Home
Tips & Tricks
Sony Tips
Sony a6400
Sony a6300
Sony a6000
Canon Tips
Canon M50 Mark II
Canon M50
Canon 6D Mark II
Canon 6D
Canon 7D Mark II
Canon 7D
Canon 90D
Canon 80D
Canon 77D
Canon 70D
Canon 60D
Canon T7 · 2000D
Canon T7i · 800D
Canon T6s · 760D
Canon T6i · 750D
Canon T6 · 1300D
Canon T5i · 700D
Canon T5 · 1200D
Canon T4i · 650D
Canon T3i · 600D
Canon T3 · 1100D
Canon T2i · 550D
Canon SL2 · 200D
Canon SL1 · 100D
Nikon Tips
Nikon D750
Nikon D500
Nikon D7500
Nikon D7200
Nikon D7100
Nikon D5600
Nikon D5500
Nikon D5300
Nikon D5200
Nikon D5100
Nikon D3500
Nikon D3400
Nikon D3300
Nikon D3200
Nikon D3100
Cheat Sheets
Sony Cheat Sheets
Sony a6300
Sony a6000
Canon Cheat Sheets
Canon M50 Mark II
Canon M50
Canon 6D Mark II
Canon 6D
Canon 7D Mark II
Canon 7D
Canon 90D
Canon 80D
Canon 77D
Canon 70D
Canon 60D
Canon T7 · 2000D
Canon T7i · 800D
Canon T6s · 760D
Canon T6i · 750D
Canon T5i · 700D
Canon T6 · 1300D
Canon T5 · 1200D
Canon T4i · 650D
Canon T3i · 600D
Canon T3 · 1100D
Canon T2i · 550D
Canon SL2 · 200D
Canon SL1 · 100D
Nikon Cheat Sheets
Nikon D750
Nikon D500
Nikon D7500
Nikon D7200
Nikon D7100
Nikon D5600
Nikon D5500
Nikon D5300
Nikon D5200
Nikon D5100
Nikon D3500
Nikon D3400
Nikon D3300
Nikon D3200
Nikon D3100
Comments
However, it's true that ISO, especially in the D3200, can be a little confusing. It operates differently in the different modes. Sorry it can't be explained in a few words, but I will try to be concise at least to start.
First of all, in Auto mode you cannot control ISO at all. In scene modes, ISO defaults to Automatic, but you can choose a single manual ISO. When it is in Automatic, you have no input at all. It chooses. When you manually override it, the manual setting prevails whether or not the exposure is right. In P, S, A and M modes, Auto ISO is the default, and you must go to the menu to turn it on or off. You'll notice that the "auto" entry is grayed out in the ISO choices. It has a completely different meaning here.
In P, S, A and M modes, "auto" ISO starts with whatever ISO you have manually chosen, and the camera changes it as required to maintain proper exposure. In other words, unlike the scene modes, you should choose a starting ISO. If the shutter speed goes below a certain point in P and A mode, or if the aperture goes below range in S, or if the exposure goes off in M mode, the ISO will change. You get a choice of where to start, but unlike the scene modes, you cannot override auto ISO without turning it off.
You can set a maximum point to which Auto ISO will rise before it quits, and a shutter speed at which it initiates (in the menu). Not made clear in the instructions is that if you are in Auto ISO mode, you cannot manually choose an ISO above the max you've set. It will show in the display, but it won't be used. I generally do not use auto ISO, but as a rule you should experiment with high ISO to determine what level of noise and edge degradation you can tolerate, and set your maximum not to exceed that. If you regularly use a VR lens, you may also find that you can reduce the shutter speed point, since it defaults to 1/30 second. That's a good safe point most of the time, but a wider angle VR lens can go lower.
When you are using Auto ISO, the display will not show what ISO the camera has chosen. The ISO will flash in the display to show that it's being overridden, but the choice is not shown. Auto ISO can choose finer increments than are available in manual. You can find out what it actually was by opening the EXIF information in playback (enable "overview" in the playback menu for a useful display), where it will be shown. The number is in red if auto ISO kicked in.
In any case, whether you use auto or manual ISO you should generally always try to keep it as low as possible, as noise, clarity and dynamic range are best at low ISO. If you're using Auto in the P, S, A and M mode, there is essentially no down side to setting it at 100, as the camera will raise it if needed, but will not lower a higher one if it can get the exposure.
With regard to bright light over an image:
If the light is a bright spot, chances are you've got a blown out spot caused by overexposure. This can happen when a part of the image is much brighter than the rest, and your meter is trying to expose the darker parts correctly. Some of this may be unavoidable. Some can be controlled either by composition or by exposure compensation.
