Week 1 - Two Peas in a Bucket

TWOpeasinabucket.COM photography Course: 

12 Weeks to Better Photos 

By Mark & Joanna Bolick 

LESSONS ONE -- S IX 

This class is designed to appeal to beginning photographers with all types of cameras. 

Each article is packed with visuals and includes information on the topic of the week, a question 

& answer section, and a camera challenge so that you can put your new-found knowledge to use. 

This packet of information to download & print includes weeks 1-6: 

Week 1: Aperture Basic Training 

Week 2: Advanced Aperture 

Week 3: Light 

Week 4: Flash 

Week 5: Composition & Framing 

Week 6: Shooting Indoors




LESSON ONE: Aperture basic training 

One of the most necessary but oftentimes least understood parts of photography is Aperture. 

The size of the aperture, or f/stop, of a lens determines how much of your photograph is in 

focus. Generally, when you hear someone talk about f/stop, they are referring to aperture -- 

the terms are often used interchangeably. The f/stop on a lens can go from 1.2 to 22 or sometimes 

higher. (It’s not really important to this class for you to understand the mathmatical basis 

for these numbers, but instead to understand what they mean to your photography.) 

F/stops can be confusing at first. The f/stop numbers refer to how open or closed the aperture 

on the lens is. The wider the opening of the lens, the greater the amount of light that enters 

your camera at one time – which means that when your aperture is wide open your focus will 

be shallower and fewer things in your photo will be in focus. 

Here is a photo of an open aperture on a 

50mm lens. 

The WIDER the aperture, the more light 

that comes through the camera -- because 

a lot of light is flowing through the 

aperture opening LESS of your photo 

will be in focus. 

A low f/stop, such as f/1.4 or f/2.8, is considered 

a wide-open aperture. 

(photo courtesy istockphoto.com) 

1

TWOpeasinabucket.com photography Course: 12 Weeks to Better Photos 

Here is a photo of a closed aperture on a 

50mm lens. 

The SMALLER the aperture, the less light 

allowed -- because there is very little 

light flowing through the aperture MORE 

of your photo will be in focus. 

A high f/stop, such as f/22, is considered a 

closed aperture. 


The smaller the opening on the lens, the smaller the amount of light that is allowed to 

enter your camera at one time – which means your focus is deeper and more of your 

photo will be in focus. 

The confusion for most people arrives when you try and put the f/stop number with these 

scenarios. In terms of aperture openings, f/1.4 would be a wide-open aperture on most 

high-end lenses, whereas f/22 would be a virtually closed aperture. 

Basically, when you use a low f/stop, less of your photo will be in focus. When 

you use a higher f/stop, MORE of your photo will be in focus. 

* * * * * 

This week, we’re encouraging you to check out the “Aperture Priority” mode on your camera 

(check your manual if you’re not sure if you have this mode.) Aperture Priority is usually represented 

with an Av or A symbol on your camera dial. When you are using the aperture priority 

mode, you are responsible for setting your own aperture while letting the camera set the shutter 

speed. 

Coming next week: 

In ideal lighting conditions, it’s easy to play around with your aperture settings to create a variety 

of different images based on how much of your photo is in focus. Problems can arise, however, 

when you find yourself in a low-light situation and have to use a low aperture for a photo where 

you want the majority of your subject(s) to be in focus. This is where shutter speed and film speed 

(ISO) come into play with aperture, and we’ll address this relationship in next week’s lesson on 

advanced aperture. 

2

WEEKLY CHALLENGE: Exploring Aperture 


So here’s the question we want to focus on this week: 

Just how much of your photo do you want to be in focus? 

The answer, of course, varies according to the situation. But in order to become more 

comfortable choosing your aperture, we invite you to partake in our weekly challenge: 

First of all, we want you to operate your camera in Aperture Priority mode (often 

indicated with an “A” or an “Av” on your camera dial. (Don’t worry about shutter speed 

as the camera will take care of that for you.) The goal of this challenge is to discover what 

different f/stop settings on your camera will produce for you and to become more 

comfortable with selecting these settings to fit your subject. 

The easiest way to do this is to find a fixed subject such as a flower, a tree limb, or in our 

case, a birdbath. (If you are outside in daylight, set your ISO to around 400. We highly 

recommend you try this first challenge outdoors, if it’s not too cold for you! If you are 

inside, you may have to set the ISO on your camera much higher like 1250 or even 1600. 

Your photos will be grainy, but you should still be able to tell what your aperture setting is 

doing to your photos.) 

1. Set your f/stop (often accomplished by turning a dial, but check your manual if 

you’re not sure) to the lowest setting it will go. Compose your image and use 

either the manual focus or autofocus to focus on one particular spot of your 

subject (the subject of our photos was the frontmost rim of the birdbath, and 

we made sure to focus on this for all 3 photos). Take your picture. 

2. Move your aperture setting to something around f/8. Compose and 

refocus on the same element again. Take your picture. 

3. Move your aperture setting to the highest setting it will go to (most likely 

f/22). Compose and focus on the same element again. Take your picture. 

Now bring these pictures into your image editing program and look at the 

differences in the composition. 

3


1. On the first image, 

you will have very little 

outside the initial focus 

point in focus. 

The front of the birdbath 

is visible here, but the 

background is completely 

blurry. 

2. On the second image, 

you will have more of your 

subject in focus, but still 

will maintain a pleasing 

background blur that 

separates your subject from 

the background elements. 

The front & inside of the 

birdbath are in focus and the 

background, though visible, 

is not in sharp focus. 

3. On your final image, you 

will most likely have virtually 

everything in front and behind 

your subject in focus. 

Pretty much everything is in 

focus -- even the ugly satellite 

dish & lamp post on the 

right-hand side of the trees. 

This is how aperture works: the 

lower the f/stop, the less that is 

in focus. The higher the f/stop, 

the more that is in focus. 

4

Q & A: Aperture 


First of all, we wanted to thank you for submitting your questions on the thread that we posted 

on photography board! We were so excited to see so many questions (and hope to respond to 

a great deal of them throughout the class, either directly, in this section, or through the topics & 

content we’ve chosen to discuss based on your suggestions.) 

Q: Southern Art said: I would like to learn more about aperture, shutter speed, exposure...and 

when to use what settings. 

A: This is definitely the request we received most frequently, which is why we’ve chosen to start 

the course by discussing Aperture, followed next week by Aperture, ISO & Shutter Speed. 

Q: Snowball2 said: The only comment I have is not to forget those of us who are using a pointand-shoot. 

(A digital slr is on my wishlist, but I haven’t got it yet!) I’d love to learn more about 

composition and using natural light. And getting the most out of my camera, such as it is. 

