Digital SLR Photography All-in-One For Dummies E-Book

Robert Correll

• Herausgeber: John Wiley & Sons
• Kategorie: Wissenschaft und neue Technologien
• Sprache: Englisch
• Veröffentlichungsjahr: 2013

Seitenzahl: 718

Beschreibung

The bestselling guide to DSLR photography - now updated forthe latest technology and tools! This new edition gets you up to "shutter speed" on the latestcamera technologies, including the new consumer-targeted full-framemodels and pro-features that are now incorporated inconsumer-focused units. Veteran author and professionalphotographer Robert Correll walks you through how a camera works,what lenses to use, how to set exposure, and how to capture theshots that define a portfolio. Fully updated to cover the latest generation of cameras andboasting more than 700 pages, this must-have resource explores thelatest in tools and offers additional content, including video andinteractive tools so that you can enhance your photographyknowledge. * Covers the basics of DSLR mechanics and explains how settingsaffect the final photo * Reviews lenses and walks you through choosing and applying theright lens for your situation * Discusses how aperture, shutting speed, and ISO combine todetermine how your photo will look * Demystifies how to light a photo, from using natural light toflash to artificial lighting * Helps you shooting high-quality video and film Digital SLR Photography All-in-One For Dummies, 2ndEdition is packed with everything you need to get your ideaphoto, from portraits to action shots to night photos and so muchmore!

Leseprobe

Digital SLR Photography All-in-One For Dummies®, 2nd Edition

Published byJohn Wiley & Sons, Inc. 111 River Street Hoboken, NJ 07030-5774www.wiley.com

Copyright © 2013 by John Wiley & Sons, Inc., Hoboken, New Jersey

Published by John Wiley & Sons, Inc., Hoboken, New Jersey

Published simultaneously in Canada

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Library of Congress Control Number: 2013934420

ISBN 978-1-118-59082-9 (pbk); ISBN 978-1-118-70091-4 (ebk); ISBN 978-1-118-70084-6 (ebk); ISBN 978-1-118-70070-9 (ebk)

Manufactured in the United States of America

10 9 8 7 6 5 4 3 2 1

About the Author

Robert Correll is the author of several books about digital photography and imaging, including both editions of Digital SLR Photography All-in-One For Dummies. His camera-specific digital SLR titles include Canon EOS 5D Mark III For Dummies, Sony Alpha SLT-A65/A77 For Dummies, and Sony Alpha SLT-A35/A55 For Dummies. He coauthored Canon EOS Rebel T3/1110D and Canon EOS 60D For Dummies with Julie Adair King. His other recent works include Photo Retouching and Restoration Using Corel PaintShop Pro X5, Fifth Edition; HDR Photography Photo Workshop, Second Edition (with Pete Carr); and High Dynamic Range Digital Photography For Dummies.

When not writing, Robert enjoys family life, photography, playing the guitar, grilling, and recording music. Robert graduated from the United States Air Force Academy and resides in Indiana.

Dedication

To my family.

Author’s Acknowledgments

I’m grateful to have worked with so many talented people. Their time, skills, devotion, and attention to detail have helped me reach the high goals I set for this edition of the book.

In particular, I am deeply thankful to the wonderful publishing team at John Wiley & Sons. Tonya Cupp, Steve Hayes, and Annie Sullivan are part of the talented team of editors who helped create this book. I am also thankful to technical editor Michael Sullivan, whose insights and expertise helped keep the content of the book as accurate as possible.

It was my goal to introduce many more dSLR add-ons and accessories in this edition of the book. I have many thanks to give to the individuals and companies who were so generous with their equipment and time. They are: Bill Bailey of Nodal Ninja, Robert Gantt of Gary Fong Inc., Keri Friedman of LensBaby, Stephanie Murano of Lomography USA, and Joost Nieuwenhuijse of New House Internet Services B.V. (sellers of PTGui and PTGui). I would also like to thank the many other retailers and delivery staff who helped me find what I needed and deliver it.

Many thanks to my agent, David Fugate of Launchbooks.com.

A big “Thank you!” to our Pine Hills Church family. From shooting movies to photographing practices and services, your encouragement and assistance have been invaluable.

As always, thanks to my wife and children for encouraging, supporting, loving, and sustaining me.

Thank you for reading this. You’re the reason we all worked so hard putting it together!

Publisher’s Acknowledgments

We’re proud of this book; please send us your comments at http://dummies.custhelp.com. For other comments, please contact our Customer Care Department within the U.S. at 877-762-2974, outside the U.S. at 317-572-3993, or fax [phone].

Some of the people who helped bring this book to market include the following:

Acquisitions and Editorial

Project Editor: Tonya Maddox Cupp (Previous Edition: Nicole Sholly)

Executive Editor: Steve Hayes

Technical Editor: Michael Sullivan

Editorial Manager: Jodi Jensen

Editorial Assistant: Anne Sullivan

Sr. Editorial Assistant: Cherie Case

Cover Photo: © Olivia Bell Photography / Getty Images

Composition Services

Sr. Project Coordinator: Kristie Rees

Layout and Graphics: Jennifer Creasey, Joyce Haughey

Proofreaders: Debbye Butler, John Greenough

Indexer: BIM Indexing & Proofreading Services

Publishing and Editorial for Technology Dummies

Richard Swadley, Vice President and Executive Group Publisher

Andy Cummings, Vice President and Publisher

Mary Bednarek, Executive Acquisitions Director

Mary C. Corder, Editorial Director

Publishing for Consumer Dummies

Kathleen Nebenhaus, Vice President and Executive Publisher

Composition Services

Debbie Stailey, Director of Composition Services

Digital SLR Photography All-in-One For Dummies, 2nd Edition ®

Visit www.dummies.com/cheatsheet/digitalslrphotographyaio to view this book's cheat sheet.

Table of Contents

Introduction

About This Book

How This Book Is Organized

Book I: Getting Started with Digital SLRs

Book II: Going Through the Looking Glass

Book III: Hey, Your Exposure’s Showing

Book IV: Lighting and Composition

Book V: “Spiffifying” Your Photos

Book VI: Shooting Movies

Book VII: Getting Specific About Your Subject

Icons Used in This Book

Where to Go from Here

Book I: Getting Started with Digital SLRs

Book I: Chapter 1: What’s So Special about Digital SLRs?

