How to photograph anything like a pro by steve rutherford

HOWTO

PHOTOGRAPH
ANYTHING
LIKEAPRO
ByMulti-AwardWinning
ProfessionalPhotographer
and
BestSellingAuthor
STEVERUTHERFORD
www.howtophotographanything.com
www.steverutherfordtraining.com.au


WHATOURREADERSANDSTUDENTSARESAYING…
PraisefromourreadersandphotographystudentstaughtbyInternationallyAwardedand
AccreditedAustralianProPhotographerSteveRutherfordwhohasbeenteaching
photographyforoveradecade.
“Asaphotographer,inparticularforlandscapephotography,itisadelightthata
talentedphotographerliketheauthorshareshisknowledgeandexperience.Great
hints,directionandtips.”
AdrianusHendriks,“HowtoPhotographLandscapeslikeaPro–BestSeller”
Amazonreview
“Agreatreadwithalltheinformationtogetyoustartedintakinggreatshotswithout
the“filling”orconfusinginformationthatsomeotherbookshave.Greatreference
material.”
PaulB.“HowtoPhotographLandscapeslikeaPro–BestSeller”
Amazonreview
“WOW,greattraining,somuchcontent,wishIhaddonethisearlier,thanksforyour
localadvicetoo,Steve”

HeatherFrancini,AucklandNZ
“Ifyouwanttotakeyourphotographytothenextlevelyouhavetodiscover
photographywithSteveRutherford”
DavePhillips,Mackay,Australia(davephillips.com.au)
“HiSteve,Brilliantcontent….whatawaytolearn,nowIknowspendingthe$$on
mycamerawasworthit…thankssomuch.”
TraceyWoolstock,Darwin,NT,Australia
“HeySteve,ThanksamillionforyourhelpIhaveover400imagesfrommyholiday
toworkon,I’monit,Cheers”
SandraMarks,Brisbane,QLD,Australia
“Ihaven’tcomeacrossabetterwaytolearnhowtocaptureimagesinanysituation,
thanthistraining”
MichaelPollock,Atherton,QLD,Australia


VALUEDATOVER$97
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COMPLIMENTARYACCESStoAustralia’sfavoriteonlinephotographypublication,
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Step2.Enteryourdetails,andGETCOMPLIMENTARYACCESS
It’sthateasy!Thankyouandwehopeyouenjoythebook.

SteveRutherford
Author“HowtoPhotographAnything”BookSeries

COPYRIGHTSTATEMENT
RUTHERFORDINTERNATIONALPTYLTD
TheAuthorandthePublisherspecificallydisclaimanyliability,lossorrisk,whichis
incurredasaconsequence,directlyorindirectly,oftheuseandapplicationofanycontents
ofthisbook.Readersareencouragedtoseekthecounselofcompetentprofessionals,with
regardtosuchmattersasinterpretationofrights,lawfulentry,andpermissionpertaining
topersonalandlocationreleasesofsubjects.Thisbookisnotintendedtoprovidelegal
adviceforphotographersinanyway,andtheopinionsexpressedandcompiledherein
serveonlyasopinionsandgeneralguidance.
FirstpublishedinAustraliain2013byRutherfordInternationalPtyLtd.
POBox2421,ChermsideCentre,QLD,Australia4032
Ph.+61731023353
Copyright©RutherfordInternational2013
ThemoralrightoftheAuthor,SteveRutherfordhasbeenasserted.Allrightsreserved.
Nopartofthispublicationmaybereproduced,storedinaretrievalsystem,ortransmitted,
inwholeinorpart,inanyformorbyanymeans,withouttheexpresswrittenpermission
ofthePublisher,norbeotherwisecirculatedinanyformofbindingorcoverotherthan
thatinwhichitispublishedandwithoutasimilarconditionincludingtheconditionbeing
imposedonthesubsequentpurchaser.
BookDesignandLayout:SteveRutherford,
TanyaRutherfordPhotoCredits:SteveRutherford,istockphoto,ShutterStock
Text:SteveRutherford
FirstPublishedin2013
Ed.1.1
ISBN978-0-9874576-3-9
OTHERGREATTITLESINTHISSERIES…
www.howtophotographanything.com
www.steverutherfordtraining.com.au

