What was the one photography tip you learned after which you no longer felt like a beginner?

Actually LOOK at the subject and the framing. If it's no good, if the photo doesn't 'say' anything to me, don't bother pressing the shutter release.
that is good advice, thanks! I think that digital cameras encourage shooting too many photos "better more than none" which is not good.

I think refraining and being selective with what you shoot can make you a better photographer
Hmmmmm.

Some of my favourite images that I have taken have been instant captures with little to no thought or consideration, and I've binned lots of planned / considered images that haven't worked out.

The only way to learn what works (what works for you, anyway) is through trial and error. Take lots of photos and experiment.

I'm not suggesting "spray and pray", that's not what I am saying, just if you can see (or learn to see) you can take interesting photos instinctively.
 
Pay attention to backgrounds.....

always.

tEdolph
 
Hi guys,

I'm doing some research for one article I'm writing. I'm curious to find out what was for you the thing that you learned that made you say "From now on I'm not just playing with my DSLR".

For me it was finding about the ISO, Aperture and Shutter Speed triangle.
For me it was finding out that the typical Aperture/Shutter/ISO triangle is BS.

That triangle isn't about exposure at all, but just image brightness. It is based on a very widespread misunderstanding of how digital cameras actually work. It leaves out scene luminance as an important parameter of exposure. Increasing ISO level alone does not increase noisiness - in fact, on some cameras it can reduce noisiness. Increasing ISO does not increase the sensitivity of the sensor. The noisiness of an image is determined primarily by exposure. Exposure is light per unit area on the sensor, not how bright or dark the image is.

All of this leads to further understanding of such things as ETTR, how setting ISO before aperture and shutter is usually sub-optimal, when it makes sense to deliberately underexpose, when to use Auto-ISO, and when increasing ISO does and doesn't help.
To be honest, I find your response the most intriguing.
That's because the "exposure triangle" is a very widely distributed conceptual model. It just happens to be wrong in several aspects, but those aspects don't make a practical difference in many standard shooting situations, so people don't often notice it is wrong in the cases where its mistakes matter. Generally these involve low light and/or shooting in fully manual mode.
For me the triangle made perfect sense and gave me solutions for correcting the exposure.
In many cases the triangle does give perfectly usable solutions. It is in the edge cases and use of terminology that it gets things wrong. As a result people who have learned the exposure triangle tend to make mistakes in low light or when shooting manually. The errors of the exposure triangle do not matter too much for people who only shoot SOOC JPEGs and are not really interested in noise performance.
ETTR is good practice especially if your camera has a high dynamic range.
It matters more if the subject has low dynamic range because you have more highlight headroom that allows you to expose even further to the right. The possible range of dynamic ranges between different scenes tends to be greater than the difference in dynamic range between different cameras.
I'm not sure I agree with the fact that a higher ISO can reduce noise.
Well, you've been repeatedly told by many versions of the triangle and statements derived from its presentation that increasing ISO increases noise, so you will naturally be resistant to the counter-claim. Also, you may think you have observed instances where an increase in ISO resulted in an increase in noise. Let's start by addressing the myth that increasing ISO increases noise. Then we can deal with cases when increasing ISO might actually reduce noisiness.

Many people will use their camera in S mode, with Auto-ISO not set. Taking a series of photos of an approaching jogger running in heavy shade, with an f/2.8 prime lens and ISO set to 100, they find they can get a "good exposure" shooting at {1/125, f/2.8, ISO 100}. But 1/125 will result in subject motion blur as the jogger gets closer and begins to fill the frame. The camera won't let them set 1/250 or faster because the lens is already wide open and the ISO is fixed. So they increase the ISO to 400 and are able to shoot at 1/250 and 1/500, and acceptably freeze motion as long as the jogger doesn't quite fill the frame in landscape orientation. As the jogger gets even closer, they switch to portrait orientation. but by the time the jogger is close enough that they can only frame the subject from waist up, there is noticeable motion blur in the hands. So they change ISO to 1600, and are able to shoot at 1/2000. Upon examining the resultant photos, they find the ones shot at ISO 1600 are noticeably noisier than the ones shot at ISO 100.

Haven't we just proven that higher ISO causes more noise? No, we haven't. We have correlated higher noise and higher ISO, but we haven't shown a causal link. As you might have learned back in school, correlation is not causation. There are at least three other obvious factors here that are also correlated with image noise: shutter speed, subject size in the frame, and subject distance. Which one (if any of them) caused the higher noisiness?

