NEW Photography for Beginners Course

the Foundation for Creating Amazing Images

It's time to begin your journey in mastering your camera, and it starts with this photography for beginners course right here, right now, about the fundamentals of your camera.

This will be the foundation for every tutorial in this photography for beginners masterclass.

Regardless of your experience level, this tutorial is a must-watch.

I guarantee you will learn something new.

If you are ready to master your camera and create exceptional photos, let’s do it.

So, the critical ingredient for any photo you take is properly capturing the exposure.

So, what is exposure? Well, exposure is how bright or dark your image is.

If it’s too bright, you have an overexposed image like this one.

If it’s too dark, it’s considered underexposed, and your goal is to capture good exposure.

And here it is for this image.

And as you can see, it’s not too bright or dark.

So, how does exposure work, and how can you correctly expose your photos in a camera to create awesome images?

Well, first, you must understand, and I mean truly understand, exposure to master it.

And it starts with knowing the three camera settings that affect your exposure.

Those three camera settings are your ISO, aperture, and shutter speed.

So, let’s go over what each of those is right now.

So ISO’s job is to make your available light source brighter if needed.

But how does ISO make your available light brighter?

I’ll let you know in just a second.

First, your ISO comes in standard options like 100, 200, 400, 800, 1600, and I think you get the idea.

Now, those numbers were all we had in the days of shooting with film.

In our current digital world, additional ISO numbers are now possible, like 250, 320, and 500, to name a few.

In essence, you adjust the ISO to ensure you have enough light to record your photo with the aperture and shutter speed required for your creative vision, and it starts with your camera’s sensor.

Now, unlike the days of film, your sensor is not sensitive to light. Instead, it makes available light brighter by amplifying it.

The downside to amplifying the light is the dreaded digital noise associated with a higher iso.

The higher the ISO used, the more digital noise your image will have.

So, let’s look at a couple of images to see the digital noise.

So, this image was shot at an ISO of 100 and has no digital noise.

I retook this setup with an ISO of 12,800, and you can now see the digital noise that looks like specs or grain, which degrades the image.

Now the question is, what ISO settings should you use and when?

That’s a great question, and you will learn that in an upcoming tutorial.

First, let’s discover what an aperture is.

So, the aperture controls how much light enters your lens and is passed into your camera.

And an aperture is a fancy name for waiting for it… a “hole?”

Yes! The aperture is nothing more than a hole in your lens.

Depending on your desired exposure, you can change the hole size to allow more or less light to pass into the camera.

So, the size of your aperture is designated with what is known as an F number, like F 2.8, F four, and F 5.6, and you’ll learn more about those numbers in an upcoming tutorial.

First, examine two images I took to demonstrate how the aperture affects your exposure.

So, for this image, I set the aperture to F1 0.4, which is the biggest hole for this lens.

And with it, I achieved a good exposure.

Then I retook this photo with the smallest aperture size for this lens, F 16.

And I kept the same shutter speed and ISO used in the first one.

The result is an underexposed image since less light traveled to the sensor.

If you’re wondering how F1 0.4 is bigger than F 16, hold that thought. You’ll discover why that is in an upcoming tutorial and learn the creative side of Aputures.

So stay tuned.

First, you must discover Shutter Speeds and their relation to your exposure.

The shutter speed is your final key to getting the proper exposure.

A shutter blocks the camera sensor until you press the shutter release button.

When you do, the shutter opens and allows the light coming through your lens to be recorded by your sensor, so you can control how long that shutter stays open based on your creative vision and the amount of light needed to create that image.

So, the key to controlling how long the shutter stays open is time, hence the term shutter speed.

You can set how long the shutter stays open in seconds or fractions of a second.

So, I’ve set my camera here to a shutter speed of six seconds.

And listen, when I click, the shutter is now open, and the sensor is recording light.

Wait for it. And that was the sound of the shutter closing.

I will change the shutter speed to two-thousandths of a second.

And listen, when I click this time, it is much faster than six seconds.

So here is an image that I had to use a shutter speed of 30 seconds to get good exposure.

Here it is again with the same ISO and aperture, but this time, I set the shutter speed to six seconds, which resulted in an underexposed image.

Now, there is more to your shutter speed than just getting the correct exposure, just like with your aperture. It provides creative options, too.

Before we get into that, let’s do a deep dive into ISO to discover what ISO number to use and when, plus much more.

Discover Which ISO To Use & When

With dozens of ISO setting options, which one should you use and when to find out, continue reading.

If you are ready, let’s do it. Unlike your aperture and shutter speed, ISO provides no creative options.

Instead, it is used to complement the shutter speed and aperture.

So, you can use those two settings to achieve your creative vision.

If you have a specific aperture and shutter speed in mind for a particular photo and do not have enough light to achieve it, then you’ll adjust your ISO to give you more light.

Remember, ISO amplifies the existing light, which gives you more light.

But as you probably also remember, the higher the iso, the more digital noise is included in your image.

My number one recommendation is always to use the lowest ISO setting possible.

Only when you can’t physically add more light, like when you are off camera or flashing with a strobe or even candles, will you amplify the light with a higher ISO number?

Here are some guidelines to get you started since it’s impossible to give you exact settings for specific lighting situations since the possibilities are infinite.

All right, so when shooting outdoors on a bright sunny day, you’ll want to use the lowest ISO available on your camera, like 100 or 200.

It all depends on your specific camera.

You might have to use ISO 400 to 800 if it’s partly or completely cloudy.

And that depends on how dark the clouds are and how much sunlight they restrict.

If you’re shooting indoors, you might have to use ISO 800 to 1600 or higher, depending on how dark it is.

Alright, so the following information will be critical for the upcoming tutorials, and that’s because you will grab your camera and start shooting.

But first, you need to grab your camera manual to determine if you have a specific feature built into your camera.

And that is something called auto iso.

So, auto ISO will make it easier to start taking photos now without worrying about which ISO number to use since your camera will choose the ISO for you automagically.

However, I must warn you that it could be better, and sometimes you may have inadequate exposure.

In future tutorials, you’ll learn about exposure, metering exposure compensation,
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And more to get the correct exposure if your camera doesn’t do so automatically.

Now, if you have auto iso, refer to your camera manual to learn how to set it up, and here’s how it works.

Depending on your camera, you should be able to set the maximum ISO setting, which will minimize the amount of digital noise based on your choice.

Also, you can set the minimum shutter speed depending on your camera.

So, setting the minimum shutter speed will ensure your camera doesn’t choose a speed that will cause images to be blurry.

Aperture in Photography Explained... For Beginners

Something interesting happens when you adjust the aperture from smaller to larger.

