Part 3. Make a solid basis !

It is quite a special requirement to "take colored paper of single color and of no pattern in a full frame". It seldom occurs in general photo taking. However, it may happen to take "a blue subject in the background of blue sky". Therefore, taking colored paper includes contents in common with the actual situation. Does it encourage you to take it, if you imagine some actual scene in the color of that paper ?

The automatic function of a digital camera is so excellent in a general photographic condition such as landscape and snap shot that it doesn't cause a problem of "hue" or "darkness" in most cases. And even though one color dominates the entire frame, the automatic function works properly with a very high percentage if there's another color within the frame.
However, if colored paper of a single color and no pattern is taken in the entire frame, the exact reproduction of "hue" and "darkness" is particularly important. Because the colored paper of a single color and no pattern can be reproduced only with "hue" and "darkness". Because of that reason, the reproduction is particularly difficult.
Anyway, as a first step, let's take it with the automatic function of a digital camera. What is the result ?

The result of my test is shown below.

Photo 2a.
"Dark red" turned out to be a little purple

Photo 2b.
"Light yellow" turned out gray

Photo 2c.
"Purple" also turned out gray

Since the result of the test depends on the model, setting, the type of light source and so on, please try with your own camera.
And the color of a photo observed in the monitor screen of a personal computer may differ from the original.

Apart from "dark red", "light yellow" and "purple" are of no use. They are fatal if they are used, for instance, as photos / images for introducing products.
What is the cause ?
One of the causes is "auto white balance (AWB)" function. Please consider "white balance" as the standard point of color used by a digital camera. And, the AWB function is the function that sets this standard point automatically at the closest point of "the color observed by eyes of mankind", based on colors of each part of the frame. Namely, if there are various colors in the frame, the correct color may easily be reproduced since there is much information for reference.
But, in case that only colored paper of a single color and no pattern is taken as in this test, the information to be input to a digital camera is only the information of one color.
And that, it cannot be judged by a digital camera if the paper is colored, or some "color of light" is hitting on white paper. Then, it is impossible to make an exact color reproduction, even if a digital camera is excellent (it is something like excellent citizens who are not provided information by the government).
Therefore, in this case, the user should provide necessary information with a digital camera. That is the manual setting of white balance.

Photo 3a.
Manual setting. Contents of the function and operating menu differ according to the model

The manual setting of white balance means "to set white balance = the standard point of color manually". As "automatic white balance (AWB)" is released, it is necessary for the user to set it again as the condition changes.
Now, does you digital camera have the function of the manual setting of white balance ? Some of the low-priced models lack this function. Even if the camera has that function, the contents of the function differs according to the maker or the model. Please make it sure with an instruction manual.

Let's step forward.
The method of most of manual settings is to select the type of light source.
The light illuminating the subject is only to be selected, that's all.
The classification of light sources is mostly as follows.

	"Fine"	To be set when taken outdoors on a fine day
	"Incandescent"	To be set when taken under an incandescent bulb (details are described later)
	"Fluorescent"	To be set when taken under a fluorescent lamp (tube) (details are described later)
	"Cloudy"	To be set when taken on a cloudy day or in the shadow
	"Speedlight"	To be set when external speedlight is used

I want call your attention to the fact that, when the subject is illuminated by more than one light source, such as fluorescent lamp (tube) and incandescent bulb, for example, these settings may not cope with the situation.
In that case, select one illumination (switch off another illumination) or cut off the light from the outdoor with a curtain, so that only one light source may be available.

By the way, current models of Nikon "COOLPIX" series have the mode of "Preset". This mode preset the white balance by "shooting" (not stored in the CompactFlash card) the white paper illuminated by the same light source as the subject is illuminated, and it copes with every kind of light source.
It may be a familiar setting to users of home-use video camera. It assures the white balance setting, though it takes some time.
And, some manufacturers call the manual setting of white balance as "Preset". Some attention is necessary when you read sales brochure (catalogue).

Photo 3b.
"Preset" operation of white balance with "COOLPIX"

Photo 3c.
Setting of standard point of color by test shooting of white paper

Anyway, let's set with operating buttons and dials.
Is the result improved ?

The result of my test is shown below.

Photo 4a.
"Dark red" is still a little light, unchanged

Photo 4b.
"Light yellow" turned out to be "mud yellow"

Photo 4c.
"Purple" became almost correct in "hue" and "darkness"

Remarkable improvement is attained by setting the white balance more properly.
The remaining problems are the "lightness" of the dark red and "darkness" of light yellow. What shall we do ?
It is the "exposure compensation" function that comes into this stage.

Photo 5.
Use "exposure compensation" function. Refer to Instruction Manual for how to use

Please regard the exposure of a digital camera as the volume of light that hits the image sensor (corresponds to the film of (silver-halide) film camera) located inside the digital camera.
If much light hits the image sensor, the result becomes light (white).
On the other hand, if less light hits the sensor, the result becomes dark (black). Therefore, the automatic exposure (AE) function is designed to control the light just in-between, not too much, nor too less.
Now, please compare the result of some time ago (Photo 4a. - 4b.). Doesn't "darkness" of them look about same, though "hue" of each is quite different ?