When trying to identify which of multiple correlated factors is causal, we have to try to eliminate non-causal factors. We could do that by holding one of the factors constant while allowing the others to continue to vary. If the noise also continues to vary in the same way, then the factor we held constant wasn't the cause. It is trivially easy to eliminate subject size in frame and subject distance as causal variables.

It is less easy to isolate ISO from shutter speed. As long as we use an Auto-exposure mode (P, A or S, or even M with Auto-ISO) and keep the lens wide open and the lighting constant, any change in either one of shutter or ISO setting will result in a reciprocal change in the other factor. If you want to isolate the casual factor, you need to shoot in full manual without Auto-ISO. If you do that, you will find that increasing ISO while holding shutter (and aperture and lighting) constant does not result in noisier photos, just brighter ones. However, increasing shutter speed while holding ISO (and aperture and lighting) constant results not only in darker images, but in noisier images.

The correct conclusion to draw from this is that increasing ISO does not increase noise, but increasing shutter speed does increase the noisiness of images. In fact a little more experimentation will reveal that any change to exposure* on a given camera results in a corresponding change to image noisiness. If you add different sensor sizes and sensor efficiencies to the mix of variables, you will find that the noisiness of an image depends primarily upon the amount of light captured in the image.

*At this point it may be useful to review what exposure is. The term "exposure" has had a technical definition for almost as long as there has been photography. Exposure is the amount of light falling on the sensitive medium per unit area. Exposure is related to how bright a final image appears, but it is not the only factor affecting image brightness.

During the second half of the 20th century, a lot of people lost sight of that definition, and it became common to conflate "exposure" with image brightness. For people who shot roll film and had it developed by a lab, this was an easy mistake to make. Once they loaded their roll of film, the only way they had of controlling image brightness was to change exposure. Photography became a widespread hobby during the latter half of the 20th century, and the errors in use of terminology that developed at that time persist to this day. E.g. most photographers who see an image that is too bright will call it "overexposed". In fact, it is possible that it is underexposed, but over-brightened. This mis-use of terms continues with the so-called "exposure triangle". In fact, the triangle partly models image brightness, not exposure.

While the distinction between exposure and image brightness was unimportant to roll-film photographers who used standard development, digital cameras work differently. The distinction between exposure and brightness can be important if you shoot RAW or want to produce optimal JPEGs in less than ideal light.

Exposure is the amount of light falling on the sensor per unit area. It is controlled by three parameters:
  1. T-Stop (which is approximated by f-stop)
  2. Length of time of exposure (shutter speed)
  3. The amount of light in the scene (scene luminance)
The noisiness of an image depends primarily on the amount of light captured by an image. This depends on exposure, sensor surface area and efficiency of the sensor at converting incident photons to an electrical charge. Since sensor size and efficiency are generally constant for a given camera, exposure is usually the only significant variable affecting image noisiness.

Exposure is one of two variables that affect image brightness. The other is the ISO setting. Increase either by a stop, and image brightness doubles. This relationship between exposure and ISO means that usually a high ISO is used with a low exposure and a low ISO is used with a high exposure. Since a low exposure causes more noisiness and a low exposure usually comes with a high ISO, people associate a high ISO with increased noisiness. Where the "exposure triangle" goes wrong is to claim that the higher ISO actually results in or causes the higher noisiness. The confusion is enhannced when most versions of the triangle fail to distinguish what happens when you change a camera setting in fully manual mode from what happens when you change a setting in an auto-exposure mode.

The phenomenon of images getting less noisy as you increase ISO (but leave exposure unchanged) is not universal. That's why I said "on some cameras it can reduce noisiness". It only happens to a noticeable degree if a camera implements an ISO increase using analog gain and introduces a significant amount of camera-added noise after the gain stage. Not all cameras do both of these, Most Canon cameras exhibit this behaviour, especially ones produced more than a couple of years ago.

To better understand, it helps to know that the apparent noisiness of an image depends not on the absolute amount of noise in the image but rather on the ratio of the signal to the noise. This Signal to Noise Ration (SNR) has as its signal component the amount of light captured in the image, and as the noise component several different noise sources. The most significant noise source at most exposures is shot nose. Noise is variation. Shot noise is variation naturally occurring in light due to the way light is created.

The other noise components are pretty well all variation that is added unintentionally but unavoidably by the camera. At high exposures, their magnitude is small relative to shot noise so they have little impact on SNR.

