Point-And-Shoot Basic Photography: Amazing Photos Even on Auto! | Pong Lizardo | Skillshare

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Point-And-Shoot Basic Photography: Amazing Photos Even on Auto!

teacher avatar Pong Lizardo, Keep it simple.

Watch this class and thousands more

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Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Watch this class and thousands more

Get unlimited access to every class
Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Lessons in This Class

46 Lessons (1h 30m)
    • 1. Section1: Welcome!

    • 2. Section1: The Point-And-Shoot Advantage

    • 3. Section1: How Cameras Work

    • 4. Section1: Camera Parts

    • 5. Section2: Amazing on Auto

    • 6. Section2: Don't Use Flash

    • 7. Section2: S2L3 Deal Camera Shake

    • 8. Section2: Compose

    • 9. Section2: Zoom In

    • 10. Section2: Negative Space

    • 11. Section2: Rule of Thirds

    • 12. Section3: Composition Technique Intro

    • 13. Section3: Center Line

    • 14. Section3: Leading Lines

    • 15. Section3: Golden Triangles

    • 16. Section3: Rule of Odds

    • 17. Section3: Frame Within a Frame

    • 18. Section3: Composition Tips

    • 19. Section4: Exposure Intro

    • 20. Section4: Exposure

    • 21. Section4: M-Mode

    • 22. Section4: Exposure Compensation Dial

    • 23. Section5: Aperture Intro

    • 24. Section5: A-Mode

    • 25. Section5: When To Blur

    • 26. Section5: A-Mode Activity

    • 27. Section6: Shutter Speed Intro

    • 28. Section6: S-Mode

    • 29. Section6: Prevent Camera Shake

    • 30. Section6: Capture Motion

    • 31. Section6: Shutter Speed Activity

    • 32. Section7: ISO

    • 33. Section7: Perfect ISO Settings

    • 34. Section7: ISO Activity

    • 35. Section8: P-Mode

    • 36. Section8: AF Method

    • 37. Section8: AF Operation

    • 38. Section8: Image Quality

    • 39. Section8: ND Filter

    • 40. S8L6 WhiteBalance

    • 41. S8L7 Metering

    • 42. S8L8 Bracketing

    • 43. S8L9 Burst Mode

    • 44. S9L2 Macro

    • 45. S9L3 Low Light

    • 46. S9L4 Conclusion

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About This Class

Beginner’s Secret Point-and-Shoot Photography Course. Take Amazing Photos With Your Camera Even On Auto.

Impress your family and friends with amazing photos! They’ll be so impressed they’ll think you used a big sophisticated DSLR instead of a little point-and-shoot camera.

1000+ students enrolled and gave an overwhelmingly positive review of the previous version of this course. This new version is even better! It’s not only improved, I incorporated my Basic Photo Composition Course in this course! It’s like getting two courses for the price of one!

Unlike YouTube where you could scroll through how-to videos forever or other online courses which drown you with information, this photography course shows you what you need to know in bite-size chunks. No fluff. No overly technical details which confuses more than it helps. I removed all the technical details which don’t really make a difference so we could focus on what really matters: making amazing photos!

With simple quick video lectures (about 1-3 mins each) you’ll get easy to digest chunks of information you could start making amazing photos right away.

This point-and-shoot photography course is the simplest photography course you’ll ever take.



Meet Your Teacher

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Pong Lizardo

Keep it simple.


