| |
| |
Forward: Full-Featured Compact Digital Cameras | |
| |
| |
| |
Preface: Compact Camera Photo Gallery; Believe It or Not | |
| |
| |
Introduction:Confessions of a Compact Camera Shooter | |
| |
| |
Confession | |
| |
| |
Keep It Clean | |
| |
| |
See the Diff erence? | |
| |
| |
Noise | |
| |
| |
Lens Appeal | |
| |
| |
Check It Out | |
| |
| |
Uh-Oh | |
| |
| |
Th e Rescue | |
| |
| |
Plug In for Fun | |
| |
| |
Save As ... What? | |
| |
| |
Compact Shooter's Gear Bag | |
| |
| |
A Heavier Load | |
| |
| |
| |
Compact Camera, Pro Results | |
| |
| |
People Pictures | |
| |
| |
Animals | |
| |
| |
Landscapes and City Scenes | |
| |
| |
Snow and Nature | |
| |
| |
Pro Studio | |
| |
| |
Tell a Story with Pictures | |
| |
| |
Th e Answers | |
| |
| |
| |
What Your Compact Camera Can and Can't Do | |
| |
| |
Image Quality | |
| |
| |
Digital Noise Diff erence | |
| |
| |
Getting Close to a Subject | |
| |
| |
Sunsets-and More on Subject Size | |
| |
| |
Maximum Wide-Angle View | |
| |
| |
Close-ups | |
| |
| |
Action Sequences | |
| |
| |
Shutter Lag | |
| |
| |
More on Shutter Lag | |
| |
| |
Always Ready for Fun | |
| |
| |
On-the-Spot Creativity | |
| |
| |
Know Your Camera | |
| |
| |
Good News | |
| |
| |
| |
Top Tips for Great Digital Pix | |
| |
| |
An Interesting Subject is Key | |
| |
| |
Go for Good Composition | |
| |
| |
Pick an Interesting Vantage Point | |
| |
| |
Focus on Auto Focusing | |
| |
| |
Fine-Tune Your Exposures | |
| |
| |
Be Aware of the Background | |
| |
| |
See the Light | |
| |
| |
Create a Sense of Depth | |
| |
| |
Control the Light On-Site | |
| |
| |
Check Your Exposures | |
| |
| |
Check Your Camera Settings | |
| |
| |
Watch for Lens Flare | |
| |
| |
Subtle Lens Flare | |
| |
| |
Use Your Radar | |
| |
| |
Dead Center is Deadly | |
| |
| |
See Eye to Eye | |
| |
| |
When You Th ink You Are Close Enough, Move Closer | |
| |
| |
When You Th ink You Are Done Shooting, Keep Shooting | |
| |
| |
Always Look Up, Always Look Down | |
| |
| |
Th e Name of the Game is to Fill the Frame | |
| |
| |
Don't Forget the Details | |
| |
| |
Frame It | |
| |
| |
Don't Just Stand There | |
| |
| |
Do It In the Digital Darkroom | |
| |
| |
Look for Pictures within A Picture | |
| |
| |
Be Ready for Fun … and the Not So Fun | |
| |
| |
RAW Rules | |
| |
| |
Make Pictures, Don't Just Take Pictures | |
| |
| |
Always Carry a Camera | |
| |
| |
Don't Get Stuck | |
| |
| |
All Together Now | |
| |
| |
Develop Understanding | |
| |
| |
| |
Light: The Main Subject in Every Photograph | |
| |
| |
What Our Eyes See vs. What Our Cameras See | |
| |
| |
Scene Brightness and ISO Settings | |
| |
| |
Photographing People Indoors in Low Light | |
| |
| |
Reducing and Increasing the Light | |
| |
| |
More on Increasing the Light | |
| |
| |
Contrast and Outdoor People Pictures | |
| |
| |
Diff user in Action | |
| |
| |
Contrast in Scenic Pictures | |
| |
| |
Th e Color of Light | |
| |
| |
Th e Direction of Light | |
| |
| |
Th e Quality of Light | |
| |
| |
Finding the Light: Part I | |
| |
| |
Finding the Light: Part II | |
| |
| |
Controlling the Movement of Light | |
| |
| |
| |
Understanding ISO | |
| |
| |
Bright Light and Low Light Settings | |
| |
| |
Digital Noise Degrades Image Quality | |
| |
| |
Set Higher ISO to Stop Action | |
| |
| |
Increase ISO to Stop Your Movement | |
| |
| |
Lower ISO to Blur Subject Movement | |
| |
| |
| |
Get the Best Image Quality: RAW and JPEG | |
| |
| |
When RAW Rules | |
| |
| |
When JPEGs are Okay | |
| |
| |
Settings for JPEG Image Quality/Compression | |
| |
| |
Th e Importance of Seeing the Light | |
| |
| |
RAW Really Rules with Panoramas | |
| |
| |
| |
A Case for White Balance | |
| |
| |