When a camera implements an ISO increase using analog gain, it increases the signal and any noise already present by the same amount. As a result the SNR does not change (Multiply the numerator and the denominator of a ratio by the same factor and the value is unchanged.) However, when you add some more noise after the gain stage, that noise is not multiplied, so the final SNR is greater than it was when there was no gain applied.

E.g. Let's say that at base ISO the signal was 100 and the noise was 12 before the gain stage. After the gain stage the camera adds 2 more units of noise. The final SNR is 100/14 = 7.14. When we apply four stops of gain, the Signal is multiplied by 16, the pre-gain noise is multiplied by 16 and then the post gain noise is added. The SNR becomes (16 x 100)/ ((16 x 12) + 2) = 8.25. The SNR is higher so the image looks less noisy. (This is a simplified example. The actual math is different from this because noise adds in quadrature, but the principle of the interaction remains the same.)

In general, the improvement in noisiness from an increase in ISO is not as great as the improvement from the same number of stops of increase in exposure.
Do you have some photo examples to show this?
None of my own, but I hope bobn2 won't mind if I share a couple of his:

f4ca3febd24f4237b452da68bb9f0adf.jpg

85e74d694a0749e8b8bbe5f891b7f214.jpg

As you can see, the ISO 1600 image is less noisy than the ISO 100 image. We'll have to take Bob's word for it that the lighting was the same (very low) for both images, and the reason they are the same brightness is that he normalized brightness during development. There are other examples to be found on this site showing more noise in lower ISO images than in images of the same scene taken with the same exposure but higher ISO.
 
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Hi guys,

I'm doing some research for one article I'm writing. I'm curious to find out what was for you the thing that you learned that made you say "From now on I'm not just playing with my DSLR".

For me it was finding about the ISO, Aperture and Shutter Speed triangle.
For me it was finding out that the typical Aperture/Shutter/ISO triangle is BS.

...
Learning the exposure triangle was huge. It's still very worthwhile.
Even a broken clock is right twice a day.

Learning the truth about exposure, brightness, ISO and noise is even more worthwhile.
 
A critic looking at one of my photos said 'It's sharp and properly exposed, but modern cameras all do that for you.'

Photography is an art, a craft and a science. A good photograph needs your mind, your heart and your soul. Attribute that to Joe Cornish, not me!

--
Dutch
forestmoonstudio.co.uk
Photography is about light, not light-proof boxes.
So true! However I think that it's important to get first a technically correct photo and then work from there on the artistic part

--
http://www.textures4photoshop.com
I disagree. The lesson I learned is that 'technically correct' is, of itself, far short of enough to make a good photo.

On the contrary, a technically poor photo - in some circumstances - can be superb.

Exhibit A 'London Calling' by Pennie Smith:

'London Calling' by Pennie Smith

'London Calling' by Pennie Smith

It's not very sharp, it's got burnt highlights and blocked shadows. Paul Simonon's bass has little contrast against its immediate background). It's grainy.

It's one of the best rock photos ever made.

Exhibit B - my photo of Anne-Marie Helder of Panic Room


Anne-Marie Helder of Panic Room

Technically, mine may be the 'better' picture. It should be, if only because I used 35 years of technological development that was not available to Pennie Smith.

But, artistically (and commercially), there is no comparison. 'London Calling' is a classic, one of the all-time greats.

--
Dutch
forestmoonstudio.co.uk
Photography is about light, not light-proof boxes.

SaveSave
wow, that's really nice! I see what you mean, the "London Calling" photo conveys such a powerful feeling of movement, crazyness and rock... brilliant

point taken! at least give me that - a photographer must at least know how to technically correct a photo if they want to

--
http://www.textures4photoshop.com
Yes, there are plenty of Pennie Smith's photos captured in less extreme circumstances that prove she was a master of the technical side too.
Absolutely. I have a book of Pennie Smith's photos of The Clash on tour and it is brilliant.

There are plenty of examples of other technically flawed but brilliant photos - Cartier-Bresson's Man Jumping Over a Puddle is perhaps the most obvious example of a technically dreadful (albeit maybe not so bad for the era) but otherwise extraordinary image. I remember looking through a National Geographic book of photos within the theme of 'Work', with images over several decades to the 1980s. Again, filled with images where the glaring technical flaws made them no less evocative. I have photos of my kids that are blurry and otherwise poor, but capture a look or moment that matters far more.

My question is whether the "subject ultimately matters more than technical correctness" works outside action shots and/or people shots (and occasional pet shots)?