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1. Section1: Welcome!: Hi. Welcome the point and shoot photography, Amazing photos, Even on auto, I'm Paul Elizardo. I'm a creative professional with 10 plus years of experience working with different brands and different projects. I'm excited. He chose discourse to learn about football. My main goal is for you to make amazing photos so you could impress your family and friends and for you to be super comfortable using your camera in any situation. I've designed this course for beginners and four point and shoot photographers and like you to where you could scroll through videos forever or other courses which drown you with information. I've got out the parts that don't really make any difference. You'll get easy to understand chunks of information that you could apply right away. This course is arranged with the most critical lessons you need to get going. I want you to improve your photos right from the start. Then building on that foundation will perceive more advanced topics to get your photography skills to the next level. To do that, we're going to first talk about basic concepts, then jump right into improving your photos, then go into exposure. The most important concept in photography and then we're going to dive even deeper into exposure by learning how to control it. Finally, before we enter the last section, we're going to talk in depth about different settings in your camera. And if there's anything I could do to make this course better, please let me know. Thank you again for enrolling. Good luck and most of all, enjoy. 2. Section1: The Point-And-Shoot Advantage: owning a compact point and shoot camera gives you several advantages, which you need to put to good use. These aren't advantages of using a point and truth camera over your phone camera or a DSLR . Size is the first advantage, compared to a DSLR and even toe a mirror less camera, a point and shoot camera is compact. It's size makes it easier to bring with you anywhere. And as they say, the best camera is the one you have with you. Discreet, its size makes it less imposing and less intimidating. This is particularly useful when you're doing street photography or when you need to take photos without calling attention to yourself. Since it's less intimidating, it's also perfect for camera shy subjects. Now you might say the camera on my phone. Condo's that, too. It's small and a lot more discreet. Well, here's another advantage. Better image. Your point and shoot camera makes better photos than your phone of point and shoot. Cameras are the perfect compromise between size and image quality. It has a bigger lens and censor compared to the camera on your phone. Some point and shoots even approach the size off the SLR sensors. Your phone camera just can't compete with that. Your phone shrank the camera sensor and the lens at the cost off. Image quality. The SLR futures. Ah, lot of point and shoot cameras have the same features as the SL. Ours. See this? It's the same mood Daio found on a DSLR. Basically, this means you can use this point and shoot camera like a DSLR. Finally, future proofing The SLR is a centuries old technology, and present demand for DSLR is dropping because what a DSL our can do a mirror less or a high end point and shoot camera can do without the Bach and without the price tag off a DSLR. The only reason why we still have BSO ours. It's a lot of professional photographers own a lot of super expensive lenses, which can only attached to an SLR, so pros are very reluctant to use another type of camera at the consumer level. A lot of people still think they need a DSLR to make amazing photos and manufacturers the advantage of this. But that's like telling a chef you make good food if you buy a good stove, so keep those points and truth advantages in mind and put those advantages to good use. When you're shooting with your point and shoot camera, your little point and shoot camera can go where DSLR scan and it can do what your phone can't. 3. Section1: How Cameras Work: your camera makes photos and by capturing light. But how this it really worked? Understanding how your camera works is the key to mastering all the settings in your camera , So let me show you how your camera works. The body off the camera is basically a light proof box, which has a hole in front. This hole is how your camera sees, and this is where the back off the lens attacks is. Inside the lens, you have an aperture, which expands and contracts, letting less or more life into the camera body. Directly in front of that hole, you have a light sensitive sensor, which is connected to the shutter button. Think of the shutter button as a switch, which activates the sensor light bouncing off. An object enters the camera through the lens. The light then reaches the sensor, where the sensor converts the light into digital information. By pressing the shutter button, you tell the camera to record the slight information in the SD card. This light information becomes the image stored in the SD card. It doesn't matter what camera you have. Maybe a point and shoot camera, a mirror, less camera DSLR, a video camera or even the camera on your phone. All cameras work this way 4. Section1: Camera Parts: Even if all cameras do the same thing, cameras may look different. Cameras come in many different sizes and shapes. Bottoms and dial's may not be the same. But despite these differences, luckily, the basic parts and features remain the same. No matter what camera you have in this video, I want to discuss those common parts with you. So we avoid confusion. And so we refer to those parts the same way. This compact point and shoot camera we have here is the canon G seven X mark two. This is its camera body. It's the main part off the camera, which houses everything from the LCD, the buttons, the dial's and the lens. This is the lens. It's where light enters Inside the camera body. We have the sensor. It turns a light into digital information we see on the LCD screen which event, when he becomes the photo on the top, we have the on off switch, the zoom control for zooming in and out. Then we have the shutter button half pressing. The shutter bottom tells the camera to focus and prepare itself. Take a photo. Pressing the shutter button all the way creates a photo here we have the flash, which can be popped out with this argo on the side. Most high end point and shoot camera will implement the flash like this at the back. We have the settings button the settings. Bottom gives you access to more camera settings around it. We have the multi selector. The layout off the icons on your camera may be different, but its main function in all cameras is the same. It's a four way button, which houses the most used settings off the camera. Some common features you'll find in the multi selector are flash control, focus and information. While these buttons are the video record button, it records videos when press delete, button and races, photos on playback and playback Button allows you to see photos and videos on the SD card. This is the menu button. This gives you access toe all the settings and features off your camera. In some cases, will have here the mode dial most of the time. Newer point and shoot cameras and professional cameras have it older and lure and point and shoot cameras don't have it. In addition, for some feature packed cameras, you may have a control ring around the multi selector. This gives you another means off controlling and selecting options in your camera. It's impossible for me to know which camera you have. So for more information about your camera, please check out your user Manuel. The best way is to download your user Manuel, and just do a search for what it is you need to know about your camera. This will be very helpful if along the way you have a future you can't find or is different from your camera than mine, you can just do a search your cameras user Manuel will have all the details about your camera. 5. Section2: Amazing on Auto: in casual photography. The name of the game is capturing the moment. You don't want to miss one, because if you miss it, it's gone forever. This is why we have auto. It's fast, it's easy. And with most new cameras off the mood does a very good job. It simplifies and speeds up the process off, making photos. However, if you want to make amazing photos on auto, we must first understand what the automotive does so we can take full advantage of it. The auto mod automates to very tedious aspects off photography for you. The exposure which will talk about later and focus in auto. Your camera uses its built in light meter to get the photo just right. Not too bright and not too dark, either. It also focuses on your subject for you using a F autofocus and its preset focus points. Most of the time it gets it right, but sometimes it leaves much to be desired. To take your photos to the next level, you need a few techniques to make amazing photos, even on auto mode. 6. Section2: Don't Use Flash: thief. First lesson in making great photos on auto is don't use the built in flash. The flash on your camera is not the same as a dedicated flash gun. Firing the flash could ruin an otherwise great photo point and shoot cameras with a pop up flash by the fourth has the flash turned off, so just ignore your camera when it prompts you to use the flash, you'll get better results this way. The problem is you can get camera shake if you don't use the flash when it's called for. So in the next video, we'll deal with camera shake so you can make better photos even without using the flash. 