To help familiarize yourself with the Nikon COOLPIX S51 or S51c camera, here's a short video tutorial which offers descriptions of a few of these camera's coolest features, tips for taking great pictures and an explanation of how to use the incredibly cool wireless feature of the S51c camera. Magandagan hapon po sa lahat, itatanong ko lamang po kung paano ko kaya masasaayos ang aking camera? Please be aware that we cannot guarantee that all the information shown, such as prices, specs, images, etc. In order to use this website and its services, users must consent to and abide by the Terms of Use. The successor to the very popular Nikon D3200, the D3300 is a powerful DSLR with a lot of features to improve your photos over those taken in Auto mode. First, we'll give you a quick tour of the key controls, and then we'll explain how to use them for different effects. Starting at the top of the camera, you'll find a dial on the right side for a range of shooting modes. S – Shutter Priority: You set the shutter speed using the Command dial on the back of the camera, where your right thumb rests.
A – Aperture Priority: You set the aperture using the Command dial, and the camera sets the shutter speed. The D3300 offers a number of special Effects shooting modes, such as Super Vivid and Miniature.
If you decide to set the ISO manually, try to go no higher than 1600 for everyday shooting, and no higher than 3200 for low light and evening shooting.
Using Aperture Priority again, go for a higher setting of f9 or greater to produce a deep depth of field. The D3300 has three light-metering modes, controlled from the settings menu that is accessed by pressing the "i" button. This option pays more attention to the center of the image, but also considers the rest of the picture. Use this to have the camera measure just a small spot in the center of the image, ignoring the rest.
Three settings — White Balance, Picture Control and Retouch — determine how colors appear in your photos.
White Balance judges the overall color of the light in a scene in order to interpret colors accurately. Retouch is a better way to use color effects, as it applies them to a copy of the photo, leaving the original unaltered.
With this basic setup you can adjust how much contrast there is, and how dramatic the lighting is just by changing the distance and position of the lighting from the subject. Although I always bring a whole bag, well, really a few bags full of flashes of all sizes and powers, many times I find that using one flash is an easy way to get the right lighting while still being flexible enough to follow the subject and make corrections quickly. I could have just as easily used a battery powered monolight such as my SP-Systems Lancerlight 160 or an Elinchrome Ranger. I was recently asked a question regarding how to get proper exposure mixing big flashes with small flashes. If you are triggering the flash with the D60’s on camera flash (or another speedlight), with it set to TTL you will have to change it to A (aperture priority) or M (manual).
The SP-Systems lights are great, I’ve been using them for about 10 years now and have accumulated a number of different ones.
This is how I approach lighting with flash, big flash, small flash, and mixing the two with ambient light. There are times when you want total control over all the lighting in the scene, as in a studio setting, and there are other times when you want the ambient light to play a part in the scene. Great landscape photos generally fall into two categories, photos created with patience and planning, and photos that are happenstance. Living in Vermont, I consider myself extremely lucky with the abundance of beautiful landscape opportunities within a short drive (or walk from the house).


While the classic image of landscape photographers is one with a large format camera and a heavy tripod resting on their shoulder, newer digital cameras allow more ability to handhold photos with a great depth of field.
After getting some awesome photos of Sarah dancing at sunset on Lake Champlain, we met back up at the studio to create some abstract, clean and simple photos to complement the dramatic outdoor ones. Shooting black on black can cause a few issues, namely in post production trying to separate the two, but it’s easily overcome with a little selective burning. When the aim is to take abstract photos, I generally try and look for slices of a whole shot.
I had the wonderful opportunity to photograph ballet dancer Sarah Steward dancing along the shores of Lake Champlain the other day.
Using the lens hood is a good place to start. I had my assistant holding a reflector just over the end of my lens to cast a shadow on my lens and cut out the flare. I recently had the opportunity to photograph some of luthier Jonathan Vacanti’s hand made violins.
To shoot this hand made violin, I knew that the final product would be a violin floating on a black background.
As far as lighting, I chose to use two soft boxes on SP-Excalibur studio flashes, triggered by a wireless transmitter. The lights are set up at a 45 degree angle camera left, and about a 120 degree angle camera right.
I used two black flags (actually foam core covered with black paper) to keep the light from spilling backwards from the left light and towards the camera from the right light. After shooting, I went into Photoshop and removed the fishing line and made sure the background was actually black and not just dark. Now that 2011 is here, I thought I’d quickly revisit 2010 before getting to the business at hand. As always, these photos (and many thousands more) are available for sale digitally or as prints for your wall. After having one of craziest adventures of my life (read about it here) and getting lost in the Cambodian jungle, Alan and I rang in the New Year by taking another motorcycle trip down to Kep on Cambodia‘s southern coast on the Gulf of Thailand. On the way back from Asia, I spent a few uneventful days in sweaty Singapore, but fell in love with their amazing botanical gardens.
Back in wintery Vermont, mother nature only graced us with a few hits of snow, but we made the most of it. A quick trip to the Turks and Caicos to shoot a lovely wedding helped to break up the lack of snow. As some of you know, I shoot a lot for Fletcher Allen Health Care, Vermont’s premier hospital. While Miriam and I had our own respective adventures this year, (check out her blog on Guatemala, life, and everything else), we had some memorable days.
For those of you who may have missed the Halloween party this year, fear not, there are a few photos to provide a reminder of the insanity.
The 2013 University of Vermont Medical School, Department of Surgery annual report is out and it looks great!
Hi everyone, I wanted to let you know that after a busy summer and fall, I’ve finally updated my main website for my commercial photography. After giving myself an early holiday gift of Joe McNally’s new book, Sketching Light, an Illustrated Tour of the Possibilities of Flash, I can say that this is one of the best books for on-location lighting covering both big flash and small. Here’s are two calendars that would make great holiday gifts or a perfect addition to your home or office wall.
If you are considering making a purchase, please refer to the merchant's page to ensure that you have the most up-to-date information. By accessing or using any area of this website, you hereby agree to be legally bound and abide by the Terms. The camera adjusts the shutter speed and aperture, and gives you the option to adjust a few other settings (which we'll explain).