Previously, you learned that the aperture is a fancy name for a hole in your lens and how it affects your exposure.

However, the aperture is crucial for creating soft, blurry backgrounds.

You often see from pro photographers, so how did I achieve that for those images?

Well, part of the secret is the size of the aperture used, and in essence, the larger the aperture or the hole in your lens, the softer your background will become.

I should also point out other factors that determine how much the background is blurred out, like the length of your lens, the distance between your subject and the lens and the background, and more.

You’ll learn more about those later in this camera masterclass and discover how to use apertures creatively in this tutorial.

Instead of telling you what happens when you change your aperture, I want you to experience it yourself.

So grab your camera and put it in aperture priority mode.

Here’s how to locate your control dial. Depending on your camera, it might be within your digital screen. Rotate the dial until you see A or Av, which is aperture priority.

Now, you have complete creative control over the aperture, and your camera will automatically choose the shutter speed for you to get the correct exposure.

And remember to set the ISO based on the lighting condition of your scene, as I recommended in the last tutorial.

That is if you don’t have auto iso.

To choose the aperture you want to shoot with, you must turn a dial on your camera to adjust it accordingly.

Now, grab any two items and set them about six to 12 inches apart.

For the first photo, we will set the lens to the largest aperture for that lens.

That could be something like F1 0.4 or F 2.8. It all depends on your specific lens.

And then, you’re going to focus on the front object and take a photo.

Then, you will change your aperture to the smallest hole, like F 16 or F 22.

And then, you’re going to focus on the front object again and take another photo.

Alright, let’s compare the two images I took side by side.

The first image was created at f/16, and the second at f/1.4, and in both photos, you can see that the elephant is in focus, but the zebra is only in focus, and the one shot at f/16 and f/1.4 is not in focus.

So, the area in focus is referred to in photography as the depth of field.

Everything You Need to Know About Apertures To Create Amazing Images

Previously, we took two images at different aperture settings, and the result was the object in the back was blurry when you shot it with the largest aperture versus the smallest aperture.

In photography, this is referred to as the depth of field, which refers to the amount of your image in focus.

Therefore, a small field depth has less focus than a larger one.

To help you remember this, a small aperture number like f/2.8 represents a small depth of field, and a large number like f/16 means a large depth of field.

You may have realized a weird phenomenon: a small aperture number like f/2.8 has a vast hole compared to an aperture of f/22.

So why is that?

Well, you're going to find out right here, right now.

As we discussed earlier in a previous tutorial, an aperture number in photography is referred to as an “F” number, and the numbers are listed, like f/1.4, f/2.8, f/4, and so on.

Depending on your camera, it may or may not include a forward slash.

If things weren't confusing enough already, someone had to add a letter and a forward slash to our aperture numbers, but there is a reason why, and it will explain why f/22 is smaller than f/2.8.

So, the F in the F number stands for focal length.

Let's take the focal length of this lens, which is 50, and replace the letter “F” with 50.

So now we have this aperture number: 50/2.8. What is that starting to look like?

Yes, math, no worries. Math is not a requirement to create incredible photos.

Stick with me for another 17 seconds; this will all make sense.

Alright, so if we divide 50 by 2.8, that equals 17.86, then if we take 50 and divide it by 22, that equals 2.27. So, which one is a smaller number?

That's right, 2.27.

So, in photography, f/22 is a smaller hole or aperture versus f/2.8.

Now, the question is how to use your knowledge to be more creative.

Let's look at more images to reinforce what you've learned.

So, for this image, I wanted a photo of our sun, and it was a cold, windy day, and it was hard enough as it was to convince him to pose for some pictures.

So, traveling to another location was out of the question.

So our backyard would have to do, and we have this big red shed and an old rickety fence close behind.

So, the one thing I didn't want for this photo was to be included in the shot or at least minimize them.

What aperture would I need to achieve this?

Yes, a large aperture, and I used f/2.8 to blur the background.

Sometimes, when shooting landscape photos, you may prefer to have a significant depth of field or more of the foreground, background, and focus.

And for that, what aperture would you need?

That's correct, a small aperture.

So, for this image, I used f/11 to create a significant depth of field to get the foreground background and focus, which helps tell the story of this couple's wedding day.

Now, for our next demonstration, we will go outside in my backyard so I can demonstrate other factors that will affect how much of the image is in focus or not.

And I volunteered my daughter to help us out.

Now, I'll use aperture priority mode, and we'll have the camera set to auto-iso.

This way, I can choose my aperture and let the camera decide on the iso and shutter speed.

So, let's head on outside.

We'll take several photos to demonstrate depth of field and how you can control depth of field with different factors.

So, I will shoot the first two images at f/1.4, the largest aperture for this lens, and then a second photo at f/16, the smallest aperture for this lens.

Then, we'll compare those two images to see how those aperture settings affect the depth of field.

So I'm going to go ahead and shoot it f/16 first, and I'm going to have her hold out the flower so I can focus on the flower, which will demonstrate the depth of field when I focus on the flower versus her.

I'm going to focus on the flower and take the first image.

Now, I will change to f/1.4 and take a second image. All right, let's compare those images now.

And the first one is going to be the one shot at f/16.

We can also see that there's a considerable depth of field and that many of the elements in the scene are in focus.

Now, let's compare that to f/1.4, and we can see that the flower of the stem in her hand is in focus, but the rest of the scene is not. So she's blurry in this image, as the elements in the back, the fence, and the house in the back are blurrier than the subject, and the further the elements from her, the more they become blurred out.

All right, so remember what we talked about before.

A small aperture number will result in a small depth of field or less of the image being in focus.

When you have a large aperture number like f/16 or f/22, you will have a larger depth of field, and more of the image will be in focus.

Now, I want to demonstrate another way you can control the depth of field.

And I will step back about 15 feet here and take two more images at f/1.4 and then another at f/16.

So, I'm going to go ahead and shoot at f/16 first. Okay, I'm going to switch to f/1.4 now.

All right, let's take a look at these images now. And the first one is at f/16.

Like before, we have a large depth of field, but check out what happens when you shoot at f/1.4 and you're further from the subject.

This time, she's in much sharper focus than before, so she's not as blurry, but the background, even though it's more in focus, is still blurry.

So distance is another way of controlling your depth of field. So the closer you are to the subject that you're focusing on, the shallower or, the smaller the depth of field or the less of the image that will be in focus, and the greater the distance between you and your camera and the subject you're focusing on, the greater the depth of field or the larger the depth of field or the more of the image that will be in focus.

Now, another thing that you can do is if you are photographing somebody and you have a busy background like this, and you want to blur out the background.

Still, you need to get the amount of blur you want. What you can do is move your subject away from the background, and then that will blur out that background even more.