7. Section2: S2L3 Deal Camera Shake: camera. She is when various and excessive movement off the camera. When you're taking photos when you have camera, shake your photos look blurred or low quality. Common causes off camera. Shake our movement any sort off excessive movement process. Camera. Shake shooting from unstable platform like a moving vehicle process. Camera shake on steady hands could sometimes be enough to cost camera. Shake low light When you are in a low light condition. Your camera either calls for a flash or a slow shutter speed to get the photo right. Your camera then becomes more sensitive to the tiniest movement from your hand. This is enough to cost camera shake, but the question is, what can you do? The first thing you can do is return on your camera's image stabilizer. Most point and shoot cameras have this feature to check whether your camera has image stabilization. Go to your user Manuel and just type stablization. Your user. Manuel will tell you whether you have it or not. The turn on image stabilization in your camera Go to menu. Look for the option stabilizer or I s. Other camera brands may have a different name for this, so please check the user manual in our camera. Here it is. It is called S during it on event breast menu or half pressed the shutter button to exit. What it does is it mechanically stabilizes the camera's lens. It may not completely remove severe camera shake, but it's enough to reduce it or completely remove mine or camera shake to further reduce camera shake. We need proper camera handling techniques. So first I want you to stand up straight with proper posture. Hold your camera firmly with one hand and for the other hand, I want you to form an L sign or a gun sign. Then I want you to do this. Slide your camera and put it against your thumb. Once you have your camera firmly grasped like this, press your elbows as close to your body as possible. This creates a stable platform for you to shoot from using images. Stablization and proper camera handling techniques greatly reduces camera shake, especially in low light conditions 8. Section2: Compose: for the composition is what differentiates a pro photographer from an amateur photographer . Professionals composed their photos. Amateurs don't composing your photos is the key to making photos that will impress your family and friends. But what is Composition? Composition is simply arranging visual elements in the photo with purpose. When you look at the photo, your brain has a split second to gather the most important parts off the image. When you look at an un composed photo, your brain takes a lot of time looking for the important parts off the image. It doesn't like it, so it says the photo is bad, but when you look at a composed photo, your brain spends less time looking for the important parts off the image. Your brain like this. So it says the photo was good. Composing your photos is the best thing you can do to improve your photos quickly. So how exactly do you do with that? How do you compose photos? So to do that, let's go to the next video and learn quick composition techniques you can use right now on your photos 9. Section2: Zoom In: you can improve your photos or your compositions instantly just by zooming in your subject by zooming in, you remove the distractions in your photos. This helps people looking at your photo. Find the subject off your composition quickly. You can do this by physically moving yourself closer to your subject or by zooming in using your camera's lens, though. Take note. Most point and shoot cameras have. Let's zoom and digital zoom lens zoom is your camera's lens magnifying your image? Digital zoom. On the other hand, it's your camera blowing up the image using digital processing. This ruins the image digital zoom courses, the image look pixelated or low quality. What you want is the lens zoom. Most point and shoots indicate when you are digitally zooming in, as you can see here after this point, I'm digitally zooming in. You usually know when you're using optical zoom or lens. Assume, because you can hear small noises from your camera's lens motor Digital zoom doesn't make any noise in some cameras alike. In our demo camera, you can turn off digital zoom so you don't actually use it to do that. Goto menu. Look for digital zoom off event breast menu or half pressed the shutter button to exit to check. If you could do this with your camera, check your user. Manuel. Just search digital zoom before you go to the next video. My friends remember when you don't know how to compose a particular scene or when you don't know how to make your photos? Looks pretty. Remember to just zoom in. The mantra is when in doubt, zoom in easy, right? 10. Section2: Negative Space: beautiful, isn't it? Those photos have a lot off negative space. To get photos like those, all you have to do is use negative space. Negative space in a composition is the space around your subject. While the space occupied by your subject is called a positive space, the subject is the most important part off your photo. It's the focal point off your composition, so it's important it stands out from the rest off the elements in the composition. If you want to use negative space in your photos or compositions, all you have to do is to look for negative spaces or blank spaces in your environment and then set your subject against it. And voila, good looking photos. But negative spaces don't have to be blank to be called negative space. Negative spaces could be any space in your photo, which does not call a lot off attention. Two. Because a negative space, the space for that part off the photo should occupy at least 50 to 70% off the photo. Let's take a look at these photos again and observe how negative space was used. As you can see, using negative space is a simple as finding a quiet background to photograph your subject on, figure out where the best place your subject in that background, go to the next video on, and we'll talk about exactly how to do that. 11. Section2: Rule of Thirds: the rule of thirds Issa Subject placement guide. Its simple, easy to understand and very effective. The rule of thirds is simply a grid off to vertical lines into horizontal lines. It divides the frame in tow. Nine. Equal parts. Placing your subject on the rule of threats is easy. Simply place your subject on or as close as possible to one off the points where the lines off the rule of thirds intersex. Another thing you can do is to fill three parts off the grid with your subject and fill six parts with negative space. Or you can do the reverse. Fill six parts with the subject and leave three parts with negative space. Here are more photos to inspire you to use difficult of thirds. Please observe before you use the rule of thirds. Here are two other things you need to remember one. If you're taking portrait photos, position at least one off the eyes on or s closed toe one off the intersection lines off the rule of 3rd 2 If you're taking landscape photos, make sure to position the horizon on or as close to a one off the horizontal lines off the rule of thirds to make this easier. Turn on the rule of threats grid in your camera, you just have to press a bottom to turn it on or in some cameras, it is turned on by before. 12. Section3: Composition Technique Intro: there are many composition techniques and in this section will discuss the most effective ones. These are techniques that could turn your photos from good to great in no time for inspiration. We're going to look at the composition techniques behind iconic photos so you could use their composition in your own photos. I'll also show you photos I took myself to illustrate concept. You need to understand. Take note. You don't have to use these composition techniques all at once to make amazing photos. Just pick one or two, which best suit the situation you're in. As with anything, you need to practice what you've learned, especially those you've learned in this section, as if they say practice makes perfect. So without further ado, let's take a look at those composition techniques. 13. Section3: Center Line: centred compositions are usually basic and boring and considered amateur because, by the fault, our eyes go to the center. But there is a secret technique to make centered compositions look amazing. Thicknesses called center line composition or dynamic symmetry. This is a composition technique I first noticed in famous paintings. They position the most important parts off the composition along a center line. To apply this technique in photography, simply position your visual elements along the centre line. Off the frame, you have to one vertical and one horizontal. When you saying this composition technique on photos off, people try to place one off the subject's eyes on the center line. This has a profound effect on the photo. This is the secret why some photos and paintings like the Mona Lisa seem to look at you across the room. Another way off. Using center line composition is to look for a physical middle line in your scene. This creates dynamics, symmetry and balance in your composition, which is pleasing to look at. All right, let's have a quick recap on using the center line one position elements along the centre line to for photos off people. Put one of the subjects eyes on the center line and three used a physical centre line in your photo. The next time you look at a scene, just remember the center lion and see what photos you can come up with. 14. Section3: Leading Lines: leading lines is a