![]() Either way, you will lose detail in the sky.Ī way around this is to try taking the same shot from a different angle, with the light in front of your subject – so it shines directly on it – rather than behind it, where it is effect causing your subject to be silhouetted, or thrown into shed. Simply put, if you point the camera at a very bright sky, it will automatically adjust the exposure to compensate, throwing whatever is in the foreground into shadow.Ĭonversely, if you focus the camera on whatever is in the foreground on a very sunny day, the sky will appear burnt out, or much brighter than it already is. Here the camera’s own well-intentioned metering system is either causing the ‘problem’, or it's the direction and angle of your set up itself. The sky is too bright in my shots, or the foreground is too dark This allows you to toggle back and forth between the incremental exposure comp settings offered until you find the ‘sweet spot’ for a correctly exposed image. Fortunately, a lot of modern digital cameras show the effects of such exposure compensation adjustments in real time on your camera’s rear LCD screen (or electronic viewfinder), so you can see the effects your adjustments may have before you even squeeze off a shot. In these circumstances you can go for a brighter setting of +1 or +2. The same works in reverse if the lighting is darker than you’d like. The easiest way to remedy this particular photography problem is to drill into your camera’s exposure compensation settings – usually given in increments of +/- 3 EV, though some can extend to +/- 5 EV.Ĭommonly, we get the most natural results when these settings are on the median of ‘0’, but on a very sunny day, and if you’re using a bright/ fast lens (say f/1.8, the lower the number, the more light the lens will let in) then it may work best to dial down these settings to minus 1 or lower – in other words aiming for a darker exposure than normal to compensate for the fact that lighting conditions are outwardly brighter than usual. My photos are either too dark or too bright Grainy images are less of a problem for more sophisticated cameras with physically larger sensors and/or more modest resolutions, as there are less pixels crammed into a smaller space, so they’re less visible when the sensor is pushed to its performance limits. Best still, of course, employ the use of a tripod and put the camera on self-timer when shooting so you’re not having to physically press the shutter release button and thereby perhaps avoid introducing blur via the fact you’re ‘jogging’ the camera. ![]() To avoid the ugly, grainy look, manually select a lower ISO setting (less than ISO1600, say) and compensate by placing the camera on a flat steady surface instead of attempting to use it hand held. The trade off for reducing blur is that image grain – also referred to as ‘image noise’ – can visibly intrude into our images, particularly on those cameras with physically smaller sensors already burdened with a high pixel count / resolution. This will be due to the fact that the camera has automatically selected a high sensitivity setting to compensate for lack of light or lack of available flash, in an attempt to limit and hopefully avoid image blur/camera shake. Simply experiment with white balance settings until you find the look – and colors – you’re after. Or alternatively there is often the chance to achieve a custom white balance – achieved simply by holding up a piece of white paper in front of the lens. You’ll probably also find a few specific night-time settings. You’ll also find settings on your camera for a variety of artificial and natural lighting conditions – including strip lighting, natural daylight (which can, conversely, lend photographs a cool blue color cast), cloudy days and so on. So, if you’re shooting indoors without flash and bumping up the ISO settings to compensate and avoid blur, you’ll be left with orange-y images.įine, if that’s the look you’re going for, but if it’s a more natural look you’re after, simply drill into your camera’s menu of white balance settings and select the icon that most closely resembles a common light bulb and try the shot again with this compensatory mode selected. Most of us will be aware that tungsten/artificial lighting lends a warm orange glow to shots. The most common solution to this very common photography problem comes down to finding the correct white balance setting for both camera and subject.
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