A: We absolutely want to include everyone! After we tackle aperture, shutter speed, and ISO, 

we’re going to discuss Light, Composition, lenses, and taking photos in a variety of settings. We 

just ask for your patience while we cover the basics for those who do have bridge, digital, or 

film SLRs. (Although, if a digital slr is on your wishlist, it can’t hurt to do a little prereading!) 

Q: **cindyupnorth** asked, “Is this only for digital??! Hope not!!” 

A: No, it’s not! However, we do want everyone to understand that this is a beginning 

photography course, and not a beginning Photoshop class. (We do think, though, that 

Photoshop for Photographers would be a great class to follow this one!) 

Q: Chris in Ontario commented: I have a Canon Rebel xti and have never taken a photo without 

it being on automatic. I really need to start over and learn the basics so I can take manual 

photos. 

A: We know that shooting in manual can be intimidating, and we also know that there are a lot 

of you out there who just received new digital SLRs for Christmas. So we’re encouraging you to 

take a small step first -- instead of jumping into full manual mode we’d like you to try out one 

of the creative modes, Aperture Priority, first. This mode allows you to make one big choice 

(your aperture) while relying on the camera to make the other choice (shutter speed) for you. 

Q: Thayerzoo asked: What is the correct Aperture or focal point (closest person, furtherest or 

person in the middle) for multiple subject photos so everyone is in focus? 

A: The short answer is: We recommend using around an f/8 (depending on the size of the 

group) and focusing on the subjects on the outside of the group. We’ll discuss group shots 

indepth in Week 9: Portraits. 

Q: Meglabs asked: What do S, L, and R stand for? (I’m really a beginner) 

A: It’s great to be a beginner, and we’re glad you’re interested in learning more! SLR stands for 

Single Lens Reflex, and it refers to a type of camera. For more information on camera types, 

terms, and a bevy of other topics, check out the existing photography articles in the Photography 

Education section at 2peas. (From the menu bar at the top of the homepage, simply select 

“photography articles” from the drop-down menu under “Photography” at the far right-hand 

side of the page.) 

5




LESSON TWO, part 1: ISO & Shutter Speed 

Last week we took a look at how aperture and f/stop settings work on your camera to restrict 

and control the elements in your photos that are in focus. The goal for our weekly challenge 

was to get you comfortable with adjusting the f/stop numbers for the amount of focus you 

desire in your photos. With a week’s worth of practice, we hope that you are now more 

knowledgeable about how f/stops work and which f/stops produce certain kinds of looks. 

Once you’re comfortable with f/stops, then throwing in ISO and shutter speed is fairly simple. 

ISO, or film speed, is really just a setting to determine how quickly an image will be captured 

by either the film or digital sensor. The higher the ISO, the quicker the image will be captured 

and the less light that is required. The lower the ISO, the longer it takes for the image to be 

captured and the more light you will need. 

ISO depends on your surroundings and the amount of light available. Think back to when you 

used film -- do you remember consulting the back of the film box for the handy reference 

guide that suggested what film speed should be used when? It’s still a good rule of thumb for 

digital cameras. In general, use:

TWOpeasinabucket.com photography Course: 12 Weeks to Better Photo 

“So why I can’t I just shoot in 1600 ISO all the time so I capture images quickly and don’t 

have to worry about how much light is available?” 

Good question! The trade-off is that the higher you set the ISO, the more digital noise (or 

film grain) is created in the image. The faster the camera captures the image, the less time 

it has to be accurate, so the sharpness of the image will suffer. A good rule of thumb is that 

anything 800 or over will begin to give you digital noise in your image. The higher your 

ISO, the more digital noise. 

* * * * * 

Shutter Speed 

After you’ve considered your ISO it’s time to think about shutter speed. 

Your shutter speed is how quickly the shutter, or the little door that opens in front of your 

film or image sensor, operates. It can range from several seconds (or minutes on the Bulb 

setting) to 1/1600 of a second or faster. It might help to visualize your shutter literally as a 

door, with your shutter speed controlling how fast or how slow the door opens and closes. 

A faster shutter speed will freeze action whereas a slower shutter speed can create a blurred 

effect (or can just be downright blurry.) When you set your shutter speed on your camera, 

you’ll see numbers like 60, 120, 250, 1000 and so on. These actually represent 1/60th of a 

second, 1/120th of a second and so on. So the higher the bottom number on the fraction, 

the faster the shutter speed. The smaller the number, the slower the shutter speed. You will 

also see shutter speeds for seconds, indicated by inch marks ("). For example, if the display 

says 1"5, that indicates a shutter speed of 1½ seconds. If the display says 30", the shutter 

will be open for 30 seconds. 

As a general rule of thumb: 

Use your tripod (or a flat, stable surface) for shutter speeds slower than 1/50th 

of a second -- so any shutter speed reading 50 or below, and anything with inch marks. 

Use a slow shutter speed to portray a blurred subject or surroundings. 

If you are hand-holding your camera, set your shutter speed at a 

minimum of 1/60th of a second (indicated by the number 60) or faster. 

Hold your breath while taking the photo to help keep yourself steady. 

If you are wiggly or have wiggly subjects, increase your shutter speed. 

Fast-moving objects will need a faster shutter speed, 

around 1/1000 of a second or higher, in order to 

freeze the subject(s) in action. 

week two 

2

WEEKLY CHALLENGE: The Kitchen Sink test 



When should I use a fast shutter speed? 

We call this one the kitchen sink test. If you don’t have a window by your kitchen 

sink, try a bathroom sink. If you don’t have enough light inside your house, a water 

hose, a babbling brook, or a rain puddle will do. 

First of all, we want you to operate your camera in Shutter Priority mode (often 

indicated with an “S” or “Tv” on your camera dial. (Don’t worry about aperture as the 

camera will take care of that for you.) 

If you are inside go ahead and bump up your ISO between 1000 and 1600 unless you 

have an abundance of available light. 

1. Find your kitchen sink (that shouldn’t be too hard.) 

2. Now locate an object that is going to obstruct the water flowing from the 

faucet. Basically, you want something that will interrupt the flow of water, 

causing the water to “splash” around it (similar to what a child’s boots do 

when tromping through a rain puddle.) 

3. Set your shutter speed to 1/80th of a second (indicated by the number 

80.) Turn on the water and take the picture. 

4. Now set your shutter really high (around 1/1000 of a second or higher) 

and take the photo again. 

Don’t worry so much if the composition of your two photos isn’t exactly the same. What 

we’re looking for here is a visual indication that you’ve “frozen” the action by using a high 

shutter speed. 

***Bonus points: Grab your tripod and set up your shot again using a really slow 

shutter speed, such as half a second, indicated as 0"5, or 1 second, indicated as 1". What 

effect does that give you? In what situations can you use this effect? 

