kenievans Loc: Dallas

James, welcome to UHH. All cameras work on the same basic principles whether it's a full frame DSLR or a small compact. Some just have more bells and whistles. Understanding those principles will help you understand how to get off of auto and use some of the other functions and settings. You can use the search function at the top of the page to search for Exposure Triangle. There are many lessons and discussions about it here on UHH, some better than others. There are also lots of tutorials and books on the web that can help you as well. Good luck and happy shooting!

Mac Loc: Pittsburgh, Philadelphia now Hernando Co. Fl.

That's a strange attitude. Why do you think you would be booted? There are P&Sers here who join in conversations and share photos. I have not seen any discrimination. It sounds like you're starting off with a chip on your shoulder.

Mac Loc: Pittsburgh, Philadelphia now Hernando Co. Fl.

Why didn't you just say that in the first place?

Tomcat5133 Loc: Gladwyne PA

You don't have to compromise and call a camera point & shoot.
And smaller does not mean less quality. I carry the Sony 100 IV in my bag always.
It fits in the palm of my hand. It has most of the features of my bigger cameras.
It has an excellent EVF. 24 70 1.8 lens. You can leave in automatic
called Intelligent Auto and most times the shots and video are good.
You can by the original RX100 for a good price. The newest RX100 V
is very good but pricey. And if you want to take pictures manual or
decide to take great pictures this camera will do it. Shot from Mexico.

bsprague Loc: Lacey, WA, USA

James,

I used to have film SLRs, a lot of lenses and a full darkroom. I've never had a digital version. I'm a proponent of compact cameras. Between my wife and I we have four. I think we get "better" pictures with them. I use versions of "Auto" a lot. Cellphones are good too. The biggest advantage of the compact cameras over cell phones is the lenses on them.

In other words, compact cameras are not of lesser status than DSLRs or Hasselblads. Compacts and phones are so much more portable and friendly that good shots are more frequent. The science and engineering of digital circuitry in compact digital imaging is on afterburner.

Like it or not, "auto" gets it 90% of the time. An example came last week when the moon eclipsed. I was working it on manual on a tripod getting reasonable exposures. I put it on auto, held it in my hands and the camera surprised me my stacking and aligning exposures in the camera.

A small camera on "auto" in the hands of someone than can compose the image will beat the DSLR shutter fumbling with lenses and settings. Proof? Go on a cruise or tour and watch the old guys with their abundant gear!

Regarding your confessed age (!). Consider the amazing brain exercise that comes with post processing. The world's most amazing photography software is now rented for $10 a month. Classes, books, schools, clubs and tutorials abound because that $10/month software is so pervasive. If the $10 stings the fixed income budget too much, there is free stuff that proponents insist produces both great results and lots of brain exercise.

RichardTaylor Loc: Sydney, Australia

You may find this tutorial of mine, here on UHH, helpful.
It's an introduction to exposure.
https://www.uglyhedgehog.com/t-573456-1.html

Bipod

There are times when an inexpensive camera is the best option.
I like a leave a camera in my car. Obviously, it won't be any of
my good cameras.

If anybody knows of an inexpensive camera with an optical viewfinder,
I'd love to hear about it. Those dang screens on the back are unusable
in bright sunlight, and they run down the batteries.

And you are quite right, James, to worry about being targeted by the
"fanboys", technology cheerleaders and manufacturer surrogates here.
You wouldn't believe how I've been hounded for asking about a P&S
with an optical viewfinder. "HE ONLY SHOOTS A P&S", etc.

It's a lot easier and more effective to attack the poster than the post.
Sadly, argument and fact don't matter to a pack of dogs.

bsprague Loc: Lacey, WA, USA

"....an inexpensive camera with an optical viewfinder..."

Compact cameras are mirrorless and I don't think there are any that have optical. My $600 Panasonic LX100 has an "EVF" (electronic viewfinder). You can turn off the "big screen" and the battery is not an issue. It works fine in sunlight. My wife has a more expensive Panasonic ZS100 and it has a usable EVF too.

rickster

One thing that no one has mentioned is shutter speed. I am not talking about the shutter speed setting but, i.e. How fast is the shot taken once you push the button. I got so tired of photographing splashes made by whales, instead of the whales themselves, I went to a DSLR and never looked back. What is the shutter speed of a mirrorless camera? Is it as fast as a DSLR? What about a P & S? If you are shooting kids, sports, shots from a tourist bus etc., this shutter speed capture is critically important.