Introducing the Digital SLR

Flexing the mirror

Using interchangeable lenses

Buttons and dials

Why to buy

Categorizing Digital SLRs

You gotta start somewhere: Entry-level

Upgrading to mid-range models

Entering the high-end amateur category

Going semi-pro

All-in with professional dSLRs

Getting Shiny New Features: Recent Developments

Getting Picky about Specifications

Make and model

Year introduced

Sensor size

Crop factor

Pixel count

ISO

Maximum shutter speed

Metering and exposure

Autofocus points

Flash sync speed

Movies

Shooting modes

Media

Viewfinder specs

Lens mount

Shopping for a dSLR

Understanding the dSLR system

Going shopping

Accessorizing to Your Heart’s Content

Book I: Chapter 2: Anatomy of a Digital SLR

Dissecting Digital SLRs

Taking the Full Frontal View

dSLR Got Back

Looking at the Top

Reviewing from the Bottom Up

Simply Sides

Looking at Lenses

Lens parts

Getting funky

Book I: Chapter 3: Menus and Settings Extravaganzapalooza

Ordering from the Menu

Opening the menu

Getting around menus

Setting Up Common Features

Choosing the basics

Setting recording options

Delving into playback

Making Miscellaneous Choices: Flash, Retouch, and Their Ilk

Book I: Chapter 4: Handling and Cleaning Your Camera and Gear

Gripping and Shooting

Getting a grip on handheld photography

Using a support

Knowing the doohickeys

Changing Batteries

Checking battery power

Inserting a battery

Removing a battery

Inserting and Removing Memory Cards

Inserting a memory card

Removing a memory card

Working with Lenses

Mounting a lens

Removing a lens

Zooming in and out

Autofocusing

Switching from auto to manual focus

Manually focusing

Activating the VR/IS

Cleaning Up Your Act

Wiping off the camera body

Cleaning LCDs

Dusting and swabbing

Cleaning lenses

Gearing up for Protection

Strapping it up

Putting it in the bag

Buying extra lenses and camera caps

Armoring your camera

Picking up some inexpensive rain covers

I Can’t Work Under These Conditions!Adverse Weather

Cold

Rain

Book I: Chapter 5: Say Cheese: Taking Pictures with Your dSLR

Planning Ahead

Setting Up

Choosing a Shooting Mode

Option 1: Selecting point-and-shoot

Option 2: Guided creativity

Option 3: Using the classic creative modes

Option 4: Going full manual

Fine-Tuning Your Camera

Snapping Pictures

Book II: Going Through the Looking Glass

Book II: Chapter 1: Focusing on Versatility

Zooming In on Lenses

Branching Out to Different Lenses

Prime lenses

Wide-angle zoom

Telephoto zoom

Other specialty lenses

Taking Wide-Angle Shots

Using Normal Focal Lengths

Zooming In

Capturing Close-ups

Book II: Chapter 2: Casting a Wide-Angle Net

Wide-Angle Whatzit

Wide-Angle Fever: Catch It!

Looking at landscapes

Seeing wide-angle cityscapes

Focusing on buildings

Capturing interiors

Photographing small subjects

Improving Your Wide-Angle Shots

Shoot from down low

Get up close and personal

Use the vertical

Emphasize height

Step back

Position yourself to fill the frame

Something Seems Fisheye

Book II: Chapter 3: Going to Extremes

Dancing with Macros

Defining macro

Macro versus close-up

Shooting at close ranges

Managing depth of field

Shooting handheld (with a flash)

Maximizing shutter speed

Shooting under controlled conditions

Relaxing your angle of view

Using extension tubes

Using diopters

Letting Telephoto Ring Your Bell

Shooting telephoto action

Using telephoto lenses for portraits and close-ups

Operating in the near-telephoto range

Book III: Hey, Your Exposure’s Showing

Book III: Chapter 1: Working with Apertures

You Have a Hole in Your Lens!

The f-stops here, buddy

Putting the gnome in nomenclature

Fast lenses

Setting the Aperture

Aperture ring

In camera

Digging into Depth of Field

Controlling the depth of field

Previewing the depth of field

Paying attention to the blurry parts

Being realistic

Designing with Depth of Field

Book III: Chapter 2: Go, Shutter Speed, Go!

Don’t Shudder at the Shutter

Reading the Speed

Fractional

Seconds

Decimal

Bulb mode

Shutter Speed and Exposure

Saying a Tongue Twister: Setting Shutter Speed

Enabling Long Exposure Noise Reduction

Combating Blur

Camera shake, rattle, and roll

Shooting moving targets

Shutter Speed Gallery

Shooting crisp photos

Capturing fast action

Freeze-frame for effect

Using slow shutter speeds

Using Bulb mode

Book III: Chapter 3: Hi-Ho, Hi-Ho, Choosing an ISO

Turning Up the Volume on ISO

Varying ISO speed

Inside the numbers

Generating noise with high ISOs

The funny thing about noise

Setting and Managing ISO

Using Auto ISO

Enabling and configuring Auto ISO

Setting ISO manually

Using High ISO Noise Reduction

Knowing When to Hold ’Em: ISO Strategy

Looking for Noise

Book III: Chapter 4: Fabulous Filters

Weeding Through Filter Information

Looking at how filters work

Going over filter pros and cons

Using filters with dSLRs

Taking Shape with Filter Systems

Circular (screw-in)

Rectangular frame slide-in

Tackling Trouble with Different Filters

Protective

Circular polarizer

Ultraviolet (UV)

Neutral density (ND)

ND graduated

Color filter

Color grad filter

Other filters

Book III: Chapter 5: Strategizing Exposure

Revealing Exposure

Is it under or over?

Choosing an exposure mode

EV talk

Keeping an Eye on Exposure Settings

Finding your settings

Exposure scale details

Lovely Rita, Meter Reading Maid

Tripping the light meter fantastic

Letting your external light meter shine

Taking a Look at Your Work

Setting up Auto Review

Delving into photo playback

Unlocking the Secrets of the Histogram

Decoding histogram properties

Understanding different histogram types

Shedding light on luminance histograms

Interpreting color histograms

Putting it all together

Troubleshooting Exposure

Setting the exposure manually

Using AE Lock

Auto exposure bracketing (AEB)

Overriding autoexposure with exposure compensation

Using other exposure tricks

Book IV: Lighting and Composition

Book IV: Chapter 1: Flash Fundamentals

Flashing Someone

Automatically

Manually

Flash dos and don’ts

Compensating for Your Tiny Flash

Going Fancy with Flash

Book IV: Chapter 2: Using an External Flash and Accessories

Shedding Light on Flash Parts

Front of flash

Flash back and sides

Flashessorizing

Working the Flash

Hooking Up

Connecting an external flash to your camera

Taking the flash off your camera

Setting Up Your External Flash

On the flash or camera

On the ground or table

Trying Different Techniques

Using a balanced fill flash

Bouncing and diffusing

Using a bounce diffuser/reflector

Using an umbrella

The shadow knows: They can be fun

Getting snoot-y

Elevating flash with a bracket

Book IV: Chapter 3: Deconstructing Design

Going Out into the Elements

Designing a Scene

Taking a Background Check

Using the Foreground

Looking for Shapes

Designing with Shadows

Going Minimal

Noticing Your Surroundings

Reflecting on Photos

Waiting for the Moment

Capturing the Action

Book IV: Chapter 4: Taming the Frame

Picking a Portal

Using the viewfinder

Going with Live view

Understanding coverage

Break It Up! Using the Rule of Thirds

Taking a Knee

Framing Vertically Versus Horizontally

Getting Up High

Avoiding Symmetry

Using Symmetry

Stepping Up

Angling the Background

Framing the Subject

Book V: “Spiffifying” Your Shots

Book V: Chapter 1: Blue-Collar Photo Management

Getting a Workflow

Taking Photos

Transferring Photos

Connecting

Downloading

Getting a Grip on Your Pictures

Manual management

Media management software

Management tasks

Processing the Good Ones

Editing When Necessary

Publishing

General considerations

Resizing options

Archiving

Playing it safe

Putting the plan into action

Book V: Chapter 2: Cooking Up Raw Photos

Making the Most of the Least (Processed)

