Tech­nique as­sess­ment

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The vir­tual hori­zon

Chris says… The first thing I got Tantse to check was that her vir­tual hori­zon was switched on, in Live View mode. This in-built op­tion acts as a spirit level for both the X and Y axis. It’s use­ful when shoot­ing in some­where like Skye with tow­er­ing moun­tains, be­cause the land­scape can look askew and can throw you off. So I sug­gested she use the vir­tual hori­zon to level the scene, and let the land­scape do the rest.

Depth of field

Chris says… Tantse asked me, “I rock up at a land­scape scene and in­stinc­tively want to shoot f/18, is that bad?” The an­swer is no, but I would nor­mally opt for f/11 or f/16 to re­duce dif­frac­tion that oc­curs in­her­ently in ex­tremely nar­row aper­tures of f/18 and above. That said, if it gets the job done, go for it! Pho­tog­ra­phers, be­gin­ners es­pe­cially, can get bogged down in the minu­tiae of tech­ni­cal set­tings. You won’t no­tice a dif­fer­ence be­tween f/16 and f/18 un­less you’re a pic­ture edi­tor.

White bal­ance

Chris says… My white bal­ance is al­ways on Day­light. Tantse had hers set to Cloudy. If it’s cloudy out­side, I may change to the Cloudy set­ting but oth­er­wise I stick to Day­light. I do this be­cause it al­lows me to check a scene with­out the cam­era tak­ing over. If it em­bel­lishes the yel­low tones, it may look like the yel­lows are over­ex­posed, even though they aren’t, which might make you un­der­ex­pose the im­age.

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