James Franks

Thanks for the info. James

billnikon Loc: Pennsylvania/Ohio/Florida/Maui/Oregon/Vermont

My Sony HX90V has a pop up viewfinder. It is not optical but very accurate.

James Franks

Thank you. I saved this. James

bsprague Loc: Lacey, WA, USA

How long ago was that test? Besides being normally fast, the newest mirrorless have a retroactive capture option. It watches what you are watching. When you push the button, the previous few seconds are shifted from temporary to permanent memory. Not only will you get the splash, but you't get the whale slightly before it breaks the surface.

nekon Loc: Carterton, New Zealand

For those of you who are interested in getting the most from your compact camera-here is my little guide to understanding how-you are welcome to copy and use this article for your own use.

Mastering your Compact Digital Camera

1. Realising the limitations of a simple digital camera.


a) Low Dynamic range

Due to the limited dynamic range, (latitude) you often get foreground underexposed, (too dark and the sky overexposed, (too bright)

Solution: Point camera down slightly so that the sky doesn't dominate, if this doesn't work, try exposing for the foreground, take a shot, then expose for the sky, take a shot, and in post processing, combine the two images

b) Slow autofocus

Solution: Try not to photograph moving subjects, or focus on a point where you know the subject will be; wait until subject arrives at that point, and then make the shot. But be aware of shutter lag, (the time between pressing the button, and the action taking place)-Try pressing the shutter button halfway to lock focus, then the rest of the way down to make the shot. (Shortening the lag time)This technique requires a lot of practice to get it right. (See “Panning”)

c) No manual Control -Sorry no solution-something you have to live with.


d) Large depth of field (Difficulty in getting a blurred background effect)

Solution: Try using “Portrait” mode; otherwise make the distance between subject and background greater.

e) Extreme noise at high ISO

Solution: During daylight hours use lowest ISO setting, Try not to make photos when it's dark. It will pay you to practice shooting using all ISO ratings and find how high you can go, with images being acceptable noise-wise. Make a note of the maximum acceptable setting, and that's the one you use to make images at the next party/evening event you go to. You will probably require a simple tripod or rest camera on a table, and use the self-timer to make the exposure. If domestic lighting is on, don’t forget to turn off flash and set white balance to incandescent/tungsten-if lighting is fluorescent, and then set white balance to fluorescent.

2. Shooting Modes

Auto/Program:

When camera is using this mode, appropriate shutter speed/aperture combinations are automatically set for optimum results. There are other modes, namely Portrait; Landscape; Action/Sport; Macro; and Night, which use combinations specific to the photographic needs of those situations.

Portrait:


In this mode, the camera sets a large aperture that tends towards emphasising the subject and creating background blur by setting a shallow depth of focus. Use this mode to capture single subjects and get in close.

Concerning portraits, it is better to use a non-directional (Diffused) light source, due to the gradual gradation of its shadow, which doesn’t mar the portrait. If you’re shooting outdoors, for the best modelling you will want the light to strike the model’s face from the side, at 45 degrees vertical and horizontal. First get out of the direct sunlight, either in the shade of a building, or under the shelter of a tree. This will result in your model being lit by a diffused, non-directional light source, skylight or reflected light from surroundings. If you position your model looking towards this light source, the face should be lit with soft, delicate light. All you need to do is to move your subject, or your camera, to get light crossing the face.

For indoor portraits, window light is a great source-First choose a window on the side of the house away from the sun-you don’t want direct sunlight, it’s too harsh. When you position your model close to a window, you get a soft light to one side of the face, and because the inside of the room is relatively dark, the other side of the face will be in shadow - a 3 dimensional look for your portrait.


Landscape:



Landscape mode sets the camera up with a small aperture to make sure as much of the scene you’re photographing will be in focus as possible. It’s ideal for capturing shots of wide scenes, with points of interest at different distances from the camera. At times your camera might also select a slower shutter speed in this mode so it will pay to consider a tripod or other method of ensuring your camera is still.
Your job, as a landscape photographer, is to create a 3-dimensional tableau from a 2-dimensional plane, and you do this by making your image appear to have depth.
To create this illusion, your image must consist of a definite foreground, middle ground and background, and by having some detail in each of these areas. Aim for a
balance between these three areas.