Benefits

Challenges

Workflow

Two Minutes on the Grill: Ordering Raw

Choosing Raw Software

Your camera’s software

Major photo/raw editing and management software

Processing Raw Photos

Analyze the histogram

Check white balance

Tweak exposure

Preserve highlights and shadows

Improve global contrast

Adjust local contrast

Adjust saturation and vibrancy

Tweak the tone curve

Save, open, export

Advancing Your Raw Editing

Processing Raw Photos In-Camera

Book V: Chapter 3: Showing Mad Photo-Editing Skills

Going with the Editing Workflow

Ease up, there

Workflow guidelines

Fixing Brightness and Contrast Problems

Brightness and contrast

Levels

Shadows and highlights

Curves

Busting out the Colors

Saturation

Color casts

Photo filters

Caution: Sharpness Ahead

Unsharp Mask

Adjust Sharpness

Turning Down the Noise

The obvious route

Complexifying noise reduction

Hello, Dolly! Cloning

Dust me gently

Removing other distractions

Dodging and Burning

Using Filters and Effects

Making Distortion, Perspective, and Angle Corrections

Consider Seeing a Doctor: Cropping and Scaling

Cropping photos

Scaling layers

Book V: Chapter 4: Home, Home on the High Dynamic Range

Getting the 411 on HDR

Start with contrast

Add brackets

Insert HDR software

Stepping through HDR

Selecting the Right Scenes

High contrast

Good light

Setting Up Your Camera for a Date with HDR

One of these things is not like the other

No getting around these

Setting up AEB

Can You Hack It with Auto Brackets?

Shooting Brackets Manually

Preparing the Exposure Brackets

As-is: Raw exposure from the camera

As-is: JPEG from the camera

Converted raw: TIFF/JPEG

Making a plan of attack

Converting the raw files

Seeing a Photomatix Pro about HDR

Tone Mapping HDR Images in Photomatix Pro

General controls

More options

Advanced options

Using Other Applications for HDR

Photoshop Elements

Corel PaintShop Pro

Photoshop

Your camera

Finalizing Your Images

Trying on Faux HDR

Book V: Chapter 5: Panoramically Speaking

Shooting Pan-tastic Panoramas

Getting your camera ready

Shooting the frames

Stitching Frames Together in Photoshop Elements

Files and formats

A stitch in time

Blending frames with layer masks

Cropping the final image

Stepping Up Your Game

Using a specialized panorama “pano” head

Using dedicated panorama software

Shooting Automatic Panoramas

Book V: Chapter 6: Chroma Chameleon: B&W

Knowing Black-and-White Words

Fade to Black and White

Desaturating photos

Zapping color with grayscale

Creating gradient maps

Using guided conversion tools

Creating your own black-and-white recipe

Converting in Lightroom

Using Adobe Camera Raw (ACR)

Corel PaintShop Pro pointers

Colorizing Your Photos

Using Hue/Saturation

Using color layers

Working with Color Variations

Creating Duotones

Split toning

Cross-processing coolness

Using In-Camera Creative Styles

Selecting styles

Modifying styles

Why You Should Bother

Book VI: Shooting Movies

Book VI: Chapter 1: Setting Up for Movies

Turning on the Movie Mindset

Controlling Movie Modes

Setting Up Your Camera for Movies

It’s quality

Recording sound

You’re just my type and size

Using time code

Using Live view for movies

Making exposure decisions

Choosing a focus mode

Making more decisions

Stepping Up Your Game

Book VI: Chapter 2: Making Movie Magic

Controlling Your dSLR

Movie control

Creative control

Exposure control

Focus control

Going Hollywood

Prepping

Shooting

Enjoying the Show: Movie Playback

Connecting to the Boob Tube

Taking a Little Off Around the Ears: In-Camera Movie Editing

Book VII: Getting Specific About Your Subject

Book VII: Chapter 1: People and Animals

Capturing a Performer in Action

Using Creative Lens Effects

Getting On the Same Level

Capturing Nonchalance

Choosing the Right Moment

Book VII: Chapter 2: Landscapes and Nature

Capturing a Sunset in HDR

Focusing on a Tree

Getting in the Riverbed

Going Out in the Fog

Combining Different Elements

Book VII: Chapter 3: Sports and Action

Tracking the Action

Picking Your Spot

Choosing the Right Moment

Capturing a Drive

Picture Everything

Book VII: Chapter 4: Buildings and Cities

Using HDR

Finding Unique Perspectives

Creatively Processing Your Shots

Looking Up

Looking Out from the Arch

Book VII: Chapter 5: Close-Ups

Zooming In

Noticing Your Surroundings

Setting the Stage

Crouching Chipmunk

Stopping to Photograph

Cheat Sheet

Introduction

Digital SLRs (dSLRs) are fantastic cameras. If you want the opportunity to take great photos and high-def movies, you can’t beat the combination of power, flexibility, growth potential, and “accessorize-ability” of a dSLR.

I find its versatility breathtaking. With a dSLR, you can take photos (and movies!) of people, plants, animals, planes; action shots, still lifes, close-ups, far-aways, and everything in between. Much of this is due to the fact that the lenses are interchangeable. If you want to shoot distant objects on safari in Africa, get yourself a telephoto lens. If you’d rather photograph weddings and receptions, find a good prime lens. If you want to take great landscapes while on vacation, invest in a wide-angle zoom lens.

The sky is the limit. Deciding what to do and how to spend your time and money is up to you. I hope to help you along your journey into dSLR photography by showing what it’s all about.

About This Book

Digital SLR Photography All-in-One For Dummies, 2nd Edition, is for anyone who’s interested in enjoying photography using a dSLR camera. My goal is to demystify and un-convolute the technical aspects and illustrate the artistic elements of dSLR photography.

You don’t need to have a dSLR to enjoy this book; maybe it’s on your wish list. If you do have a dSLR, you can immediately apply the knowledge you glean from these pages. In classic For Dummies tradition, I’ve tried to write a book that’s both friendly and accessible to beginners yet not beneath more advanced photographers.