[For those of you with point & shoot cameras set your camera on the action mode (usually 

indicated by a little running man) to obtain a high shutter speed. Take a photo in action 

mode, and then a second photo in a different mode, such as landscape.] 

week two 

3


1. For our challenge photos we 

used a glass vase turned upside 

down in the sink. We placed the 

vase directly under the faucet and 

turned the water on “hot” to add a 

little steam (just for fun.) 

The shutter speed here is 1/85 of 

a second. We focused on the spot 

where the water first touches the 

glass. 

As you can tell, a slow shutter 

speed does not visually stop the 

flow of water coming from the 

faucet. 

2. For our second photo we bumped 

up the shutter speed to 1/1300 of 

a second. As you can tell, we were 

able to stop (or freeze) the water 

in motion by using a higher (faster) 

shutter speed. 

You may also notice that there is less 

in focus on this photo. Because 

we used a higher shutter speed, the 

camera automatically chose a lower 

f/stop to compensate. 

This is how shutter speed works: the 

faster the shutter speed, the faster the 

camera takes the picture. The slower 

the shutter speed, the slower the 

camera takes the picture. 

4


LESSON TWO, part 2: But Wait -- there’s MORE! 

Please note: 

This part of the class is specifically written for those who are using SLR or dSLR cameras. 

***Also note: please don’t read this part until AFTER 

you’ve completed the shutter speed challenge for this week*** 

Now that we’ve talked about aperture, shutter speed, and ISO, it’s time to think about 

achieving balance. The Tao of using our cameras, so to speak. 

--During the aperture challenge in week one we learned that we need to have a LOT of light in order 

to use a high f/stop like f/22. (If you took your photos indoors you may have noticed that your photos 

at the high f/stops tended to come out blurry.) 

-- During the shutter speed challenge this week we learned that we need to have a LOT of light 

indoors to use a very high shutter speed. To compensate for high shutter speeds indoors, the camera 

chose a low f/stop, resulting in a shallow depth of field. 

To achieve what your camera considers to be correct exposure your aperture and shutter 

speed need to balance to let in enough light to expose your image. (The exposure is the image 

created by the light entering the camera and being recorded onto the film or digital sensor.) 

Thankfully for us, most SLR 

cameras come with a built-in 

meter that tells you when you 

are correctly exposing your 

images. 

Look through the viewfinder of 

your camera. Do you see 

all those little numbers at 

the bottom of the screen? --> 

Do you know what 

they stand for? 


| | | 

shutter aperture exposure 

speed 

meter 

5


shutter 

exposure 

speed aperture meter 

| | | 

When you are looking through your camera the exposure meter is located on the bottom of 

your viewfinder. It looks sort of like a scale, and will generally have a zero or image indicating 

the middle of the scale, and plus and minus numbers to the right and left of center. 

Quick - focus on something with your camera and press your shutter button half-way down 

(the button you use to take the photo.) Do you see a blinking line on your exposure meter? 

When you are focusing on an image, a small indicator light will show up on the scale, 

indicating your current exposure. If the line is on the minus section, your image is 

underexposed. If the line that lights up is on the plus section, your image is overexposed. If the 

line is centered, you have achieved what the camera considers to be the correct exposure. 

Do you see those other two numbers to the left of the exposure meter in the illustration above? 

They might look familiar by now, as they indicate your current shutter speed and aperture. 

When in manual mode, you use the exposure meter to balance your f/stop with the shutter 

speed to equal a correct exposure. Really, if you have already set your ISO for the amount of 

light you have or the situation you’re in, then operating in manual mode means you’re just 

making 2 choices -- your shutter speed and your aperture. 

Here’s the best part: If you already know the range where you want one of those two 

numbers to be, then the camera is ready to help you find the other number that correctly 

balances your exposure. 

week two 6

You Can Do It! 


You know what that means, don’t you? Yes, it means that you can operate in manual mode. 

Yes, you, I promise! Let’s take it slow. 

Turn your camera dial to Manual mode (usually indicated by an “M.”) 

Choose a non-moving object either indoors or outdoors. 

Step 1: Consider your surroundings. 

Refer back to the ISO chart on page 1 and set your ISO. 

Step 2: Consider your priority. 

Aperture controls the amount of the photo in focus -- do you want to limit your depth of field? 

Shutter speed controls the pace of the photo - do you want to freeze or blur the action? 

Step 3: Select the number on the camera. 

If you’ve chosen aperture as your priority, set your f/stop. If you’ve chosen shutter speed, set it. 

Step 4: Focus on your subject and press the shutter button half-way down. 

Find the blinking line on your exposure meter -- is the image underexposed (-) or overexposed (+)? 

Step 5: To balance your exposure, you will need to change the OTHER number (the one 

that’s not the priority.) 

If you selected your aperture, change the shutter speed until your line is centered on the exposure 

meter. If you selected your shutter speed, change the f/stop until your line is centered. As you’re 

turning the dial for either setting, keep an eye on the exposure meter. If the line is going in the wrong 

direction (not toward center) reverse the dial. 

....and, relax! Whew! 

Disclaimer: Okay, so we’re not really finished yet. Look at the numbers through the viewfinder again. 

Is your shutter speed 60 or above? If not, you may have to decrease your f/stop. If your original 

priority was shutter speed, check your f/stop number. Will that f/stop work with the amount of your 

subject you want in focus? Take the photo and find out! Are you not getting anywhere at all? Increase 

your ISO if your meter indicates that the image is severely underexposed. Decrease your ISO if your 

meter indicates that the image is severely overexposed. OR just come yell at Joanna on this week’s 

photography message board thread and we’ll work on it together. 

I know that probably just seemed like a LOT of work to set up 1 photo! But you can do it! 

Remember, too, that you don’t have to use manual mode all the time. But we do want you to try. It’s 

perfectly okay to rely on the Aperture Priority & Shutter Priority modes if you don’t want to make all 

the decisions or you need to take a photo quickly without thinking. But if you want to help 7 

your camera make the decisions, than manual mode gives you this ability.


Q & A: ISO, Shutterspeed, and Aperture 

Did you really make it through all 8 pages? Whew! We know that we covered a lot this week, 

but that doesn’t mean that you have to know it all at once. (Also, don’t worry -- we’re not 

going to make you operate in manual mode for the rest of the course. We just want you to be 

informed.) 

Q: When is a good time to use a very slow shutterspeed? 

A: A slow shutter speed 

can be used to depict 

the motion of an object 

(such as a ferris wheel) 

against the stillness of 

its surroundings. 

Another example 

would be showing 

the blur of busy traffic 

going by on the street. 

This photo by Mark 

was taken using a 

shutter speed of one 

second, with the 

camera on a tripod. 

The f/stop is f/20 so 

that the majority of 

his photo in focus. 

Q: Chris in Ontario asked: Are manual photos if done the correct way better than a photo that 

is taken on automatic? 