One of the most important things to understand when taking landscape photographs is how depth of field works, and how you can make use of it to make better images. It is usual to include foreground details in the shot, as this helps to balance the whole image, and helps to lead the viewer's eye into the image. But- how do you ensure that both the foreground objects and the distant landscape are in focus?



When you focus at a particular point in the image, other objects some distance in front of and behind the subject will also be in focus. The range of these in-focus objects either side of the focal point is called the depth of field. Exactly how far in front and behind your subject will remain in focus can be controlled by altering the F-stop setting of your lens. (If your camera allows this)
You really want to have as much of the scene in focus as possible, so you need to know exactly where to focus your lens. If you select a point of focus too close, the foreground and middle-scene will be covered by the depth of field, but distant objects will be blurred. As the depth of field extends both in front and behind the focal point, (1/3 in front of focal point, and 2/3 behind) the solution is to focus on a point somewhere between the foreground and the distance, so that the extreme distance (effectively infinity) is contained in the "sharp zone", the closest object in your frame is at the nearest end, and everything in the frame is in focus. This point, at which the depth of field is maximized within the field of view, is known as the hyperfocal distance. The amount of distance that appears in acceptable focus will start at halfway from this point to effective infinity, (-Ideally focus at a point 1/3 into the distance.)
You may have read, or heard of “The Golden Light” and wondered what it all means. “Golden Light” happens twice a day, every day -It’s that hour after sunrise in the morning, and again, the hour before sunset in the evening. You have shadowless images right up until dusk in evening’s golden light, great for portraits, and beautiful landscapes.
Overcast days also are shadowless and ideal for portraits. Between 10:00am and 2:00pm, the sun is directly overhead, and not much good for any kind of photography-except maybe for architectural detail.

On Composing your Shots

Composition is the art of arranging the elements of your image in the most effective manner. There are a lot of Pythagorean/Euclidean mathematics concerning composition, But I want to “Keep It Simple Shutterbug“, so I’ll just put a few Ideas forward-I hate rules-they limit creativity.
Ok, The Prime factor is to have a point of interest in your images.

You then need to decide where best, within your viewfinder frame to place this point of interest

Now you need to guide the viewer’s eye toward this point of interest.

Ask yourself three Questions:

1. What is my main point of interest?

Answer: The most prominent person, topic or theme


2. How may I emphasise my main point of interest?

Answers:

a) By placement in the frame
b) By selective focusing
c) By blurring motion (slow shutter speed)
d) By freezing motion (Fast shutter speed)
e) By filling the frame with my point of interest

3. What can I leave out of the image to improve it?

Answers:

a) All things that are irrelevant to my point of interest
b) All elements that detract from my point of interest
c) Foreground and background clutter

Sunrise/Sunset

A pretty, colourful sky on its own, doesn’t really say much, but if you can find a situation where there is a subject in the foreground that would silhouette against the sky, such as an old, gnarled tree, or a church steeple-then you have the making of a great landscape-Shop around for the best angle, by rendering your subject recognisable, while eliminating unnecessary distractions from foreground/background.
The wide-angle end of your zoom lens will be the focal length of choice for this type of scene (This will allow room to crop out any other distractions)

Then there is the question do you want the sun in the image? If you do, you will need to watch for lens flare, and you don’t want the Sun dominating the scene- so use your left hand to shield against this situation.


Action/Sport:

Sports mode attempts to freeze the action by increasing the shutter speed. When photographing fast moving subjects you can also increase your chances of capturing them with “panning” of your camera along with the subject. The trick to panning is to swing the camera to follow the movement of the subject. Set up the technique by deciding where the subject will be when you press the shutter button, and stand where this point is dead ahead of you. Half press the shutter button while aiming the camera at the position where the subject will be when the image is made-hold half pressure on the shutter button, and twist your body towards the direction the subject is approaching from. As the subject comes into view, place it in the centre of the viewfinder/led screen and turn your body to keep the subject central as it crosses your field of view. - when subject is dead ahead, apply full pressure to the shutter button, thus capturing the shot, but you must keep turning your body with subject still central in viewfinder/lcd screen, after image has been captured. This technique delivers blurred backgrounds behind sharply recorded moving objects.
“Panning Technique”

Macro:


It’s great for shooting flowers, insects or other small objects. When you use macro mode you’ll notice that focussing is more difficult as at short distances the depth of field is very narrow. Keep your camera and the object you’re photographing parallel if possible or you’ll find a lot of it will be out of focus. It will pay to turn off your flash or your subject will be burnt out. Lastly – a tripod is mandatory for macro shots as the depth of field is so small that even moving towards or away from your subject slightly can make your subject out of focus.


