Table of Contents
Chapter One Shooting People Like a Pro: Yet Even More Tips to Make People Look Their Very Best
9 Things You’ll Wish You Had Known...
That Was Only 6. Here Are the Last 3
Getting Shallow Depth of Field with Studio Strobes
Shooting Multiple Exposures In-Camera
One Person, Multiple Times, in the Same Shot
How to Freeze Motion in Portraits
Avoid Seeing Too Much “Whites of the Eyes”
More Tips for Great Group Shots
Better Than the Self Timer for Group Shots
Focus on the Subject’s Eye, Then Recompose
That Works Unless You’re Shooting at f/1.4
A Better Way to Direct Your Subject’s Posing
Only Photographers Care About the Characteristics of Catch Lights
What Not to Shoot with Your 50mm Lens
Getting Both What’s in Front & Back in Focus
How to Get Better Full-Length Photos
Controlling the Size of Your Subject
Chapter Two Using Hot Shoe Flash Like a Pro, Part 3: Picking Right Up Where the Last Book Left Off
Shooting Your Flash in Manual Mode
The Trick to Keep from Lighting the Ground
Using Studio-Quality Softboxes with Your Flash
How to Put the Background Out of Focus Using Flash
Don’t Have a Gel? Change Your White Balance
Put Nikon’s Commander Mode One Click Away
Making Your Flash Fire Every Time
Creating a Tight Beam of Light
The Advantages of Using Flash in Daylight
How to Use Your Hot Shoe Flash’s Modeling Light
Keep Your Flash from Powering Off
How Far to Place the Flash from the Umbrella
Why Would Anyone Use Studio Strobes On Location?
The Pro Trick for Creating Falloff
Getting a Different Look Without Moving the Lights
Using Lens Flare as an Effect in the Studio
How Far Should Your Subject Be from the Background?
Let Your Main Light Do Double Duty
Rim-Light Profile Silhouettes Made Easy
Use Almost Any Softbox You Want with Your Brand of Strobe
When It Comes to Softboxes, Bigger Really Is Better
What to Do When You Can’t Turn Your Strobe Power Down Any Further
How to Light a Couple or Small Group
The Trick to Staying Out of Trouble
Where to Put Your Softbox Demystified, Part I
Where to Put Your Softbox Demystified, Part II
Let Lightroom Fix Your Color as You Shoot
How to Set a Custom White Balance In-Camera
Taking Your Existing Strobes On Location
Chapter Four More Tips on Lenses: Going Way Beyond Which Lens to Use
Why Your Background Is Still in Focus at f/2.8
What You Need to Know About Lens Compression
Seeing a Real Preview of Your Depth of Field
Auto-Correcting the Fisheye Lens Effect in Photoshop
Shoot at the F-Stop You Bought the Lens For
Avoiding Sensor Dust from Your Body & Lens Caps
How to Focus Your Lens to Infinity
Don’t Shoot at the “Beginner” Focal Lengths
Where to Hold a Long Lens to Steady It
Which Lens for Outdoor Portraits?
Chapter Five Pro Tips for Shooting in Natural Light: How to Take Advantage of the Most Beautiful Light on Earth
Jay’s Trick for Not Missing the Shot
How to Make Sure Your Sunset Looks Dark
Tips for Using a Reflector Outdoors
Control the “Power” of Your Reflector
How to Deal with Underexposed Daytime Shots
The Trick for Shooting at Night
The Gear for Shooting Star Trails
Another Reason to Avoid Shooting at High ISOs
You Don’t Need Fast Lenses for Landscapes
Three More Tips for Silky Waterfalls & Streams
Long Exposure B&W, Part 1 (the Accessories)
Long Exposure B&W, Part 2 (the Settings)
Long Exposure B&W, Part 3, (the Setup)
Long Exposure B&W, Part 4 (the Shot)
Keeping Your Gear Dry Outdoors
Use Grid Lines to Get Straight Horizon Lines
Instant Duotones for Landscape Images
Amplifying Size in Your Landscape Images
Need a Darker Sky? Lower the Brightness
Shoot Before a Storm or Right After It
Seek Out Still Water for Reflections
Tip for Shooting Those Low-Angle Landscapes
Make Your Cloudy White Balance Even Warmer
The Landscape Image Post-Processing Secret
What Helped My Landscape Photos the Most
Chapter Seven Pro Tips for Shooting Travel Photos: How to Come Back with Images You’re Really Proud Of
Wait for the Actors to Walk Onto Your Stage
Look for That Classic “Lone Tree” Shot
Camera Bags That Won’t Attract the Wrong Kind of Attention
How to Avoid Blurry Travel Shots
The Trick to Capturing Real Lives
Tourist Removal Shooting Techniques
Finding Which Travel Photos You Like Best
Shooting from the Roof of Your Hotel
Finding the Right Shutter Speed for Panning
Freezing Motion Trick for Motorsports
Your Problems Start at Night or Indoors
Turn Off VR (or IS) When Shooting Sports
The Advantage of Using Fast Memory Cards
Why Many Pros Shoot Sports in JPEG
Adding a Teleconverter to Get Really Tight
Why You Need to Shoot the Warm-Ups
Shoot Little Details Surrounding the Event
Getting More Football Shots In-Focus
Chapter Nine Shooting HDR Like a Pro: How to Shoot and Process HDR Images
Setting Up Your Camera to Shoot Bracketing
What If Your Camera Doesn’t Have Bracketing?
Don’t Shoot One Bracketed Shot at a Time
Which Types of Scenes Make Good HDR Shots
Easily Find the Images You Bracketed for HDR
The Programs We Use for Creating HDR
A Good Preset for Photoshop’s HDR Pro
The HDR Look Without Shooting HDR
What They’re Not Telling You About HDR
Fixing Halos & Other HDR Problems
Learn the Popular “Rack Focus” Technique
Adding Effects to Your Video in Your Camera
Making Certain You’re In Focus
Why You Need to Lock Your Exposure
F-Stops Matter Here, Too, But...
How to Avoid “Flicker” While You’re Shooting
Why Zooming on Your DSLR Is Different
How to Use Autofocus for Shooting Video
Fit a Lot More Shots on Your Memory Card
Sneaky Trick When You Can’t Use Your Tripod
When Exposure Compensation Doesn’t Work
Avoid Signs Because They Draw the Eye
The “Gotcha” of Using Picture Styles
Rotate Tall or Rotate Image or Both?
Reducing Noise in Low-Light Shots
What People Looking at Your Photos See First
Keeping Your Camera Info from Prying Eyes
Why JPEGs Look Better Than RAW Images
When You Don’t Need to Shoot on a Tripod
What to Do If Your Image Isn’t Quite Good Enough to Print
When to Switch to Spot Metering
Try Cinematic Cropping for a Wide-Screen Look
Sharpening Your Images for Print