| Chapter One Pro Tips for Getting Really Sharp Photos | | 1 | |
| If Your Photos Aren't Sharp, the Rest Doesn't Matter |
| |
| The Real Secret to Getting Sharp Photos |
| | 2 | |
| The Other Most Important Secret |
| | 3 | |
| Perhaps Even More Important Than That! |
| | 4 | |
| If You Skip This, Throw Away Your Camera |
| | 5 | |
| If You Do This Wrong, It Will Lock Up |
| | 6 | |
| | 7 | |
| Getting "Tack Sharp" Starts with a Tripod |
| | 8 | |
| A Ballhead Will Make Your Life Easier |
| | 9 | |
| Don't Press the Shutter (Use a Cable Release) |
| | 10 | |
| Forgot Your Cable Release? Use a Self Timer |
| | 11 | |
| Getting Super Sharp: Mirror Lock-Up |
| | 12 | |
| Turn Off Vibration Reduction (or IS) |
| | 13 | |
| Shoot at Your Lens' Sharpest Aperture |
| | 14 | |
| Good Glass Makes a Big Difference |
| | 15 | |
| Avoid Increasing Your ISO, Even in Dim Light |
| | 16 | |
| Zoom In to Check Sharpness |
| | 17 | |
| Sharpening After the Fact in Photoshop |
| | 18 | |
| | 19 | |
| Hand-Held Sharpness Trick |
| | 20 | |
| Getting Steadier Hand-Held Shots |
| | 21 | |
| Chapter Two Shooting Flowers Like a Pro | | 23 | |
| There's More to It Than You'd Think |
| |
| Don't Shoot Down on Flowers |
| | 24 | |
| Shooting Flowers with a Zoom Lens |
| | 25 | |
| Use a Macro Lens to Get Really Close |
| | 26 | |
| Can't Afford a Macro? How 'bout a Close-Up? |
| | 27 | |
| | 28 | |
| Don't Wait for RainłFake it! |
| | 29 | |
| Flowers on a Black Background |
| | 30 | |
| Shooting on a White Background |
| | 31 | |
| The Perfect Light for Indoor Flower Shots |
| | 32 | |
| Where to Get Great Flowers to Shoot |
| | 33 | |
| | 34 | |
| Chapter Three Shooting Weddings Like a Pro | | 37 | |
| There Is No Retaking Wedding Photos. It's Got to Be Right the First Time! |
| |
| The Trick for Low-Light Shooting in a Church |
| | 38 | |
| Getting Soft, Diffused Light with Flash, Part 1 |
| | 39 | |
| Getting Soft, Diffused Light with Flash, Part 2 |
| | 40 | |
| Use Your Flash at Outdoor Weddings |
| | 41 | |
| Keep Backup Memory Cards on You |
| | 42 | |
| Formals: Who to Shoot First |
| | 43 | |
| | 44 | |
| The Trick to Keeping Them from Blinking |
| | 45 | |
| Reception Photos: Making Them Dance |
| | 46 | |
| Your Main Job: Follow the Bride |
| | 47 | |
| Formals: How High to Position Your Camera |
| | 48 | |
| Formals: Don't Cut Off Joints |
| | 49 | |
| Formals: Build Off the Bride and Groom |
| | 50 | |
| Formals: The Trick to Great Backgrounds |
| | 51 | |
| Shooting the Details (& Which Ones to Shoot) |
| | 52 | |
| Change Your Vantage Point to Add Interest |
| | 53 | |
| Finding That Perfect Bridal Light |
| | 54 | |
| How to Pose the Bride with Other People |
| | 55 | |
| What to Shoot with a Wide-Angle Lens |
| | 56 | |
| Back Up Your Photos Onsite |
| | 57 | |
| If Shooting JPEGs, Use a Preset White Balance |
| | 58 | |
| Chapter Four Shooting Landscapes Like a Pro | | 61 | |
| Pro Tips for Capturing the Wonder of Nature |
| |
| The Golden Rule of Landscape Photography |
