Shooting outside presents amateur photographers with a host of problems, but one of the biggest issues has to be the sun. However, when you learn to work around it, it can actually become your friend.

Each time of day presents its own problems with shooting in the sunlight. For instance, shooting in the mornings or late afternoons you deal with a squinting subject if they face the sun, and if you face the sun you are going to deal with glare. If you shoot in the middle of the day, the direct sunlight can cause a host of severe shadows that will block some of the finer details of your subject.

The best options for shooting is morning or afternoon so long as you keep the sun to the side for both you and your subject, but even then you can deal with shadows you may not want. The simplest solution is actually use a flash during the day to help fill in some of those shadows.

If you plan on taking a lot of daylight photos, you may want to invest in a reflective disc to help even out the lighting.  The issue with this is you usually need another person to hold it so that you can have them move around as need be to get the best solutions to your problems.

The key thing to remember is that the sun isn’t your enemy, but instead take advantage of some of the benefits you can get only when you shoot out in the great outdoors with the ultimate light source.

Any time you see a professional photo shoot of a model or actor, have you noticed how there may be things in the background, but at all times the person is the focus of the image. If it’s an ad for lipstick, then the lips are the focus. Pictures of flowers in a field? In general it doesn’t matter what the subject of the photo is, but the whole point is that you want to reduce the distractions as much as possible.

While some distractions can be removed through cropping the image once you get it on your computer, the less items you start with in the background the better. Of course this isn’t always going to be possible as the everyday world is filled with all sorts of little things to distract in the background.

In the picture below, I took a quick shot of one of my dogs one day, and it never fails that people inevitably ask me about one aspect of it.

It never fails, but every person I have ever show this picture to has asked me about the phone the window ledge.  (it was there because at the time it was the only place in my house it could get a signal)  This is a perfect example of a bad photograph as the dog should have been the focus, but in my defense it was an off-the-cuff, oh he looks cute, photo opportunity.

If I had had the time, I would have removed the phone and sat at a different angle to get less of the table on the right edge of the shot, and that is even after editing.

This is a perfect example of how shooting the photo with as few distractions as possible is always the better option than trying to correct things in editing because some things simply can’t be fixed.  Always try to remember what the true subject of your photo is and make that the focus of the image you take.

Back in the days when we shot pictures onto film (yes, we know some of you still do), you would have to make a decision as to what speed you wanted.  Commonly you would see on the film boxes “100″, “400″, “1000″ and so on.  While that part of the decision making process has gone away, setting your ISO to get the best image is still essential.

First off, we wish we could tell you that ISO stands for something incredibly sexy, but, alas, it stands for “International Organization for Standardization”.  Besides its boring name, this can be one of the most important determining factors to whether or not your pictures will turn out well as it determines how fast your shutter opens and closes to capture the image.

The lower the number, i.e. 100 or 200, the faster the shutter operates.  This is the optimal setting for when you are out in bright, sunlit days as it won’t take long for the camera to capture the subject in that lighting condition.  As you are get into darker lighting conditions, that is when it can become tricky.

In theory you should bump your ISO settings to the higher numbers for the darker the setting, but the problem with this is that allows for more “digital artifacts” to appear in the pictures.  This will appear as grainy borders on faces, hands and so on, making it rougher to get a good edit when you are later processing the image.

Optimally you want to use a flash for these settings so you can continue to keep the settings around 100 or 200, but if that isn’t possible, you’re probably going to be better off setting the camera to auto and letting it decide what is best for the environment you are shooting in.  Just remember, if you attempt to shoot at those lower ISO settings without a flash, you’re going to probably need a tripod for how long the shutter will stay open to compensate.

Don’t be scared of the ISO settings, they can actually be your friends!

One of the most misleading things about digital cameras is the stated number of megapixels.  These numbers have been going up and up with each passing year, but that isn’t always the best thing for the quality of your photos, especially if you’re buying a point and shoot compact camera.

We’ve all seen cameras that boast about the number of megapixels it has, but what exactly is that number, and what does it mean?  The simplest explanation is that the company took the largest size it can save a photo at, and then they multiply the number of pixels width wise by the number of pixels height wise.  So if a camera says it shoots at 10 megapixels, it means that the largest image it can shoot is usually going to be around 3648 x 2736.

While this sounds like a lot, and it is, if your camera doesn’t have a large enough sensor you will end up with a lot of potential “noise” and “artifacts” in the shot.  These can potentially make the photo look grainy, blurred or any other number of potential problems.  So while your first instinct may be to select the supposed highest resolution the camera offers, you actually may be better off going with a lower setting so that you can increase the clarity.

It is also a matter of what format your camera saves the images to.  The smaller the file size, the more compression the format uses and that could lead to even more image quality problems.

One of the final factors to consider is where you will be using the image.  If you plan on making a print of it, then yes, you do want to go with the higher file size and as little compression as possible.  If you are only going to be using it on a blog, showing it to friends on a screen and so on, then you are fine with higher compression rates and lower resolutions.

Picking a camera isn’t that difficult really, it just seems like it some days.

This video looks at how to avoid “camera smiles” and wooden postures by  encouraging subjects to move. This video covers:

• Techniques for getting photographic subjects to move in such a way so that you can  get that “natural shot”
• Working with children

Sharpness is a topic that effects every digital photographer from the wide-eyed beginner to the experienced professional, so, let’s look at how you can obtain the sharpest images possible from your digital camera.

The Right Glass

The first question many people consider when buying their digital camera has to do with the amount of pixels there are in the images the camera produces. While this is important, it is not the be all and end all of the matter. Far from it. I discovered in 2005 that megapixels don’t matter as much as many think they do.