So we're both going to move up here about 30 feet and take another photo.

Alright, we're now about 30 to 40 feet further from the position we were before, and I will shoot at f/1.4 again.

Let's look at this image and compare it to the last one.

As you can see, we have a relatively large depth of field, but compared to the last image, the background is much more blurred out than before.

So again, distance helps affect or control the amount of the image in focus.

Now, another thing that you can do to control the amount of depth of field if you can't move your subject away from the background because maybe you're photographing a tiger at the zoo or you're on safari, and for obvious reasons, you can't get closer to that tiger, or you can't ask that tiger to move away from the background, what you can do instead is change your lens from shorter to longer.

So, I will change my focal length here from 50 to 200 and shoot another photo to compare to the image we just took.

I have my 70-200 lens, and I will shoot at the most extended length, 200.

Now, my largest aperture for this lens is f/2.8, so I can't shoot at f/1.4.

So technically, it's a smaller aperture versus the one we shot previously with the shorter focal length.

So I'm going to have her hold up that flower again.

I'm going to focus on that flower and take another image.

Let's go ahead and compare this image now to the one we did previously.

So, as you can see, the flower of the stem and her hand are in focus, but she is no longer in focus like it was in the last image at f/1.4.

And definitely, the background is more out of focus than it was previously.

So, another option for controlling your depth of field is using a longer lens.

We've reviewed a lot of information in this tutorial, and there's much to remember.

I want to jump back into the studio and share a secret to help you quickly and easily remember everything you've learned in this tutorial.

So, let's go ahead and head back inside.

Now that you know the creative aspects of the apertures, how they affect depth of field, and how distance affects the depth of field, it's time to apply your knowledge.

Since knowledge is not power, action is, and that's because the best way to learn photography is to shoot and shoot some more.

So remember, adjust your aperture based on the depth of the field you prefer, and adjust the ISO if needed.

Next up is discovering how to use the shutter priority mode and how to use the shutter speed creatively.

So, if you are ready to elevate your photographic skills even more, click here to get started.

Shutter Speed Explained for Photography Beginners

Like with your apertures, your shutter speed provides options for expanding your creativity. It's time to switch from aperture priority to shutter priority and to shutter priority mode.

You're going to change your camera settings to S.

You now have complete creative control over the shutter speed, and your camera will decide on the aperture to achieve the proper exposure.

But what are your creative options when it comes to your shutter speed?

Well, you're going to find out in this tutorial.

If you are ready to discover how to be creative with your shutter speeds, let's do it.

You have two choices regarding being creative with the shutter speed.

This includes either freezing the action, which I did when I captured this image of these newly wedged jumping, or blurring the action, which I did for this waterfall image.

Either option is achieved by the speed chosen for your shutter. In other words, it depends on how long the shutter stays open, although some other factors will determine how much motion blur is created.

For example, the speed of your subject will affect the amount of blur, and so does the distance of your subject from your camera.

You'll discover why that is in the following tutorial.

First, I will demonstrate how to freeze and blur the action with my wife's handy dandy fan.

All right, we will take two photos at two different shutter speeds.

For the first image, I will shoot at one-eighth of a second, and then for the second image, I will shoot at one 8000th of a second to see if I can freeze the action of the blades spinning.

So let's do it.

Alright, I'm going to turn the fan on. It has three settings. And I will place it on the lowest setting for these images.

I'm going to turn that on. Let's give it a try at one-eighth of a second.

Handholding at this shutter speed isn't working, and you'll find out why in the following tutorial.

I'm going to grab my tripod here and start over.

All right, let's try this again, and let's take a look at the image.

As you can see, my camera sees the blades the same way you and I do.

We can't see those blades individually because they're blurred out due to the slow shutter speed and the speed of the blades.

I will change the shutter speed to one 8000th of a second to see if we can freeze those blades to see them individually again.

Let's change the shutter speed here and allow us to retake the photo.

All right, let's take a look at this image now. Okay, the camera froze the action, and we can see the individual blades.

So, to free the action, use a fast shutter speed.

The only problem is knowing which shutter speed to use and when. That and more will be answered in the following tutorial.

Before you go, though, I'm going to take a third image with the fan at its highest setting with the same shutter speed, and this will demonstrate the cause and effect of the speed of your subject, our blades, in this case, concerning your shutter speed.

Let's go ahead and adjust the fan here.

I'm going to set it to three. It's currently on one, and you can hear that now. It's a lot louder than it was before.

Let's go ahead and retake the image to see the result of this image and to continue elevating your photography skills; click here to continue…

Everything You Should Know About Shutter Speeds to Create Amazing Images

Previously, you saw how the shutter speed could either freeze the action or blur the action, but the question is, how does this happen?

How do you decide which shutter speed to use and when?

You’ll discover the answer to those and more as we dive deep into Shutter Speeds.

Let's do it if you are ready to take a deep dive with Shutter Speeds.

The amount of blur in an image depends on your shutter speed, the subject's speed, and the subject's distance from your camera.

Let's review some images to see this in action.

Here are the first two images I took in the previous video tutorial.

We have the one-eighth shutter speed on the left and the one-eight thousandths of a second on the right.

This is a classic example of freezing or blurring the action.

Now let's compare that faster shutter speed with the third image I captured, and you may remember for this image, I had the fan setting to the slowest speed.

Let's check out the third image with the faster fan speed. This time, we have some motion blur due to the blades turning faster.

This demonstrates how the speed of your subject can alter whether or not you are freezing or blurring that action based on the shutter speed chosen.

So this brings us to that question again about figuring out which shutter speed to use and when that answer is coming up soon. I promise.

Before I share that, let's look at some more images.

So I volunteered my daughter again to assist us at a local park for this demonstration, and we took three photos, two at a distance of 10 feet from the camera with a shutter speed of one second and another at one, 1000th of a second.

Then, in the third image, I captured her 500 feet from the camera in one second.

So this image was shot at a distance of around 10 feet from the camera and a shutter speed of one 1000th of a second, which shows we froze the action.

This next image was captured at one second.

This time, we have some motion blur.

Now, let's see how distance affects whether or not the action is blurred or frozen.

Also, remember I didn't shoot a fourth image at the faster shutter speed at this distance since it would still freeze the action.

But check out what happened with the slower shutter speed and a distance of around 500 feet.

It's hard to see how much of the ashen is frozen or blurred because she is much further from the camera than before.

Let's zoom in.

Although the action is not frozen, the blurring is less than when she was only 10 feet from the camera.

This demonstrates that distance can play a role in whether or not the action is frozen or blurred or by how much.

So, the further your subject is from the camera, the less blurring will occur.

Why is that?

Well, let's find out by jumping into Photoshop.