How This Book Is Organized

Digital SLR Photography All-in-One For Dummies, 2nd Edition, is split into seven minibooks. Each minibook has its own broad focus, ranging from what you need to get started, to giving practical advice designed to help you photograph certain subjects. Within each minibook, you find the chapters that flesh things out. Some have more than others. That’s okay. It just depends on the subject.

Although you can read this book from start to finish, you don’t have to. Are you interested in design first? Turn to Book IV first. You don’t even need to read the chapters within a minibook in order. If you want to immediately jump to the chapter on shutter speed, by all means do.

If you’re new to photography, though, I do suggest starting at the beginning and reading the first minibook in order. When you’ve finished that, you should be able to turn to any place in the book and not get totally lost.

Here’s a quick summary of each minibook.

Book I: Getting Started with Digital SLRs

I start out with a book that has everything you need to get started. I talk about dSLRs and how they work, what makes them tick, what all the buttons are, how to work the menu, and how to set up the camera. You should be able to properly hold your camera, clean it, attach lenses, insert and remove batteries and memory cards, and start taking photos.

Book II: Going Through the Looking Glass

This book goes into great detail about the different types of lenses you can use with a dSLR. You read about standard zoom lenses, explore how to photograph wide-angle scenes, and get creative with macro and telephoto lenses. Along the way, I pass along tips and tricks for using each lens type and suggest what they’re best for. All fully illustrated!

Book III: Hey, Your Exposure’s Showing

If you want to exercise more creative control over the photos your camera takes, then this book is for you. You see how to control the aperture (which affects depth of field), shutter speed (which controls motion blur), and ISO (which increases your camera’s sensitivity to light). You also read about filters and how to think and plan in units of exposure.

Book IV: Lighting and Composition

If you take photos indoors or in poor light, knowing even a little about flash photography will help you take much better photos. In this minibook, you see how to use your camera’s built-in flash, see whether getting an external flash is right for you, and explore a ton of cool flash and lighting accessories in this book.

To take good photos, you need to know what elements should go in the frame and how to organize them. This book covers both aspects. First, I explain how to design a photo — consciously choosing the elements you want to photograph. It doesn’t have to be random! Then, I explain the best way to arrange the elements you choose so the photo looks compelling. Great stuff.

Book V: “Spiffifying” Your Photos

This book is mostly about software. I explain how to manage your photos using different software packages, as well as process raw exposures and edit JPEGs. You also see how to shoot and process HDR (high dynamic range) photos and panoramas. Finally, I explain ways to convert photos into black and white or creatively colorize them.

Book VI: Shooting Movies

A few years ago, compact cameras dominated the moving picture market. It’s now possible to take HD (high-definition) movies with just about every dSLR sold. Moviemaking is here and isn’t going away soon. I reveal what all the fuss is about, and how to shoot your own HD movies, in this book. Share your creations with your family, church, school, business, or the world at large. You can even shoot commercials and movies with dSLRS.

Book VII: Getting Specific About Your Subject

The last book has five gallery chapters. Each one is devoted to a different type of subject: people and animals, landscape and nature, sports and action, building and cities, and close-ups. I’ve chosen some of my favorite photos to share and give you insight into how I took them.

Icons Used in This Book

Helpful icons are scattered throughout the book. They appear beside information I want you to pay particular attention to (or to avoid if you see fit). Each icon has a unique meaning:

The Warning icon highlights lurking danger. Pay attention and proceed with caution. Your equipment or photos or safety might be at stake. You know, as if you were about to drive off a cliff or stumble onto a cache of hidden dynamite. I’ve tried to include as many warnings as possible to make thing exciting for you. Just kidding. I might warn you this way: “Keep hold of your camera when taking it off a tripod. You don’t want to drop it!”

The Remember icon marks an interesting fact that you should tuck away in your brain to remember and use later. They’re often facts. (With some wiggle room thrown in for good measure.) Here’s what I mean: “The best time to go outside and photograph landscapes is during the morning or evening golden hour, which is around sunset.”

The Tip icon points out helpful information that might save you time. It’s something you might want to try or do. Here’s an example: “Use a wide aperture to create small depths of field. This will blur the background and make portraits look even better.” I love tips. If I could, I would make every paragraph a tip.

When you see this icon, you know that technical information lurks nearby. If that’s not your cuppa tea, skip it. Here’s one to see whether you might like tech stuff: “Normal lenses have focal lengths approximately the same as your camera’s sensor, measured diagonally.”

Where to Go from Here

First, have a look at the table of contents. Next, jump to somewhere in the book that looks interesting or has information you want to know right now. Then go out and take some pictures. Rinse and repeat.

Seriously, no matter how much you fill your brain with information, photography is about doing something with that information. Use your camera to capture something of your world.

If you’re feeling a little intimidated, put your camera in Auto shooting mode, don’t change any other setting (with the possible exception of the photo quality), set the focus to Auto, and use your dSLR as an awesomely capable point-and-shoot camera. Become comfortable holding and using it, then read about something new and try it. Rinse and repeat.

Accumulate hands-on experience. It’ll sink in.

If you’re already pretty savvy, push yourself in new directions. I have. If you don’t normally take photos of buildings, try it. If you don’t normally shoot wide-angle shots, do it. If you don’t typically venture more than five miles from home to take photos, go farther. If you’ve never processed a raw photo, shot HDR, attempted a panorama, taken shots at a basketball game, shot macros, gotten your feet wet in a river bed, then now is the time to get started. It’s all here, waiting for you!

Book I

Getting Started with Digital SLRs

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Contents at a Glance

Chapter 1: What’s So Special about Digital SLRs?

Chapter 2: Anatomy of a Digital SLR

Chapter 3: Menus and Settings Extravaganzapalooza

Chapter 4: Handling and Cleaning Your Camera and Gear

Chapter 5: Say Cheese: Taking Pictures with Your dSLR

Chapter 1: What’s So Special about Digital SLRs?

In This Chapter

Getting excited about digital SLRs

Grouping dSLRs into categories

Seeing what’s new in dSLR world

Understanding the specifications

Buying a dSLR

Accessorizing

What’s so special about dSLRs? The short answer is: Lots!

Digital SLRs are tremendous cameras. They take great photos, are versatile enough to capture different scenes in a wide variety of situations, perform well in different light, and can be customized and enhanced.

But (yes, there had to be one) people often think digital SLRs are complex, expensive, professional cameras that are hard to master. But (this is the good kind) learning to use a dSLR isn’t tough. Don’t be intimidated. You don’t have to start out with the model that has the most buttons and esoteric features. You can find a camera with the right features and price for you, no matter what your skill or interest level. Once you do, you can learn and grow at your own pace. The sky is the limit.

You’ll be amazed at the photos you can take. It’ll be worth it.