composition technique, which moves the viewers eyes from one point off the frame toe the other. We do this by using actual lines in the composition. Thes lines could be anything from roads, rivers, pathways, fences, shorelines, objects arranged in a line, etcetera, They note, though a leading line is different from just a line. Leading lines point to the most important part off your composition. Like how an arrow points to a direction ally in which leads nowhere. It's nothing more than a picture off a lion, not a compositional leading line. To better understand this concept, it's best to look at a few examples. In these examples, you'll notice that the leading lions or leading line, leading to the point off interest in composition to avoid lines that lead nowhere, examined the scene. First, look for lines in front of you and the term in which is the best option for leading line. Make this a habit so it will come to you naturally. Let me close this video by giving you a few tips on how to compose with leading lines. One. Pay attention to act well lines in your environment. Try to position your subject toe where those lines converged, intersect or point toe to look for objects. A line in a line. Sometimes they could become a suggested leading line three in man made environments. Lines are everywhere. You can change the angle from where you're taking your photo to take advantage off leading lines or lines found in your environment. Four. In nature, leading lines may be harder to find, but if you look closely, you can find leading lines on trees, shorelines and natural waterways. Use your creativity to turn these natural features in tow leading lines. 15. Section3: Golden Triangles: using, try and goes introduces visual tension in your compositions. This makes your composition more dynamic because off a triangle shape narrow on top wide at the bottom, triangles can give compositions stability to use triangles effectively. We need to understand there are two types off trying goes in a composition, literal triangles and implied triangles. Literal triangles are easy. These are act will prying goes in the image. Incorporating a triangle in a composition makes the final photo more appealing. Implied triangles, on the other hand, are triangles, which are suggested by the arrangement off elements in the frame. Having odd number off subjects arranged in a triangle also forms a suggested triangle. By arranging elements in a triangle, you suggest or you imply, a triangle in the composition. Other examples off implied triangles are converging lines. Converging lines are interesting because usually we don't think off lines as triangles. But converging lines have to converge or have to meet at some point. And when those two lines in meat, they create an implied triangle and thus creating that dynamic tension were looking for when we are using triangles, often times triangles are used as a composition guide to assess the viewers. Eyes travel through the composition. In other words, used the triangle to lead your viewers eyes into the photo or into the important elements in your composition. Using triangles like this makes the composition more interesting to look at just a quick recap. In summary, we used try and goes in a composition by one incorporating act. What triangles in the image to having an odd number off subjects arranged in a triangle. Three parallel diagonal lines eventually converge and create implied triangles for using a triangle as a compositional guide creates a composition that it's more pleasing to look at . Remember to look for triangles in the scene before you snap your photos, or simply used the rule off odds, which we will discuss in the next video to create implied triangles. 16. Section3: Rule of Odds: in general, an odd number off objects in an image will be more interesting to look at. This rule of thumb is especially useful when dealing with multiple objects. When we look at the photo, our brain tends to organize elements into even numbers. This tends to create competing elements and separates the image into pieces. The rule of odds fixes this problem because our brain can't bear up on number off elements , thus unifying the image and creating a more pleasing photo. I think the hard part for new photographers when it comes to the rule off odds is dealing with even number off subjects or objects. So here are a few tips for dealing with even number off subjects. One group even number off objects into odd number off groups to arrange even number off subjects along a center line. Three used try and goes to compose even number off subjects or objects for use a lot off negative space around even number off subjects to create a sense of stillness and formality . Those steps will help you make the best off even number off subjects. As you can see, you can use more than one technique in your composition, like with most composition techniques, you need to practice, so these techniques become natural to you before we go to the next video. There are times when you should not follow the rule off odds. This is when there's a relationship between the even number off elements you have. The rule off odds is more off a guide than an act while the rule If you like how your photo is, no need to follow the rule off odds for the sake off following it. 17. Section3: Frame Within a Frame: So here's something fun frame within a frame. A frame within a frame occurs when you use an element in the composition to frame your primary subject With. This helps the viewers eyes focused on your subject, like how a frame off a painting helps us isolate the painting from its environment. This frame within your frame could be anything from windows, doorways, shapes, leaves, clouds, light and shadows, although there are many ways to create a frame within a frame. Generally speaking, there are two types off frame within a frame, background frame and a foreground frame. Ah, background frame is a frame behind your subject, and a foreground frame is a frame in front. Off your subject frame within a frame doesn't have to be a complete frame in order to be called frame within a frame. Partial framing off the subject works, too. This is because of how our brain automatically completes a partial frame in creating frame within a frame. Here are a few tips to get you going. One. Be sensitive to shapes in the environment and what could fit in those shapes. Try to move your subject, if you can, in those shapes to frame it to look for what lies beyond doors, windows and holes. There may be great photos of their waiting to happen. Number three. Use architectural features to frame your subject with. There are many ways to use frame within a frame in your photos. In my opinion, frame within a frame is the most fun off all the composition techniques because you can do so much with it. Have fun with this play around and most of all, enjoy making your photos with frame within the frame. 18. Section3: Composition Tips: to get you going. Here are a few useful composition picks Step number one, As I repeatedly mentioned. Be sensitive to what's in your environment. Often times there are great photos or a composition just waiting for you. Where sometimes there are elements or objects in your environment you can use as a compositional element to change angles. Try to play around with the vantage point or perspective where you take the photo. You could take a photo from a higher vantage point or a lower vantage point. Doing so could turn a boring photo into a more interesting photo. Three. Move, Move with your feet. Move with your camera moving around your subject could give you a fresh way off photographing the same subject for just snapped the photo. Sometimes just snapping a photo could result in an interesting photo. Remember, the name of the game is capturing the moment. If you take too long and thinking about the composition, you may lose the moment for important, fleeting moments. Sometimes it may be more important toe capture the moment than to get the composition perfect. Five. Zoom in. Just zoom in if you don't know what to do with the scene in front of you, sometimes just zooming in, will make the photo look good. This is because by zooming in you remove distracting elements from the shot. Six. Practice. The more photos you make, the better you get. It's a simple assed that repeatedly practicing what you've learned here will make these techniques second nature to you. Eventually, you won't have to think about it. You'll just do it naturally. Seven. The most important tip is have fun. Photography should be fun. Don't take it too seriously. Experiment because back in the film days there's a cost per click. But with digital cameras, you don't have this limitation. So just take a lot of photos and have fun with it at this point, even on auto, you'll make amazing for us. But if you want to take it to the next level, the next few sections will give you the confidence you need to play around with your cameras. Other settings will also discuss the most important concept in photography, and I think any serious photographer should learn that important concept 19. Section4: Exposure Intro: up until this point, you can do everything we've been talking about with just about any camera, even the camera on your phone. But before we move forward, you may want to check if your camera has a mood Daio, because in the next few sections we're going to talk about the aperture priority mode, the shutter speed priority mode, the Manuel mode and the program mode. You know, when you have these shooting modes, when your mood I'll