an F 22 your subject, maybe the pests and standing in front gate on the mountains behind them will be in focus. You might want to see what's in the distance, or you might not want to see what's in the difference in the distance. Go back to the original sheet with pink and blue people or people on it. But I talked about earlier the person in the foreground, pink person in the foreground, Larry Mountains in the background with very low F number. Go up to the other end and you can see I think it goes to F 32. You can see in Vegas subject in the foreground because you focused on them in the background is the also in focus mountains because, ah, higher number, every bro depth of field, everything was in focus. Look somewhere in the middle. You can get something everything a little bit out of focus in the background as long as your focal point is on your subject, whatever that might be. A leaf and a person, a radiator. Wherever it is that you choose to focus on, that will be in vocus Everything out of that distance from your camera, will you put your depth of field will be out of focus. So if you look at the example that I've put together for, you can tell about Children. Can you? That man Batman In the garden, you can see the fast picture I've used and F 22. The image is darker because when you've got and higher F number, smaller hole, less light gets in. So it's dark. You see the bushes behind that man are also in focus. So that means from the distance where the depth of field starts on the difference for the depth of field ends. Oh, Christ, in the Batman and further away in the bushes, a broader depth of field to get everything in focus. Second example is F 4.5, and you can see that Batman isn't focused. He was my focal point in my camera. It's a brighter image because more like or in through the lens, because that hole was bigger, smaller F number, bigger hole, More light gets in. And if you look at the background behind him, the Bushes, they are out of focus because they were outside of that depth of field that we achieved by using that low F number so narrow depth of field, so starting distance from the camera, furthest away distance. The debt field is in between, and Batman is between those two barriers, the hedge behind him outside. So it's out of focus. You can see that Batman pops in the picture. He he is the subject. You can very clearly see that he is what you're supposed to be looking at, your eyes drawn straight to him, how you can use a narrowed up the field, a lower number to your advantage. It's also very good in most situations, because in low light situations, you've been letting more light into your camera. If you're using the semiautomatic mode that I'm going to tell you about a bit later, the other settings will adjust, so that elects still only enough light in to expose the picture correctly, therefore not make it too bright, because you've let a lot of lighting with that low F number. So go back to the example again. Look at the two differences and you can see Dhaka F 22 brighter F 4.5 F 20 twos. Background. Even vocus F 4.5 Background is out of focus going Get your camera and try different aperture settings and see what the outcome is and let me know on Facebook community if you need any help, thank you. 5. LessonThree: Okay, so the third lesson is shutter speed. Shutter speed is another way to control the light that gets him through your lens into the camera and therefore into your pages. Shutter speed is the control of where the shutter is, a door within your camera. But when you press the shutter release button opens the door and then automatically shuts again. But you get to control how long that door is open for when the door is open. Light can get through when it shut. No, no, I can get through SE shutter speed is measured as a fraction of a second. You could have shut eye open for an entire second one, or you could have opened for four seconds. Could have open infinitely until you tell it to shut again. How people get so beautiful time motion pictures where you see lights of a car flooding along the road. See the lights of blood. But the bridge or treaty, however, around the still, because people have that cameras on a tripod, so they keep everything. Still, everything that stay static stay static in that picture. But then you could see the lights. The one thing that's moving because the shutter is open that whole time it captures lighter , every bit of the movement, all on that stacks at all on that one final image. You see it with waterfalls as well. The rocks, the trees all around because they're held on the tripod, keeping the camera perfectly still, They would stay still in that picture. But the water is the moving thing in the middle. As the water flows, it captures light to every moment of its flow Because the shutter is open, that whole time light is coming in. So it gets the milky movement flow of the water so you can keep your eyes open for a long time. All with most photographs, you just open and shattered very quickly. You get to tell it how what the fraction of the second is. It won't open for you might have open for 11 twin 1 125th of a second. That works out no point nor eight seconds fraction