So we have both images here, and they both have guidelines applied to them, representing the opening and closing of the shutter.

The correct guideline represents the opening.

The left represents where the shutter closed.

So, between those guidelines, she traveled from one to the other as she was being recorded on the sensor.

But as you can see, the amount she traveled in our first image here was greater than the other image, reducing motion blur.

So, try to think of your subject traveling across the sensor.

The closer they are to your camera, the further they're going to travel along the sensor, and the longer that motion blur is going to be, the further they are from your camera, they will travel a shorter distance on that sensor, creating less motion blur. So keep that in mind.

The further they are, the less motion blur you will have.

Alright, the moment you've been waiting, it's time to share some guidelines on deciding which shutter speed to use and when.

When photographing your kids or people in general sports or even wildlife, you wish to freeze the action.

A good starting point is one 500th of a second when the action is fast, and you're close to it.

Then you can go up to one or two-thousandths of a second or faster, like 4000th of a second.

But sometimes, adding motion blur can help create something unique.

For example, in this image, I used a shutter speed of one 30th of a second to add some motion blur of my daughter riding her bike.

That shutter speed should have caused more motion blur on her than what occurred.

That was achieved because I panned along with her as she was riding by, creating more motion blur in the background versus my daughter.

When it comes to shooting landscapes, there is generally little to no action in the scene unless you're shooting a waterfall or a landscape on a windy day.

Therefore, you can use any shutter speed you desire.

That's incorrect because if you remember the first photo I took in the previous tutorial, I tried to handhold the camera with a one-second shutter speed, resulting in a blurry image due to the camera shake.

Using a tripod, I could eliminate the blurriness caused by the camera shaking.

But what if you don't have a tripod?

Well, I'll give you a few pro tips on overcoming this in just a second.

First, let's wrap up which shutter speed to use and when.

The faster the shutter speed required, the quicker the action is and/or the closer the subject is to your camera.

The problem is that all of those factors can include infinite possibilities.

So, I recommend testing and practicing before the actual day of the shoot or when you first arrive at the scene.

Take some test shots to narrow down the shutter speed you want for your creative vision.

Let's review some tips for avoiding camera shake when you don't have a tripod.

Regarding the minimum shutter speed you should use when handholding, here is a general rule to consider based on the lens you are using: take the focal length and double it.

Use the longest length if it's a zoom lens, like a 70-200.

So, that would be 400.

And then convert that to a shutter speed, which would be one 400th of a second.

If your camera doesn't have that shutter speed, then round up.

So, in this case, one 500th of a shutter speed is the minimum I should use for this camera.

Remember that this rule can be adjusted based on how well you still hold your camera.

For example, my daughter is smaller in stature than I am, and she may require a faster shutter speed since the camera and lens weight will make it harder for her to hold still.

Alright, so here are some more tips for avoiding camera shake.

So, this waterfall I captured on one of our family camping trips in Letchworth Park, New York.

I wanted to blur the motion of the water to create a smooth, silky effect, but with no tripod in sight. I ended up with the dreaded camera shake. Luckily, there was a small stone wall in front of me. I placed my camera on and got the shot I wanted.

Now, if you don't have the same type of luck, you can try leaning against a wall, bringing your elbows in real tight, and holding your breath.

The more you squeeze that shutter release button, the better you can hold the camera still the better chance of getting the shot.

Or better yet, remember your tripod.

Now it's your turn to shoot in shutter priority mode and discover the creative side of Shutter Speeds.

But when you do, or maybe you've already realized your exposures aren't perfect in these auto modes you've been using up to this point.

Why Your Camera Gets Exposures Wrong + How To Fix

I'm about to share some vital information you need to know about your camera to create exceptional photos with perfect exposure in the camera.

Knowing this will make it easier for you to fulfill your creative vision.

So far, you've been shooting in aperture and shutter priority modes, but not all your exposures have been perfect.

Some are overexposed, some are underexposed, and some, but not all, are perfect.

Why is that?

You'll find the answer in this tutorial, and then I'll share how to fix it so you get the exact exposure you need.

You've been using program mode, aperture priority mode, and shutter priority mode.

If you've been following this camera masterclass from the start, you already know that auto Modes will choose camera settings on your behalf to give you the proper exposure.

And based on your experience, you realize your camera is imperfect.

So, how does your camera determine which settings to choose, and why does it sometimes get wrong?

The answer is your camera sees differently than you.

Let me introduce you to one of our family members, fuzzy Bunny, who I photographed on a white background to demonstrate how your camera sees the light differently than you.

So, this image was shot in aperture priority mode and underexposed.

Here is the image with the correct exposure, and I'll explain how I achieved that with an auto mode in a moment.
First, let's explore why the camera gave me an underexposed image.

So why did my camera in amateur priority mode give me an underexposed image?

Well, let's think about that. Your camera has a body but doesn't have a brain like you and me. Instead, it has a computer chip.

Therefore, your camera determines the proper exposure based on how it's programmed.

So, your camera has yet to learn if you photograph a bunny, an owl, or something else.

All it sees is light and the color of that light. So, the computer chip transforms information.

It receives digital data to reveal your image.

So, how does your camera determine the proper exposure when capturing a photo in auto mode?

Well, your camera is programmed to assume everything.

It photographs in a mid-gray tone, or the brightness level is a mid-gray tone, depending on your camera, around 10 to 18% gray.

So think about that for a moment.

Some scenes could be dark and moody, or another could be bright and vibrant, but your camera has been programmed to assume that the brightness levels should be around 18% gray.

So when you're shooting a very bright scene or a subject like a fuzzy bunny, your camera will overcompensate for this brightness level because we have a white bunny on a white background, resulting in an underexposed image.

Since it's converting the brightness levels to a mid-gray, this happens anytime the light is very bright or when the elements in your scene are highly reflective, like snow.

The opposite happens when you have a very dark location or a dark subject, like with Myrtle, the turtle.

I photographed her with a black background, and she, too, is dark, and in auto mode, my camera overcompensates and over-exposes the image.

How do you fix your camera to give you the proper exposure when using auto mode?

You have two options, which will be revealed next...

Which Camera Meter Mode Should You Use?

Previously, you'd learned that your camera is programmed to set your exposures using a mid-gray of around 10 to 18% gray.

Your camera has a built-in light meter.

The light that enters the camera is measured by that light meter and, based on how it's programmed, determines the camera settings it chooses for you.

Now, when your camera gets the exposure wrong, you have two options: changing the default light metering mode or adjusting the exposure compensation.

Let's explore the metering modes first.

The three most popular types of metering modes include matrix metering, also known as evaluative mode if you're a Canon user, center-weighted metering, and spot metering.