Introducing the Digital SLR

Digital single lens reflex cameras (also known as digital SLR, dSLR, or DSLR cameras) are SLR (single lens reflex) cameras that capture scenes with the help of an image sensor rather than using 35mm film. The sensor collects light, converts the data to 1s and 0s, and then processes and stores the result as a digital image file on your camera’s memory card. The most common file type is JPEG, followed by a proprietary raw data format called Raw.

Flexing the mirror

A single lens reflex (SLR) cameras use a reflex — moving — mirror to reflect incoming light towards different paths inside the camera. Light passes through the camera’s lens and either hits the mirror or passes directly to the sensor. Figure 1-1 illustrates these paths.

Figure 1-1: Light path through a digital SLR.

At the time it was invented, this was a revolutionary design that gave you the same view as the film in the camera. This meant that you could line up a scene through the viewfinder (also called framing) with the confidence that your efforts would be rewarded by a photo taken from the same perspective. You weren’t using another lens or viewfinder positioned close by. You actually saw what the film would see when exposed to the light. This setup also meant that you could meter the scene (tell how strong the light was) using the same light.

Compared to older film cameras, framing and metering through the lens that would be used to take the photo was a great improvement. Prior to this, everyone looked through a second lens (twin-lens reflex), through what amounted to a hole in the camera body (cereal box top reflex), or through a flimsy framing rectangle that popped up on top of the camera (let’s pretend it’s reflex). You either focused by walking off the distance to your subject, or not at all. Metering was just a wild guess! Rangefinder cameras tried to make finding the range easier, but without modern ranging techniques, focusing was still a chore.

Using interchangeable lenses

Another hallmark of SLR cameras is their lens flexibility. Although having an interchangeable lens system isn’t a unique property of digital SLRs (using a single lens is), it’s often thought of as a defining characteristic. To make a long point short, the lenses are interchangeable, which means you can customize your camera. Find the lens that works best for the subjects you want to photograph and attach it to the camera body. If you need more than one lens (many photographers do), buy them and keep them with you.

Figure 1-2 shows just how flexible this property is. You can change one camera body (a Nikon D300S, in this case) with as many lenses as you can afford to buy or rent — each with a different purpose and characteristics. Book I, Chapter 4, tells you how to attach a different lens.

Figure 1-2: A healthy lens stable.

Swap It Out

Being able to remove and attach different lenses to the same camera body is such a powerful concept that a new camera type has emerged over the last few years to great fanfare: the interchangeable lens compact camera. Examples include the Olympus PEN system of cameras, the Canon G1, and the Nikon 1. These cameras put a dSLR-sized sensor into a body the size of a compact digital camera that has a smaller lens mount that its larger cousins.

Buttons and dials

Another factor that sets dSLRs apart from other digital cameras is their devotion to control. Figure 1-3 shows the controls on the back of a Canon EOS Rebel T3/1100D. Despite being an entry-level camera, the Canon has plenty of controls to modify the camera’s behavior. Compact digital cameras have many fewer . Don’t let the controls intimidate you. They give you the control you need at your immediate fingertips. The less time you have to spend mucking about in menus, the more time you’re shooting.

Figure 1-3: dSLRs focus on control.

Why to buy

Ultimately, only you can decide if a dSLR is the right camera for you. Every system, every camera, and every technology has tradeoffs. Digital SLRs aren’t as small as compact cameras, as handy as your phone, or as simple to use as a door stop.

However, they have a lot going for them.

You’re going to like what you see. Ultimately, it’s about the pictures. That doesn’t mean dSLRs are better than other camera types in every situation and scenario, but they take potentially amazing pictures. When my family upgraded from a compact digital camera to an entry-level dSLR, we were immediately amazed at how much better the photos were, even using Auto mode.

As a matter of fact, your photos will get worse when you venture away from your dSLR’s Auto mode and start taking photos where you set up the camera, evaluate the exposure, and focus. It takes time to learn how to use your dSLR fully and develop as a photographer. Don’t give up. Your photos will get better with practice!

Figure 1-4 is an example of this excellent picture quality (if I do say so myself). It’s a photo of several mercury votives arranged in depth and lit in a dark room. I used a lens with a wide aperture to produce the shallow depth of field. (Book III, Chapter 1 talks more about depth of field.) It didn’t take long to set up or take, and the camera made it possible. Shots like these are what make the effort worth it.

Figure 1-4: Digital SLRs take great photos.

You’re impatient. I don’t like waiting to take photos. I don’t like waiting for the camera to get ready. I don’t like pressing the shutter button and having to wait (without moving) to hear the shutter click. If you’re like me, that makes dSLRs a perfect fit for you. dSLRs start up faster and have less shutter lag (the time between pressing the shutter release button and when the photo gets taken) than compact digitals.

You can practically do the splits. Digital SLRs are incredibly flexible. You can shoot close-up macros or sweeping landscapes, ultra-wide angle or telephoto, intimate portraits, family gatherings, fast-action sports, slow waterfalls, and everything in between — large, small, fast, slow. What more could you want from a camera? Books II and VII talk you through shooting these different kinds of photos. Figure 1-5 is a dynamic action shot taken with a telephoto lens. You can see the sand on the drivers’ faces and their determination. Compare it to Figure 1-4, which is a designed, static shot. They were both taken with dSLRs.

Sensor size: Even cropped-body dSLRs (whose sensors are smaller than a frame of 35mm film; see a full explanation later in this chapter) have larger sensors than compact digitals and super zooms. Interchangeable lens compacts (compact cameras with dSLR sensors that also let you change lenses) now compete with dSLRs in this regard, but you still get tremendous advantages to using a traditional dSLR.

Large viewfinder: The worst dSLR viewfinder is still larger and better than the one most compacts have. Well, that’s if a compact even has a viewfinder. Most don’t, which makes you rely exclusively on the LCD monitor on the back of the camera. Figure 1-6 shows a Canon compact camera sitting next to a larger Nikon dSLR. The compact camera doesn’t have a viewfinder at all. You’re expected to frame and shoot everything using the monitor, which can be tough in some lighting conditions.

Figure 1-5: Determined to win.

Figure 1-6: Most compact cameras don’t even have a viewfinder.

Interchangeable lenses: Changing lenses isn’t a cure-all, but you can tailor your camera to take the photos you need. To me, that’s an enormous benefit. Being able to take off a lens when you need to and take a portrait instead is tremendously valuable.

Manual control: I can’t tell you how many times I’ve been frustrated with compact digital cameras. They never seem to have just the right automatic scene I need at the time. That, and it takes me ten minutes to find it. Automatic shooting modes can make photography easier, but being able to exercise manual (even partly manual) control over your camera when you need it can be a real help. You make the creative decisions. You set the priorities. You manage your shots. Figure 1-7 shows the shooting display of a Nikon D3200 in Manual mode. I can change all the settings. I can change aperture (see Book III, Chapter 1) shutter speed (see Book III, Chapter 2), ISO (see Book III, Chapter 3), and flash settings (see Book IV, Chapter 1).