have a S M m p stamped on the mood, Daio. But and here's the big. But even if you don't have those shooting modes, I encourage you to watch the next few videos because we're going to talk about the most important concept in photography. It's the foundational concept you need to learn if you want to take your photos from Amazing the Great 20. Section4: Exposure: exposure is the most important concept in photography. In the first part off this course, we've talked about how cameras make photos by recording life. The sensor gets exposed toe. We refer to this in photography asked. Exposure exposure is simply the amount off light. The sensor off the camera gets exposed toe, hence the name exposure. By manipulating the light, the sensor gets exposed. Toe. We changed the look off our photos, for those could be dark, bright or just right. The technical terms for these are under exposure over exposure and proper exposure or right exposure. Though don't let the name fool you. There's no right or wrong when it comes to exposure. It all depends on what you are trying to do in your composition or in your photo under exposed photos. Create moody looking for us. Overexposed photos create dreamy and hopeful scenes. Right exposure is somewhere between under and overexposure. This is what your camera is always trying to do by default or when you are in auto mode. We control exposure by changing three settings in our camera, namely the aperture, the shutter speed and the easel. I call those three settings and exposure try and go. The aperture is the hole at the back off your lens, which can expand and contract It determines how much light the sensor off the camera gets exposed toe. It lets in more light when the opening. It's big and less light. When the opening is small, more light makes follows. Brighter and less light makes photos darker. The shutter speed is a timer. It determines how long the sensor off the camera gets exposed to light. The longer the exposure is, the more light particles hit the sensor. Longer exposures create bright photos. Brief exposures create dark photos while the easel determines how sensitive the sensor is to light. The more sensitive the ISO is, the brighter the photo becomes. The less sensitive that sensor is, the darker the photo becomes. Most of the time, we leave these adjustments toe the camera, especially on auto mode. But when we adjust parts of the exposure triangle independently to get the proper exposure , we tend to create different looks in our photos. For example, large lens openings not only make bright photos, it also blurs the background while choosing fast shutter speeds freezes time. A very high diesel makes photos gritty, understanding the aperture shutter speed. An easel forms the bulk off discourse. Each one will have its own section so we could discuss these important settings in greater detail. 21. Section4: M-Mode: to better understand exposure and how the exposure try and go affects. Our photos were going to put the camera on manual mode to put the camera on manual mode. Simply look at the Modi on top off your camera. It's the DIA with all the letters and icons, turn it and truce m Voila! Manual mode. What we're going to do now is we're going toe independently. Change the aperture, shutter speed and easel to see what happens to our photos. The photo we see here is at proper exposure. If we look at the screen, this is the exposure. Try and go. That's the aperture, shutter speed and easel. Let's change the aperture and see what happens to change the aperture just that on the aperture and turn the control ring. As you can see. As I go up the scale, the photo becomes darker or under exposed because less light gets in the camera. As I go down the scale, the photo becomes brighter or overexposed. Because more light gets in the camera. We can also adjust exposure by using the shutter speed to adjust the shutter speed. Just that the shutter speed in turn, the control ring. When I go up the scale, the sensor gets exposed to light less and makes the photos darker or under exposed. When I go down the scale, the sensor gets exposed to light longer and makes the photos brighter or over exposed. Adjusting the easel also adjust exposure. The change easel just tap on easel and during the control ring, the higher the ISO I choose, the more sensitive the sensor becomes, resulting in a brighter photo. The reverse is true when I choose low ISO numbers. If I choose lower easily numbers, the less sensitive the sensor is life and the darker the photo becomes, depending on what look you want in your photo, you prioritize either the aperture or the shutter speed and pair it with the proper easel. And this is what we're going to talk about in the next few videos. 22. Section4: Exposure Compensation Dial: Here's a quick and easy way to adjust exposure if you have this feature on your camera. For most of us, adjusting exposure Manuel is complicated and slow. We want a faster way off adjusting exposure so we don't miss a moment. After all. The reason why we bought a point and shoot camera is to make better photos with ease. If you have this feature on your camera, here's a twit and easy way to adjust exposure. It's called exposure compensation. It's this dial. In some cases it will be a button. Some timers may not have this feature, so make sure to check your user manual for exposure. Compensation to use exposure compensation we need to use the B mode or program mode will discuss this more in greater detail later on the Modi All first shoes B B mode is like auto only with more options for our demo camera. Adjusting exposure using exposure compensation is a simple ask. Turning this Diallo negative numbers make photos darker. Positive numbers make photos brighter. If you don't have exposure compensation feature in your camera. You can still adjust exposure. Using the exposure triangle. You can change the easel aperture or shutter speed to make photos and darker or brighter. We'll talk about this in greater detail in the next few videos. 23. Section5: Aperture Intro: the first part off the exposure try and go is the aperture. The aperture or lens opening is the hole at the back off the lens, which can contract to let less light in and can expand to let more light in. Aperture is expressed in F numbers, or F stops. This may be confusing, but the lowered F number, the larger Dolenz opening the higher the F number, the smaller the lens opening more than just making photos darker or brighter, depending on how large the aperture is, the size off the aperture also affects the depth off field. The depth of field is simply how much off your photo is in focus. It's your photo and focus from three feet 100 feet. Or is it just focus from one feet in front of the camera and everything else is blurred or unfocused. Large apertures or low F numbers create a shallow depth of field. This means the camera focuses only on what's in front of it, and everything else is blurred. Like important photos and in macro photos, small apertures or high F numbers create a deep depth off field. This means the camera can focus beyond what's in front of fit. You typically see this in landscape photos where everything is sharp. In the next video, we'll talk about how to control the aperture, using the aperture priority shooting mode. 24. Section5: A-Mode: The aperture priority shooting mode in your camera allows you to adjust the aperture independently off the ISO and shutter speed. Think of this as shooting in auto only with the option to change the aperture. In most cameras. It's called a mode, but with cannon like in our demo camera, it's called a V mode. To get into a mode, simply choose a or avian canon and the mode dial. Choosing a mode automatically a science, the control ring or one of the dial's off your camera to change the aperture off the lens. In our case, it's the lens ring off this camera, which changes the aperture values. If I change the aperture value by choosing either a low or high F number, nothing drastic happens to the exposure. The photo remains more or less at proper exposure. This is because the easel and the shutter speed compensates for the aperture changes so we can still get the right exposure. Here is a little bit you can use. Zooming in your subject makes the debt off field shallower. Used in combination with a low F number you can create for those with very blurred backgrounds, 25. Section5: When To Blur: one of the quickest way toe improve your photos. That is, in addition to composing your photos is to blur the background. By doing so, you remove the unnecessary parts off the scene so your viewers can focus on your subject. To do that, just choose the lowest F number you have or the Louis you can choose without overexposing the photo. This is particularly useful for portrait photos and macro photography. Landscape photos usually require a deep depth of field. When you want everything to be sharp, all you have to do is choose the highest F number you have without under exposing in the photo when the entire scene is the subject off. The composition, like in landscapes, use a deep depth off field. So in summary, we not only use a large lens opening to increase exposure, but also we use it for shallow that off field. We use a shallow depth of field or a blurred background when we want to remove the unnecessary or distracting parts off the scene so our viewers can focus on our subject. On the other hand, we use a deep depth off field or we keep everything sharp when the entire scene is our subject. Like in the case off landscape photography 26. Section5: A-Mode