Now, depending on your camera, you may have more options.

For now, let's go over the basics of the three mentioned. You can control how your camera meters the available light based on one of those three metering modes.

The matrix or evaluate metering mode is designed to assess all the light you see in your viewfinder of the metering modes you have.

This is the most complex, and what it does is it evaluates the light in five different zones and then calculates the different light levels in each section to give you exposure.

This metering mode works for most instances.

When You start shooting portraits, for example, with the light behind them, you'll find it doesn't give a good exposure, especially when that light is really bright in the back and at least the exposure isn't that good for your subject.

You'll find they may end up being underexposed, and I'll demonstrate that and the other metering modes in a moment.

Let's first go over the other two types.

Next, you have the center-weighted mode, which evaluates the light more toward the center of the viewfinder and ignores the light outside of it.

The spot metering mode is even smaller at around three to 5% of the viewfinder area, and it only evaluates the light in that tiny spot in the center of your viewfinder.

However, some cameras will move the spot meter based on where your focus point is.

So if you focus to the left or the right, the spot meter will evaluate the light at that point in your viewfinder.

So we're going to head out to a local park so I can demonstrate how the different metering modes work, and then we'll come back into the studio to take a deep dive into each one of those images to understand better how these metering modes work.

So let's head out.

All right, so for this photo shoot, I am shooting an aperture priority mode again, and I'm shooting at 2.8, and I have matrix metering set for the first image, and I'm going to compose her so she's on the left side.

We also get some of the light from the background in the image to compare how the light is metered with the three different metering modes.

I'm going to take the first image here.

All right, so this first image is a bit underexposed, but overall, the exposure is pretty good.

The skin tones and background look good, but I want it to be brighter.

So what I'm gonna do is I'm gonna switch to center-weighted mode to see if that gives me a better exposure.

All right, so this time the image is overexposed in regards to the skin tones, and that's because the metering is being applied more towards the center and the light around the image is not being metered at all.

So, the background in the back is much darker than the skin tones, which creates an overexposure of the skin tones.

So this time, I will switch to spot metering mode, and because I have the focus point on her face, it will also meter the light in that area.

So her skin tones her hair and a little more around her. Let's see if we get better exposure with spot metering.

Alright, so for this image, we did not get the exposure I wanted.

The overall image is now underexposed and the skin tones are darker, and that could be the way the light is being metered in the area where I focused.

So overall, the matrix mode gave us the best exposure.

We will head back into the studio and take a closer look at these images to compare them a bit more so I can give you more guidelines on which metering mode to use and when.

So, this was the first image we took, and I used the matrix metering mode for this particular image.

As you can see, it did an excellent job of giving me good exposure in camera.

However, I do find that the image is around two-thirds stops underexposed, and I base that on the brightness levels of her skin and this area right here, which is really dark and we're losing some detail in the hair, and that's because it's underexposed.

I can increase the exposure compensation to make it brighter during capture, which you'll learn how to do very soon, or I can try to fix it in post-production.

The problem is that when you have an underexposed image like this, you will create new issues when you increase the exposure in your favorite editing software.

For example, when underexposed, it can become muddy, the skin can become muddy, and you'll lose some detail.

The skin color can shift and become unnatural looking.

You'll also introduce digital noise and artifacts, all of which now require your attention and time to be fixed in post-production.

So, start your editing and camera by getting the exposure right at the time of capture versus fixing it after the fact.

So when it comes to the matrix metering mode and this type of lighting condition, you'll often find that the exposure is close to perfect, like for this image.

However, the scene's lighting is backlit, and we don't have all these trees or these buildings here and it's really bright in these two sections up here.

In that case, the matrix metering mode will overcompensate for this enormous brightness level in those two sections and further underexpose your image.

So remember the matrix mode evaluates the light in five different sections, and if one or more of those sections has a dominant brightness level that is very intense, it's going to overcompensate for that and will give you an exposure that will be more over or underexposed versus what I have for this image.

That said, the matrix mode is excellent for lighting situations like this or even when the light is muted on cloudy days.

So here's the second image we took. I used the center-weighted metering mode and this time, the light meter was restricted to the center area, and all the light outside was ignored.

And because we have a reasonably dark area right here that is affecting the light meter, the camera ends up overcompensating for this dark area right here and gives us an overexposed image based on how it's programmed.

So trying to fix the overexposed skin, you can see it's a lot brighter than before, and trying to fix that in post-production will create new problems that you'll have to try and fix.

And just like with an underexposed image, you can end up with color shifts and muddy skin tones, and if too overexposed, you could lose detail that will be nearly impossible to fix.

Now, regarding using the center-weighted metering mode, I've never used it and don't have any personal recommendations for it. I stick with matrix or spot metering.

All right, so here's the third image we took.

I used the spot metering mode for this, and the exposure is nearly identical to the matrix mode, even though the metering was restricted to her face and some surrounding areas.

That's because my camera allows the spot-meter mode to move with the focus point, which was placed on her face.

Overall, though, the main area being analyzed is the skin since it makes up a larger portion of the section being metered, and this resulted in the camera compensating for those brightness levels and under-exposing the skin around two-thirds stops.

Now when it comes to shooting portraits, I always use spot metering since I want to expose for the skin.

However, I prefer the skin to be a bit brighter and will use the exposure compensation tool in the camera to increase the exposure accordingly.

So your spot metering mode and the other modes could give you different results based on how your camera has been programmed, and you may not have issues with over or under-exposing the skin, or you could end up with the opposite of my results and have overexposed skin.

So, you will need to test out your metering modes before a specific event to get the results you want.

Then, you'll know what other adjustments to make to get the exposure right during capture.

And that is where your second option comes into play: utilizing the exposure compensation tool built into your camera.

How To Get Perfect Exposures for Photography Beginners

Previously, I promised two options for helping your camera get the proper exposure based on your creative vision.

You learned about the first option: changing the metering mode.

Now let's explore the second option, manually adjusting the exposure when your camera doesn't give you the desired results, or in other words, compensate for your camera's mistakes.

This second option is known as exposure compensation.

Although you have to adjust this setting manually when using any of the auto modes, it is easier than it sounds.

Before manually adjusting your exposure, you first have to understand a vital component of exposure in photography, which will be revealed in just a second.

If you are ready to master Exposure Compensation, let's do it.

So the vital element you need to know is stops and no, I'm not referring to physically stopping or stop signs.

Instead, a stop in photography is the terminology we use to describe what happens to the amount of light reaching your camera for your exposure based on when you change a camera setting from one to another.

A stop refers to doubling the light or cutting the amount in half.