A: The question of if one is “better” than the other really depends on you and the composition 

you desire for your photo. You can absolutely take a fantastic photo on auto. If you want to 

control the set-up of the photo, or have to take a photo in poor light conditions, it is often 

helpful to know how to use manual mode to do so to achieve the results you desire. 

Q: Allison_Hiller said : I bought the Understanding Exposure book and quickly realized that I 

can’t learn by just reading...definitely need photos and specific how-to’s. The more illustrations, 

the better. Hope that helps! 

A: Allison, it is definitely our goal to give you this information in bite-size chunks. Also, we 

love visuals, which is why we try to include as many photos and illustrations as we can. Thanks 

for your suggestions! 

Also, a note about exposure. This week we talked about what the camera considers to be 

“correct” exposure. Exposure, however, is a tricky thing and whole books have been written 

on getting it correct and then intentionally messing it up for artistic purposes. Keep in mind that 

there can be a difference between what the camera thinks is the correct exposure and what 

YOU think is the “correct” exposure. A creative exposure (where you control the settings to get 

the look you want) does not always equal a “correct” exposure setting on the camera. The book 

mentioned above, “Understanding Exposure,” does a great job explaining this more in depth. 

week two 8




LESSON Three: The Color of Light 

Over the past 2 weeks we’ve been experimenting with modes and settings and you guys have 

done a wonderful job! We're excited to hear all your feedback! We know, too, that you’ve 

encountered some frustration while trying to complete the challenges – for instance, when 

you’ve tried to use your highest f/stop or fastest shutter speed indoors. While our answers have 

varied depending on the specific situation or camera, there has been one constant throughout 

– the photos you take and the results you get will always depend on the amount of light that 

you have. 

Which brings us to this week’s topic – light! Light, however, is a very comprehensive topic, as 

there are thousands of lighting situations you could encounter from day to day, so please 

consider this week just the tip of the iceberg. Next week we’ll move on to flash photography, 

and during weeks 6 & 7 we’ll come back to light and talk about specific situations and 

suggestions for indoor and outdoor photography. (So if we haven't answered your questions 

about light yet at the end of this lesson, hang in there!) 

The subject of this lesson is the color of light, and the point is 

to help you use your knowledge of it to enhance your photos. 

All colors of light have an actual color temperature measured 

in Kelvin, but for the purpose of this lesson our main focus is 

the color cast and not the specific temperature of the light. 

(For most real world use it's not necessary to know the Kelvin 

temperatures unless you are using a high-end photo editing 

program for post-processing.) 

All light emits a particular color. Sunlight, although referred to as "white 

light," actually contains all the shades of the color spectrum. So even 

when you are using natural light for your photos there can be a color 

variance, or "cast," based on the portion of the color spectrum that is 

visible to our eye.


Outdoors 

For instance, on a clear, bright day outside you'll often encounter a soft yellow cast in 

morning photography, a cooler, bluer color cast at mid-day, and a warmer, orange color cast 

in afternoon photography. (Also, take note that in morning and evening light your photos 

will have a softer contrast as compared to the harsh, strong contrast found in the middle of 

the day.) Below are three examples of photos taken on the same bright day at the beach. 

am noon pm 

6:45 am 12:00pm 6:15 pm 

The color cast on an overcast day will vary depending on the cloud cover. But fortunately 

for us, most outdoor color casts can be used to enhance and flatter our photos, as long as 

we keep in mind the kind of light we'll get at particular times of the day. So use the warm 

glow of the setting sun to your advantage! 

week three 2

Indoors 

Indoor light, however, is where we can run into a few problems with color cast. Artificial 

light creates a color cast that may not be readily apparent to the naked eye, but will 

become immediately obvious when photographed. 

The two main types of indoor light are flourescent and incandescent bulbs. Flourescent 

lights, often found in office environments or warehouse superstores, can give off a green 

or purplish cast. Incandescent lights, often found in our homes, tend to give off a 

yellowish/orange color cast. (As opposed to a soft yellow light outdooors, the yellow light 

found indoors tends to be overbearing and unpleasant.) 

This photo was 

taken in our kitchen 

with the white 

balance set on 

auto (AWB). 

Note the obvious 

yellow cast in the 

skin tones and on 

the walls. The red 

tablecloth almost 

looks orange. 


Since purple, green, and strong yellow casts can be rather unflattering to our subjects, indoor 

lighting requires more work. This is where White Balance comes into play. 

White balance is simply a fancy way of setting the color temperature of your image. The human 

eye is very adept at compensating for color changes in light and allowing us to view light in a very 

large spectrum. Most film cameras handle white balance in the film itself and you simply purchase 

film to match the lighting situation. Camera sensors, however, are not quite as intelligent, and they 

must be told what color the light is for a given situation in order to compensate for that color. To 

help with this, digital cameras come with some pre-set white balance settings such as Auto (AWB), 

Daylight, and Tungsten, among others. Properly setting your white balance for your lighting 

situation will greatly increase the impact of your photos and decrease the amount of time you 

spend editing them. White Balance settings will vary from camera to camera, but here are some 

typical icons & the settings they correspond to: 

cloudy 

tungsten 

bright sun 

flourescent 

week three 

3

Tutorial: Custom White Balance 


The best way to combat color casts indoors is to use a custom white balance (it can also be 

referred to as a manual white balance.) This will force the camera to set its white balance for 

the exact lighting situation that you are shooting. 

Please note: Setting a custom white balance is camera specific. To familarize yourself with the 

process, we're going to take you through a step-by-step using our camera. These steps could vary 

quite a bit depending on your camera. We think you'll be pleasantly surprised, though, how easy 

and effective it can be to use a custom white balance. 

Step 1: Locate the custom white balance 

setting on your camera. We selected 

ours by pressing the "AF/WB" button 

and then turning the dial to locate 

the correct icon. 

Step 2: Find a plain white piece of paper 

(or posterboard or cardstock) to 

photograph. You want to take the 

photo of the paper in the lighting 

situation you'll be shooting in. 

Step 3: Hold the paper so that it fills the 

entire frame. The white paper doesn't 

have to be in focus - it just has to fill 

the frame. (If your camera won't take the 

photo because the object is too close to the 

lens, switch off the autofocus on your lens, 

take the photo, and switch the AF back on.) 

Step 4: On your camera's menu locate the 

custom white balance setting. Your 

camera will ask you to select the photo 

you just took of the white paper, and set 

this as your white balance. 

**If the light changes or you change locations you 

will have to redo the white balance. To stop using 

a custom white balance, simply turn your white 

balance setting back to the AWB icon or whichever 

preset you prefer.


WEEKLY CHALLENGE: Experimenting with White Balance 


What can I do to combat color casts in indoor photos? 