HOWTOPHOTOGRAPHPEOPLELIKEAPRO
HOWTOPHOTOGRAPHYOURKIDSLIKEAPRO
HOWTOPHOTOGRAPHLANDSCAPESLIKEAPRO
HOWTOPHOTOGRAPHWILDLIFELIKEAPRO
HOWTOPHOTOGRAPHTHESTARSLIKEAPRO(Comingin2013)
HOWTOPHOTOGRAPHWATERFALLSLIKEAPRO(Comingin2013)
HOWTOPHOTOGRAPHARCHITECTUREREALESTATE(Comingin2013)
HOWTOTELLAPHOTOGRAPHICSTORYLIKEAPRO(Comingin2013)


PHOTOGRAPHYFORTEENAGERS(Comingin2013)


ACKNOWLEDGEMENTS
Ah…books.Whatawonderfulresourceattheendofourfingertips.Oftenittakesmany
peopletobringasinglebooktogether,andoftenaseriouslylargeteamtobringaseriesof
bookstogether.Awisemanoncesaid,“theheightsofsuccessarenotclimbedbyoneself,
butratherwithothersholdingtheladderwithyou”,implyingateamofmentorsand
helpersiswhatdrivesyoutowardssuccess,nottheeffortsofthe“loneranger”.Thereare
afewpeoplethathavehelpedbringthissetofbooksinthe“HowtoPhotographAnything
LikeaPro”Seriestogether,andtheyaretobeacknowledgedfortheirsupport,ideas,
tenaciouscritiqueandselflessassistanceandlove.
Firstly,tomywifeandintimatepersonalmentor,Tanya,thankyouforyourfervorand
persistence,inpushingtohavethisprojectcompleted.Youaremypersonalmentorin
everydaylifeandIloveyouverydearly.I’dalsoliketothankmyfriendandbestselling
authorandentrepreneur,AndrewGriffiths.Youhavewellandtrulyaidedmeinmany
areasofbusiness,marketingandtheimportanceofpersonalrelationships.Ican’tthank
youenoughforyourfriendship.Tothecontributorsandeditors,whoassistedinthe
compilation,checkingandre-checkingofcontentinthisseriesofbooks,thankyoualso.
FinallyIamdeeplythankfultothemultitudesofattendeesatmyphotographytraining

seminars,inAustralia,andthosereadersofourmagazine,PhotographicFanatic
Magazine,foryourcontinuedsupport.Withouteachofyoutherewouldbenopointin
teachingpeoplethepassionofphotography.


ABOUTTHEAUTHOR

AwardwinningAustralianPhotographer,BestSellingAuthorandEditorofPhotographic
FanaticMagazine,SteveRutherfordisregardedasareputablenameintheinternational
photographicworld.WithamultitudeofInternationalawards,highdemandforhis
creativevisioninadvertisingandfineart,andhundredsseekinghistrainingcoursesand
seminars,heisclearlyaphotographeronthemove.
PreviouslyahighlevelmanagerwithintheAustralianFederalPoliceandaPrisonOfficer
withthenotoriousLongBayPrison’sRiotandEmergencyResponseSquadinSydney,
Australia,SteveRutherford’sbackgroundhasbeenasdiverseastheimageshecaptures.
Thereisnodoubtthatanypersonwiththispasthasseenboththebestandtheworstthat
humanitycanbe.Steveusesthisexperiencewhenaddinghisownuniqueperspectiveto
theworld.Suchaperspectivecanexposethestoryofasinglefloatingleafonatropical
islandparadise,orthegrandeurofmidnightinNewYork.
SteveRutherfordisaccreditedandregisteredasanawardwinningprofessional
photographerbytheAIPP(AustralianInstituteofProfessionalPhotography),andthePPA
(ProfessionalPhotographersofAmerica)havingaccumulatedover50Internationaland
Nationalawardsinashortspanofyears.SteveisalsoqualifiedasanAssociateof
PhotographywiththeAIPPandNZIPP(NewZealandInstituteofProfessional
Photography),andwaspastPresidentoftheN.QLDChapteroftheAIPP.
SteveRutherfordtravelsextensively,bothforcommercialclientsandtocollectimagesfor
hisownfineartandstocklibrary.HehasphotographedextensivelyaroundAustralia,NZ,
Vanuatu,NewCaledonia,Indonesia,Hawaii,mainlandUSA,AlaskaandCanada.Heis
alsorepresentedbyInTransitImagesinMontreal,Canada.Visit–
www.steverutherford.com