For example, switching from ISO 100 to 200 is considered a one-stop. Going from f/four to f/2.8 is one stop, going from one second to two seconds.
F
Let's say you have a one-second shutter speed and decide to use two seconds.

Instead, doubling the shutter speed from one to two seconds means doubling the light amount since your shutter is open twice as long.

Or you could say that you're increasing the light by one stop, which is a faster way of saying the same thing.

So if you hear someone say they increased their exposure by one stop, that means they've doubled the amount of light.

Or if they say, I've stopped by one stop, they cut the amount of light in half.

Now, no worries if this still needs to be clarified. I'm giving you the essential information for mastering exposure in time and practice.

This will all make sense, I promise.

Now, what does this have to do with exposure compensation? Well, everything.

So grab your camera and your camera manual to determine how to compensate for the exposure given by your camera.

Most cameras, at least on the Nikons I've owned, have a button on the camera's body with a plus and minus sign.

Find that and then press and hold that button; your digital screen will change and look like this.

Now, when I rotate the dial to the left, I get a negative number to the right and a positive number.

Each turn increases or decreases the amount of light by roughly one-third stop.

So I have plus 0.3 turnings again, I get 0.7, and again, one-stop. If again I continue, I get 1.3, 1.7, and so on.

So again, a positive number would be an increased amount of light, and a negative number would be a decreased amount of light.

When you're using an auto mode and see that your image is still under or overexposed, you can change the metering mode as you learned in the previous tutorial.

But if you find the image is still under or overexposed, adjust the exposure compensation accordingly.

For example, I found my daughter about two-thirds underexposed in the last images we took outside.

So manually adjusting the exposure compensation by plus 0.7, brightens the image by two third stops.

But how do you know when your image is over or underexposed in the camera, and why does it matter if it's off by a little bit?

These are great questions that when you know the answer, will elevate your photographic skills.

Dynamic Range vs Tonal Range for Exceptional Images

We will take your photographic knowledge to the next level in this and the following two tutorials since they are the foundation for transitioning from auto to manual modes.

I guarantee shooting in manual mode will be easy if you watch this and the following tutorials.

And it all starts with understanding photography's dynamic and tonal ranges since they relate to your exposure.

You'll soon discover your camera's limitations to the Dynamic Range and how to overcome them to get the exposure you want.

If you are ready to discover the dynamic and tonal ranges, let's do it.

Dynamic Range and Tonal Range: What are they?

Well, let's find out by exploring dynamic range first.

In essence, the dynamic range and photography refers to the range in which your camera can successfully capture a scene's brightest and darkest areas without losing detail in nature.

You could say there's infinite brightness from blacks and whites and grays in between.

This brightness range can be measured in stops.

We did cover stops in photography previously, so if you need a reminder, check out this tutorial here.

Now, your eyes and your camera cannot see every level of brightness depending on the intensity of the light you're seeing when it comes to your eyes.

You can see around 24 stops of brightness levels. High-end cameras range from 10 to 14 stops, and lower-end or older cameras like my Fuji S two, are closer to seven stops.

That means your camera is not capturing detail in the darkest areas of the shadows or the brightest areas and the highlights.

Now, if you expose for the highlights, you'll capture those details, but we'll lose details in the shadows.

This is known as exposing to the right, which is better than telling to the left or for the shadows.

The reason is it's easier in post-production to bring back some shadows versus highlights. Now, let's compare the dynamic range to the tonal range.

So the tonal range also refers to the brightness levels of a scene, but it is directly related to the tones captured by your camera.

Here's another way to think of dynamic versus tonal range. Imagine your Ferrari has a range of zero to 255 miles per hour. That's its dynamic range.

Imagine your spouse installing a speed inhibitor and changing the range from zero to 60.

That is the tonal range since it's been limited to a smaller range.

Now that you know your camera has limitations, here are some solutions to overcome them. It is unable to give you the exposure you desire.

One thing you can do is control the light by diffusing it or by adding more light to the shadows.

Now, if you are a landscape photographer, it's going to be more challenging to control the light in that way.

So, you can use a polarizing filter or a graduated neutral density filter that will darken the sky and your landscape.

If you have one like this where the entire filter is dark, they do make graduated ND filters where only a portion of the filter is dark.

That way you can darken the sky only and bring the dynamic range into a smaller range for your camera to capture all the detail in that dynamic range.

Or what you can do is what is known as HDR photography, which consists of taking three exposures, one underexposed, one overexposed, each by one stop, and then a third exposure in between.

Then in post-production, you can merge the three exposures to get more detail in the shadows and highlights.

If none, you need more than options in your situation. You must decide what is more important in the scene or easier to deal with in post-production.

Then, you'll have to be exposed to the left if the shadows are more important or exposed to the right, which is my recommendation.

Now, how do you know what tonal range you are capturing?

Although your camera doesn't have a gradient tool, it does have another tool that can visually show you the tonal range you've captured and whether or not you have the correct exposure for that scene.

We're gonna cover that next.

the Histogram for Photography Beginners

How do you know when you have the proper exposure?

One thing you can do is look at the image on the back of your LCD screen.

However, it will be difficult to see the image if you're outside and it's very bright.

Even then, if you can see the image, you may still find the image to be over or underexposed when you begin editing the file, which is going to require more editing time versus an image exposed correctly in camera, and not to mention a lower quality image at the same time.

So, the goal is to get perfect exposure in the camera to have a high-quality image.

This can be done using a built-in tool in your camera known as the histogram.

Today, I want to demystify histograms in photography to help you create exceptional, well-exposed images.

So, what is a histogram?

A histogram is nothing more than a graphical representation of data using bars of different heights.

Those bars represent the different tonal ranges or brightness levels captured by your camera.

Let's say you go on vacation and wish to record the number of images you took each day on a graph.

On day one, you took 50 photos.

The following day, you took 150 and then 100. And on day four, you took 200.

Now, imagine your vacation was 256 days long.

Your graph would look like this, and now it's starting to look like a photo's histogram.

Since in photography, your photos’ histogram includes 256 bars of data.

But the real question is how these information bars help capture the proper exposure.

The answer will be apparent after you and I take a deeper dive into the histogram itself.

So, the histogram represents the pixel data of your image, depending on your camera and editing software.

This data can be presented to show information about the colors in your image and the brightness levels or the tonal range in your photo.

For simplicity's sake, we will only cover the tonal range of a histogram in this tutorial.

As you discovered in a previous tutorial, the tonal range goes from 0% or pure black to 100% or pure white.

And everything else in between is a shade of gray.

These different shades of gray are divided into five zones, and each zone of your histogram represents an extra brightness level.

So, we will take a closer look at the histogram in relation to an image by jumping into a photo to see these zones within that image.

This will help you better understand how to read your histogram.