Activity: let's do an activity so you get a feel off the aperture off your camera. This activity is intended for you to have a functional knowledge off how your particular camera model creates that off field or how it blurs the background way we're going to do in this activity estate a photo off these objects with different apertures. Then we'll compare the photos to see how blurred the background becomes. For this activity will need the following a few random objects I have here spice jars at right pod or any stable surface will do and a well lit space where we can put these objects on to set up the activity. Set your camera on a tripod. If you don't have a tripod, just put the camera on any stable surface. It is important. Do not hand hold your camera. During this activity, it might affect the final image. Put your random objects like, so make sure you have equal distances between your objects. Once you have this set up, choose a mode on your camera event. Choose the highest F number. You have that on the front. Most object. Take a photo. Choose the next F number down the line, Then take a photo. Repeat this process until you reached the lowest F number, then compared the photos you just made. What do you notice between your photos? Some of you may not notice any blur in the background. If this is the case, try increasing the distance between your objects and the background. Then do the activity once more. As you notice in this activity, as we reduce the F numbers, the background and the farthest object from the camera becomes more blurred. What I want you to do is to remember how blurred the background became in connection with a particular F stop. This is how you master the aperture off your particular camera model. Because each lens each camera will create blurs or blurred background differently from one another by remembering how blurred the background became in connection with an F stop in your camera. The next time you make a photo, you'll know which f stop to use for the amount off blur you want in your photo. 27. Section6: Shutter Speed Intro: The second part off the exposure triangle is the shutter speed. The main function off the shutter remains the same in all cameras in older cameras and India Solares The shutter speed the refers to how fast an actual mechanical shutter comes up and down when you press the shutter button digital point and shoot cameras and mirror less cameras got rid of this mechanical shutter. This is the reason why point and shoots and mirror less cameras became so small. This timer, the shutter speed is expressed in seconds and fractions off a second. The longer we exposed the sensor to light more time, the brighter the photo becomes. The last time we exposed the sensor to light, the darker the photo becomes more than making our photos brighter or darker. The shutter speed affects the look off our photos. Faster shutter speeds freezes motion. Slow shutter speeds create motion blur. What's happening is if this bottle, for example, takes one second to complete a spin. And if I set the shutter speed at one second, the sensor will record the whole movement off the bottle so we get a motion blur like this . This, too, is the reason why we get camera shake with slow shutter speeds. Now, If I set the camera at 1 100 off a second, the sensor will only capture a slice off the entire motion to be more specific. Ah, 1/100 slice off a second. The faster the shutter speed, the less motion blur we get. The amount of motion blur in your photo will depend on how fast your subject is moving relative to your shutter speed. In the next video, we'll learn how to adjust the shutter speed using the shutter speed priority shooting mood . 28. Section6: S-Mode: the shutter speed priority shooting mode allows you to adjust the shutter speed off the camera independent off the aperture and ISO. Think of it as like automotive, with the option to adjust the shutter speed. Most cameras. This is called the EST mode. In our demo camera, it's called the TV mode. To use the S mode, all you have to do is turn the more dialogue and choose s In our case, which you see v choosing s mode automatically changes the main dialled or one off the dial's off your camera to adjust the shutter speed. Low numbers fractions mean the sensor gets exposed to light with less time high numbers. Whole numbers like one quotation mean the sensor gets exposed to light with more time point and shoot cameras do a good job maintaining proper exposure even with its dreams off shutter speeds it adjust the aperture and ISO automatically to get the proper exposure. However, as you move closer to one second, you risk over exposing your photos. Use the S mode or shutter speed priority shooting more Any time you want to freeze motion, create motion blurs, or when you know you'll get camera shake 29. Section6: Prevent Camera Shake: There are two ways to get unwanted ugly camera Shake one is when you're shooting from unstable platform like a moving vehicle or when your hands are shaking to its when you're in a low light condition and your camera decides to use a slow shutter speed, uh, get rid of camera shape. Used the s mode, Then choose a fast shutter speed. How fast your shutter speed will depend on how unstable you're shooting platform is and how much light is available. Choosing faster shutter speeds. Make photos darker, but reduces camera shake. Choose in slower shutter speeds make photos brighter, but risks creating camera shape. The minimum shutter speed you can use without a tripod will depend on how stable your hands are for me. 1/80 off a second with the built in I s turned on Works well, though, to be safe, I tend to use 1 100 off a second or above. When I used the s mode, you may need a faster shutter speed, so experiment with this and see what works well for you. 30. Section6: Capture Motion: you want to adjust the shutter speed independently when you want to capture motion, you set the shutter speed in relation to how fast your subject it's moving and depending on what look you want to achieve in their photos, relatively fast shutter speeds freezes motion. The faster your subject is, the faster your shutter speed should be to freeze your subject in place. Relatively slow shutter speeds, on the other hand, creates motion blurs attention. Motion blur is not to be confused with camera shake motion. Blur is when only the moving subject is blurred and the rest off the photo is sharp. Camera shake is when the entire photo is blurred due to human error. If you want perfect motion blurs and to remove camera shake completely, you need to use a tripod. This is the best way. If not, try to put the camera on a stable surface. Do not hand hold your camera at slow shutter speeds because it will sense the tiniest hand movements. If you set your shutter speed relatively slow, you get motion blur. This is also how you create lights. Tweaks like this. A slow shutter speed was used in this photo any faster and you get individual cars instead . Off light streets unfortunately, results where the shutter speeds are unpredictable. It's hard to guess what the photo will look like. So I suggest experimenting with this playing around with this. This is where the fund in photography is playing around and experimenting. 31. Section6: Shutter Speed Activity: I want you to have a feel for the shutter speed off your particular camera. So we're going to do an activity in this activity. We're going to spend a coin on a flat surface and take its photos with different shutter speeds. Then we're going to compare these photos for this activity will need the following. A coin, a tripod or any stable surface will do. And a, Well, let's space where we can spin the coin to set up the activity. Set your camera on your tripod in front of the surface where you'll be spending the coin. It's important to not hand hold your camera during this activity. We're trying to avoid camera shake. Once you have this set up, choose s mood on your camera. Then choose the fastest shutter speed you have. Spend the coin. Take a photo, choose a slower shutter speed the next one on the scale. Spend the coin again, take a photo and make sure you spend it with the same speed as before. Repeat this process until you reach the slowest shutter speed or until the photo becomes totally washed out. Then compared the photos you just made. What do you notice between your photos 32. Section7: ISO: ISO is the third part off the exposure triangle. It controls how sensitive the sensor is life. The higher the number, the more sensitive the sensor is, The brighter our photos become, the lower the number, the less sensitive the sensor is, the darker our photos become. Back when cameras used light sensitive photographic films to capture photos, you would use different films for different shooting conditions. Each film was graded by easel. The international organization for Standardization Easel would have a designated number based on the film's light sensitivity, high numbers for the most light sensitive films and low numbers for the least light sensitive films. So there's ISO 800 ISO 400 ISO 200 so on and so forth now in our modern digital cameras, the digital sensor contains all these sensitivities. Instead, off swapping photographic films, we just turn a Daio to change the sensitivity off the sensor. Typically, the easel setting in your camera is best left in auto, especially for casual photography, but sometimes you may want to control the easel. If you don't control the easel, your camera my automatically up for a high easel to get the proper exposure higher. ISO settings. Create grainy, gritty photos, grains and make your photos local low quality. This photo was taken with a low easel, this one with high diesel. The one taken with a higher diesel doesn't look as good. Your camera opts for a high ISO when there is not much light available in the scene, like in night scenes or when you're shooting indoors. If you find yourself in these situations, it's best to take control off the easel. In the next video, we'll talk about the perfect easel settings. 