CONTENTS
WHATOURREADERSANDSTUDENTSARESAYING
COMPLIMENTARYGIFT
COPYRIGHTSTATEMENT
ACKNOWLEDGEMENTS
ABOUTTHEAUTHOR
INTRODUCTION
PART1-WHATISPHOTOGRAPHY
PART2-CHOOSINGACAMERA
Howyoucameraworks
Whatfeaturestolookfor
PART3-LENSESANDHOWTHEYWORK
Insidealens
TypesofLenses
PART4-EXPOSURE
WhatisAperture?
WhatisShutterSpeed?
HowisShutterSpeedmeasured?
ShutterSpeedTechniques
ISOSpeedandSensitivity
TheHistogram
PART5-LIGHTING
ColorofLight
WhiteBalance
DirectionofLight
NaturalLight
Moonlight
DramaticLighting

Silhouettes
LightsatNight
ExposingforLightandDarkSubjects


LightingEquipment-FillinFlash
FlashEquipmentandStudioStrobes
LightStands
UmbrellasandSoftboxes
FlashTriggersDevices
FlashandLightMeters
ExtraBatteryPacks
BackpackorBag
SpringClamps
GaffTape
PART6-COMPOSITION
RuleofThirds
Close-Ups
ChoosingaFormat
PlacingtheHorizon
FillingtheFrame
Lines
TakingPicturesThroughFrames
Patterns
Textures
DramaticAngles
PART7-TECHNIQUE
Camerahandling
AutofocusTechniques
ExposureandMeteringModes

ControllingDepthofField
MultipleExposures
ShootinginBlackandWhite
UsingHyperfocalDistance
Ensuringsharpness
UsingMirrorLockupmode
Freezingmotion


HighSpeed
Usingselftimers
MotionBlur
MacroandtheMiniatureWorld
UsingPerspective
Bracketing
HDR-HighDynamicRange
Stitching
Infrared
BokehEffect
PinholePhotography
BurstZoomEffects
PART8-OTHERSHOOTINGACCESSORIES
Cameracases
CableReleases
Tripods
CreativeFilters
PolarizingFilters
PART9-OUTDOORSUBJECTS
Landscapes
TropicalBeaches

Sunrise,SunsetandtheAfterglow
Rainbows
LightningandStorms
MountainScenery-Scale
MountainScenery-Lighting
IntheDesert
Canyons
RiversandWaterfalls
RainforestsandtheTropics
IntheRain
AutumnColors


CavesandCaverns
FogandMist
Panoramas
AstrophotographyandStarTrails
WildlifeUnderwater
UrbanandStreetPhotography
PART10-INDOORSUBJECTS
StudioStylePortraits
CasualPhotosoftheFamily
PetsatHome
EntertainmentandParties
StillLife
BoudoirLightingandNudes
Architecture
RealEstateandInterior
PART11-THELEGALITIESOFPHOTOGRAPHY
Copyright

OnlineTheft
Protectingyourwork
LocalLaws
IndustryAdvice
THEHISTORYOFPHOTOGRAPHY
COMPLIMENTARYGIFT
GLOSSARY


INTRODUCTIONTOTHISBOOK
Thisbook,“HowtoPhotographAnythinglikeaPro”willtakeyouonajourneyof
discoveryofthemanysecretsthatprofessionalphotographers,usetocapturestunning
awardwinningshots.Hereiswhatyouwilldiscover;
•TheSECRETSprophotographersusetogettheWOWfactoreverytime.
•Thetricksandtechniquesprophotographersuseforeveryshot.
•Whatequipmentwillhelpturnyourshotsfromboringtoamazing.
•Howtosavetimeandmoneyusingtherightphotographytools.
•HowtoturnyourphotographypassionandcreativityintoaBIG$income.
Thisbookassumesthatthestudenthaslimitedknowledgeinpracticalphotographyand
theuseoftheirowncameraequipment.Theinformationprovidedinthisbookisa
compilationbasedontheexperiences,trialsandtestsundertakenbySteveRutherford,
alongwithotherphotographicindustryprofessionals,agenciesandorganizations.“Live
websitelinks”havebeenwrittenintothetext.Booksinthe“HowtoPhotographAnything
likeaPro”seriesusethefollowingvisualcuesandicons.

