By Dennis Curtin
I purchased this publication after you have my insurgent xt and could not look forward to it to reach. The consumer guide that got here with the digicam did not aid in any respect and that i was once anticipating getting a e-book that can aid get me began within the correct direction.
Well, it took over 6 weeks for the publication to reach and while it did i discovered it to be not anything yet a glorifed consumer guide. Very disappointing.
I have had higher success from well known images journal and studying from books written via execs like John Shaw and artwork Wolfe.
This e-book wasn't definitely worth the fee and stay up for it to reach.
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Extra info for A Short Course in Canon EOS Digital Rebel Photography (book/ebook)
Where you see a black and white checkerboard (top), your camera sees only an average gray (bottom). The exposure meter and exposure control system can’t think. They do exactly what they are designed to do and they are designed to do only one thing. Regardless of the scene, its subject matter, color, brightness, or composition, the meter measures the overall amount of light reflecting from the scene. Since the light meter measures only brightness (how light or dark the scene is) and not color, the automatic exposure system then calculates and sets the 31 CHAPTER 2.
For instance, a dark object located off center against a very light background may not be exposed properly because it is not located in the area the meter is emphasizing. These occasions are uncommon, but when they occur you can ensure accurate exposures using exposure compensation (page 41), AE Lock (page 41) and autoexposure bracketing (page 42). In this image, automatic exposure worked well because the scene averages out to middle gray. In this image of an ice filled harbor, automatic exposure would not have worked well because the scene is lighter than middle gray.
A continuous spectrum of tones, ranging from pure black at one end to pure white at the other is contained in most scenes. In simple terms, this continuous scale can be thought of as being divided into a series of individual tones called a gray scale. Each of the tones in this scale has received 1 stop more exposure than the next darkest tone in the series, and one stop less exposure than the next lightest tone. The tone in the middle is called middle gray and reflects exactly 18% of the light falling on it.