Tips for Shooting

By now you and your digital camera have become fast friends and are working together to make great images. But like the art of cooking, and life, there’s always more to learn.
This chapter is more conversational than the previous two. The earlier sections of the book were designed for quick reference to use while standing on the battlefield of photography and trying to survive. (“Quick, should I turn the flash on or off for my daughter’s outdoor birthday party?” Answer: Flash on.)
But now the discussion becomes more free flowing like a con-versation between two photographers trying to decide the best approach for a given situation. The topics in this chapter focus on both shooting and sharing pictures what good is a great shot if you can’t get it in front of others? So, grab a fresh memory card, a charged set of batteries, and prepare for the next stage of your journey.
How do I then? That’s the question in photography, isn’t it? Most of the time you know what you want to do: capture that sun-set, take a pretty portrait, preserve the memory of that monu- ment. The trick is to make the camera see it the way you do. That’s what you’re going to learn here: the “how to” of photography. Not every situation is covered in this chapter, but if you master these techniques, there won’t be too many pic- tures that get by your camera. And when your friends mutter out loud something like, “How do I shoot that object inside the glass case?” You can reply,“Oh, that’s easy. Just put the edge of the lens barrel against the glass to minimize reflections, then turn off the flash.”
When most folks think of portrait photography, they envision studio lighting, canvas backdrops, and a camera perched upon a tripod. But many photographers don’t have access to lavish professional studios, and honestly, it’s not necessary for dynamite portraits.
Last tips,Figure 3-1 illustrates that you don’t need an expensive photo studio to take pleasing outdoor portraits. After a little experimentation, a high camera angle was used to minimize dis-
tracting background elements. The model was positioned so the sun was on her back to create a rim lighting effect on the hair and shoulders. Then fill flash was added for even exposure on the face.


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