Aperture Priority – When should I use it?

All modern cameras have light meters built in to the camera. They help the camera automatically select a balance of aperture and shutter speed for you; or you can pick one and let the camera pick the other.

With 'aperture priority' you choose the aperture you need for a particular shot and the camera automatically calculates the shutter speed that will best match it. Choose this mode when you:

• Want a small aperture to maximise depth of field.
• Want a large aperture to minimise depth of field.
• Want a large aperture to maximise shutter speed in low-light or fast-action situations.
• Want to maximise the sharpness of your lens (Every lens has an aperture at which it is sharpest).

Camera Shake – How do I avoid it?

Camera shake is one of the biggest causes of spoiled photographs, particularly for those who are used to holding a compact camera at arms length to take photographs.

The best way to hold a DSLR is with one hand gripping the grip (as you would expect) and the other cradling the lens. Then bring your elbows in towards each other and tight against your chest to create a rigid 'platform' for the camera. You can also use walls, tables and even the ground to provide a solid base.

Also make sure that your shutter speed is fast enough for the length of the lens. How you do this will depend on the shooting mode you are using (automatic will adjust the settings to available light and activate the flash if necessary; whereas with shutter speed priority you can set the desired minimum speed and the camera will compensate with an appropriate aperture setting).

To work out the minimum speed for a particular lens, if X is the (35 mm equivalent) focal length of your lens then a good guide is to shoot at 1/X or faster.

The Super SteadyShot feature of your DSLR will let you take sharper images in low light conditions that would otherwise require a tripod or other means of steadying. And Super SteadyShot is particularly useful when holding your 350 above your head, at waist level, or close to the ground, shooting in Quick AF Live View mode.

Depth of Field – What is it and how do I adjust it?

Depth of field (DOF) refers to the areas of the photograph, both in front and behind the main focus point, which remain in focus. Adjusting the depth of field creates the difference between having the foreground people and the background view in focus as the same time, and shooting a crisp portrait that stands out from a blurred background.

DOF is affected by the aperture, subject distance and focal length. Here's a broad guide:

• DOF decreases with aperture size (lower F-stop numbers).
• DOF increases the further you are from the subject. So you can focus at infinity and get everything beyond a certain distance in focus too.
• DOF increases as focal length decreases. So wide angle lenses have deep DOF, while telephoto lenses have shallow DOF.

D-Range Optimiser – When should I use it?

Eyes are very clever and immediately adjust between a dark foreground (such as a person in shadow) and a bright background (such as a sunlit view or backdrop). But without adjustment, a camera will usually apply settings to match either the lighter or the darker area, leaving the contrasting area either too dark or bleached out.

This is when you need the range D-Range optimiser. When shooting in backlit conditions it creates richer shadow and highlight detail in the darker foreground whilst balancing the contrast of the background.

In complex lighting situations, you can set any DSLR to Advanced mode and be given a range of five contrast levels from each shot to choose from.

Exposure – Why's it so important?

Eyes are extraordinary. No film or electronic sensor has yet been developed that can capture the full range of light intensities to which the eye responds.

Our pupils constrict in bright light and dilate in low light, and we can even adjust our eyelashes and facials muscles to counter the effects of strong light.

Cameras attempt to replicate this ability through a combination of the aperture size (the larger the aperture, the more light is allowed to pass through the lens) and shutter speed (the slower the shutter speed, the more light is allowed to pass through the lens). A light meter set into the camera feeds back information on the amount of light reaching the sensor (or film).

Set on automatic for everyday shooting, your camera will balance aperture and shutter speed but for certain subjects, you will need to take more control. If you're trying to capture a moving object, you'll want a fast shutter speed to avoid blur so you'll need a wider aperture to compensate for the lack of light passing through the lens. Then if you want to get both foreground and background in focus you'll need a small aperture compensated by a slower shutter speed.

Selecting a Scene Setting on your camera will tell it what you are trying to achieve, so that it can adjust the balance accordingly. Or you can alter settings manually, while the light meter 'advises' you of the consequences of your adjustments. See also 'aperture priority' and 'shutter priority'.

Glare – How do I reduce it off things like water and shiny metals?

Try a polarising filter. You'll need a 'circular' one to match the autofocusing properties of your DSLR.

ISO – When do I need to change to high settings?

The higher the ISO chosen, the more 'grainy' the image, so only increase it when you have to, and as much as you need to.

You'll need higher ISO to achieve a desired shutter speed (such as to avoid blur in lower light conditions) when it can't be done (or creatively you don't want it to be) by widening the aperture.

Examples of these situations include:

• shooting indoors without a flash.
• shooting fast action with a very high shutter speed.
• handheld shooting when using a long lens.

Higher ISO will also help you extend flash range.

Lenses - Which ones should I choose?

Choosing the right lenses is all about what type of photography most appeals to you.

