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Although autofocusing can be frustrating at first if you re used to a traditional focusing mechanism, it doesn t really limit your creative options. You just have to learn to use the autofocus system properly. For example, suppose that you don t want your main subject to be centered in the picture. Not a problem. Frame the image with the subject in the center, press and hold the shutter button halfway down to lock the focus distance, reframe the scene, and then press the shutter button the rest of the way down. You re most likely to be limited in close-up focusing distance. You may need to invest in an accessory macro lens if you want to shoot extreme close-ups. But the same is true for a 35mm camera, so don t blame this one on digital technology. In fact, most digital cameras offer closer focusing at the macro setting than a film camera.
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5 discusses close-up digital photography in detail.
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CHAPTER 2: Exploring Creative Controls
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If your camera does offer a manual focusing ring, by all means feel free to enjoy it. But if you don t have that option or you just don t want to mess with manual focusing, you can safely leave the camera in autofocus mode for most shots. Today s autofocus mechanisms are pretty savvy, as long as you use the correct technique. Again: Frame, press the shutter button halfway to lock focus, and then depress the button fully to capture the image. For even greater focusing flexibility, check your manual to see whether your camera offers a way to alter the subject area that the camera considers when setting the focus. Some cameras offer a spot-focusing mode, for example, that enables you to target only the object that s in the very center of the frame. If you re shooting close-ups, remember to switch to macro focusing mode. For close-ups where specific focusing is critical, you ll probably want to use manual focusing, even though it s a pain to have to use menus to set the focus distance.
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White balance is purely a digital animal when it comes to still photography, but this control may be familiar to you if you re experienced with video cameras. As with a video camera, the white balance control addresses the fact that different light sources daylight, fluorescent light, incandescent bulbs, and so on have different color temperatures. (Color temperature is a measure of the hue emitted by a particular light source.) White balance enables the camera to compensate for any color cast that may be created by the light source.
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Film photographers must account for changing color temperatures by using different films and color filters. Going digital eliminates that hassle. Your digital camera should offer automatic white balancing, freeing you to concentrate on other issues. As creative digital photographers have discovered, however, you can use the manual white-balance override found on most cameras to create the same effects as you get from a warming or cooling filter. Nifty! See Page 26 of the color insert for examples.
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Again, unless you re trying to achieve a special color effect, automatic white balancing works well in most lighting conditions. However, when you re working with multiple light sources that have different color temperatures, you may need to take control of white balancing.
Shoot Like a Pro!
If you re shooting in an office that s lit by both fluorescent overhead lights and window light, the camera may be confused about what white balance to use, for example. Turn on your camera s LCD monitor to preview the shot, and if you notice a weird color cast, white balance is the likely culprit.
Features to Ignore (or Turn Off)
In addition to all the other features discussed in this chapter, your camera probably includes a handful of other options, which I consider to be minor conveniences at best and downright annoyances at worst. Here s my take on the most common of these second-tier players, listed in order of their usefulness.
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