Thelensiconsindicateatechnicalareathatyoushouldtakenoteofforfuture
reference.
The“flamingbook”iconsindicate“hottips”thatshouldbenotedandusedto
getthebestfromyourphotography,duringexercisesinthebook.

The“eyeball”iconsindicate“visualexamples”thatshouldbeusedasaguide
orexamplethatgoeswiththetextinthesectionyouarereading.
The“redboxes”indicate“idealorspecificsettings”touseforthescenario
beingexplained.
Thisbookoftenrefersto“film”.Althoughtheadventofdigitalhaswellandtrulytaken
overfilmforthemostpart,theapplicationsstillapplyinthesameway,whetherdigitalor
film,whenconsideringthebasicsofphotography.Photographyismeanttobefun,sotry
toenjoytheprocessofcreatingphotos,itdoesn’tmatterwhethertheyarewrong,rightor
anywhereinbetween.Solongasyoucontinuetoenjoytakingphotographs,you’llremain
passionateanddriventoimproveyourphotography.
Pleaseenjoythisbook,andrememberonlyyourimaginationlimitsyourphotography.
Regards,SteveRutherford





PART1-WHATISPHOTOGRAPHY

Whenyoutakeaphotograph,youareeffectivelyrecordinglightontoasensitivesurface.
Itisnotjusttherecordingofapictureorscene!Filmabsorbslightandchemicalreactions
alterthepigmentsinthechemicallayers,calledemulsion,providinganetchedimagein
thefilmssurface.Digitalsensorsdothesamebymeasuringlightsourcesand“recordinga
colorpixel”,basedonthetone,orintensityandshadeofthelightbeingexposed,ontothe
sensor.Consideringthefirstimagesareover150yearsold-therehasbeennochangein
thetheoryofphotography…ever!LIGHTisstillparamounttoanycapture.Withoutit,no
matterhowlittle,youhavenopicture.
Typically,alensisusedtofocusthelightreflectedoremittedfromobjectsintoareal
imageonthelight-sensitivesurfaceinsideacameraduringatimedexposure.Theresultin
anelectronicimagesensorisanelectricalchargeateachpixel,whichiselectronically

processedandstoredinadigitalimagefileforsubsequentdisplayorprocessing.The
resultinaphotographicemulsion(film)isaninvisiblelatentimage,whichislater
chemicallydevelopedintoavisibleimage,eithernegativeorpositivedependingonthe
purposeofthephotographicmaterialandthemethodofprocessing.Anegativeimageon
filmistraditionallyusedtophotographicallycreateapositiveimageonapaperbase,
knownasaprint,eitherbyusinganenlargerorbycontactprinting.Mostofthebillionsof
photographstakentodayare“snapshots”—casualrecordstodocumentpersonalevents
suchasvacations,birthdays,andweddings.
Manysayphotographyisascience,morethananart,butIdisagree,thesciencesimply
allowsforthearttobeproduced,soinessencephotographyisanart,thescienceissimply
thetoolbehindtheartform.Init’sessence,aphotographisatypeofvisual
communicationaid.Itdeliversamessageinvisualform,anduponreceiptbytheviewer
rendersaresponseeitherinfavororagainstthemessagebeingshown.Inlayman’sterms,


theoldadage,“apicturetellsathousandwords”,issoverytrue.Modernphotographyhas
become“anextremelypowerfulmeansofcommunication”inadvertisingandmarketing
aswell,andamodeofvisualexpressionthattoucheshumanlifeinmanyways.

