Originally posted by jaikumarr18 Thanks pjm. That actually makes a lot of sense. Since when I tried with F8 on group shot and only one person comes into focus. I cannot go higher than that due to poor lighting and I always try to avoid built in flash since it takes out the colour. If that's the case, I might need a powerful external flash to compensate for higher F stops. As you said, your model is very cute
---------- Post added 05-01-14 at 05:37 PM ----------
Also I still don't get the exposure compensation purpose. As per my understanding, exposure is combination of ISO, Shutter, Aperture and the lighting condition at that given point of time. So if am adjusting exposure compensation, it actually adjusts those values automatically? Hope you can clear my doubt
jaikumarr18, first of all I need to apologise as there was an important typo in my last reply which isn't going to help de-confuse! My snapshot was taken at F4, not F8. Not sure where the F8 came from when I typed it! At F8 (two stops higher) I would have been able to achieve a fair bit more DOF, although my ISO would have had to go up by a factor of four (x2 per stop), i.e. 3200 to achieve the same exposure. By the way, 3200 is fine to use if you need to - ISO noise is generally a lot easier to clean up than curing or covering up for focus/sharpness issues. Don't be afraid to pump up the ISO!
Re: your point on group shots - they're difficult for a host of reasons and I'm not best placed to advise on getting them right. One thing I will say is that another factor in depth of field is that it's relative in terms of the size of an object in your frame. If something fills your frame, it's going to be harder to get everything in focus (because the front-back distance will be proportionally bigger) than if it is smaller in your frame. It's hard to explain without delving into maths, but if you fill your frame with a three dimensional image, you'll need a very high f/stop to get it all in focus. If, however, you zoom out or step back and have the same object only filling half of your frame, you should be able to get it all into focus with a slightly wider aperture, i.e. a smaller f/stop. Sorry, I know I'm throwing more variables at you but in terms of sharpness, if you're filling your frames then it's always going to be harder to get it all into focus (unless they're very flat objects).
Exposure compensation is a big subject, but let's start with the "exposure triangle". The exposure of an image is basically the light level of that image or the amount of light which the camera allows into the frame*. This is measured in Exposure Value (EV) "stops". Confusingly, EV is a "power of two" scale for everything except f-number (aperture). This means your EV increases by 1 when you double the shutter duration. If you double your ISO, then your camera's sensitivity to light will be increased by one stop, which means there's a very simple trade off between shutter duration and ISO: double one, halve the other (keeping the aperture constant). Aperture is even more complicated because the aperture is a measure of the diameter (or radius or circumference) of the aperture of the lens (it's actually an inverse ratio, but the important thing is it's related to the diameter of the opening). Since light comes through the lens along two dimensions, the amount of light entering the camera is going to be (inversely) proportional to the SQUARE of the aperture (f-stop number). This means halving the "f-stop number", say from f/8 to f/4 (which doubles the physical diameter of the aperture) will increase the EV by four. I did warn you it is confusing! What this means is the relationship between ISO, shutter duration and f-stop is that doubling ISO has the same effect on the recorded image light level as keeping the shutter open for twice as long or by decreasing the f-stop by 1.4 (the square root of 2: decreasing f-stop by 1.4 will increase the area of the aperture "hole" by a factor of 1.4 x 1.4 = 2). In other words, to keep an image light level constant, if you double the ISO, you can either halve the shutter duration or increase the f-stop number by 1.4 (which makes the hole smaller). We generally refer to DIFFERENCES in exposure value between scenes, images etc. and normally take into account sensitivity, i.e. ISO. This means if we're saying the image is underexposed by -2 EV, we need to add any combination of reduced shutter duration, increased ISO or decreased f-stop totalling 2 stops. This could mean doubling the shutter duration AND doubling the ISO, or doubling the shutter duration AND increasing f-stop by 1.4, or simply increasing f-stop by 2 on its own. Note that I've tried to be careful referring to the aperture in terms of "f stop" rather than aperture size: because even more confusingly, as one goes up, the other actually goes down! I've also been careful about referring to shutter DURATION - 2secs duration is obviously double 1sec, but more importantly, 1/2 sec duration is double 1/4 sec duration. People will refer to shutter speed, where the inverse relationship is true, but I thought that would just be more confusing...
* it's also the camera's "response" to the light level since ISO is, in digital cameras, an adjustment to the camera's sensitivity to light. Higher ISO means higher sensitivity, so you get the same "image response" to lower levels of light as you up the ISO.
Re: compensation:
1. Your camera "meters" the light. It uses (normally) a clever zoning system to analyse the scene and work out what the "right" exposure should be. Part of this is attempting to make the average tone a mid grey (it's more complex than this, but for our purposes let's keep it simple). When you use your camera on any mode except manual, the meter will be making exposure decisions for you. Without any exposure compensation, you're basically saying to your camera - over to you.
2. Its metering isn't perfect. If you're taking a shot of something which is very white (such as snow), it will not understand that the scene *should* be white. Instead, it will try to make it mid grey. This means it will be pushing the exposure lower than it should and you'll end up with a classic problem in "out of camera" photography: grey snow.
3. Conversely, if you're snapping a scene which is very, very dark, such as a picture of a full moon on a black sky, it will attempt to push the exposure UP, to make the black sky grey (which it probably won't be able to achieve because of total light levels) but it will blow out the highlights in the moon.
4. In scenes of high dynamic range (where the lights are bright and the darks are very dark), the camera won't be able to capture the full range, so you'll end up with it making a compromise of some sort and probably blowing out highlights and losing detail in the darks.
In examples 2-4, you need exposure compensation for different reasons. In 2 you need to adjust for the camera's false assumption: that the average tone should be mid grey. You need to tell it to push the exposure higher because the average tone should be nearly white. This means your exposure comp should be + (perhaps +1 or even +2). In 3, you have the opposite problem compounded by the fact you have a blown highlight - two potential problems to correct: you want a black black sky (so reduce exposure) and you need to pull down the exposure anyway to avoid the blown highlight - this means a negative exposure comp of -1 or -2 (say). In 4, there isn't a perfect solution with a single exposure - you're going to need to decide what you want to lose (or take multiple exposures at different settings on a tripod and blend or HDR). In most cases, it is recommended that you "expose for highlights" which means dial down your exposure compensation to -1, -2 or whatever to make sure the lightest parts of the scene are captured without blowing out. You then have some work to do in post to rebalance the image without losing the highlights again!
Sorry that's perhaps a bit confusing, but exposure compensation can be confusing! The simplest way to think about it is a rule of thumb: for naturally bright scenes, set your compensation to a + number. For naturally dark scenes, set it to a - number. If you have high contrast in a scene, "chimp" by looking at the LCD review and ensuring you have highlight and shadow warnings switched on, adjust your compensation (usually down) and retake until the highlight warnings disappear.
I won't get in to manual mode as that's more confusing still (but very important especially if you're venturing into using flash). However, the camera still meters for you and reports the "exposure value" but you make all the decisions on what exposure to actually choose. I'll leave that there.
Hope this helps! I will need to re-read to check whether I've introduced more typos again!