In cases where the photographer can be considered to have control - landscapes, cityscapes, architecture, most portraits, etc etc - can you ever get a great but flawed photo? If you can, do you need to have some stand-out feature that lets it work? If so, does that feature need to involve some kind of action or unforeseeable phenomenon (thereby making the whole question circular)?
There are also situations when the photographer's 'heart and soul' are not needed (or simply absent). I've heard the phrase 'record shot' used to describe those images. For them, technical competence alone may be enough.

--
Dutch
forestmoonstudio.co.uk
Photography is about light, not light-proof boxes.
 
After I realized that, I had to be a beginner all over again, but that time around, I actually made progress.

Up until that time, I falsely believed that the camera ought to do all of the work, and all I had to do was make the right camera purchase decision, point the camera, and press the button.
 
There are plenty of examples of other technically flawed but brilliant photos - Cartier-Bresson's Man Jumping Over a Puddle is perhaps the most obvious example of a technically dreadful (albeit maybe not so bad for the era) but otherwise extraordinary image.
What’s wrong with man jumping over puddle? If you’d said Robert Capa’s D-Day Landings then maybe. Well, basically any war photographer.
I remember looking through a National Geographic book of photos within the theme of 'Work', with images over several decades to the 1980s. Again, filled with images where the glaring technical flaws made them no less evocative. I have photos of my kids that are blurry and otherwise poor, but capture a look or moment that matters far more.
Exactly.
My question is whether the "subject ultimately matters more than technical correctness" works outside action shots and/or people shots (and occasional pet shots)?
Subject, light, composition, timing matter more than technical correctness. Actually, technical correctness is least important. If it matters to your photo then it’s probably boring.
In cases where the photographer can be considered to have control - landscapes, cityscapes, architecture, most portraits, etc etc - can you ever get a great but flawed photo? If you can, do you need to have some stand-out feature that lets it work? If so, does that feature need to involve some kind of action or unforeseeable phenomenon (thereby making the whole question circular)?
All great photos have a stand out feature, but that feature could be access to subject, location, timing, the moment, composition / design, etc.
There are also situations when the photographer's 'heart and soul' are not needed (or simply absent). I've heard the phrase 'record shot' used to describe those images. For them, technical competence alone may be enough.
Enough for what?
 
Get closer.

and also....

Always be early.
 
After I realized that, I had to be a beginner all over again, but that time around, I actually made progress.

Up until that time, I falsely believed that the camera ought to do all of the work, and all I had to do was make the right camera purchase decision, point the camera, and press the button.
I don't know what this means.
 
... I think that it's important to get first a technically correct photo and then work from there on the artistic part
I disagree. The lesson I learned is that 'technically correct' is, of itself, far short of enough to make a good photo.

On the contrary, a technically poor photo - in some circumstances - can be superb.

Exhibit A 'London Calling' by Pennie Smith:

'London Calling' by Pennie Smith

'London Calling' by Pennie Smith

It's not very sharp, it's got burnt highlights and blocked shadows. Paul Simonon's bass has little contrast against its immediate background). It's grainy.

It's one of the best rock photos ever made.
Would a technically better photo of the exact same scene be a worse photo? I don't think so. What this shows is that, in some cases the overall value of a photo depends very little on its technical merits and a lot on it subject matter.
 
To be honest, I find your response the most intriguing. For me the triangle made perfect sense and gave me solutions for correcting the exposure.
The triangle give solutions for getting the desired brightness, and leaves out the most important factor.

The four main factors in image brightness are:
  1. aperture
  2. shutter speed
  3. ISO
  4. the light on the subject
The "triangle" forgets that you can frequently increase image brightness by putting more light on the subject. Use a flash, use a reflector, turn on the room lights. A great photographer does not take images, he makes them.

By omitting the light from the triangle it subliminally encourages the photographer to "take" a photo rather than "make" one. Perhaps this is the biggest disadvantage of the triangle.
ETTR is good practice especially if your camera has a high dynamic range.
ETTR allows you to squeeze the most out of your camera. While there are certainly situations where this is helpful, for many images it is extra work for no visible difference. If you are shooting at ISO 100, and you don't see any noise in your images, there is little benefit in attempting to further reduce noise.

If you need to boost deep shadows than ETTR can be helpful, but you may want to start by simply putting more light into those shadows. A fill flash, or reflector can do far more to improve quality than ETTR.

It's the difference between "taking" photos and "making" them.
I'm not sure I agree with the fact that a higher ISO can reduce noise. Do you have some photo examples to show this?

