​Typical Technical Mistake Easily Made in Photography

Most new photographers make the same mistake. Before their understanding and use of camera technology is perfect, canvas prints there are always a few photos that fall victim to these mistakes. Even after getting past the introductory stage, photographers make mistakes from time to time in subsequent shoots.

First of all, let's be clear: what we call "errors" in this section is based on the understanding that the purpose of photography is to produce images with correct and clear exposures. This does not mean, however, that we cannot take pictures that are different; they may be artistic and groundbreaking in a way that defies our generally accepted purposes. Usually, canvas australia we should master certain photographic techniques before we make innovations.

Overexposure

If you have white, non-detailed areas in your photo, it's an overexposure. In other words, the sensor gets a lot lighter than is needed for proper exposure. This is usually due to the combination of ISO, aperture, and shutter speed, as well as the brightness of the scene. In principle, acrylic prints online you can reduce the aperture, shutter speed, and ISO to make the sensor receive less light, but not before making such adjustments

Consider other factors.

The overexposed areas of the image can also be darkened slightly by targeted post-processing so that some detail can be seen again. It is important to distinguish between the overexposed areas and the brighter areas of the image, as the latter may appear pure white but are actually detailed. The difference can be seen in the histogram on the camera's display screen. If the image area is engulfed by white, the right side of the histogram will look truncated.

If the image is overexposed to a high degree, then the brighter areas of the image will be engulfed by white. That is to say, the area is completely blind to any detail, just pure white. This usually happens when you make a metering error or manual setting error.

Second, insufficient exposure

Too little light reaching the sensor can lead to underexposure, again because of a combination of aperture, shutter speed, and ISO. The end result is a solid black area with no detail. Worse, because the amount of light is too small, the underexposed region can form disturbing noise.

However, in cases where it's not clear how best to do it, it's better to underexpose than overexpose, because white "erodes" more information than black "overwhelms" it. It is also important not to confuse overexposure and underexposure with high profile and low profile photography. Although there are areas of light and dark tones in high profile and low profile images, there are details in these areas.

Under exposure, the sensor receives so little light that the charge generated by the light cannot be distinguished from the basic charge of the sensor itself. The result is usually unsightly noise and noise in areas that should be pure black.

3. Wrong focusing

Clear areas of the image are not in the intended focus because the photographer was either distracted or his hands were too unsteady. If you adjust the viewfinder area after focusing and move the camera slightly forward or backward, you will move the set focal plane to the front or back of the focus subject.

To prevent this from happening, it is recommended that you use auto focus mode where you can select the focus area and choose the focus area close to the point you want to focus. In addition, increasing the depth of field can help solve this problem by reducing the focal length or aperture. If that still doesn't work, check your camera's autofocus mode to see if it's misaligned.

It's important to get the focus in the right place, especially in portrait photography. When a model's eyes are out of focus, it is usually considered a focus error.

Four, jitter,

If there's a wobble in the shot, it creates a "ghost image," in which the subject appears indistinct and indistinct multiple times on the image. The problem is that the exposure time is too long: the camera or subject moves as the shutter is opened and the light hits the sensor. Depending on the focal length of the shot, the maximum shutter speed with no dithering is the inverse of the focal length (multiplied by the current frame factor).

For example, when the focal length is 150 mm, the maximum shutter speed is 1/150 s. A shorter shutter speed is fine, but if the shutter speed is higher than that, you'll need a tripod or optical anti-shake system to get a jitter-free image. If you choose to use a tripod, make sure the camera doesn't shake when you press the release button. You can also use the camera's automatic shutter function or the shutter remote.

With a long shutter speed, movement can lead to a blurry, jerky "ghost image" -- whether the subject is moving, the camera is moving, or the photographer is moving.

High contrast

Some scenes have such a wide contrast range that the sensors can't fully capture it. The result is areas of the image that are overexposed or underexposed. To cope with this situation, you can measure the brightness of different parts of your subject to get a contrast range, and then choose a moderate exposure to minimize overexposed or underexposed areas of the image, which can then be brightened or deepened in post-processing.

You can also use the HDR technique to take a series of photos with different exposures and then combine them together so that the contrast range of the subject is fully represented without any loss of image detail. It's certainly up to you to decide how far you want to go with this technology. The combination of two or three images will greatly reduce the contrast of the image without making the final image look too unnatural.

When shooting indoors, it is easy to produce large brightness contrast. Without additional light sources, reflectors, or HDR technology, you have to give up some of the image information.