| | 62 | |
| Become Married to Your Tripod |
| | 63 | |
| Shoot in Aperture Priority Mode |
| | 64 | |
| Composing Great Landscapes |
| | 65 | |
| The Trick to Shooting Waterfalls |
| | 66 | |
| A Tip for Shooting Forests |
| | 67 | |
| Where to Put the Horizon Line |
| | 68 | |
| Getting More Interesting Mountain Shots |
| | 69 | |
| The Trick for Warmer Sunrises and Sunsets |
| | 70 | |
| Turn on "The Blinkies"to Keep More Detail |
| | 71 | |
| How to Avoid the Dreaded Blinkies |
| | 72 | |
| | 73 | |
| Don't Set Up Your Tripod. Not Yet |
| | 74 | |
| The Trick to Getting Richer Colors |
| | 75 | |
| What to Shoot in Bad Weather |
| | 76 | |
| Atmosphere Is Your Friend |
| | 77 | |
| Getting Rid of Lens FlarełThe Manual Way |
| | 78 | |
| The Landscape Photographer's Secret Weapon |
| | 79 | |
| Keeping Your Horizons Straight |
| | 80 | |
| | 81 | |
| Tips for Shooting Panoramas, Part 1 |
| | 82 | |
| Tips for Shooting Panoramas, Part 2 |
| | 83 | |
| Tips for Shooting Panoramas, Part 3 |
| | 84 | |
| | 85 | |
| Why You Need a Wide-Angle Lens |
| | 86 | |
| Shooting Wildlife? Aim at Their Eyes |
| | 87 | |
| Don't Crop Wildlife in Motion Too Close |
| | 88 | |
| Shooting Wildlife? Get in Really Tight |
| | 89 | |
| | 90 | |
| Chapter Five Shooting Sports Like a Pro | | 93 | |
| Better Bring Your Checkbook |
| |
| Set Your White Balance for Indoor Sports |
| | 94 | |
| Shoot at a 1/640 Sec. Shutter Speed or Faster |
| | 95 | |
| Pro Sports Shooting Is Dang Expensive |
| | 96 | |
| Don't Plan on Changing Lenses |
| | 97 | |
| | 98 | |
| Pre-Focus to Get the Shot |
| | 99 | |
| Raise Your ISO to Get the Speed You Need |
| | 100 | |
| | 101 | |
| Don't Always Focus on the Winner |
| | 102 | |
| | 103 | |
| Stability for Shooting Sports |
| | 104 | |
| Shoot Vertically for More Impact |
| | 105 | |
| | 106 | |
| | 107 | |
| | 108 | |
| RAW or JPEG for Sports Shooters? |
| | 109 | |
| | 110 | |
| Chapter Six Shooting People Like a Pro | | 113 | |
| Tips for Making People Look Their Very Best |
| |
| The Best Lens for Portrait Photography |
| | 114 | |
| | 115 | |
| Using Seamless Backgrounds |
| | 116 | |
| Using Canvas or Muslin Backgrounds |
| | 117 | |
| The Right Background Outdoors |
| | 118 | |
| | 119 | |
| Where to Position Your Camera |
| | 120 | |
| Positioning Your Subject in the Frame |
| | 121 | |
| Tip for Framing Portraits |
| | 122 | |
| Getting Great Light Outdoors |
| | 123 | |
| Getting Great Light Indoors |
| | 124 | |
| Taking Great Photos of Newborn Babies |
| | 125 | |
| | 126 | |
| Better Natural-Light Portraits with Reflectors |
| | 127 | |
| Chapter Seven Avoiding Problems Like a Pro | | 129 | |
| How to Avoid Digital Headaches |
| |
| Pro Tips to Avoid White Balance Problems |
| | 130 | |
| Cold Weather Shooting Means Extra Batteries |
| | 131 | |
| Don't Change Lenses in Dusty Weather |
| | 132 | |
| Apply for Permits to Shoot with Your Tripod |
| | 133 | |
| Be Careful What You Shoot |
| | 134 | |
| A Tip for Shooting on an Incline |