This week we're going to stay indoors for our photos. You can change your white balance 

no matter what mode you're operating in, so for this challenge, take your pick of modes - 

from aperture priority to shutter priority to manual. However, it will be easiest to see the 

differences in your photos if you turn off your flash. 

1. Photograph an object (or people, as long as they're willing to sit still for a 

bit) in your house the way you typically would, using the auto white 

balance setting (often indicated as AWB.) 

2. Now select the tungsten white balance setting (usually the icon for this 

setting is an upside down lightbulb) and take the photo again. 

3. Grab a piece of white paper, posterboard, or cardstock, large enough to 

fill the frame of your lens. 

4. Follow the steps in your manual to set your custom white balance. 

5. Using your custom white balance, take your photo again. 

6. Upload your photos and compare. 

***Bonus points: Experiment with your other white balance settings. Try out the "cloudy" 

setting outdoors versus the "bright" setting. Take your camera to the office if you have 

flourescent lights overhead and play around with that white balance setting. If you have a 

film camera, try experimenting with tungsten film. 

[Setting the white balance for a static tungsten setting will assume that incandesent is the 

sole light source in the photo. This can be a problem if you have a combination of both 

natural light and incandescent light in your photo. The color balance for tungsten is 

significantly different than the balance for natural light and you can get some pretty eerie 

colors. The best way to combat this in camera is to use a custom white balance for your 

indoor shots. This will force the camera to set its white balance for the exact lighting 

situation that you are shooting.] 

week three 

5


AWB 

Tungsten 

1. For our challenge photos we 

placed a white milkglass vase on the 

table in our dining room. Not only 

does this room have incandescent 

lighting, but it also has very orange 

walls, which lend a distinct color 

cast of their own. 

The first photo was taken in manual 

mode with our white balance set on 

auto. 

2. The difference between the first 

and second photos is not drastic, 

but this may have more to do with 

the orange walls. 

The second photo was taken using 

the "tungsten" setting. 

3. The third photo was taken after 

setting a custom white balance. 

Custom 

6

Q & A: Light 


Q: Are there other tools for setting a custom white balance? 

A: Yes. Because you have to set your custom white balance for every lighting scenario, it's 

not always convenient to carry around a large piece of white paper. There are professional 

accessories that will help you achieve the same thing -- such as Expo Imaging's Expodisc 

(www.expodisc.com) -- they're just more expensive. 

Q: Cindi asked, "How and why would I use a gray card...? 

A: A gray card (just like it 

sounds - it's a neutral gray 

colored card) is another 

tool you can use to set 

white balance. 

However, you use a gray 

card when you want to 

correct your white balance 

in post-processing instead 

of in-camera. 

Using a Gray Card 

Basically, you shoot a frame with your gray card in the setting where you're going to be 

taking your photos. Then you shoot the rest of your photos as you normally would. (Just as you 

would change the custom white balance in camera for each different lighting scenario, take a 

photo of the gray card in each different scenario as well.) 

When you're done taking photos, your next step is to open the photo of the gray card in your 

photo-editing program to set your white balance for each series of photos you took in that setting. 

For example, in Photoshop CS3, you would: 

1. Open your photo of the gray card in Photoshop. 

2. Select Image>> Adjustments >> Curves from the menu at the top. 

3. In the curves box, select your middle ink dropper (the gray one) and use it to click on the 

gray portion of the gray card in the photo. 

4. Before closing the Curves box, select "Save Preset" to save your new white balance settings. 

5. Now open the rest of the photos that you took where you first photographed the gray card. 

6. For each photo, select Image >> Adjustments >> Curves, and then choose "Load Preset" to 

load your custom white balance setting to color correct the image. 

week three 7




LESSON Four: Flash 

Ah, the Flash. Is it our nemesis or is it our friend? Personally, we'd rather avoid it altogether, 

but as you've certainly discovered over the past few weeks there are times when even the best 

combination of ISO, aperture, and shutter speed won't help us capture what we want in low 

light situations. 

You might gather from reading that this we're not overly fond of flash use. Mainly we're not 

big fans of the way a flash can detract from a photograph's impact. That being said, proper 

use of a flash can really make a positive difference, and that's the topic of this week's lesson: 

tips & tricks for using your flash effectively. 

There are two main types of flash for your camera - internal & external. An internal flash is a 

part of your camera (you can't remove it from the camera body) whereas an external flash is a 

detachable camera accessory. For the purpose of this discussion we're going to concentrate on 

using your internal, on-camera flash (though we'll touch on external flash a bit at the end.) 

So first things first: 

Whether you're indoors or outdoors, when should you use your flash? 

Indoors 

We are big fans of natural light, but, realistically, when you are indoors 

and there is insufficient light to capture your picture with a combination 

of ISO, shutter speed and aperture, you have very little choice but to use 

your flash. Still, within that use, there are some things to do to achieve a 

more pleasing effect with the flash.


Consider distance 

Because the camera flash becomes the dominant 

lightsource when used, it can cause some lighting 

extremes that will affect your photos. For example, 

the photo on the left was taken with the subjects 

standing directly in front of a light-colored wall. 

Notice the strong shadow behind the baby? 

Placing a subject near a wall will cast a very strong 

shadow against that wall. Move your subjects as far 

away from walls as possible. If you do have to place 

them near a wall, try to find a dark colored wall that 

will lessen the impact of the shadow. 

Camera flashes tend to be strong and extremely over 

eager in their desire to light the subject. A flash fires as 

low or as powerful as it believes the meter is telling it to, 

which means that if you're in a dark environment, the 

flash will attempt to light up the entire area. Because your 

flash tends to cast light on your subject like a bright 

flashlight, your subject can be washed out if you're 

standing to close to it (as shown in the photo on the left.) 

A good rule of thumb is to keep your subject at least 

5-6 feet in front of you, and leave at least that much 

distance behind the subject and the closest wall. In 

addition to keeping subjects at a consistent distance, 

meter on the subject as much as possible. You may 

lose your background, but it won’t overblow your 

subjects. For the second carseat photo, we took a 

step back before taking the photo again. 

week four 

2

Finally, in regard to distance (both indoors and outdoors) it's important to keep in mind that 

most built-in flashes have an effective range of about 10-12 feet. This means that if you're 

trying to take a picture of something a good 12+ feet from you, your foreground will be 

well-lit but your background will be dark (which is really not helpful if you're trying to 

photograph that object in the background.) This also applies to telephoto lenses - your flash 

may not be strong enough to light up your subject if your lens is extended all the way out. 

Consider Glare 

It's very important to consider the surfaces in 

front of you as you look through the viewfinder. 

A glass, shiny, or mirrored surface is going to 

reflect that flash right back at you in your photo, 

which is not so appealing. 