better maps than comes down to No point , no more. Eight seconds. So or you can have it open for 1/8 of a second. He could go to my examples now 1/8 of a second. This photo, this first photo. So what it was. I set up my camera, my tripod, so that everything that was motionless the bricks behind ST still held a ball above the camera. And as I release the shutter, I let go of the ball. It fell through the image for the whole time that the shot it was. So in this first picture, 1/8 of a 2nd 1 slash eight, you can see the ball. The blue ball is very blood going through the picture because the shutter was open as it was moving the whole way down. I then adjusted the shutter speed only the shutter speed toe 1/15 of a 2nd 1 slash 15 1/15 of a second. The ball was falling through the picture, but the shutter was open for less time of that fall. See, as it disappears out the bottom even slightly more see the ball shape not just a streak, but the image got darker, so because the chateau was open for less time, less like got in and onto your to the center and onto your final image. So as you make the shutter quicker. Change that fraction quicker, so it's open for less time. 18 of a second it siphoned full is going up What 1 15 is quicker, so less less light gets in. It's docker image. New onto the Fed 1/30 of a second. I have less time. Still, you can start to see the shape of the ball if you look carefully, but it's got darker, darker still. Let less like Tim because you had your shutter open for less time. New forward toe. 1 60 of a second darker still see a bit more shape of the ball, though it's freezing a bit more motion. 11 25th is the fifth image. Very dark. If you look very closely, you can see the shape of the ball is getting more clear. It's freezing the action a little bit more. It's getting very dark. The sixth image. I changed everything, adjusted everything because I needed to get my shot to speed right up really quick. I moved it to 1 1000 of a second. This letter, a lot less lighting. If I hadn't changed the attitude and the ice, I it would have been a very, very documents. You just would have been black. We would have been able to see it because there wasn't a knife and enough light getting in through the shattered. So what I did was I moved my F number right down from 32 to 9. Bigger, whole lower number, bigger hole. It let more in. But you can see that the bricks are slightly out of focus now in the background, you can't see them as well. They're out of the depth of field because we lowered our F number reduced debt field. We made it a narrower. Therefore, the background was out of the depth of field, so it made that little bit blurry. But because we lowered the F number, we made the hole bigger. We let more lighted, but it wasn't enough, so I moved my I s out as well. I also started at 100 in those first pictures where it got very dark. There was no grain in the pictures, but I moved the I. So up to 800 I got a little bit of grain in my pictures. But it's bearable. It's not too bad. And it made the sense of more sensitive to light. So it let more light into the image. It made it brighter. So maybe my eyes I from 100 800 also made the image brighter. So the combination of the lower F number, the higher I S O number made the image brighter. And then my higher shutter speed 1 1/1000 of a second quicker, letting left light in that balanced everything out. But the aperture on the I s o making things brighter, the shutter speed making things darker. But they balance each other. It's a little bit of grain in the image because of the higher, so they balance each other. I didn't quite freeze the motion. You can see that they're still a little bit blow on that ball where it was falling through the picture. You can see the ball. You can see that the holes on it. You can see that the ball itself, the feature, the subject, it's there, got a little bit of movement still didn't go for it. Another step on the show to speak. They didn't want to give you too many images to look at. But you can see how the higher the shutter speed gets the quick up. It moves that less light gets in. But it's also less time where life is let in through the shutter. Therefore making it quicker freezing motion. So you got any questions about it'll get onto the Facebook community group. Ask away Oscar piers. I'm on their toe onto your questions almost any time of day. Let me know if you for anything that you like to talk about still any help I can give you. You wanna go and have a go with your camera? Changing the shutter speed? Um, then do so. But in the next step, I'm going to tell you how to change your camera in semi automatic mode. So then you really be able to get your camera out and have a play and start using it to its best, Not just in the automatic mode. Okay? 6. LessonFour: so now how to actually use your camera to do all of this, to fit it all in together. To try and get that balance right, I would suggest using the semiautomatic mode aperture priority seen in most cameras, canon and icons seen as an A or a V on your camera settings? No on the top. Other cameras. Most cameras, in fact, it's shown is in a something that starts with a knife. So it's easy to