If it's a haze over the whole image, it's likely to be lens flare. Make sure you use a lens shade whenever possible, and watch out for oblique light. The kit zoom lens is actually pretty decent with regard to flare, but you'll get some flare when you shoot into light, and more when bright light comes obliquely into the lens. To eliminate flare, try to keep the light behind you and above you.
You will need a tripod, as your shutter speed will probably be slower than the lens's VR can handle.
If you shoot in Aperture priority mode, with Auto ISO turned off, the camera's meter will set the slowest shutter speed available. Chances are you'll get a certain amount of motion blur from the water, but it won't be right up there. At shutter speeds below about 1/4 second, water will lose definition. Waterfalls and the like will smooth out, but slower water, and waves, won't get that creamy look unless you go slower.
If you want the full effect, you will need to add a neutral density filter to the lens, to darken it more. Check out the internet to see what's available. You can go to about 4x without seriously compromising the camera's ability to function. Much above that, you will probably have to focus with the filter off, switching the lens to manual before you shoot, and then put the filter on, because the camera will not AF well when it's too dark.
Be careful not to move the lens's zoom too much when manipulating the filter, because most zooms these days will alter focus a little when zoomed.
If you're shooting on a tripod, it may be possible to get a square filter rather than a screw in one, and just hold it in front of the camera. Use the self timer to control vibration, but remember that the self timer will operate, or attempt to operate, the AF, so if you're using a filter that's very dark, you should probably turn off AF before you try to shoot.
In the matter of personal taste here (about which one can always argue) I would suggest you don't overdo this. I think motion blur in water has become so common it's overdone. Getting some blur in fast-moving water such as streams and waterfalls often makes a picture look better, and conveys the sense of motion, but I think often people go too far and that creamy smooth surface loses its novelty after a while.
One thing I would suggest is that you not stint too much, and that if possible you avoid the abundant cheap ones with square extruded legs, leg braces, "pan and tilt" video heads, of the sort that you can find at chain stores. A pan tilt head does not tilt sideways to level horizons, so to get a level horizon you must level the tripod itself. That's necessary anyway if you're panning video, but if you're shooting single shots it's far more convenient to level the camera.
A good tripod is going to cost you some. These days, there are many Chinese brands that have brought the price for features down, but they're still not really cheap. The main thing I'd be looking for at this point is a head that allows horizontal leveling - either a ball head or a three-way head; legs that are easily adjustable for spread as well as height; a quick release on the head, preferably the now nearly generic "Arca Swiss" type. With this kind of setup, you have a plate that is left on the camera, which attaches quickly to the tripod. It makes use much quicker and more convenient, and when properly done more secure. You'll almost always have this with a ball head. Some cheap video head tripods have quick releases too, but it may be hard to find extra pads later, as they are not standardized. "Arca Swiss," originally introduced by the very expensive Arca brand, has become a kind of standard, and is shared by not only the most expensive makers of ball heads and the like, but by most of the Chinese brands.
Just what you can find will vary with where you are shopping, but one other factor is that it helps to have a tripod you'll actually be willing to take with you and use. I've got a huge, heavy, wonderful old Manfrotto tripod, which I use often, but I also often find myself not using it because it's so darn big. There are some newer designs that are very small and portable while still being sturdy and well built; Sirui, Mefoto, and others. You'll pay some pretty serious coin for the best of these, but if you can, try one out and see how it works, because a well made travel tripod is something you can have handy all the time.
In addition to the big old tripods, I also have a little Sirui travel tripod, and it works very well. It looks small, and the ball head is small, not suitable for big telephoto lenses and the like, but it holds the camera reasonably well, and it's so handy I throw it in the car every time I go anywhere. I got mine at a yard sale, so did not have to pay the stiff price for a new one, but it's really very useful and worth saving up for something similar.
Whether or not you buy from them, I suggest you check out the B&H site for information, because their information is very complete, and they carry a lot of different brands. They also have good service and prices. There are others too, but B&H listings are very informative.
Ideally, I'd decide what size and weight are reasonable first. Don't worry much about capacity, as nearly anything other than the obvious mini stuff for iPhones and the like will be adequate there. Avoid video heads, ball heads are pretty versatile. Three way heads are nice for landscapes, less so for action, and tend to be less portable because of the protruding handles. Independent leg spread is very nice if you are on difficult terrain, or if you like to do macro work with the tripod low. Braced legs seem like a good idea, but except on the bigger tripods they're usually a sign of cheap construction. The best small and medium tripods don't need them.
Cruise the internet a little, too, if you have time, and see if there are any other reviews, opinions, etc. You'll run into a lot of tripod snobs there who are convinced you should run right out and get a $700 tripod, but it's worth looking around.