In regard to eyeglasses, a recent tip we read on 

the photography message board (such a valuable 

resource of information!) is to have your subject 

tip their glasses down slightly by lifting the part 

of the glasses that goes over the ears. (Tip courtesy 

of 2peas user flute4peace, real name Nikki.) 


Speaking of eyes & reflection, red eye is caused by the reflection of the flash off the 

backside of the eyeball (the retina). Many point & shoot cameras have a red eye reduction 

setting that fires short bursts of the flash before the main flash fires. These bursts are meant 

to contract the iris of the eye and reduce the reflection on the retina from the main flash, 

and this technique seems to have varying degrees of success. Another option is to have your 

subject look slightly over your shoulder instead of directly into the camera. In your photos, 

they will appear to be looking at you, but the slight angle will prevent the flash from 

reflecting off the retina and greatly reduce the instances of red eye. 

Q: amanda_m asked: 

How do you handle lighting in a dark area besides bumping up ISO or using a flash? 

A: If you're still frustrated with your indoor photos using an in-camera flash, look into 

diffusing your flash. There are products on the market now specifically designed for diffusing, 

or softening the intesity of the flash on a point & shoot camera. OR you can make your own 

diffuser -- while doing a Google search we read various accounts of people using everything 

from used dryer sheets to semi-opaque adhesive tape to coffee filters to vellum placed directly 

in front of the flash to help eliminate its harshness. 

week four 

3

Using your Flash Outdoors 


Let’s not overlook a flash’s usefulness outdoors. “What!?,” you say, 

“Why would I use a flash outdoors when I have all that natural light?” 

Even when you're outdoors you'll encounter situations where your subject's eyes are 

completely shadowed because the light source is too high or your subject is slightly in the 

shade while the rest of the scene is well-lit. This is where your flash will come in handy as a 

fill flash. Basically, a fill flash is your normal flash. But in scenarios where you already have 

ambient light, your flash is merely "filling in" the areas of your photo that may be shadowed 

or poorly lit. Here's the important part -- not only is fill flash helpful on bright, sunny days 

where you subject is backlit, but it can help "pop" your colors on gray, overcast winter days. 

no flash 

vs. 

fill flash 

Lastly, a bit about night portrait mode, also known as night scene mode. This 

mode can come in handy for lighting your nighttime photos. By using a slow 

shutter speed and syncing the flash, night portrait mode allows you to take a 

photo that properly exposes both the foreground and the background. It usually 

helps to use this mode with a tripod. Also, most importantly, make sure that your 

subjects remain still while you're taking the photo.


WEEKLY CHALLENGE: Experimenting with Fill Flash 


What can I do to eliminate shadows in outdoor photos? 

Last week we told you to stay inside for the challenge. Now this week we'd like you to head 

outdoors if at all possible (we know it's hard this time of year) and take on one (or all 3) of the 

following parts of the challenge. [We're giving you a few choices here based on the type 

of camera you own and the amount of control you're comfortable having over your camera.] 

You can use almost any shooting mode (such as AV or portrait) to accomplish parts 1 & 2, 

as long as the mode allows you to turn on your flash. 

1. Use fill flash to "pop" colors on a gray day. 

This one should work well with winter! Take a photo of your subject outdoors without the 

flash. Then manually turn on the flash for your camera so that it fires when you're taking a 

photo. (It helps to have a colorful subject or setting for this part of the challenge.) 

2. Use fill flash to eliminate dark shadows on the face on a bright day. 

Take a picture of a human subject outdoors in the sunshine without the flash. Then 

manually turn on your flash. (Your camera is going to think you're crazy since it knows 

that it already has enough light on a sunny day, so double check to make sure that your 

flash is going off before taking the second photo of your subject.) 

3. Use fill flash to combat backlighting on a shadowed subject. 

This challenge works best if your subject is in a shadow, or not as brightly lit as the 

background and surroundings. You will get the best results if you do this option in 

manual mode. The best thing to do is to manually turn on your flash on the camera, then meter 

on the brightest area of the photo you wish to take. Set your exposure meter for the bright area. 

Then recompose to focus on your subject and press the shutter. Ideally, your flash will fire, 

giving light to your subject while the camera takes care of the background. Your camera will 

expose the brighter area of the photo correctly and your flash will fire enough to expose your 

shadowed subject correctly. Now turn off your flash and take the photo again without the fill 

flash. 

***Bonus points: Experiment with night portrait mode if you have it on your camera.*** 

week four 

5


AWB 

Tungsten 

The above photos are an example of part one of the weekly challenge. The first photo was taken 

without the flash, while the second was taken using the in-camera flash.(Note how using the flash 

can also create catchlights in your subject's eyes.) The photos below are an example of part two 

of the challenge (same kid, 5 years later.) The first photo was taken without the flash. Note that the 

fill-flash did overexpose the subject in the second photo, but it's nothing a few steps in your photo 

editing program can't handle. Check out this week's challenge online for more photo examples. 

Custom 

6

Q & A: Flash 


Q: Caroscraps asked: Do I need an external flash and why? 

(and why are they so expensive?) and Holly Koenigsfeld said 

as well, "I would love to know about external flashes and 

how to use them." 

A: Do you absolutely need an external flash? No. Are they 

more versatile and useful than a built-in flash? Definitely. 

The biggest benefit to external flashes is that you can control 

both the intensity of the flash as well as direction of the flash 

(so it doesn't always have to be on full-beam facing foward.) 

You can turn the flash away from your subjects, bounce the 

flash off walls or the ceiling, or diffuse the light with an 

accessory such as a Lightsphere to soften the appearance of 

the flash in your photos. In fact, you might not be able to tell 

that you've taken a flash photo at all! 

External flashes are more expensive because, just like your 

camera body, you can adjust almost everything on one to 

suit your needs, and all that control comes with a price. We 

honestly believe that a good external flash is just as worthy an 

investment as quality lenses when it comes to SLR (and dSLR) 

photography. 

Q: Theshyone asked: hot shoe, slave flash, whatever you call 

it, how do you use it? 

A: A hot shoe is the bracket on an SLR or digital SLR camera 

where an external flash attaches to the camera. A slave flash 

is a second flash, not attached to your camera, that responds 

to the flash on your camera and fires in sync with the shutter. 

The flash on your camera controls the slave flash, and you 

can set it up so that the flash on your camera doesn't fire but 

your slave flash does fire, or have both fire at the same time. 

A slave flash is a secondary light source, and is useful for 

additional lighting or contrasting lighting in a photo. 

Q: Juliettie asked: What is the best way to use fill flash outdoors? My camera doesn't have a fill 

flash per se...I can force the flash but it seems to create new problems (harsh skintones with loss 

of dimension) in place of old ones (heavy shadows undereye, etc.) 