| | 135 | |
| The Other Reason Pros Use a Lens Hood |
| | 136 | |
| Keeping Your Lens Out of Trouble |
| | 137 | |
| Back Up Your Photos in the Field |
| | 138 | |
| Limit Your LCD Time to Save Battery Life |
| | 139 | |
| Be Careful When Throwing Out CDs/DVDs |
| | 140 | |
| Bracket If You're Not Sure About Exposure |
| | 141 | |
| | 142 | |
| | 143 | |
| Chapter Eight Taking Advantage of Digital Like a Pro | | 145 | |
| It's More Than Just a Replacement for Film |
| |
| Level the Playing Field: Press That Button |
| | 146 | |
| Put the LCD Monitor to Work |
| | 147 | |
| Edit as You Shoot to Get More Keepers |
| | 148 | |
| Take Advantage of the Blinkies |
| | 149 | |
| Change Your ISO on the Fly |
| | 150 | |
| No Penalty Fee for Experimenting |
| | 151 | |
| Don't Cram Too Much on One Card |
| | 152 | |
| Take Advantage of Poster-Sized Printing |
| | 153 | |
| You Can Make One Film Fit All |
| | 154 | |
| Is It Better to Underexpose or Overexpose? |
| | 155 | |
| Keep from Accidentally Erasing Memory Cards |
| | 156 | |
| Chapter Nine Taking Travel & City Life Shots Like a Pro | | 159 | |
| |
| How to Be Ready for "The Shot" |
| | 160 | |
| Shoot Kids and Old People. It Can't Miss |
| | 161 | |
| Hire a Model (It's Cheaper Than You'd Think) |
| | 162 | |
| | 163 | |
| Look for Bold, Vivid Colors |
| | 164 | |
| Shooting Travel? Visit PhotoSecrets.com First |
| | 165 | |
| Don't Try to Capture It All: Shoot the Details |
| | 166 | |
| The Best Shot May Be Just Three Feet Away |
| | 167 | |
| Shoot the Signs. You'll Thank Yourself Later |
| | 168 | |
| Showing Movement in the City |
| | 169 | |
| Use an Aperture That Takes It All In |
| | 170 | |
| For Maximum Impact, Look for Simplicity |
| | 171 | |
| | 172 | |
| What to Do When It's Been "Shot to Death" |
| | 173 | |
| Including the Moon and Keeping Detail |
| | 174 | |
| | 175 | |
| Chapter Ten How to Print Like a Pro and Other Cool Stuff | | 177 | |
| After All, It's All About the Print! |
| |
| The Advantages of Shooting in RAW |
| | 178 | |
| How to Process RAW Photos in Photoshop |
| | 179 | |
| Compare Your LCD to Your Computer Monitor |
| | 180 | |
| Organizing Your Photos with Lightroom |
| | 181 | |
| How Many More Megapixels Do You Need? |
| | 182 | |
| Printing Lab-Quality 8x10's |
| | 183 | |
| Printing Lab-Quality 13x19" Prints |
| | 184 | |
| Printing 16x20'słThe Pros'Top Choice |
| | 185 | |
| Which Paper Should You Print On? |
| | 186 | |
| What Determines Which Paper You Use? |
| | 187 | |
| Getting Your Monitor to Match Your Printer |
| | 188 | |
| Download the Color Profiles for Your Paper |
| | 189 | |
| Selling Your Photos as "Stock" Online |
| | 190 | |
| | 191 | |
| Some Books I Personally Recommend |
| | 192 | |
| Learn from Me on Adobe« Photoshop« TV |
| | 193 | |
| Chapter Eleven Photo Recipes to Help You Get "The Shot" | | 195 | |
| The Simple Ingredients That Make It All Come Together |
| |
| Index | | 211 | |
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