Visualdiagramoflightpassingthroughacameratoyou,theviewer,lookingthroughtheviewfinder.At
capture,themirrorandshutterbothraisetorevealthelightontothefilm/sensorfortheperiodoftimedeterminedby
yourchosenshutterspeed.

Mostofthebillionsofphotographstakentodayare“snapshots”—casualrecordsto
documentpersonaleventssuchasvacations,birthdays,andweddings.Manysay
photographyisascience,morethananart,butIdisagree,thesciencesimplyallowsfor
thearttobeproduced,soinessencephotographyisanart,thescienceissimplythetool
behindtheartform.

PART2-CHOOSINGACAMERA

Withsomanydifferentmodelsandbrandstochoosefrom,buyingacameracan
sometimesbeharderthanpickingasubjecttoshoot.Yourprimaryconcernwillprobably
bewhetheryouwanttouseadigitalorfilmcamera.Eachhasdistinctadvantagesand
disadvantages.Theprimeadvantageofdigitalcamerasisconvenience,beingableto
downloadyourimagesstraightawayontoacomputerwithouthavingtowaitforanyfilm
tobedeveloped.Withfilm,theadvantageinmyopinionisauthenticity,andthepossession
ofatangibleartwork.Adigitalfileisneithertangiblenorreal,rather,onlyviewable.
Thereareliterallythousandsofmodelsofdigitalcamerasonthemarkettoday,and
throughoutthissectionwewillprovideyouwithasetofguidelinesandtipstohelpyou
choosethemostappropriatecameraforyourchosentypeofphotography.
Ifyoudecideyouwanttogetseriousaboutphotography,youwillatsomestagehaveto
buyaseriouscamera,possiblyevenamediumorlargeformatcamera,eitherdigitalor
film.Thesecamerascanprovideafileornegativeoften10timeslargerthanthatofa
standard35mmfileornegative.
Forseriousphotography,definitelyconsiderusingaDSLR(DigitalSingleLensReflex)
camera,ratherthanacompactpointandshootcamera.Ifallyouwantisaneasy-to-use
camerathatoffersalimitedzoomrange,thenapoint-and-shootwilldojustfinetogetyou
started.
OnthefollowingpagesIhavecompiledcomparisonsandexamplesofeverytypeof


camera.I’vealsocompileda“taketothecamerashop”listofbeneficialfeaturesyouwill
needtolookforinacamera,dependingonwhattypeofphotographyyoulike.Remember
theseareaguidelineonly,butusethemtounderstandwhatthedifferenttypesandformats
ofcamerascandoforyourphotography.Youmaywellfindthatthecamerayouhadin
mindmaynotnecessarilyprovidethebestfeaturesoraspectforwhatyouwanttoachieve.

HOWYOURCAMERAWORKS

1. Lightpassesintoyourlens
2. Asyoupresstheshutter,themirrorrises,theshutterrises,exposingthelightallowed
inbythelenstoberecordedbythesensor
3. Amosaicfilterseparatesthelightintored,greenandbluepixelsandarrangesthem
intoanimagetoberecordedonthecamerassensor.
4. Afterthesensorhasreceivedthearrangedpixelsfromthemosaicfilter,theshutter
andmirrordropbackintoposition,cuttingoffthelightletinbyyourlens,leaving
thesensortocontinueprocessingtheimageforyoutosee.
5. AsecondorsolateryouseetheresultingimageonyourLCDscreen
Thisallhappenswithinyourchosenshutterspeed,i.e.;1second,1/100thsecond,etc



LookforthesefeaturesinacameraASAMUSTforthefollowingtypesofphotography:
THEBEGINNERTOPHOTOGRAPHY
FlashHotshoe-forattachmentofanexternalflash;
AnISOsettinggreaterthan1600
AV(AperturePriority)TV(ShutterPriority)andM(Manual)Settings,alongwithseveralpresets

PORTRAIT/PEOPLEPHOTOGRAPHY


FlashHotshoe-forattachmentofanexternalflash;
Fullframesensors-toavoidmismatchesinlensfocallengthswithdifferingsizedlenses;
HighMegapixels-over16MPtoensuredetail;
Manual(M)aswellasshutterprioritymodes(TV)-forflashsyncandfineexposurecontrol;
QuickaccesstoyourISOandWBsettings-tohelpmatchskintonescorrectlyandeasily.