Yes, the "darkness" of each was reproduced just as in-between, not too light, nor too dark, since the automatic exposure function worked properly.
"Exposure compensation" is a function to adjust this darkness. Though it was explained in Part 1. of this series, it is repeated here again.

• If you wish to make the result dark (blackish), operate the compensation button (or dial) to - (minus) side.
  
• On the other hand, if you wish to make the result light (whitish) adjust it to + (plus) side.
  

The larger the number (exposure compensation value), the larger the change of "darkness".
Please check the change of "darkness" by operating the button or the dial.
And look for the closest compensation value to the actual color paper.
Did you make it ?

For my test, the following compensation values made the result just good.

Photo 6a.
Adjusted to correct darkness with -0.3

Photo 6b.
Adjusted to correct darkness with +2.0

Photo 6c.
No compensation needed

It may have taken you some time, but you may regard yourself as a pro if you master all these.
When necessary, please make the full use of adjusting "hue" and "darkness" at will.

The fluorescent light is one of the most usual artificial light. It is featured that sufficient quantity of light can be obtained for its low power consumption and the generation of heat is low.
It is also a good feature that there are, currently, many types of shapes and "colors" that can be selected for the purpose.
I wrote above that if a picture is taken "under a fluorescent lamp, the result becomes greenish".
In fact, under a fluorescent lamp generally used such as "daylight fluorescent lamp / cool white fluorescent lamp (in Japan)", "colour matching fluorescent lamp / daylight fluorescent lamp (in Japan)" and "white fluorescent lamp / warm white fluorescent lamp (in Japan)", the result becomes strongly greenish.
They are delicately different though they are called "green" altogether.
However, this green color cannot be seen by the human eye.
If the light of a fluorescent lamp is directly compared with the sunlight, the difference must not be discerned.
Needless to say, it never appears as green resulted in a photograph.
This is very strange, but please understand that "it emits the green light that cannot be seen by the human eye".
And one more thing. With a "bulb-color" fluorescent lamp that is often seen lately, the result becomes strong orange.
However, it is more greenish orange than that of an electric bulb to be described later.
And the types of fluorescent lamp used for transmitting illumination such as for a photo-viewer and the type with the indication of "daylight / for color evaluation" are not recorded in green.
There are amazingly various kinds of fluorescent lamps.
If you look over them more, you may be interested in, and at the same time, your life or business may be spiced up.

Photo 8.
Chart taken under a fluorescent lamp (colour matching fluorescent lamp / daylight fluorescent lamp) with the white balance set at "Fine" manually. It's rather bluish green than the accepted opinion of "green under fluorescent illumination". It turns out a little different green under "daylight fluorescent lamp / cool white fluorescent lamp" or "white fluorescent lamp / warm white fluorescent lamp" fluorescent illumination.

Photo 9.
Check the type of fluorescent lamp. Let's check up the types of those at home and those used for photo taking beforehand.

Photo 10.
Nikon "COOLPIX990" can set up the illumination of fluorescent lamp type in detail as FL1 / FL2 / FL3

An electric bulb (more exactly, an incandescent bulb) emits light by heating up the internal coil (filament). Therefore, the careful attention is required to its heat. Sometimes it may cause a fire.
If an electric bulb is switched on in the daytime and compared with the sunlight, it is known that it is the strongly orange colored light (light of low color temperature) unlike a fluorescent lamp. But it must be noted that this orange color differs according to the type of bulb.
Ordinary bulbs used at home has reddish orange color.
On the other hand, electric bulbs designated "for photography" (some have large capacity of 300 W or 1 kW and large quantity of light) is designed to conform to the standard of the color of light, restraining the redness to some degree.
The "Incandescent" mode of current "COOLPIX" series is designed based on the in-between color of these in order to be used more widely.
It can make fine adjustment if it is required to adjust the color more strictly, though it cannot be distinguished for practical use.

Photo 11.
Chart taken under an electric bulb (for photography) illumination with the white balance set at "Fine" manually. It is known that it is strongly orange-colored. An ordinary bulb for home use has stronger redness (color temperature is low).

Photo 12.
There are various types of electric bulbs. Bulbs for photographic use includes types of large capacity / large quantity of light.

Photo 13.
Nikon "COOLPIX990" can make fine adjustment of color. To plus side blueness increases, and, to minus side redness increases.

Most digital cameras have a built-in speedlight. A speedlight is an illuminator (xenon discharge lamp) that flashes strongly for one moment, as you well know.
Therefore, it has the following features if it is used for photography,

1. it prevents hand shake and subject blur,
2. night time photography is made easy as it has large quantity of light,
3. it can be used as fill-flash as its color (color temperature) is close to that of the sunlight.