Alright, the very first bar of your histogram is number zero and is pure black.

The last bar is number 2 55, and it's pure white.

So, the first and last bars are known as the Black Point and White Point.

They darken your image's brightest parts in no detail.

So, in this image, we have a lot of blacks on the inside of this cave around here, along this railing and pathway down here, as well as behind me.

Now, as far as the white points, they're mostly contained within the water and this mini waterfall.

Now, next to the Black Point, we have 25 more bars known as the blacks.

In essence, the blacks are a lighter shade of pure black, unlike the Black point, which contains detail and tonal range.

So, for this image, many blacks are inside the cave along the edges.

We can't see them.

It's hard to see right now. We would have to zoom in to see them, but we do have blacks along those areas and this area behind me.

So, the blacks are followed by what is known as the shadows, and it includes 51 bars.

Again, we have some lighter shades of black or shadows on the inside of the cave right here. We also have some of the steps here.

And then, of course, those are all shadows in different parts of the image here, here, and down here.

Next, you have your mid-tones, which include 102 bars representing a large portion of mid-gray tones.

And these can be found along the path here, along the steps.

The railing, these rocks back here, those are mid-tones, and some of the darker greens in the leaves and the trees up here.

Those are all midtones.

The next zone is known as the highlights, and it also has 51 bars, and those are located along the path here, where it's much brighter.

Those would be highlights. We have some in the water. Some of the bricks on the bridge here are highlights and brighter leaves.

All of those would be considered highlights.

So, the final zone is known as the whites, consisting of 25 bars.

So, the whites are a darker shade of pure white, which can be found in the water here, as well as some very bright bricks on the bridge.

Now that you know what the bars represent regarding the tonal range, the next question is, why does this matter?

Previously, I mentioned that your histogram represents pixel data or brightness levels, but it's more than that.

The pixel data itself is the detail or the texture in an image.

So, you have 256 possible bars of texture to capture along the dynamic range of a scene.

So imagine what would happen if your histogram only has 200 bars out of 2 56.

What would that mean?

That means you did not capture the detail or texture in that part of the dynamic range. Does that mean you have a terrible exposure or a bad image?

Absolutely. I mean, no.

Or is it? I need some clarification.

How about you?

Let's look at some more images...

Create Perfect Exposures With Your Histogram

It's time to elevate your photography skills again with part two of mastering your Exposures with Histograms.

Say hello to Myrtle the Turtle, who I photographed recently. I did photograph her on a black background.

As you can see, she's pretty dark, but she has some bright spots on her fur and eyes.

Based on the histogram, we can see the tonal range captured, which includes lots of black shadows, some mid-tones, and very little to no highlights or whites.

So, this histogram is vital to understanding them in regards to whether or not you have a proper exposure.

Let's look at another image to explore further and understand the histogram, and you will soon realize what this histogram is telling you.

I captured This next image on a family vacation in northern Michigan.

So, let's check out the histogram for this image. So, I captured detail in all 256 bars or the full dynamic range of the scene.

Would you agree that this image is properly exposed? Great.

The only problem is that it was a trick question since this is the histogram of the final edit.

Now, here's the image's histogram straight out of the camera, and it looks like many of the bars are missing in the blacks and some in the shadows.

So this is an indication that the photo is overexposed, and here's that same image straight out of the camera with no editing, and it does look overexposed.

Wouldn't you agree?

If I had reviewed the histogram before packing up, I could have retaken the photo to get the correct exposure.

This would've resulted in a higher-quality image and saved me some time editing.

It's time for you to elevate your photographic skills with the following information.

Are you ready?

Good, because this is what's going to separate you from every other photographer on this planet.

So here we go.

So, more than just looking at the histogram is needed.

It is only confirmation of what you see before creating your photo.

So before you click that shutter release button, you first have to visualize your final image.

What do I mean by that? Well, you must see the subject you want to capture and the light to determine your exposure.

And that simply means you have to see the light's dynamic range or brightness levels throughout your scene.

For example, in this image, it's very bright along the horizon and gets darker on the way up.

And then the sand here is reasonably bright, but the tree itself is darker than the sky and the sand.

So we have a shadow down here of the tree and darker areas within the tree as well.

Therefore, we have some blacks and shadows in and around the tree, sand, and sky. We have some mid-tones up here.

Then we have some highlights here inside the sand, and then we have our whites along the horizon, and then some whites and highlights on this end of the image.

So, seeing all five zones before taking the photo tells you that if you want to capture detail in the full dynamic range of your seam, you will need a histogram with bars in each tonal range.

If not, it looks like this, then you know your image is overexposed.

But if the histogram looks like this, do you know it's underexposed?

Remember Myrtle, the turtle? She had a histogram that looked like this one, and here it is again.

But we know, based on the dynamic range of that scene, there will be more bars on the left side of the histogram and little to none on the right side.

That is why it's essential to see the brightness levels of your scene.

So, you know what to look for in your histogram to ensure you get the exposure needed for your creative vision.

Our next image is another family member, and his name is Fuzzy Bunny.

This time, we have a primarily white bunny on an all-white background, and as you can see, fuzzy has some light gray spots, and his eyes are almost pure black.

So, picture in your mind what the histogram should look like.

Is this what you had imagined?

Excellent, because as you can see this time, the bars are heavier on the right side where the highlights and whites are, and we have some information or detail in the mid-tones and very few to none in the shadows and blocks.

So remember, the histogram will confirm what you see before you take the photo, and if the histogram matches those brightness levels, you should have a properly exposed image.

So far, we've explored the tonal ranges within a histogram, and you now know what to look for to confirm you have the correct exposure.

But the histogram can also warn you if the scene exceeds the dynamic range of your camera.

So remember, your camera only has seven to 14 stops of dynamic range.

Let's look at some histograms that warn you if you've exceeded the dynamic range of your camera.

This will help you decide if you should be exposed to the left or the right or control the light by diffusing it or other means.

So here's another image of Myrtle, the turtle. This image is much darker than the first one I showed you, and the histogram is even heavier on the left side versus before.

Notice how the bars are bunched up to the left side.

This is your warning that details are being clipped, or in other words, you're losing detail in the black tones and possibly the shadows.

This would be considered an underexposed image.

What you want to do instead is this histogram.

Notice how the bars on the left side are less heavy or bunched together than in the underexposed image.

A good rule of thumb is to ensure there is little to no gap on the left and/or right sides.

And, of course, that all depends on the dynamic range of your scene.

An overexposed image will be the opposite of the last one.

So, the bars will be bunched together on the right. If you see this, adjust your camera settings until your histogram has little to no gap on the right side.

Alright, the one thing we still need to cover that you might be wondering about is the height of the bars in our vacation example.