This discovery came about when I finally realized that my fantastic high resolution sensor camera was actually not producing sharp images. It turned out that it was not the camera sensor at all but rather the optics I was using at the time. The lenses I attached to my camera were originally designed for 35mm film.

As soon as camera sensors offered 10MP and more, we were ‘out resolving’ the old optics. Hence, in recent times, you will have noticed all the camera manufacturers releasing many new lenses with digitally oriented optical technologies.

Lenses are the predominant precursor to obtaining a sharp result. The good news is that all lenses are computer designed, this helping to eliminate defects. Even the cheapest lens can offer good quality results, if they are used correctly. However, the old adage ‘you get what you pay for’ is a true statement. For example, I have shot with lenses most of my life that are not necessarily the best available. Often the reason is weight. I travel regularly and the more expensive lenses are larger and heavier. I will explain further soon.

These days digital SLR cameras are usually sold as kits, complete with one or two zoom lenses. Usually, that is a camera body with a standard zoom lens and a telephoto lens. Kits are great as they offer fantastic value. The lenses in these kits are usually very good. But, they are often to lower specifications in terms of optics and construction. The good news for those who have bought such kits is that they have had a few years use of good equipment which has helped them to learn and grow their photo skills.

However, eventually the kit user will want to go that next step. It is at this time that a change of optics will make a difference to their photographic future. Lets say you have two lenses of a similar nature - a kit 70-300mm f4.5/5.6 lens for $400 and a 70-200mm f2.8 at $1,400. At A3 size, I could guarantee that you would not pick the difference in sharpness (detail) at f11 between the two lenses. So why would you consider the more expensive lens?

When you look more closely at the images, there are differences. If you photographed the same subject with both lenses at f5.6, the 70-200mm lens will out perform its cheaper cousin. The image will look sharper from edge to edge when compared to the cheaper lens.

Another feature of the more expensive 70-200mm lens is that it allows more light to the sensor for low light shooting because of the wider maximum aperture. I can not stress how important it is to buy the right lens for your interests. The 70-200mm is a great lens for people/portrait shooting and general photography.

Horses for Courses

I have always used a lens that does not require a converter. My current Sony 70-400mm lens is very sharp throughout the range. I can still use it for portrait shoots and importantly for me, for action work in Africa or similar. It shoots a pin sharp image for landscapes as well. Most camera manufacturers offer such a range (70-400mm) and others like Tamron and Sigma have very good alternatives.

My point is, to use the right lens for the job. When would you spend more money on a lens? If you are printing small images regularly with just the odd larger A4 or similar print, most current lenses will offer great results. However, if you aspire to the best results and or you print to large sizes, then the best optics will be required.

Shooting Techniques

Of interest, for the more seasoned photographer, is the fact that I try not to use a tripod as much as possible. This is a very personal preference and I understand that it goes against ‘the text book’ philosophy. However, I have found that it offers me far more creative freedom. Sometimes the ability to move a couple of centimeters up and down, left and right can make all the difference. Of course I use a tripod for some subjects like waterfalls, late evenings or for special creative shoots. But for most of my work, I prefer the hand held method. Because that is the case, I have a couple of key points to sharp results while taking pictures hand held.

1. Hold your camera correctly. From the example images you can see that the photographer is slightly side on to the shoot angle. Feet are spread a little. 2. Stabilise your body. Left hand is ‘your tripod’ with the camera placed in a nice balanced position. This will depend on the lens you are using. 3. Combine the above at the moment of shooting. This is very important and a key to my ability to shoot sharp images even at slower shutter speeds. I hold my breath and gently squeeze off the trigger.

4. Use your Depth Of Field. Three things control your depth of field - choice of aperture, choice of lens focal length and camera to subject distance. A limited depth of field with the right techniques will offer a limited sharp area, highlighting the subject against an out of focus background.

It’s in the Post

There are also several ways to enhance the sharpness when you get your image into the computer. This has a few variables but I work on a strictly ‘Keep it Simple” system.

If you are shooting JPEG files - These files are processed in camera with sharpening being one of the parameters you can set up in your camera if you wish to. If you are shooting RAW then you are dealing with files that have had no in camera processing. I shoot nearly exclusively in this format and have done so for several years. These files definitely need sharpening unless you are after a softer look.

Different camera brands should be treated differently. For instance, Nikon images require less sharpening than Canon files. Sony files are similar to Nikon files…which makes sense when you think of where Nikon get their sensors from. If you are enlarging or shrinking a image it is important that you sharpen the new file.

For instance, you may wish to down size a full size file for an email or for web use, perhaps to 72dpi with 20cm being its longest side and eventually to a JPEG file at level 8. This file ends up around 130kb in size which is perfect for an email or the web. Before saving, you should sharpen the file. Only a small amount is required but it could make an important difference.

Your sharpening techniques can vary from subject to subject with one example being people photography. I don’t usually sharpen as much for portraits. You don’t want to highlight wrinkles and blemishes. You should also be careful not to over sharpen.

I have been using and teaching the same photographic principles since 1982. They include the correct method of how to stand, how to hold the camera, pressing the shutter release correctly and, as we have mentioned, the technical aspects of good glass and using the right lens for the job. It is not difficult to get this formula right. Once you have spent your hard earned money on the right equipment, then spend some time in your back yard or in the field and practice, practice, practice. You will quickly be capturing beautifully sharp results.

Darran Leal has been a regular feature writer for this magazine for several years. He undertakes photo workshops nationally and photo safaris internationally on a regular basis, helping thousands of photographers achieve better results. SafariWise is Australia’s only travel agency dedicated to photographers. Travelling - or you want more help on this feature?

Contact Darran today. Ph 07 5446 6538. Email julia@safariwise.com.au or jump onto www.safariwise.com.au.