A: You, dear reader, may enounter these same problems while you complete this week's 

challenge. While an external flash allows you to control the intensity of the flash, it's hard to 

control a built-in flash. The best thing to do is experiment and become familiar with situations that 

work with the built-in flash. If you're in a brightly lit situation that needs fill-flash, you really need 

to try to meter on the brightest spot of the photo and set your exposure based on the brightest 

area. If you accidentally meter on the darkest area, your camera is going to tell your flash to fire 

with full power because it thinks it's dark, and then your subjects will most likely be washed out. 

week four 7




LESSON FIVE: Composition 

Whew! We've been working hard these past four weeks, haven't we? We thought we'd take 

a break from the technical jargon and manual operation of our cameras this week to 

concentrate on composition. 

Lanna asked: I've got the lighting (usually) and the other technical stuff, but when it 

comes to framing, yeah, not so hot. If you aren't born with an innate sense of framing/ 

composing, how can you learn it? I'd love five fail-proof tips ... or six or seven... 

According to the online Oxford American Dictionary, composition can be defined as "the 

artistic arrangement of the parts of the picture." Simply put, it's the way you compose your 

photos. Composition, like creativity, is in the eye of the beholder, and there can be great 

differences of opinion in what one considers to be "good" composition. Our goal in providing 

the following tips, therefore, is to give you a starting point for composing your photos. (This is 

by no means an exhaustive list, but is intended to be a spring board for your learning.) 

Tip#1 -- Keep it Simple. 

Eliminate the distractions in your photos. 

It's important to train your eye to be aware of 

what is going on in the background behind your 

subject (not to mention the foreground if it's 

visible.) You can remove distracting elements 

from your photos by physically moving them 

out of the scene, repositioning your subjects 

in a better location, taking a few steps forward 

for a close-up shot, or decreasing your depth of 

field. 

Case in point: In the example on the right you just 

might notice the black lamp sticking out of the back 

of Mark's head, not to mention dozens of people 

behind him. While we couldn't eliminate the 

people (tourists) I did ask him to take a few steps to 

the right and then recomposed my photo.


Tip#2 -- Apply the Rule of Thirds 

The rule of thirds capitalizes on the fact that our eyes are naturally drawn to a point about 

two-thirds of the way up (or over) on a photo. Mentally divide your scene into 3rds as 

you're looking through your viewfinder or at the LCD screen. To follow the rule you'll want 

to compose your photo so that your subject(s) or action is located at one of the intersecting 

points rather than in the middle, or dead center, of the image. 

Tip#3 -- Keep an Eye on the Horizon 

You can also apply the rule of thirds to the placement of the horizon in your photos. 

Place the horizon about 

2/3 of the way up on the 

photo to keep the focus 

on what is below it 

(such as land or water) 

OR 

Position the horizon 

about 1/3 of the way 

up on the photo if you 

want the focus to be on 

what is above it (the sky.) 

2

** Keep in mind that the rule of thirds isn't an actual "rule" but a guideline. For example, if 

you want to command someone's attention you can break the rule by placing your subject 

directly in the center of your photo, like we did in the first photo below. 

Tip#4 -- Frame your subject 


Use elements in the foreground of your photo to frame the center of interest. Architectural 

elements (such as arches or fences) as well as those found in nature work well for this. 

Tip#5 -- Fill the Frame 

In addition to eliminating distracting backgrounds (tip #1) it's also important to eliminate wasted 

space in your photos. Allow your subject to dominate the photo (fill the frame) to give it more 

prominence. Keep in mind that cropping your photos in an editing program is a simple fix. It's also 

important to distinguish that empty space in a photo is not necessarily considered wasted space when used effectively. 

1. too many distractions 2. good, but could be closer 3. a simple crop in Photoshop 

3


Tip#6 -- Try a New Perspective 

Make sure to examine your subject from different angles - 

a new view can change the perspective of the whole photo. 

For example, 

take a horizontal 

and a vertical 

shot of the same 

subject. 

Step back and look for lines (in this case, footprints) 

or patterns that will lead the viewer's eye across the photo. 

Hit the ground - 

if you're taking photos of a child or pet, 

get down on the ground and see the 

world at their level. 

Tell the story by taking photos from different perspectives.

WEEKLY CHALLENGE: Creative Composition 


This week: Take on this week's tips for composition! 

The good news: It doesn't matter what kind of camera you have for this challenge! 

Consider one or more of the following tips as you compose your photo: 

1. Keep it simple - eliminate distractions 

2. Apply the rule of thirds 

3. Keep an eye on the horizon 

4. Frame your subject 

5. Fill the frame 

6. Try a new perspective 

Then post your favorite photos from the week in the photo gallery, but be sure to share 

how you applied the tips (or effectively broke them) to compose your photos. 

***Bonus points: Share YOUR favorite tips for composition with us! *** 

What tips from the checklist did we use in this photo? 

week five 

5

Q & A: Composition 


Q: heather*t asked: A beginner question would be, What are the rules for good photographic 

composition...and what rules can be broken effectively? Also, what can you do compositionally to 

spice up posed family pictures? 

A: Rules are meant to be broken, right? Just because this week's tips might work in many 

situations doesn't mean that they'll work in ALL situations. So the important thing is to remember 

not to take the tips as RULES, but as GUIDELINES. If they work for you, use them. But if they don't 

work, don't worry about staying within the guidelines. Don't let these tips hinder your creativity. 

A: As far as group portraits, here are a few suggestions we've found to be effective: 

After taking a tradition, full-length photo, take a few steps closer for a close-up of your subjects. Also 

note that the pose directly below is relaxed and comfortable. Encourage your group to have some fun 

(such as the jumping groomsmen pictured below) to avoid stiff, posed photos. A little fun can also go 

a long way to relaxing your subjects, and you can follow the fun with a formal pose as well. 

AWB 

Tungsten 

For full-length poses, 

stagger your subjects, or 

try arranging groupings 

within your portrait - for 

example, have mom and 

dad stand together, then 

daughter and son 

together but a little in 

front of mom & dad. 

Finally, try a different 

perspective. The group 

photo on the left was 

shot from the top of the 

stairs Custom while the family 

stood at the landing 

halfway down the stairs. 

week five 6

- 




LESSON S iX: Shooting Indoors 

This week and next week we're going to concentrate on pulling together what we've already 

learned in weeks 1-5 and applying it effectively in our day-to-day lives. After all, we want you 

to be comfortable using your cameras in a variety of settings & situations. 

Making Compromises 

Indoor photography (and by "indoor" we're initially referring to photography that takes place 

in our homes) is often about making compromises. As we discovered through the weekly 

challenges there isn't always enough light indoors to achieve the settings we would like to 

use, and due to that lack of light we're forced to sacrifice some of our ideals in order to still 

get the photos, or results, that we want. 