Figure 1-7: Using a camera in Manual mode.

Automatic controls: You don’t need to be a rocket scientist to use a dSLR. In fact, entry-level dSLRs have enough automatic shooting modes to satisfy the casual photographer in all of us. The truth is that most digital SLRs, even those that cost thousands of dollars, can act like a point-and-shoot camera. Digital SLRs have manual controls and complexity if you want them.

Hot shoe: Digital SLRs have a hot shoe on top of their viewfinder. It’s the silver bracket in Figure 1-8. A hot shoe is mainly to mount external flashes and other accessories.

Figure 1-8: Hot shoes mount external flashes and other accessories.

Accessible to all: dSLRs come in enough designs and models to make everyone happy. If you’re new to photography, you can pick up an entry-level model and start taking photos right away. If you’re a professional, you have access to cameras with much more power and flexibility. You can shop for the dSLR that meets your demanding needs and find it. That you can use a dSLR both professionally and in your backyard is a testament to excellent design.

Tough: dSLRs, which are much more rugged than compact digital cameras, are built to stand up to more punishment without breaking. That doesn’t mean go out and hammer nails with them.

High-end dSLRs emphasize the fact that their bodies are made from magnesium alloy, but even low-end dSLRs with plastic (also known as polycarbonate) bodies are rugged. People with magnesium bodies tend to claim that theirs are better, and people with polycarbonate bodies tend to say that theirs are better.

Accessories: Have I mentioned that you get to buy and use everything from a bubble level that mounts on your camera’s hot shoe (you can see whether your camera is level or not) to sophisticated external flash units, amazing flash unit accessories and other lighting modifiers, Global Positioning System receivers, and more? If you’re the type who likes installing spoilers and underbody lighting, dSLRs deliver.

Cool factor: Nothing says cool (or maybe nerd; but nerd is the new cool) like walking into a cocktail party with your significant other on your arm and a huge dSLR around your neck. That’s me taking a photo in Figure 1-9 with the Canon 5D Mark III.

Figure 1-9: A dSLR signals that you’re really interested in photography.

Categorizing Digital SLRs

You can decide digital SLRs into several categories based on their price, form, and features/capabilities. These categories give manufacturers the flexibility to create and market cameras to vastly different audiences. Not everyone wants or needs a $5,000 camera. By the same token, a professional may be willing to pay that much. In the end, this gives you, the consumer, choices.

I break down the market in the following sections.

You gotta start somewhere: Entry-level

These cameras are for beginners or those with a limited budget. Prices are under $750, give or take. The least expensive dSLRs are between $400 and $600. More advanced entry-level dSLRs range from around $600 to $750. At $750, you have to decide whether to get the “best” entry-level model or move up to a basic mid-range camera.

The least expensive entry-level cameras may not have an articulated monitor, but more expensive entry-level cameras might.

Entry-level dSLRs have these features:

Low maximum ISO speeds

A lower maximum shutter speed than other dSLRs

A slower frame rate

Slower flash sync speed

Fewer movie options

Different internals (sensor, processor, and other technologies)

Entry-level cameras don’t generally have features more advanced photographers need, such as the capability to trigger an external flash wirelessly, attach a PC sync cord (to connect flash units), or connect external microphones. Most entry-level cameras have a lower pixel count than their more expensive brethren, but not all. The Nikon D3200 (see Figure 1-10) is an example of a camera that has really jumped ahead of the trend.

Entry-level cameras are all cropped-frame (which is explained fully in this chapter).

Figure 1-10: The Nikon D3200 is a good example of an entry-level dSLR.

Upgrading to mid-range models

Mid-range cameras are for amateur photographers who want a bit more out of their dSLR and are willing to spend the extra money. Prices range from between $750 to $1,000. These are very good cameras, and $750 isn’t cheap.

Mid-range cameras tend to have a bit more of everything entry-level cameras have:

Higher ISO speeds

Larger monitors with more pixels

Faster frame rates

This depends on when the cameras you’re comparing were released. A 2013 entry-level dSLR might have better in many areas than a 2011 mid-range dSLR. Compare apples to apples. You basically get a modest-to-moderate performance upgrade from entry-level capabilities for a few hundred dollars when choosing a dSLR in this category. These dSLRs are also cropped-frame and made from polycarbonate plastic. Figure 1-11 shows the Sony Alpha A55.

Figure 1-11: The Sony Alpha A55 is an upgrade from an entry-level camera.

Entering the high-end amateur category

When you get to between $1,000 and $1,500, you’re talking about amateur photographers who mean business. $1,500 is serious money for a camera. High-end cameras are squarely in the middle of a manufacturer’s lineup (at least with Nikon and Canon, who have multiple cameras at every level). They include pro-level features, which means professionals who don’t need a $5,000 camera often find something in this range they can use. At the same time, amateurs who want a serious upgrade from entry-level cameras can be happy with the same camera.

High-end cameras often have a

Faster maximum shutter speed

Faster flash sync speeds

Faster frame rates

A better viewfinder

More options and functions for setup

Better autofocus system with more AF points

More precise metering

They’re also larger and heavier than entry-level and mid-range dSLRs but considered a lightweight professional camera. Magnesium alloy may strengthen the camera body. These dSLRs are all cropped-frame. Figure 1-12 shows the Canon EOS 60D.

Figure 1-12: High-end amateur cameras add even more power and features.

Going semi-pro

These dSLRs, ranging between $1,500 and $2,500 or thereabouts, are considered semi-pro. Semi-pro? Semi-pro?!? (Sing it to the tune of “Playoffs? Playoffs?!? Are you kidding me?”) Yes. It’s a weird world in which professional photographers use cameras up and down the spectrum, but a $2,000 camera is considered semi-pro. The reason for this seeming oddity is that these cameras are designed to operate professionally, but may have performance limitations and form factor compromises (for example, they may not have a built-in grip) that keep them affordable, all things considered. Semi-pro cameras provide professional results but are accessible to professionals and amateurs.

Semi-pro cameras are larger than those that came before them. They also weigh more, use some or all magnesium alloy, and have many more features. Frame rates should be faster and autofocus systems better than high-end amateur models. The metering system should also be better. This category features the first full-frame dSLRs, such as the Nikon D600 and Canon EOS 6D. Figure 1-13 shows the cropped-frame, yet still very powerful, Sony Alpha A77, with vertical grip attached.

Figure 1-13: Semi-pro dSLRs have most of the features of pro cameras, but are slightly different.

All-in with professional dSLRs

Professional-level dSLRs cost over $2,500. That sounds pretty expensive until you realize that there are two tiers. Standard professional dSLRs run between $2,500 and $3,500. Premier dSLRs represent the pinnacle of a company’s dSLR lineup. At this level, the Canon EOS-1D X lists for $6,999 and the Nikon D3X lists for $7,999. The Nikon D4, arguably better than the D3X (certainly newer, with higher ISOs and full HD movie capability), is less expensive, coming in at $5,999.