find what this aperture priority mode does. Is it prioritizes the actual you are going to tell the camera? What? Actually, you want to be with you. You want to go down as low as 4.5 married at the field. Only your subject will be in focused. Background will be blurred, and you will have a lot of light into the lens. That's how I would suggest starting working with it. Who moved the F number up and you want to try different things. Start with a lower F number, as your camera will allow you to do. You get to choose your eye so all tell your camera to put out. We'll put it on automatic. I tell your camera to choose it, so I would suggest lower I So that will be a button to second. So on this camera, it's here. So you press I s O and then you get to choose if it's auto 102 104 108 100 and going up. If he said on auto, it will look at it with me to the light that's coming into the camera and see how it needs to adjust it. See if it's got to do a higher number because there's not much available sacrifice of grain in it or what we have to go with lowers. I said 100. Nothing less light in, but getting no grain. The fed setting shutter speed you don't need to worry about in this mode. You need to be aware of it. You need to know what it does, but the camera will set it for you. You choose the I s O and the camels concept the other two things for you. Therefore, if you choose your eyesight, choose your focal point. Seen through the viewfinder as dots on the screen. It was it'll be a square. You could move around with arrows choose what your viewpoint is. Press the shuts off and your camera will change the I. So in the shutters beat. According you need to be aware of the shutter speeds because if in your in low light situation you get blurry pictures, you know that that's professional. Cameras had to adjust your shutter speed to very slow to let more light in because you're in a low light situation. But of course, then any movement of your hands in your camera or your subject moving through the picture will be blood. That's when you have to start thinking about using a tripod to keep your camera still and changing other factors, like lowering your F number or making sure that you're using a high I s so if you know, letting your family control automatically so aperture priority mode is how I would suggest that you try your camera first, how I use my camera almost all of the time in a studio situation that's different than I use on Manu. But when you're out and about moving, taking photos of Children or dogs for animals or anything, thats moving and you're not using a tripod. Therefore, your camera is moving aperture. Priority is very good for this because it sets a lot of settings automatically, but you're still in control. Any questions about that again just hope on the Facebook community? 7. LessonFive: Okay, so then there's camera raw mode. How you're shooting your pictures, how your camera stores your pictures. Old cameras will automatically store your pictures as a J. Peg. J P. G probably seen it on your computer already with your follows. Pictures automatically restored is the J pick, unless you tell it otherwise. So you're Cambodia, fella. We'll take pictures as a raw file R A W. This means there's a lot more information in this file. There's a lot more on the shadows when the higher the higher exposed areas and lower experience both areas that really Brian the bits that really dark. There's a lot more information in this file in those areas. Therefore, they could be manipulated on your computer post editor, but your cover assumed you don't have the equipment to do that, so it combats Miss J. Peg. So if you do have the likes of light room of other processing programs, then you can convert. Get your DSLR to keep your images in rural file. Then you can transfer them to your computer, process them bright in those dark areas, bring down those highlighters and then compared it to a J pig compressing the file only storing the information is necessary to then display as a photo later on. If you still those files as a rule image in your camera, you can then do post break post processing on the computer. I would recommend light room Pretty a program. I'm gonna be doing this and training one that very soon. Thank you very much. 8. ThankYou2: thank you very much for listening for purchasing the course. Andi. I do hope that you couldn't be part of that Facebook community group helping your peers and also get any information from them and asking me anything that you want to know. I do other courses. I'm in the process doing other courses all the time. So it's anything else. It particularly you want to know. Just let me know if I can add that to my course list of things that I'm going to be doing. My business is nostalgia. After said, I'm a photographer and I do photo editing services. If you need any help with any, I try to take post price dressing, either in light room or in photo shop. I'm afraid to shop specialist I can change anything that needs staging in the photo. I can do it with his professional reasons or personal reasons. It's look me up. Give me a shout, nostalgia, hyphen imaging dot co dot UK, and I'll see if I can help. Thank you very much by