On the other hand, it cannot be looked directly where the light is reflected and where the shadow is thrown as it flashes only a moment.
It must be learned by experience or studied by a test shoot.
However, since the result can be reviewed immediately after shooting with the LCD monitor of a digital camera, shooting with a speedlight is getting easier and surer.
But a flash light requires more practice than usual light such as a fluorescent lamp or an electric bulb.
As mentioned before, the color of speedlight (color temperature) is very close to that of the sunlight. But to be more exact, it is a little more bluish than the sunlight.
As the current "COOLPIX" series can adjust this, please utilize it if the strict color reproduction is required.

Photo 14.
Nikon speedlight can attach externally to "COOLPIX 990/950/910." It can be utilized when large quantity of light is required or more sophisticated illumination is preferred.

Photo 15.
The light of speedlight is a little bluish. "Speedlight" mode is to correct it.

Photo 16.
"COOLPIX 990" can make fine adjustment of color when speedlight is attached externally.

Illustration 1.
Points for selecting a tripod

A tripod is an indispensable tool for shooting at a place not very light as explained in Part 2. It is also useful for fine adjustment of framing, a self portrait and a memorial photo.
A digital camera can easily take a photo of beautiful color under such illumination that is not quite light compared with the sunlight as a fluorescent lamp and an electric bulb.
It can be anticipated that the combination of "a tripod and a digital camera expand the world of photography several times". I strongly recommend to get a tripod if you have none.

Points for selecting a tripod for a compact type digital camera will be listed below.

1. Price range
   Few will buy a tripod more expensive than a camera. It's sure that a tripod with a certain weight and of a good handling characteristics is better.
   Then, a certain amount of money will be required.
   For compact-type digital camera, a tripod that is not so excellent will do quite well (if a remote cord is jointly used for indoor shooting where there's no wind) as the camera itself is very compact and light.
   A tripod with pan-head (explained later) of 5,000 to 7,000 Japanese Yen (approx. 50 to 70 dollars) will be recommendable if the point is simply clear-cut.
   
   
2. Legs
   Please select a type of tripod that is easy and sure to expand and contract legs and rigid to a certain extent in the state of full extension of legs.
   One of the height that can set a camera at the height of chest will be recommended.
   One with many steps so that it can be contracted shorter will be more expensive.
   
   
3. Pan-head
   The part for operating a camera is called pan-head. "Free pan-head" of ball mount that can change the direction freely with one-touch, "2-way pan-head" that can finely adjust the rotation and up and down movement continuously and "3-way pan-head" that can further make fine adjustment of vertical and horizontal position of the camera continuously.
   In the range of 5,000 to 7.000 Japanese Yen (approx. 50 to 70 dollars), most are with free pan-head or 2-way pan-head.
   

Photo 17.
Example of free pan-head. Direction of camera can be adjusted freely and quickly with one-touch but it is a drawback that the fine leveling is difficult.

Photo 18.
Example of 2-way pan-head. Horizontal rotation and vertical direction of the camera can be easily and finely adjusted. With the type that cannot make switch over of vertical and horizontal position of the camera, vertical position can be made if the camera is set again after the pan-head is arranged vertical.

Photo 19.
Example of 3-way pan-head. It can make fine adjustment of the camera to the inclined position between vertical and horizontal position. It's a little more expensive than 2-way pan-head.

4. Ferrule
   The part of the tripod contacting the ground is called ferrule. The point of an umbrella is also called ferrule.
   If it is used indoors and if it must be avoided to hurt the floor, one with rubber or plastic tips should be selected.
   
   

A reflecting board is made of a material which reflects the light and is used to make the shadow of the subject light.
A diffuser is made of a material which diffuses the light and used to obtain the soft light, being set in front of a light source.
Both of them were explained in Part 2..
Why does it give the impression that they are something special, if they are only called by such special terms as a reflecting board or a diffuser ? A reflecting board is made of tracing paper, thin white cloth or white vinyl sheet. They are nothing particular.
But it may not be known where can those of large size or of strong material be got.
They are of course sold at a photo shop but you had better look for them at a stationery shop, a DIY shop or a handicraft shop. You may encounter unexpected novelties !

Photo 20.
Hand-made reflecting board made of styrene (styrofoam) board. The join sealed by a cloth adhesive tape and can be folded. It's possible to be erected or extended for wider space.

Photo 21.
If it is set up this way on the table, you can work by yourself without an assistant.

Photo 22.
It's also possible to set up this way...... It's not quite an idea......

Photo 23.
This silver reflecting shade is a car accessory. It's fixed to the front glass to prevent the heat-up of the inside of the car exposed under the blazing sun. I found it at a 100-yen (99 cents)-article shop.

Photo 24.
It can be folded in half this way.

Photo 25.
If it is rolled up this way, it becomes very compact.

Photo 26.
A roll of tracing paper. It is cut to a proper size. It can be got at a stationery shop, too.

Photo 27.
Thin cloth. Volume of the transmitting light decreases much, but very soft diffused light is obtained.