The height of the bars changed based on how many photos were taken each day.

The bars in your photos' histogram can also change heights based on the brightness levels.

So, you'll see a spike for that specific tonal range if there's a predominant brightness level.

So, for this image, I photograph the couple against a dark wall, and the histogram shows a massive spike in the blacks and shadows.

This is where the majority of the background brightness levels are located.

As you can see, the mid-tone highlights and white bars also have data, but the bars are much shorter since those ranges have fewer details.

Alright, what time is it? That's right, it's Parker time.

No, not really.

It's time to elevate your photographic skills by taking complete creative control over your camera and learning to shoot in full manual mode.

the Exposure Triangle Explained for Photography Beginners

Stop and put your camera down because this tutorial is essential for understanding exposures and dialing in the exposure you need based on your creative vision.

It will help you finally ditch auto modes and guarantee you the knowledge to shoot in full manual mode.

When it comes to capturing a photo, you have two options.

You can choose one of four auto modes, and your camera will set the ISO, Aperture, and or Shutter speed to get a proper exposure, which you learned in previous tutorials.

Or you can set your camera in manual mode and manually select each of the three camera settings.

Why would you want to do that?

If you want complete creative control over your camera and wish to set the aperture size and the shutter speed, then you'll use manual mode, which you'll learn in the following tutorial.

First, you must understand the relationship between iso aperture and shutter speed before shooting in manual mode.

Once you understand this concept, shooting in manual mode will be easier, guaranteed.

And if you are ready to master your camera and learn to shoot in manual mode, let's do it.

In photography, the exposure triangle explains the relationship between your different camera settings and a visual tool.

So here is a typical exposure triangle, and on each side, you have one camera setting with information about how each affects your exposure and whether it freezes or blurs the action, the depth of field, and possible digital noise.

So make sure to download the PDF of this triangle in the description below to use as you follow along.

The purpose of the exposure triangle is to help you visually see what happens when you choose or decide to change a camera setting.

At the bottom, we have apertures; the larger the aperture, the more light you'll have.

And as you move to the left, you decrease the size and end up with less light.

The creative outcome of your aperture is also listed, so a smaller aperture results in a large depth of field, and the larger the Aperture becomes, the smaller your depth of field becomes.

On the left side is your iso.

Again, the amount of light and the effect of that light are listed—so more or less light and less or more digital noise.

Shutter speed also shows more or less light, depending on the shutter speed chosen and the creative effect of the speed selected.

Each of these camera settings has a tight relationship with each other.

In essence, if you change the camera setting of one, you may have to adjust one or both of the other two settings to get the exposure needed.

For example, let's say you're photographing a landscape and

Decide on ISO 400, a shutter speed of 1/500th of a second. And since you want a large step, the field, you choose f/11.

After taking the photo, you realize there is too much digital noise, so you change your ISO to 100.

This, in effect, reduces the brightness of the available light in half, twice, or in other words, two stops less light.

And the exposure triangle shows you that 400 to 200 is one stop, and 200 to 100 is another “stop.“

So, two stops less light. To get the correct exposure, you must change the aperture by two stops by adjusting it to f/5.6.

So, f/11 to f/eight is one stop, and f/eight to f/5.6 is another stop.

Or you can adjust the shutter speed by two stops with a slower shutter speed of 1/125th of a second.

So 1/500 to one 1/250th of a second is one stop, and then one two 50th to one.

1/125th of a second is another stop.

Or you can adjust both the shutter and aperture by one stop. In that case, you can go to f/eight and 1/150th of a second for two full stops.

Your choices of aperture and shutter speed depend on your creative vision for the shot and whether or not you can hold the camera at a slower shutter speed.

Now that you understand the relationship between your camera settings and how it affects your exposure, you can shoot in full manual mode.

But first, I must reveal a secret tool that will make it super duper easy to do, guaranteed.

How to shoot in Manual Mode

It is time to take complete creative control over your camera by learning to shoot in “Manual Mode.”

It sounds like a daunting task, doesn't it?

Where do you start?

Which camera setting should you set first, ISO, Aperture, or Shutter Speed?

Then, once you figure out one setting, how do you decide on the other two to get the proper exposure?

Well, fear not.

Once you're done with this tutorial, you'll know precisely how to shoot in full manual mode to achieve your creative vision and get the proper exposure because I will give you step-by-step instructions.

And if you are ready to ditch auto and shoot in full manual mode, let's do it.

Grab your camera, and let's put it in manual mode.

Change your dial to the letter M; now you're in manual mode.

So here we go. Step one, choose your ISO based on your available light.

So remember, try to use the lowest ISO number possible for the brightness of the available light—step two.

Next, you must decide on your creative vision for the photo you want to create.

Do you want to freeze or blur the action?

Do you want a small or large depth of field?

Which one of those is the most important?

Step three: if the depth of field is the most critical element, set your aperture accordingly.

Or if freezing or blurring, the action is more important.

Well, set your shutter speed accordingly—step four.

It's time to set the third camera setting based on your creative vision to get the proper exposure.

And the secret tool you will use to help you do that is not a secret.

So what is that?

Well, we talked about this tool in a previous tutorial, and it's called a light meter.

Previously, the light meter wasn't visible when you worked in aperture and shutter priority modes.

But now that you're in manual mode, look through your viewfinder, and you'll see multiple dashed lines that look like this.

So, that is the secret tool to help you determine if you have the correct exposure.

Depending on your camera, you might have a plus sign on the right, or it might be on the left. So here's how it works.

If the marker is dead center, you can expect your exposure to be good.

If the marker is on the positive side, then your image will be overexposed and underexposed if the marker is on the opposing side.

So the goal, of course, is to have a good exposure, and you need to adjust your camera settings until the marker is in the center.

The challenge is to balance the camera settings based on your creative vision. So what I recommend doing

It starts with the camera setting. That will not affect what you want to achieve creatively.

For example, if a shallow depth of field is the most important, adjust your shutter speed until the marker aligns with the center.

But if you end up with a shutter speed that is too slow, you can increase the ISO instead or a combination of both the shutter speed and iso.

Now that you know how to shoot in Manual Mode, your exposures will be perfect every time.

No, not really, because remember, in previous tutorials, we covered how your camera sees things differently than you based on 18% gray and the different metering modes that alter how the light is well-metered.

That's why you must understand the dynamic range of a scene and use the histogram to confirm the existing range of light to ensure proper exposure based on what you're trying to photograph.

So, if you still need to complete all of the tutorials in this camera masterclass, I recommend going back and watching everything.

That way, you will fully understand your camera.

And then, and only then, will you be able to master your camera and exposures.

Watch this free 4-hour photography course next.