SPORTSPHOTOGRAPHY
Shutterprioritymodes(TV)-toenableyoualwayshavecontrolovercatchingfastaction;
Frontandrearcurtainsyncsettings-forcontrolledblur,andusingflash(asyougetbetter;
QuickaccesstoISOsettings-forfastincreaseinshutterspeedsandexposureatonce.

LANDSCAPEPHOTOGRAPHY
AperturePriority(AV)-fordetailedcontrolofyourdepthoffield;
MirrorLockUpfeature-toeliminatethetiniestofcameravibrationsoncapture;
Highmegapixels-over16MPfordetail;
Bulbsetting-formanualcontrolofshutterspeedsover30seconds;
Cablereleasesocket-toenable“handsoff”orremotecapture.

WEDDINGPHOTOGRAPHY
FlashHotshoe-forattachmentofanexternalflash;
Frontandrearcurtainsyncsettings-forcontrolledblur,andusingflash;
Manual(M)aswellasshutterprioritymodes(TV)-forflashsyncandfineexposurecontrol;
QuickaccesstoISOsettings-foreasyandfastincreaseinshutterspeedsandexposureatonce.

NIGHTPHOTOGRAPHY
FlashHotshoe-forattachmentofanexternalflash(forspecialtechniques);
VeryHighISOsettings-over25600,toallowforverydimlylitsituations;
Cablereleasesocket-toenable“handsoff”orremotecapture.

WILDLIFEPHOTOGRAPHY
Shutterprioritymodes(TV)-toenableyoualwayshavecontrolovercatchingfastaction;
QuickaccesstoISOsettings-forfastincreaseinshutterspeedsandexposureatonce;
VeryHighISOsettings-over25600,toallowforverydimlylitsituations

CommonFilmCameras-$500-$3,000

CommonDigitalCameras-$200-$7,000


35mmPanoramicFILMCameras-$1000-$5,000

LargeFormatPanoramicFILMCameras-$10,000-$15,000

DigitalPanoramicCameras-$30,000+


DigitalLargeFormatCameras-$30,000+

Youshouldchooseacamerathatleavesyouroomtogrow.Eventhoughitmightseemlike
thesettingsorpossibilitiesareaboveyourskilllevel,asyouspendmoretimeworking
withit,youwillfindtheseareexactlythefeaturesyouneedtotaketheshotsyouwant.


PART3-LENSESANDHOWTHEYWORK

Lensesaretheeyesthroughwhichyourcameraseestheworld.Matchingtherightlensto
therightsubjectisoneoftheultimatekeystocreativephotography.Knowinghowtodo
thisisamatterofexperienceandunderstandingofthebasiccharacteristicsofdifferent
typesoflenses.Alllensesaredescribedintwoways:bythefocallength(asmeasuredin
millimetersi.e.;28-200mmetc,andbythespeed(jargonfortheirmaximumaperture).A
300mmf/2.8lenshasafocallengthof300mmandaspeedoff/2.8.Thefocallengthofa
lensisimportant,becauseitgivesyouanideaofhowitsangle-of-viewandperspective
relatetoourownvisionoftheworld.Lensesofabout50mm,forexample,areconsidered
normalbecausetheyprovideapproximatelythesameangle-of-viewandperspectivethat
oureyessee.Lensesshorterthan50mmareconsideredwide-anglelenses;thoselonger
thannormalareconsideredtelephotoorlonglenses.

Alensspeedindicateshowbrighttheimageintheviewfinderwillbe.Lenseswithlarger
maximumapertures,provideabrighterviewfinderimagebutarenotnecessarilysharper
orbetterthanslowerlenses.Theirmainadvantageisthattheyprovidebetterviewingin
dimlylitsituations.Forexample,a200mmf/2.8lens(consideredveryfastforthatlonga
lens)wouldproduceabrighterviewingimagethana200mmf/4.Asarule,lenseswith
widermaximumaperturesaremoreexpensive.