6. Improper use of flash

If you shoot in a dark room with the camera's built-in flash because of low light, there are two problems: red eyes; The amount of light behind the subject decreases dramatically or even underexposes the back of the subject while overexposes the front.

The red eye is caused by the wrong Angle of the light from the camera's built-in flash. The easiest way to avoid red eyes is to use an external plug-in flash. In this way, the light source is much higher than the sensor plane and accordingly changes the incident Angle of the flash. You can also use a bright surface to reflect the flash and avoid direct flash.

When using a flash, the light it emits is extremely uneven. This is because the flash creates flat illumination, and the light decreases dramatically with distance. In order to make this effect less obvious in the image, it can only be adjusted through composition: the elements to be shot should be on the image plane parallel to the sensor plane, so as to avoid over-exposed elements in the foreground and under-exposed elements in the background. When shooting, move closer to the subject, making the viewing area smaller, and use the flash as a supplementary light source rather than the main light source. Another way to avoid flash problems in darker interiors is to use a camera with less noise at higher ISO values.

In many snapshot photos taken with the built-in flash, we see an uncomfortable red eye. This is just one of the technical difficulties with flash photography. There are also many potential photography obstacles with flash, and you should practice using it regularly.

Seven, backlight

Backlighting photography is prone to errors. The sharp contrast between the illuminated background and the darker, subject was an important factor in the error. To properly measure the brightness of your subject, use spot or local metering, and then choose the appropriate exposure value to get the subject exposed correctly -- in this case, you must accept that the background is slightly overexposed. Another option is to reduce the contrast of the image by only brightening the foreground. Also, note that the light should be completely blocked by the subject to avoid interfering reflections and direct light into the lens to create a light band. Therefore, always use a hood when shooting.

When shooting in reverse light, measuring light is usually not that easy. But the transparent subject is especially bright in backlight.

Background confusion

As long as you're not shooting in a studio, either in the field or in a room, it's hard to show the main subject as the most important image element. It's easy to take a picture with lots of distracting details in the background. If there is no clear weighting of image elements, the image will appear very chaotic, do not know what to express, and give a very noisy feeling. To avoid this effect, not only in composition, but also in technique: select a main subject and arrange it as the dominant element in a scene. In other words, choose a smaller viewport -- either as close to the subject as possible, or "extract" the main subject from its surroundings with a telephoto lens, and use the lens's optical features to achieve your goal. The choice of location is also crucial to the harmony of the image - find a harmonious plane as the background to shoot.

Avoid colorful, eye-catching images; if so, you can change the Angle of view while shooting. In addition, the depth of field should be just right -- the clearer the surroundings, the more important it becomes. In turn, you can use targeted blurring to reduce the importance of the environment. Choosing an aperture with a large aperture and/or a long focal length allows for a smaller depth of field. Another way to bring a distinct sense of harmony to the image is to convert the image to black and white afterwards, thus highlighting the shape of the subject. In this way, the confusion caused by different colors disappears from the picture.

By selecting focal length, Angle of view, and distance from the subject, we can determine what is in the image. Take advantage of the viewfinder and look carefully before you shoot to see which areas are necessary to appear in the image and which can be cropped or diluted.

Nine, white sky

When you choose the sky as your subject's background, the sky is often brighter than the subject itself. Therefore, in the final image, the sky may not be the blue sky and white clouds you see with your eyes, but only a very bright area, or even a pure white area. This phenomenon is related to the intense contrast between the subject and the sky, which determines that only one of the two image areas can be properly exposed. To deal with this, you can choose an intermediate exposure value and apply it to the dark and light areas on the computer, or take two images with different exposures and then combine them into a larger dynamic range on the computer.

Budding photographers often wonder how a dark gray sky actually looks white in their photos. The reason is the contrast between the brightness of the sky and the earth, and the use of automatic exposure mode, which measures only the lower part of the image.

Getting too close to the subject

If you want to hold the camera close to the subject, you are limited by the minimum focusing distance of the lens: less than that and the final image will be blurry. Therefore, you should choose the macro lens or the macro function of the lens to shoot. When using autofocus mode, make sure you reach a precise sharpness before releasing the shutter so that you don't inadvertently overshoot the minimum focusing distance of the lens. In addition, using a smaller focal length can reduce the minimum focal distance and, aluminium plate printing in principle, be closer to the subject. When you use a zoom lens, it is important to note that the minimum focusing distance indicated on the lens is always the minimum focusing distance with the minimum focusing length. The last option is to shoot away from the subject and crop the desired image area.