All these cameras are full-frame with magnesium alloy bodies, and most have built-in vertical grips. AF and metering systems are as good as it gets, as are the viewfinders, customization options, and many other features. Figure 1-14 shows the full-frame Canon EOS 5D Mark III. It’s a standard pro camera that lacks the built-in vertical grip.

Figure 1-14: The 5D Mark III represents the Standard professional camera.

Getting Shiny New Features: Recent Developments

Digital SLRs continue to evolve. That is truly fantastic news, because photographers benefit from the new capabilities and technology. Here are some of the main recent dSLR developments and trends:

The dSLT: Digital SLTs (single lens translucent) are a close relative of the dSLR. So close that I don’t distinguish in this book between the two. For most practical purposes, they look like, act like, sound like, and take photos like dSLRs. The main difference is that dSLTs don’t have a reflex mirror. Instead, they have a semi-transparent or translucent mirror that doesn’t need to move out of the way. It allows some light to pass through, and bounces the rest up into the camera’s viewfinder (or into a sensor that drives the electronic viewfinder).

Although Sony didn’t invent the idea, they appear to have fully committed to this technology. Between the first and second editions of this book, Sony stopped all dSLR production. Its entire lineup is now dSLTs!

Electronic viewfinder: The electronic viewfinder is related to the dSLT, but not by necessity. Sony again has led the charge and has electronic viewfinders on all its dSLTs.

Normal viewfinders are optical. You look through a prism that directs light from the reflex mirror to your eye. They work whether the camera is on or off. Sony’s electronic viewfinders are small, high-resolution organic light-emitting diode (OLED) monitors that are used in place of an optical viewfinder. They basically combine the functionality of a standard viewfinder with the LCD monitor on the back of the camera. You can compose and frame the scene normally, view photos during playback, see the camera’s shooting display, and use the menu — all without taking your eye away from the viewfinder. Truly awesome.

Articulated monitors: Articulated monitors swing out from the camera back in various ways, so you can creatively position the camera during Live view shooting. See Figure 1-15. The monitors are becoming more prevalent. You won’t often find them on the cheapest entry-level models, but they abound on mid- and higher-end amateur dSLRs.

Full HD movies: A few years ago, not many dSLRs even shot movies. Today, to be competitive, a dSLR has to. Not only that, but it can’t get away with shooting only standard-definition movies (640 x 480 pixels). Full HD (1920 x 1080 pixels) is the new standard. Cameras set themselves apart by offering different file formats, file sizes, frame rates, and other specialized movie settings. Book VI, Chapter 1 explains more about movies.

Expanded shooting modes: Some dSLRs offer creative shooting modes. In other words, you’re not limited to the four advanced shooting modes: Program auto, Aperture priority, Shutter priority, and Manual mode. See Book I, Chapter 5 for a full explanation of each shooting mode. These include Automatic modes, Creative Auto, a plethora of scenes (portraits, action, landscape, night portrait, and so forth), automatic HDR modes, panoramas, 3D panoramas, easy-to-use double-exposure modes, and more.

Figure 1-15: Pull the monitor out from the back of the camera and position it.

Help! Current entry-level dSLRs have a tremendous number of helpful tools to get you started. This includes features like giving you context-sensitive help when you’re looking at the menu system to a guided shooting mode. Figure 1-16 shows Guide mode from a Nikon D3200.

Figure 1-16: In Guide mode, choose your adventure!

In-camera raw processing: Some digital SLRs let you perform post-capture raw processing in the camera. You can tweak white balance, fine-tune the exposure, resize photos, and save your own JPEGs on the fly and without having to use a computer. Book VI, Chapter 2 talks more about raw.

In-camera JPEG processing: You may also be able to work with JPEGs in much the same way. Brighten, improve contrast, resize, and so forth. See Book V, Chapter 3 for more about JPEGs.

Higher ISOs: Maximum ISOs continue to rise. Entry-level cameras routinely have maximum ISOs of 6400 (not 1600 or 3200), while professional-level cameras can top out at 204800! See Book III, Chapter 3 for more about ISO.

Higher pixel counts: Pixel counts also continue to rise. Newer entry-level dSLRs have more pixels than professional models from years past. This means that you can take photos and make poster-sized prints without losing quality. You can also crop them and still have a pretty large photo.

Multiple memory cards and/or slots: Some dSLRs support more than one type of memory card. Some even support having more than one card in the camera at once. You can configure these setups in different ways. You may want to use them as a single, large card or have a primary and backup. Figure 1-17 shows two cards in the Canon 5D Mark III.

Figure 1-17: In this case, both cards are set to record the same image quality.

Live view: Live view (see Figure 1-18) has become a staple on all dSLRs. Careful, though: Not all Live view shooting modes are good in all situations. Live view lets you use the LCD monitor on the back of the camera to compose and take shots with rather than the viewfinder. Book I, Chapter 5 has more information on how to use Live view.

Figure 1-18: In Live view, you look at the back of the camera to compose and set up the shot.

In my opinion, Sony still leads the pack in terms of offering a practical Live-view-on-the-go capability. You point and you shoot. It’s that simple. Nikon and Canon Live view modes take some time to set up, get focused, and shoot with. They work great in the studio. Not so great for birthday parties. They’re getting better, though.

Getting Picky about Specifications

Specifications are the camera’s detailed characteristics. Specs tend to be technical, and they’re important. Companies put this information on their websites, and each camera’s manual devotes several pages toward the rear exclusively to the specifications.

These details

Define a camera.

Provide the information you need to understand what a camera can do.

Are how you compare one model to another.

The data itself is pretty standardized; companies tend to use the same terminology and language (except for their naming methods). I’m not going to get into every possible technical specification in this section; I do want to list a few important ones and explain what they are.

Sometimes every camera has the same capability. This makes that specification useless as a discriminator. File format is a good example. All dSLRs today save RAW and JPEG photos. It wouldn’t make any sense for you to go up to a salesperson and ask her to show you all the dSLRs that shoot RAW. They all do! That’s why I don’t include every specification in this chapter.

Make and model

Each camera manufacturer has a method to its naming madness.

Nikon starts each camera name with the letter D (presumably for digital), followed by a number. The numbers sort of make sense. The D3200 is an entry-level camera that evolved from the D3000 and D3100. The D800 is a full-frame professional camera that sprang from the D700. The D200 evolved into the D300, and now the D600.

Canon uses the term EOS (electro-optical system) and then the specific model number to identify its digital SLR line. For example, a semi-pro model is the Canon EOS 6D, which takes over from the 7D. Canon uses the term Rebel to identify its consumer dSLRs. The Canon EOS Rebel T4i is an example. The Rebels also sport a number, depending on the market. The EOS Rebel T4i is also known as the 650D.

