Download A Short Course in Canon EOS Digital Rebel Photography by Dennis Curtin PDF

By Dennis Curtin

I purchased this booklet after you have my insurgent xt and could not look ahead to it to reach. The person guide that got here with the digital camera did not aid in any respect and that i used to be waiting for getting a booklet which could support get me all started within the correct direction.

Well, it took over 6 weeks for the ebook to reach and while it did i discovered it to be not anything yet a glorifed person guide. Very disappointing.

I have had higher good fortune from well known images journal and studying from books written through pros like John Shaw and paintings Wolfe.

This e-book wasn't well worth the cost and stay up for it to reach.

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Additional info for A Short Course in Canon EOS Digital Rebel Photography (book/ebook)

Sample text

Camera Movement. If the image is blurred all over, with no part sharp, the camera moved during the exposure. Some dots appear as lines and edges are blurred because the image was “painted” onto the moving image sensor. ■ Subject Movement. When some of the picture is sharp but a moving subject appears blurred, your shutter speed was too slow. 46 GETTING SHARPER PICTURES GETTING SHARPER PICTURES Unwanted camera movement when the shutter is open is one of the major causes of unsharp photographs.

In a landscape, on the other hand, often you may want everything sharp from close-up flower to distant mountain. Once you understand how to control depth of field, you will feel much more confident when you want to make sure something is—or isn’t—sharp. Here the greatest possible depth of field was used to keep everything sharp from the fighter’s needle nose to the background. To control how deep or shallow depth of field is, you have three factors to work with. Here the camera’s depth of field was just deep enough to keep the legs in focus.

This lighthouse in the fog on Cape Cod would have looked too dark if exposure compensation hadn’t been used to lighten it. 40 ■ -1 is for scenes where the background is much darker than the subject, such as a portrait in front of a very dark wall. This setting is also good for very dark objects, such as a black cat on a black pillow. ■ -2 is for scenes of unusual contrast, as when an extremely dark background occupies a very large part of the image and you want to retain detail in the brighter parts of the scene.

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