33. Section7: Perfect ISO Settings: he's oak and go from Easa 100 upto ISO 1200 sometimes even more. But at too high diesel levels, your photos will be way. Want ISO a slow as possible to get the best quality out off our cameras. Normally, leaving ISO on auto is okay for bright shooting conditions. The camera will choose low ISO settings. It doesn't need high, easier settings to get the proper exposure. But in low light shooting conditions, this might be a problem because to compensate, your camera might choose a very high ISO setting. In my experience, taking photos for years, I find there are sweet spots on the scale. These sweet spots work well. It's the perfect balance between sensitivity and green size. I divided shooting conditions in tow three conditions and matched it with an easel. We have general shooting conditions, bright shooting conditions and lower light shooting conditions. If you don't want to be bothered with adjusting easily all the time in general, you can use diesel 400. It works well for general shooting conditions, depending on how dark it is. It might even work in low light conditions for bright shooting conditions such as outdoors or landscapes up for anywhere between is a 100 ISO 200 and for low light shooting conditions such as indoors and the night scenes off for anywhere between ISO 500 to easily 800. If you are desperate, you can use easels above 800. But at those levels, your risk agree. Grains. It's hard to predict how good your photo will come out, so use higher ISO settings with discretion. 34. Section7: ISO Activity: I want you to have an idea off. How high off an easel you can tolerate. So we're going to do an activity for this activity. Just put your camera on a flat surface, then pointed at any subject. Put your camera on the mode or program mode. Then choose the lowest ISO number you have. Take a photo, then move to the next ISO number. Take another photo. Repeat this process until you reach the maximum ISO off your camera or until the photo becomes over exposed. Then transfer your photos in your computer in your computer. I want you to compare these photos, zoom into those photos and observe the greens in the photos. I want you to determine for yourself. The maximum is oh, you can tolerate the maximum is oh, you can tolerate will be the maximum ISO you'll use in a low light conditions. Determining the maximum is oh, you can tolerate will depend on you. This is something you need to do for yourself. But if I may give you a dipped when you are determining your maximum easily tolerance, what you are looking for is a photo where the greens are almost imperceptible. 35. Section8: P-Mode: you know there's something better than auto. It's called the program mode or the mode. Why is it better? Well, it's completely like the auto mod Onley with more options. It extends your cameras capabilities to access the B mode. Simply truce p on the more than Daio. Now you get more settings to play around with. Don't get intimidated by these new options. All of these options help you make amazing photos. You can even set and forget a lot of these options in the next few videos. We're going to discuss the common features found in E mode. Please be aware your camera may have a slightly different way off calling these features or a slightly different way off accessing these futures. Some consumer level point and shoots may not even have some of these features, so please check your user manual simply do a search off the future. We're talking about to know whether we have this feature or not, and how to access it in your particular camera model. 36. Section8: AF Method: your camera has auto focus or a F. This is a small motor in your camera, which adjust the focus off the lens. It allows your camera focused on your subject when you have pressed the shutter button. This'll options throws how the cameras A F focuses on your subject. Here we have two options. Continuous A F and single point. A f single point A f only focuses on one point in the frame. Continuous A F adds face detection to single point A F. It means when your camera that that's a face it prioritizes, focusing on the face by tracking the face or faces in the frame. You can set and forget your camera on continuous A F to set that the Clinton with a F simply press settings choose continuous A F breast settings again to exit. If for some reason you want to override face tracking, simply tap on another subject. You want to focus on 37. Section8: AF Operation: a F operation like the previous option. This option modifies your cameras A f. This option makes your A F more efficient at focusing on moving subjects. This option gives you two settings one shot and serval, one shot. It's used for non moving subjects. Servo is optimized for moving subjects on servo. The camera continuously focuses on your subject. Despite its movement, it's best to set and forget a F operation on servo, even for stale subjects, because when you move, your slight movements may change the cameras. Focus point by leaving servo on your camera, continuously adjust its focus. It reduces the chance off getting the focused photos, since it continually adjust, the cameras focus. In addition, this way, you don't have to shift back and forth from one shot to serval to set a F operation to servo simply breast settings that on a F operation, choose servo, then press set things again to exit 38. Section8: Image Quality: this icon gives you the option to choose the size and quality off your photos. The higher the quality, the larger the file size, the less photo what you can store in your camera. But of course, you already know that, but there might be an option here you may not be familiar with. It's called wrong. Raw files are large UN compressed image files. They're often used by photographers and creative professionals because Role has more information than J. Peg. Professionals usually need this extra information so they can edit their photos, though that is great for pros. For the casual shooter, I recommend sticking with J. Peg. Aside from file size, there are two other reasons why you should stick with J. Peg one raw. It's not user friendly. Not all computers are capable off opening or working with role files. You need a special software to open a raw file. Raw format is also not a Web friendly format. Most social sharing sites won't accept it. This is a problem if you simply want to capture and share special moments with your family and friends to most of the time, there is no visible difference in between a raw image and Agip image. If there is, it's a very small for people to know this. Here's a J Ping file and here's a raw file. Here are the same files magnified? Do you notice a difference if you want good quality images, Raw is unnecessary. What you need is a high quality J peg. Even professionals like me would have to export a raw file to J. Peg at some point to set image quality toe high quality J peg press settings to pop up more options that on the image quality icon, choose the highest jape and setting your camera has in my case, it sell the long way off. Doing this is by pressing menu. Look for image quality and truce large J. Peg. In my work as a creative professional, I rarely use zero. High quality JP is what I normally use in my work. This high quality J peg will be good enough for a large screen displace and for most printing needs 39. Section8: ND Filter: neutral density filter or nd filter, reduces the light reaching the sensor off the camera. This is particularly useful in very bright shooting conditions, like when you're shooting amid the photos sky, photos, landscapes or environments, which has a lot off white or light surfaces for the SLRs and mirror less cameras. This is a separate filter you need to buy for some point. Ancient cameras This is a built in feature. Check your user Manuel. If you indeed have an envy filter in point and shoot cameras, the effect off nd filter is minimal, but turning it on open sea uto camera. Shake in low light conditions, especially if you forget to turn it off. So for most people, you can leave the nd filter off by the fourth it's turned off, but to make sure it's turned off, just breast settings. That, and the filter and truce off breast settings once more to exit some cameras may give you the auto option. If you have this, you can leave the nd filter on auto, set it and forget it. The camera is usually smart enough to know when to use it 40. S8L6 WhiteBalance: white balance is a setting, which corrects lights, color temperature, different light Sources produce different color casts. Ah, fluorescent light can create a cold greenish color cast on your photos, while a tungsten light can create a warm, yellowish color cast in your photos. The white balance setting in your camera corrects these extreme collar shifts and moves them closer. Toe white. The white balance setting in your camera is best left on auto. Most point and shoot cameras do a good job correcting color casts in auto white balance, so no need to take it out off auto. Simply press settings that white