At one end of the scale, choose a macro for extreme close-ups, particularly when capturing moments from nature. Shooting landscapes and buildings is best done with a wide-angle lens. A standard 50mm lens will shoot everyday scenes pretty much as the eye sees them. Then at the other end of the scale you need a long focal length telephoto to shoot distant objects or closer ones but with short depth of field (blurring the background).

Many people choose zoom lenses that allow you to adjust the focal length – the distance that light travels from the principal lens to the sensor – while you're composing a shot, to give you a variety of options without changing lenses. Zooms are available with wide-angle options, telephoto options, and spanning both.

Then if you find you're favouring particular focal lengths, upgrade to fixed lenses that match the kind of photography you are enjoying; and your images will keep getting better and better.

Metering – Which mode should I pick?

The range gives you a choice of three modes:

1. 40-segment honeycomb-pattern metering that optimises settings based on the whole image.
2. Centre-weighted metering that optimises settings based on the whole image but gives more emphasis to the central area.
3. Spot metering that optimises settings based on a circle in the middle of the frame.

Find out more about which to choose in our 'Which metering mode do I pick?' article.

Portraits – What are the basics I need to know?

Here are some tips:

• Use longer focal lengths (telephoto lenses) to make the subject's face more natural and less bulbous.
• Use a wide aperture to shallow the depth of field so your subject is in focus while the background is blurred.
• Choose a neutral background that doesn't detract from your subject.
• If possible, use natural light (or multiple flashes or bounce flash) to achieve even illumination. A single flash pointing at the subject will create shadows in the background.

Unless you really know what you're doing, it's best to avoid portraits where part of your subject's face is in shadow.

Quick AF Live View – When should I use it?

The simple answer is that you can use Quick AF Live View all the time using the Variable Angle LCD screen as your viewfinder as you would with a compact camera.

But in reality, you're much better off composing steady shots with your eye to the optical viewfinder whenever possible.

However if you want to shoot with your 350 held over your head, at your waist, close to the ground, on an awkwardly positioned tripod, or just about anywhere else that's physically challenging, then Quick AF Live View lets you compose the shot and even preview the selected settings on-screen and in real-time.

Scene Selection – When should I use it?

The scene selection dial of your DSLR lets you choose a fully automatic mode (that will select an optimum combination of shutter speed and aperture for you) or manual or semi-manual modes (see aperture priority and shutter priority).

However if you prefer the convenience of 'automatic' settings but want them to be based on a more specific type of image, you can select portrait, landscape, macro (close-up), sports, sunset or night view / portrait,and your DSLR will optimise the settings for your chosen subject matter and/or lighting conditions.

Shutter Priority – When should I use it?

All modern cameras have light meters built in to the camera. They help the camera automatically select a balance of aperture and shutter speed for you; or you can pick one and let the camera pick the other.

With 'shutter priority' you choose the shutter speed you need for a particular shot and the camera automatically calculates the aperture that will best match it. Choose this mode when you:

• want the slowest possible shutter speed (without blur), to minimise the aperture for maximum depth of field (both foreground and background in focus).
• want a high shutter speed to freeze action.

Shutter Speed – How slow can I go?

Slow shutter speeds increase the effects of camera shake, leading to blurred images. How slow you can go depends on a number of factors including the steadiness of your hands (see 'handling') and the length of your lens (small movements have a greater effect with a longer focal length).

As a rule of thumb, if X is the (35 mm equivalent) focal length of your lens then shoot at 1/X or faster.

If creatively, your shot needs a slower shutter speed then use the Super SteadyShot option on your DSLR; or a tripod.

Super Steadyshot – When do I need it?

You can have Super SteadyShot on the whole time if you suffer from camera shake (see 'camera shake – how do I avoid it'), though this will shorten battery life slightly.

But it really comes into its own when you want to reduce your aperture to a size that would normally make the shutter speed too slow for a hand-held camera, such as when trying to increase depth of field in low light conditions. Flick the Super SteadyShot switch and you'll be able to shoot at shutter speeds 2.5 to 4 steps slower than would otherwise be possible.

Taking low light portraits without having to resort to flash can also be achieved using Super SteadyShot. And because it's an in-camera system (rather than a lens-based one as offered by some camera manufacturers) it works with any lens.

Skies - How do I get dramatic looking skies?

Try a polarising filter for dramatic looking skies with obvious contrast between the clouds and the blue sky. You'll need a 'circular' one to match the autofocusing properties of your DSLR.

White Balance – When do I need to worry about it?

Natural daylight is made up of a spectrum of wavelengths that our eyes are accustomed too, and that cameras respond to.

However artificial light is biased towards certain colours as are some atmospheric conditions; and this can be reflected in the results of your photography.

Adjusting the white balance on the 700 compensates for the colour bias of a range of situations to give a more natural-looking image. All DSLRs feature white balance bracketing, which records three frames at different settings for easy 'best shot' selection.