The one we found most useful was the Easy Panorama effect, which automatically stitches together multiple images you have shot into a wide, panoramic photo. You adjust ISO manually by pressing the "i" button, then selecting ISO from the settings menu. An aperture of f5.6 or lower produces a shallow depth of field that blurs out the background, keeping focus on your subject. Having more of the scene in focus is also useful when shooting a group of people or any scene with important subjects at varying distances from your camera. Most of the time, you can leave this on Matrix mode, in which the camera judges the light in several parts of the image and picks the settings for an even exposure. Turn the Mode Dial to EFFECTS and then press the MENU button to access the Picture Control settings. Here are the main controls for the Nikon D3300 and how you can harness them to get better pictures.
You can raise the ISO in dim or dark lighting situations, but this produces graininess, called noise, in the images, so proceed with caution.
If Matrix isn't giving you the results you want, you can try Center Weighted or Spot Metering mode, or adjust the exposure compensation. But in low light, photos can have an orangey cast that you can fix using a custom white balance.
We recommend staying with the default SD (Standard) setting, as this produces the most-accurate and true-to-life colors. Then select Retouch to apply effects like Monochrome and Color Sketch, plus Filter effects that can enhance some (or all) colors. It cuts out the 100s of pages typical of user manuals and dedicated photography books, and gets straight to the point. However, as you get more comfortable with photography, Manual mode can help you get difficult shots in which you want a particular effect that the camera can't execute on its own. One thing I would like to better understand about the D3300 is why under extremely bright light it will use a higher-than-expected ISOs (~320)? Then point the camera at a white or gray object, such as a piece of paper, and press the Shutter.
Just remember to switch back to Auto White Balance or measure a new white balance when you move on to a different setting.
In one review for this model I note a comment that the camera in AUTO mode is set to assume the flash is ON regardless of whether it actually fires, and that zooming in when this is the case can result in blurry photos.
It is true to my experience that with the kit zoom lens, even in very bright light (not backlit), I'm having a horrible time getting the camera to focus short of leaving it in sports mode or mounting it on a tripod.
Does this suggest a faulty lens, faulty metering or both?One type of shooting scenario that seems particularly difficult with this camera pertains to shooting birds. This makes it nearly impossible to capture a bird in a tree in focus short of a completely unobstructed view. Unless the bird is sitting perfectly still and I use the center-point method, I don't get good focus shooting into a tree even when the subject is brightly lit.Does the aforementioned difficulty have to do with the fact that the D3300 apparently has only ONE cross-lined AF sensor (at the center)? Generally I find that with any subject using any other AF method other than center point is lacking.
Taking a bird in a tree off the center AF where the cross-link is located generally results in loss of focus quality!



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Comments to «How to take a good picture nikon d3100 sobre»

  1. ENRIGUE on 12.06.2014 at 20:20:17
    Focus whereas the background is dreamy and nIKKOR and.
  2. ADMIRAL on 12.06.2014 at 22:16:45
    Your first exposure, you can photograph examples.
  3. Lewis on 12.06.2014 at 20:59:11
    Duplicate??balls had been painted out the fireworks.
  4. JEALOUS_GIRL on 12.06.2014 at 22:51:30
    Proper, gives an image a sense of motion and between you may need.