-- Sometimes that sacrifice is ISO, and with a high ISO our images are grainy. One way to 

combat digital noise after the fact is by using a software tool (such as Noiseware) to 

eliminate or reduce the digital noise, and another way (either in-camera or in post-processing) 

is to simply turn the photo to black & white, where an element of graininess is expected in the 

photo. 

-- At other times the sacrifice is depth of field. If you're continually frustrated with your indoor 

photos it might be time to consider a lens with a lower f/stop (for example, a 50mm f/1.8 is 

very much affordable, and, as an added bonus, very lightweight.) 

-- Most often, we'd wager, the sacrifice is shutter speed. As discovered through the challenges 

a flash will help to "freeze" the action, but a flash also comes with its own limitations and/or 

complications. A tripod can be helpful, though sometimes hard to reposition quickly. 

-- Also to consider is the color of the light - you can create a custom white balance (and 

remember to change it for your next scenario) or make the most of the yellow glow of 

tungsten lighting that lends a cozy feel to photos.


Thankfully, we do get one big boost of light during the day thanks to mother nature (dependent 

on the day's weather, of course - a compromise in itself) with the addition of natural light. 

Making the Most of Natural Light 

1. Find it 

To make the most of natural light, it's very important to be aware of where the natural light is 

in your home as well as when it's available. For instance, in our previous house, our children's 

bedrooms faced the east and would be well-lit in the mornings on sunny days. By late 

afternoon the sun was setting in the west and was visible outside our sunroom, which 

was at the back of the house. 

2. Indirect light vs. Direct light 

Perhaps the BEST aspect of natural light indoors occurs when the sun isn't shining directly in 

the windows, but is instead providing indirect natural light. Indirect natural light provides you 

with a well-lit area that doesn't have the strong shadows, or contrast, of direct light. (You can 

use lightweight or sheer curtains or blinds to help filter direct light to achieve the same effect.) 

Here is an example of direct light vs. indirect light, taken in a hospital room. In the photo on the left 

the subjects are facing a window. Note the cast of the shadow to the left of the baby as well as the 

yellow light beaming down on their faces. The second photo was also taken near the window, but with 

the blinds closed to eliminate the harsh glare of the sun. 

2


***This is not to say, however, that direct light is necessarily a bad thing! You can definitely 

use it to your advantage when lighting your subjects. Particularly if you're looking for more 

contrast in your black & white photos, direct light on your subjects can be a great thing. 

This photo is an 

example of using 

direct light to your 

advantage. Although 

the baby's body is in 

shadows, his face, 

and his eyelashes in 

particular, are 

illuminated by the 

light streaming 

through the window. 

3. Use Natural Light Sources to your Advantage 

Windows and doors (storm doors or French doors, for instance) are great sources of natural 

light. Your position and the placement of your subjects in relation to the natural light source 

makes a big difference as well. For example, both photos below were taken when the 

subject was parallel to the window. Notice how well the light illuminates the subject's face 

and features in both photos. 

The subject is parallel to the window and the 

photographer is perpendicular to the window. 

3


In these photos, the subject is facing the window while the photographer is sitting with his/ 

her back to the window.) Take note of the catchlights in the subject's eyes. Catchlights are 

highlights in the eyes of a subject, and in this case the catchlights will look like windows 

because that is what the eyes are reflecting. 

The reflection of the window brings highlights 

to the subject's eyes. 

One final thing - when 

taking photos of subjects in 

front of a natural light source 

it's very important to pay 

attention to your exposure 

metering. Remember in 

week 4 how we metered on 

the bright areas of the photo 

to properly expose the 

background while using the 

fill flash? 

You can employ the same 

strategy indoors with the 

flash OR you can meter on 

your subjects to properly 

expose them while 

overexposing the bright 

background light. 

This example shows the difference between metering on the 

background window vs. metering on the subject


WEEKLY CHALLENGE: Using windows as a light source 


How can I take advantage of natural light indoors? 

We want you to take advantage of your windows this week! 

To consider: You can use any type of camera this week, but please try to take 

these photos without a flash. 

Choose one or all of the following options for taking your photos: 

1. Position your subject in direct light and then reposition your subject in 

indirect, or filtered, light. 

2. Capture catchlights - have your subject face the window while you're sitting 

or standing with your back to the window. 

3. Position your subject so that he/she/it is parallel to the window, while you are 

perpendicular to the window. 

4. For those with SLRs or digiSLRs: If you can adjust the exposure meter on your 

camera, try metering on the background light vs. metering on your subject and 

setting the exposure for your subject. Also note that you could use a wall in the 

room or the floor to set your exposure meter. 

Please remember to post your favorite photos from the week in the photo gallery! 

Thank you for your participation! 

week six 

5


Q & A: Indoors 

Q: IrishSheila asked: I've heard all over that it's recommended NOT to use flash if you can avoid 

it. But in my experience, a lot of times this makes for blurry photos indoors, even if me and my 

subject are completely still and there seems to be sufficient light. 

A: As stated in the article, indoor photography is often about compromises. In low light situations 

we're often pushing our cameras to the max to achieve correct exposure by using either a slow 

shutter speed or a low f/stop in combination with a high ISO to take our pictures. In these 

situations there is plenty of opportunity for blurriness. For example, if our f/stop is really low, our 

photos will have a very shallow depth of field, and most of the photo can be out of focus. A slow 

shutter speed makes it very hard to hand-hold your camera and still take the photo, and can also 

result in blurriness even if your subjects are sitting still. 

Q: Milkcan asked: Capturing action shots indoors without a flash - is this even possible? 

A: Taking action shots indoors is really its own special subject, and we're going to address it in 

depth in week 8: On the Go. We'll be featuring a special guest (and fellow pea) who makes a 

living in sports photography and has offered to share her tips & tricks for taking action shots both 

indoors and outside. Not only that, but she's going to answer YOUR specific questions as well 

in a special message board chat during week 8! Look for her feature as well as others to come in 

weeks 8-11. (Just a little something special to spice up the second half of the course.) 

Q: TrinaRN asked: What kind of indoor lights can you buy and where should they be positioned? 

What are the different suggested studio setups, what do they look like? 

A: Unfortunately, we're not going to be talking about lighting setups in this course. It's not that 

we don't think those questions are important, but rather that we don't feel that studio setups are 

necessarily a beginning photography topic. However, it is relevant to point out that an additional 

way to enhance your indoor light is by using studio lighting, umbrellas, softboxes, etc. 

** In addition, one affordable way to help redirect light to your subject's face is by using a 

reflector. Although there are professional photography reflectors, you can also simply use a 2' x 3' 

piece of white foamcore (foam board) to help light to your subject. The subject can hold the board 

just outside the frame of your shot to bring light to his or her face, or you can ask another family 

member to help reflect light onto the subject by holding the board in a certain position. 

week six 

6

Week 1 - Two Peas in a Bucket

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