Night:



Night mode is for shooting in low light situations and sets your camera to use a longer shutter speed to help capture details of the background. At twilight that is from about 30-45 minutes after sunset is the ideal time to capture night landscapes, just before the sky turns black. Here is where you find the “Sweet-spot”-the balance of natural ambient light and artificial lighting in city scenes. Best to arrive at your chosen venue about 30 minutes before sunset, then you can capture your sunset images first, and then wait for the right time for the twilight shots.
A tripod, of course, is mandatory as exposures will be quite long. If you have a remote control, terrific!-use this, too. If you don’t have remote control, just set self-timer for 10 seconds.
Bracket exposures, (1 stop over; One stop under) using exposure compensation control, (+/-) as the variable unit.



White balance, of necessity, will be tungsten, to reinforce the blue sky, and to help de-saturate the yellow artificial light, which can be overpowering. Experiment and try using Fluorescent White balance for brilliant colour in the sky. Lowest ISO as usual-at least, at first!


3. Image Sharpness

Unship images are due to not focusing correctly, or not holding the camera steady.
If possible, always use a tripod, or place camera on a fencepost, a wall, a tablemat. Autofocus can be confused by several situations, and the following subjects will give you problems:


1. Subjects with low contrast
Solution: Focus on something the same distance as the subject you want to make an image of, and then aim at that subject
2. Subjects that do not contain vertical lines
Solution: Hold camera vertically, lock focus, and then switch to horizontal
3. Subjects in excessively bright light
Solution: Focus on something the same distance as the subject you want to make an image of, and then aim at that subject
4. Two subjects at differing distances
Solution: Focus on something the same distance as the subject you want to make an image of, then aim at that subject, and re-compose
5. Subjects with repetitive patterns
Solution: Focus on something the same distance as the subject you want to make an image of, then aim at that subject, and recompose
6. High speed subjects at close range
Solution: focus on another subject at the same distance-to-subject distance first, and then re-compose your frame
For basic focusing, make sure the camera is focusing on the most important part of the frame.-Check that the screen's focus area indicator is at the point you want in proper focus. You can lock focus by pressing the shutter button halfway down-as this allows you to focus on a pre-determined area of the image, so you can recompose to your taste before completing the pressing down fully and capturing your image.

4. Using Flash

If your camera is on full auto, it will trigger the flash whenever it decides there is insufficient ambient light. There are times when you won't want the flash interfering with say, birthday candles being blown out-so only turn flash on when you need to.
When photographing people outdoors, if there is strong overhead sunlight, the “raccoon eyes” effect will ruin your portraits, but if you use your flash to fill these annoying shadows, you will have a more pleasing resultant image. Any other use outdoor, or in a theatre, you flash won't be strong enough, or have enough reach to overpower the existing lighting. So your images will not be good within these situations. If you look around whatever space you happen to be in, if there are any reflective surfaces, turn off your flash!

5. Understanding White Balance
You select a white balance based on the condition of the light you are using, so the camera’s meter allows for white to photograph as white
Auto white balance does a reasonable job most of the time, but it cannot cope in some situations-especially when subject is in deep shadow. You need to know when to use the white balance settings for all situations, and this table will help you understand:

part 2 follows.....

nekon Loc: Carterton, New Zealand

Noon sun/Sun overhead……………Use Cloudy White balance
Flash photography …................. Use Flash White balance
Deep shade…………………………………Use cloudy/shade white balance
Shade in daylight …………………Use cloudy/shade white balance
Twilight./Night...........................Use Incandescent/tungsten white balance

In Summary:
Always use lowest ISO setting
Always use largest resolution
Always use Best quality (Fine/superfine)
Always use a tripod or a tripod substitute whenever possible
Now Lock these settings so they don't get altered-go find your “reset/”reset menu” button in your menu, and set it to “OFF”, or your camera will reset everything each time you turn it on.


Copyright: © Kenneth William Caleno (Dip Phot) 2012 and beyond....