Individual White Balance Settings | |
| |
| |
Auto White Balance | |
| |
| |
When White Balance Goes Wrong | |
| |
| |
When the Wrong White Balance Can Actually be Right | |
| |
| |
Correcting White Balance in Camera RAW | |
| |
| |
| |
Flash Settings: On, Off and Partial | |
| |
| |
Sunny Day Flash Shots | |
| |
| |
Fill Flash Outdoors In the Shade | |
| |
| |
Add Just a Touch of Flash | |
| |
| |
When Flash May Not Be a Good Idea | |
| |
| |
Adding an Accessory Flash | |
| |
| |
| |
The Zoom Lens Advantage | |
| |
| |
Closer or Wider, It's Your Choice | |
| |
| |
Compose Creatively | |
| |
| |
Blur the Background | |
| |
| |
Blur the Background by Changing Position | |
| |
| |
Cool Close-Ups | |
| |
| |
| |
Setting the Mode | |
| |
| |
Fully Automatic Modes | |
| |
| |
Full Auto Mode | |
| |
| |
Portrait Mode | |
| |
| |
Sports Mode | |
| |
| |
Landscape Mode | |
| |
| |
Close-up Mode | |
| |
| |
Night Portrait Mode | |
| |
| |
Flash-Off Mode | |
| |
| |
Creative Exposure Modes | |
| |
| |
Program Mode | |
| |
| |
Shutter-Priority (Tv) Mode | |
| |
| |
Aperture-Priority (Av) Mode | |
| |
| |
Manual Exposure (M) Mode | |
| |
| |
Exposure Bracketing | |
| |
| |
Metering Modes | |
| |
| |
Average | |
| |
| |
Center-Weighted Average Metering | |
| |
| |
Spot Metering | |
| |
| |
Focus Modes | |
| |
| |
One-Shot | |
| |
| |
Focus Lock | |
| |
| |
Focus Tracking | |
| |
| |
Manual | |
| |
| |
Drive Modes | |
| |
| |
Single Frame Advance | |
| |
| |
Rapid Frame Advance | |
| |
| |
Self-Timer | |
| |
| |
| |
The Wonders of Infrared Imaging | |
| |
| |
From Drab to Fab | |
| |
| |
Black-and-White IR | |
| |
| |
Have Fun with Filters, Too! | |
| |
| |
Seeing in IR | |
| |
| |
Panos in IR | |
| |
| |
| |
Photoshop Elements Confessions | |
| |
| |
| |
Quick Look at the Quick Mode | |
| |
| |
| |
Th e Full Mode is Full-Featured | |
| |
| |
| |
Save a Copy | |
| |
| |
| |
Crop Creatively | |
| |
| |
| |
Love Th ose Adjustment Layers | |
| |
| |
| |
Th e Touch of a Brush | |
| |
| |
| |
A Look at Levels | |
| |
| |
| |
Brightness/Contrast Basics | |
| |
| |
| |
See What Hue/Saturation Can Do For You | |
| |
| |
| |
Th e Super Shadow/Highlight Control | |
| |
| |
| |
Select Your Selections Carefully | |
| |
| |
| |
Do It with the Dodge/Burn/Sponge Tool | |
| |
| |
| |
Resize the Right Way | |
| |
| |
| |
Check-out Canvas Size | |
| |
| |
| |
Heal With the Spot Healing Brush | |
| |
| |
| |
Copy and Fix with the Clone Stamp Tool | |
| |
| |
| |
Wow 'em With Black-and-White Images | |
| |
| |
| |
Have Fun with Effects | |
| |
| |
| |
Play With Plug-ins | |
| |
| |
| |
Sharpen As Th e Final Step | |
| |
| |
| |
Reward of RAW Files | |
| |
| |
| |
Expand Your Vision with HDR Imaging | |
| |
| |
Take at Least Th ree Shots | |
| |
| |
Generate HDR | |
| |
| |
Do It with Details Enhancer | |
| |
| |
Th e Fun Never Stops | |
| |
| |
Take HDR Inside, Too | |
| |
| |
| |
Shooting Panoramas | |
| |
| |
Getting Started | |
| |
| |
Pano from Adobe Bridge | |
| |
| |
Shoot Verticals | |
| |
| |
More Fun Awaits You | |
| |
| |
Expect Surprises, Too | |
| |
| |
A Truly Amazing Match | |
| |
| |
Shooting Panos in a Tight Spot | |
| |
| |
Experiment with Layouts | |
| |
| |
Expect to Crop | |
| |
| |
| |
HDR + Panos + Way-Cool Imaging Fun | |
| |
| |
Shooting for an HDR Pano | |
| |
| |
Generate an HDR Image for Each Set of Images | |
| |
| |
Enter Photoshop Elements | |
| |
| |
Play in Photoshop Elements | |
| |
| |
| |
Make a Better Print | |
| |
| |
Shoot it Right | |
| |
| |
Calibrate your Monitor | |
| |
| |
Adjust your Photo | |
| |
| |
Size your Photo for Printing | |
| |
| |
Sharpen your Photo | |
| |
| |
Working with the Printer | |
| |
| |
Test your Print | |
| |
| |
Index | |