..
For a beginner relying on the camera to meter and the render a JPEG, "exposure", "image brightness", "ISO", and "Image noise" are all strongly tied together. it's easy to fall into the trap of thinking that "exposure" and "brightness" are the same or that high ISO results in more noise.

It turns out that if you really want to squeeze the most performance out of your camera, you realize that this is not the case. For example, if you understand how your camera really works, you can get a good image of a backlit model at the beach, instead of a black figure in front of a blown out sky.

ISO really serves three functions: It tells the camera/meter what exposure to try for, it may optimize the camera configuration for that exposure, and it guides the maping from light levels on the sensor to brightness in the image.

"Exposure" is how much light you get on the sensor, not the brightness of the final image. From experience you should know that at lower exposures we need a higher ISO to get the same brightness in the image. Different exposures yet we get the same brightness.

In order to understand that higher ISO can result in less noise, you need to realize that camera ISO can be set independently from exposure.

Imagine that at a certain aperture / shutter speed you are getting good image brightness at ISO 1600. Without changing the aperture, shutter speed, or light, set the camera to ISO 100. Leave everything else the same.

A beginner might think the ISO 100 image is "under exposed". In reality is under brightened. It has the exact same exposure as the ISO 800 image. If we take the RAW file for the ISO 1600 image we can brighten it 3 stops when we process the RAW file. This will get us an image that looks similar to the ISO 1600 capture.

Here's the $64,000 question - which image will have less visible noise?

The answer will likely surprise most beginners. Many beginners will assume the ISO 100 image has less noise, as they think that high ISO is the cause of the noise. In reality the ISO 100 image will have the same noise, or slightly more noise (depending on whether or not the camera is "ISO Invariant".

The key here is that the ISO setting is not the big factor in image noise. The big factor is the total amount of light falling on the sensor.

In fact, there are a few cameras where the recorded raw data is not affected by the ISO setting. If you have one of those cameras, and you manually set the aperture and shutter speed, the only thing that ISO will affect is the in-camera preview, not the captured raw data.

Why does any of this matter? Suppose you are in a low light situation and you are trying to squeeze that last bit of quality out of your camera. If you think higher ISO settings increase noise, then you might turn down the ISO, live with a dark preview image, and boost the brightness of the RAW in post production. This is counter productive. by lowering the ISO you are telling the camera to expect a higher exposure. The camera will optimize itself for that higher exposure, and you may get slightly more noise out of the camera. If you really want the lowest noise level, you want an ISO value that matches the actual exposure. Typically that will result in a bright preview image.
There is a lot of truth in this. Even in the days of film (where we only had aperture and shutter speed to fool around with-let's not get into push processing) we alwasy knew that an under-exposed image was going to be grainy, i.e. noisy.

Same thing today. If you underexpose and image-it is going to be noisy compared to a properly exposed image-no matter what ISO you are shooting at.

TEdolph
 
... I think that it's important to get first a technically correct photo and then work from there on the artistic part
I disagree. The lesson I learned is that 'technically correct' is, of itself, far short of enough to make a good photo.

On the contrary, a technically poor photo - in some circumstances - can be superb.

Exhibit A 'London Calling' by Pennie Smith:

'London Calling' by Pennie Smith

'London Calling' by Pennie Smith

It's not very sharp, it's got burnt highlights and blocked shadows. Paul Simonon's bass has little contrast against its immediate background). It's grainy.

It's one of the best rock photos ever made.
Would a technically better photo of the exact same scene be a worse photo?


Maybe!
I don't think so.


Then why sometimes do we add grain to our photo's, or convert to B&W?
What this shows is that, in some cases the overall value of a photo depends very little on its technical merits and a lot on it subject matter.


That is exactly what Dutch was pointing out.



tedolph
 
Hi guys,

I'm doing some research for one article I'm writing. I'm curious to find out what was for you the thing that you learned that made you say "From now on I'm not just playing with my DSLR".

For me it was finding about the ISO, Aperture and Shutter Speed triangle.
For me it was finding out that the typical Aperture/Shutter/ISO triangle is BS.

That triangle isn't about exposure at all, but just image brightness. It is based on a very widespread misunderstanding of how digital cameras actually work. It leaves out scene luminance as an important parameter of exposure. Increasing ISO level alone does not increase noisiness - in fact, on some cameras it can reduce noisiness. Increasing ISO does not increase the sensitivity of the sensor. The noisiness of an image is determined primarily by exposure. Exposure is light per unit area on the sensor, not how bright or dark the image is.