Sony has lately changed to two-digit identifiers, such as the A99. The A is actually the Greek letter alpha (α). The numbers progress from low to high. The current entry-level camera is the A37, and the A77 is a semi-pro model.

Pentax uses the letter K followed by an identifying number, such as the K-5 II.

Olympus uses the letter E followed by a number. The E-5 is its current semi-professional dSLR.

Year introduced

When was your camera announced and, give or take, when did it first go on sale? Technology comes and goes pretty fast. You won’t find anything new for sale older than a few years. Don’t fall so in love with a camera body that you won’t give it up in five or eight years.

Your lenses are your best long-term investment. A mate to this rule is to avoid wasting money on a camera body that has features or performance you don’t need. It’ll be out of date in a few years anyway.

Sensor size

One way that digital SLRs are categorized is by their sensor size. Digital SLRs sensors vary in size.

dSLRs whose sensors are the same size as a 35mm frame of film are called full-frame dSLRs.

dSLRs whose sensors are smaller are called cropped-frame dSLRs.

This list explains a more technical designation:

35mm: Also known as full-frame cameras. Their sensor is the same size as a 35mm frame of film, which measures 36 x 24mm. This is the gold standard of SLR film/sensor sizes. Nikon calls its full-frame cameras FX.

APS-H: This category is unique to Canon. It’s in between full-frame and the smaller APS-C.

APS-C: This is the standard sensor size for most digital SLRs. It’s actually much smaller than a 35mm frame of film, but far larger than a compact digital camera sensor. Canon’s APS-C sizes are a bit smaller than others. Nikon calls its APS-C cameras DX.

Four Thirds: These sensors have a 4:3 aspect ratio (of length to height) instead of the more traditional 3:2. Although the aspect ratio isn’t a factor in sensor size, Four Thirds sensors are all much smaller than full-frame dSLRs, and even smaller than APS-C sensors. This makes the cameras cheaper and lighter, so they can compare in size (not considering the lens) of smaller compact digital cameras.

Figure 1-19 shows a full-frame camera, the Canon EOS 5D Mark III, with the mirror raised. You’re seeing the sensor inside. It virtually fills the body cavity. Notice the two frames to the side of the camera. These are enlarged, but in the correct proportion. The APS-C sized sensor is relatively small compared to the 35mm sized full-frame.

Figure 1-19: Comparing full-frame to APS-C.

Of note, sensors fit into a certain category but may be off by a millimeter or two one way or another. You can sometimes find sensor size differences in cameras with the same sensor class from the same manufacturer.

Crop factor

Crop factor doesn’t have to be confusing, but it sometimes seems like it when a person tries to explain it. In other words, it’s simpler than it sounds.

A dSLR’s crop factor relates to the size of its sensor compared to a 35mm frame of film. Right. That reference again.

Rather than go into a long-winded explanation, I jump to the numbers:

Full-frame dSLRs have a crop factor of 1.0. This means their sensors are the same size as a 35mm frame of film.

Most APS-C sensors have crop factors of 1.5 or 1.6. These sensors are about one and a half times smaller than the frame of film.

Four Thirds sensors have a crop factor of 2.0. To turn it around, that means a 35mm frame of film is about twice the size of a Four Thirds sensor (give or take; remember, their aspect ratios aren’t the same).

The final connection is that a camera’s crop factor, which is based on its sensor size, affects the apparent focal length (also called effective focal length or 35mm equivalent) of every lens attached to the camera.

Because of smaller sensors (the crop factor), a lens with the same focal length (distance between the optical center of the lens and the camera sensor) has a more restricted field of view on a cropped-frame camera than it will when it’s mounted on a full-frame camera. Book II covers using lenses with different focal lengths in detail. Field of view is how wide an angle you can see through the lens. A 50mm lens feels close to normal (what you see with your eyes) on a full-frame dSLR, but is into telephoto range on a cropped-frame camera. See Figure 1-20 for a comparison.

To get the effective focal length of the lens, multiply the focal length by the camera’s crop factor. Like this:

A 50mm lens mounted on a full-frame dSLR with a crop factor of 1.0 has an effective focal length of 50mm.

A 50mm lens mounted on an APS-C sensor with a crop factor of 1.5 has an effective focal length of 75mm.

Figure 1-20: The effect of a larger crop factor is to “zoom into” the scene.

You can’t get free optical zoom with a cropped-frame sensor. The photo is cropped, not zoomed. It looks zoomed, but the lens is doing nothing different and providing no more detail. You’re just seeing it from a different perspective.

Aside from generally being interesting, a practical point about the crop factor is that it gives you a way to predict how dSLR lenses will perform on different cameras with different sensor sizes. That helps you choose the lens that will produce the right field of view for you. A 50mm lens is a 50mm lens, regardless of what you put it on. However, it won’t always act like one!

When you mount it on a full-frame camera, it will look like a 50mm lens.

When you mount it on an APS-C camera, it will feel more like a 75mm lens.

When you mount it on a camera with a Four Thirds sensor, it will act effectively like a 100mm lens on a standard 35mm SLR.

And now for a technical note. If you want to do the calculations yourself, crop factor is based on the diagonal measurement of the sensor compared to the diagonal size of 35mm film. Field of view is also diagonal. On a full-frame camera, a 50mm lens takes photos that have a 46-degree field of view. On a cropped-frame dSLR with a crop factor of 1.5, the same lens takes photos of approximately 31.5 degrees.

Pixel count

Look for how many effective megapixels a dLSR has. Effective megapixels is different than the total number of pixels on the camera sensor. Pixels are only really, truly effective in the area that actually produces the photo. This measurement affects your photos’ pixel dimensions and file size, as shown in Figure 1-21. The photo’s type, size, and dimension are just below the Image Quality line in this figure.

Figure 1-21: These large photos are 22 megapixels in size.

It’s hard to say what the “right” number is. Ten megapixels was a good size a few years ago, but has been shown up by better cameras shooting more and more pixels. I recommend using pixel count as a tiebreaker. All other aspects being equal, the camera with more pixels will probably serve you better in the long run. Realize, though, that the greater the effective pixel count, the larger your photos will be. Larger photos take up more space on memory cards and on your hard drive. They will also stress your computer if you need to edit or process them.

ISO

ISO, also called ISO speed or ISO sensitivity, is a measure of the camera sensor’s sensitivity to light. You can turn it up or down. The specification will list the camera’s ISO range. Sometimes a dSLR allows you to expand this range either up (mostly) or down (from 100 to 50, for example). These aren’t listed as native ISO speeds by the manufacturer (native comes with your camera), but instead as ISO expansion. See Book III, Chapter 3 for more information on ISO.

Figure 1-22 shows me setting the ISO on my dSLR. Note the grayed-out H(12800) setting. This is an expansion value that hasn’t been enabled.

Figure 1-22: Setting the ISO.