balance. Choose a WB or auto white balance press settings to exit. 41. S8L7 Metering: remember, I mentioned your camera relies on a built in light meter to get the photos right. This next setting controls how the camera determines how dark or bright your photo is. It's called metering mode. You can change how your camera calculates how dark or bright your photo By accessing the metering mode. You access this by pressing settings. That metering mode. You have three modes here evaluative metering, your camera, the Germans exposure based on the light available in the entire frame. It looks at the brightest in darkest part off the scene and then calculates the average lighting to determine the proper exposure spot. Meet during your camera determines exposure based on where you're focusing on the frame. This is usually 1 to 5% off the frame center. Weighed your camera determines exposure based on what's in the centre off the frame. For the most part, the default evaluative metering. Thus a good job. You can set it and forget it. There. Most photos would come out well on this setting, but sometimes you may want to use spot metering, tow. Avoid silhouettes. Silhouettes happen when you have your subject set against a strong light source to avoid silhouettes. Press settings. Choose spot, meet Oring, then point your camera to your subject. Half pressed the shutter button to get the proper meter reading, then press all the way to take the photo Use spot metering to prevent your subjects from turning into silhouettes. Unless, of course, is that what you want to do for everything else, Evaluative metering works well. 42. S8L8 Bracketing: bracketing is a special feature. Your point and shoot camera may or may not have. This feature is often found in DSL. Ours mirror less cameras and high end point and shoot cameras, so please check your user manual first. When third on Bracketing takes 30 photos off different exposures in one click, it automatically takes a photo, which is overexposed, under, exposed and properly exposed your camera. Thus, the adjustments for you bracketing is used for safety so you don't miss a moment, and you know how precious moments are. Another reason to use bracketing is toe have options so you can choose the best shot according to your taste. You turn on bracketing by pressing menu, look for bracketing and choose exposure bracketing. Press the menu again, or half pressed the shutter button to exit by the fourth. I leave this setting off, but depending on how particular you are about your photos or how important the seeing you're photographing is, you may want to turn on exposure bracketing, sometimes overexposed or under exposed for those my look better than properly exposed photos. So I suggest you play around with this setting to see what works for you also remember using this future might eat up a lot off space. So be aware off this when using bracketing. 43. S8L9 Burst Mode: burst mode or continuous shooting allows you to take multiple photos quickly. ASL August. The shutter button is pressed. The camera will rapidly take photos until you release the shutter button, or until when the cameras buffer. Memory is full. The burst mode is particularly useful for perfectly timed photos. It's used a lot in sports photography, taking photos off active Children or for situations when your subject is moving a lot for our camera, turning on burst mode is as easy as pressing this button and choosing either high speed or low speed continuous. In some cameras, you may need to look for it in the menu or by pressing settings, high speed or no speed, continuous difference on how fast they take photos. Each camera model will have a different rate. High speed takes more photos per second, while low speed takes less photos per second. You can leave burst mode on low speed so you don't miss any special moments. You can change it to high speed when you're photographing sports or fast moving subjects to make the best off burst mode, you said. With the S mode, choosing a fast shutter speed with burst mode works well for capturing perfectly timed photos 44. S9L2 Macro: for our purpose. When we say macro photography, we're not referring to its official definition. What we mean is making photos off small objects. This will be our functional definition. In this video, macro photos are characterized by small subjects appearing big in the frame. Another typical characteristic off a macro photo is a very blurred background. With proper technique, we can achieve this with a point and shoot camera without a special lens. Here are some samples off macro photos they can with a point and shoot camera. Doing macro photography with a point and shoot camera is different from macro photography with a dedicated macro lens. Take note. You won't be able to make sharp photos off insects or photographs off very small details without a dedicated macro lens. But you can make macro looking photos off small objects with your point and shoot camera just by changing a few settings before it taken your first macro photo, we need to talk about depth of field again that the field or the blurriness off the background. It's not only affected by the aperture. It's also affected by the focal length off the lens. Zooming in increases the focal length or make the focal length longer. It also creates a shallow depth of field zooming out decreases or shortens the focal length . It creates a deeper depth of field. The closer your subject is to the lens, the shallower, the depth of field or the blurrier the background off your photos become. Keep this in mind when you're doing macro photos with your point and shoot camera. We want the background as blurred as possible to create macro looking photos where a point and shoot camera first, choose the aperture priority shooting mode in the mood dial, then make sure image Stablization is on, then used the longest focal length off the camera. That means zoom in all the way, then use the largest less opening or the lowest F number. You have this set up thus a couple of things. First, it creates a nice blurred background for your photos. Second, zooming in crops the frame and reduces space around your subject, thus creating the signature look off macro photos with I s turned on. You make sure you reduce camera shake when zoomed in all the way, but you may want to use a tripod when you're zoomed in all the way like this. Zooming in makes your camera prone to camera shake, especially at no shutter speeds. If the first few photos you talk did not come out right, don't worry. Practice getting macro photos right with a point and shoot camera. And without a dedicated Mac, Roland's requires some practice. 45. S9L3 Low Light: If you're like me most of the time, you don't have a tripod with you. If you don't have a tripod and don't want to use flash, low light conditions will be the most difficult. Shooting condition your face as a point and shoot photographer. Having said that, here are some tips to improve your low light photos without a tripod and without using flash. One. Don't use zoom. Zooming in will decrease the size off the aperture, letting less light in and increasing camera Shake. If you want to zoom in, just walked the words you're subject to use the largest lens opening or the lowest F stop off your camera. To do that, used the aperture priority. A shooting mood using a large lens opening will let in as much light as possible with more like your camera. Don't have to use a slow shutter speed. Three. Use the highest ISO you can tolerate. For me, it's around the ISO 500 per 6 40 If I am desperate, I use higher easels like ISO 804. Use proper camera handling techniques to reduce and wanted movements from your hands. Depending on your situation, try to find something to lean on to reduce the chance off camera shake. Alternatively, you can set your camera on a flat surface to completely avoid moving your camera while taking a photo. Five. Put your subject as close as possible to a light source. Usually, this is enough to light your subject and get a decent photo. Six. You center weighted or spot metering in low light conditions. You need to prioritize the subject in front of you and forget about everything else. You want your camera to take its meter reading on your subject. Seven. The last step is if you're still getting camera shake, switch over to shutter speed. Priority shooting mode used 1 1/100 off a second. You can use a slower shutter speed, depending on how stable your hands are. The name off the game in low light photography is preventing camera shake and still getting a decent shot. Though bear in mind, there are limits to what photos you can take without a tripod and without a flash. Low light Photography is not easy, since photography is about life, so keep on practicing to refine your life techniques. With practice, you'll get a feel for in and take better photos as you gain more experience 46. S9L4 Conclusion: Congratulations. You finished our course. I want to congratulate you for a job well done. You've come a long way. You now know how to make amazing photos, even on automotive. In addition, you gained knowledge on how to use your camera's different settings. This is a big accomplishment. So once again, congratulations. If you have not done it yet, please remember to leave me a positive review. These reviews are so, so important. It lets me know how to improve this course. And let's other students like you find this course. So once again, thank you for taking discourse. It's been a pleasure to do this with you remember, Keep shooting and enjoy every moment.