All of this leads to further understanding of such things as ETTR, how setting ISO before aperture and shutter is usually sub-optimal, when it makes sense to deliberately underexpose, when to use Auto-ISO, and when increasing ISO does and doesn't help.
Learning the exposure triangle was huge. It's still very worthwhile.

Another proud member of the growing Atheist
community.
i tend to agree with you, but I keep an open mind
 
The secret to great photography is not the photos you show people,
it's the photos you DON'T show people.

IOW, don't display a gallery of 140 so-so photos with 10 great photos, toss the 140 so-so photos and only show the 10 great photos.
Really?

That is the ONE thing that made you not a beginner?

Wasn't that obvious before you began?

tEdolph
 
Funny .... going to digress a bit. In learning martial arts always found that the moment I felt awkward or weak at something I improved technique in a big way. The goal for a martial artist is to develop a beginners mind and so too I believe with photography.

There are things that have come along that have made me progress:
  • Rule of 1/3's - then when to break it.
  • What makes a good composition - then how to adapt it to tell my story.
  • How to properly expose for the milky way - then how to forget about the 500 rule and switch to the 400 or other rule.
  • Rembrandt lighting - making sure the exposure turns out okay LOL.
  • ETTR
  • Using one AF point on the camera and when to use AF-Continuous, , Back Button Focus and more than a single AF point.
  • So much more.
I say maintain the beginners mind.
 
When people started complementing my camera instead of me. as in " wow what a lovely image you must have a very good camera" when infact all I had was small sensored bridge camera .
 
One of the most significant things for me was the realization that a click of a wheel is 1/3rd of a stop regardless of whether it’s aperture, shutter speed or iso. For me, that was the key to using manual exposure mode.
 
Hi guys,

I'm doing some research for one article I'm writing. I'm curious to find out what was for you the thing that you learned that made you say "From now on I'm not just playing with my DSLR".

For me it was finding about the ISO, Aperture and Shutter Speed triangle.
For me it was finding out that the typical Aperture/Shutter/ISO triangle is BS.

That triangle isn't about exposure at all, but just image brightness. It is based on a very widespread misunderstanding of how digital cameras actually work. It leaves out scene luminance as an important parameter of exposure. Increasing ISO level alone does not increase noisiness - in fact, on some cameras it can reduce noisiness. Increasing ISO does not increase the sensitivity of the sensor. The noisiness of an image is determined primarily by exposure. Exposure is light per unit area on the sensor, not how bright or dark the image is.

All of this leads to further understanding of such things as ETTR, how setting ISO before aperture and shutter is usually sub-optimal, when it makes sense to deliberately underexpose, when to use Auto-ISO, and when increasing ISO does and doesn't help.
Learning the exposure triangle was huge. It's still very worthwhile.

Another proud member of the growing Atheist
community.
i tend to agree with you, but I keep an open mind

--
http://www.textures4photoshop.com
If you're talking about his religious belief (or non belief) I don't really care what he believes but don't think a photography forum is a good place to advertise something completely unrelated to photography.

I'd say at the very least it indicates a character flaw.
You have to understand, Atheism IS a religion.

Tedolph
:-) I just don't understand the purpose of his posting this in a photography related forum.
 
Hi guys,

I'm doing some research for one article I'm writing. I'm curious to find out what was for you the thing that you learned that made you say "From now on I'm not just playing with my DSLR".

For me it was finding about the ISO, Aperture and Shutter Speed triangle.
For me it was finding out that the typical Aperture/Shutter/ISO triangle is BS.

That triangle isn't about exposure at all, but just image brightness. It is based on a very widespread misunderstanding of how digital cameras actually work. It leaves out scene luminance as an important parameter of exposure. Increasing ISO level alone does not increase noisiness - in fact, on some cameras it can reduce noisiness. Increasing ISO does not increase the sensitivity of the sensor. The noisiness of an image is determined primarily by exposure. Exposure is light per unit area on the sensor, not how bright or dark the image is.

All of this leads to further understanding of such things as ETTR, how setting ISO before aperture and shutter is usually sub-optimal, when it makes sense to deliberately underexpose, when to use Auto-ISO, and when increasing ISO does and doesn't help.
Learning the exposure triangle was huge. It's still very worthwhile.

Another proud member of the growing Atheist
community.
i tend to agree with you, but I keep an open mind
 

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