Part 2. : Fundamentals of fundamentals
"Challenge to operate digital cameras manually"

A photograph that is in focus is a photograph in which the main subject is sharply focused. On the other hand, a photograph that is out of focus is a photograph in which the main subject is blurred. However, what is the main subject ? The main subject depends on photographer's intention. But it's not necessary to think difficult. Let the main subject be a subject that we want to represent to others.

Fig. 1.

Take a look at Fig. 1. I explain technical meaning of "focus".
There appear symbols [  ] at the center of the viewfinder screen or the LCD display of the digital camera. (For COOLPIX 885/880, the symbols [ ] do not appear usually on the LCD display. Assume that they exist at the center of the LCD display. The area occupied by symbols [ ] is called an AF area (AF frame)).
In the AF area, the AF (autofocus) function is performed. The subject in the AF area is focused automatically. You fundamentally need to position a desired subject into the AF area.
In Fig. 1, all objects on the plane including the subject, which is called object plane, are in focus. That is, a cat and a bird are also in focus. Other objects located away from the object plane are out of focus. The more away from the object plane they are, the more they are blurred. The digital camera, having the AF function, automatically focuses the lens on the subject in the AF area, which locates at the object plane.

Photo 1. a.
By pressing the [T] button, a magnified image is displayed

Photo 1. b.
You can magnify an image up to 4x magnification

Photo 1.c.
You can change an image location by using the Multi Selector

Photo 1.d.
If you turn the Focus Confirmation Indication menu ON, the in-focus part of the image is highlighted

(The presence or absence of these functions and the way of operation differ by maker and kind of digital camera.)

In many Autofocus digital cameras, there is an AF area at the center of the screen. This location of the AF area makes it impossible to focus the lens on the two persons outside the AF area, who are a little apart each other. Or, you cannot set focus on the subject located at the corner of the screen.
In such cases, to use the AF function, first, press the shutter release button halfway, so that the lens is focused on the subject located in the AF area and locked at the focused position. Then, keeping the shutter button halfway, change an image composition, and then fully press the shutter release button to release the shutter. So, you can capture an image in which focus is set on the desired subject outside of the AF area. Thus, you can enjoy a wide variety of image compositions.
You can apply this halfway-press technique not only to digital cameras but also to point and shoot cameras. So, learn to completely handle the halfway-pressing technique.

Photo 3.a.
Set focus at the center of the screen

Photo 3.b.
Change an image composition, pressing the shutter release button halfway

Photo 3.c.
Then, by pressing the shutter release button all the way, you can capture an image in which the focus is set on the subject at the corner of the screen

As described previously, the AF area of COOLPIX 885 / 880, positioned at the center of the LCD display, does not appear, though the AF area appears on the viewfinder screen. Meanwhile, COOLPIX 885 / 880 has five AF areas including the central AF area. You can take advantage of the AF areas when you select the setting below.

1. When you select [Portrait] or [Macro] in the [SCENE] mode.
   ([Manual] is selected in the AF Area mode.)
2. When you select [P], [M], or [CSM] in the Operating mode for COOLPIX 885.
   For COOLPIX 880, [P], [A], [M], or [CSM] is selected. ([Auto], [Manual], or [Off] is selected in the AF Area mode.)

The AF Area mode has the three (3) options.

• [AUTO] :
  The camera selects automatically one of the five AF areas, in which the nearest subject locates and is set on the focus.
• [Manual] :
  You can manually select one of the five AF areas in which your target locates, using Multi Selector.
• [Off] :
  The central AF area is only in effective.

By selecting AF areas adequately, you can perform focusing quickly. And you can enjoy a wide variety of image composition.

Photo 4.a.
Selecting the option in AF Area mode

Photo 4.b.
Indicated five (5) AF areas (The central AF area is selected)

Photo 4.c.
By selecting the right AF area, focus is set on the subject

Photo 4.d.
By selecting the left AF area, focus is set on the background in the left part of the image

Fig. 2.
The relation among aperture (Large or Small), shutter speed (Slower or Highter) (Slow or High Speed) and the amount of light (Volume of Yellow Cylinder)

In typical AE (auto exposure) cameras, the brightness of images depends on the amount of light incident on the film or the imaging device. To put it simply, the brightness increases as the amount of light increases and decreases as the amount of light decreases.
The aperture, similar to the pupil of human eye, is placed in the lens. The larger the aperture is, the more light impinges on the imaging device. Note that the smaller the f-number of the aperture is, the larger the aperture is.
Shutter speed is length of time for which an imaging device or a film is exposed to light. The slower the shutter speed is, the more light impinges on the imaging device or the film.
In Fig. 2, the f-number of aperture is represented as a cross-section area of the cylinder.
A shutter speed is represented as a length of the cylinder. So, the volume of the cylinder corresponds to the amount of light impinging on the imaging device or the film.
Comparing two cylinders, it is apparent that if the volumes of two cylinders are equal regardless of the shutter speed and aperture, the exposed amount of light is equal. In other words, the brightness of two images becomes equal.
Though the brightness of the two images is equal, appearance of the two images is sometimes very different.

Differences of image appearance at different apertures

Photo 5.a.
Smaller aperture (The aperture is closed smaller.)

Photo 5.b.
An example captured at a smaller aperture (The blur effect for the background is small.)

Photo 5.c.
Larger aperture (The aperture looks larger than that of Photo 5.a.)

Photo 5.d.
An example captured at a larger aperture (The blur effect for the background is larger than that of Photo 5.b.)

The blur effect becomes smaller as the aperture becomes smaller.
So, objects in the image, from nearby to distant, become in focus. It is said that such image has deep depth of field.
On the other hand, the blur effect becomes larger as the aperture becomes larger.
So, the nearby object or the distant background becomes more blurred. It is said that such image has shallow depth of field. The depth of field is a range in which objects are in focus (a range in which objects are in focus in front of and back of the main subject).
Point-and-shoot type digital cameras have an imaging device smaller than a frame of 35mm (135) or APS (IX240) film, so such digital cameras' lenses have a smaller focal length than that of 35 mm or APS camera. So the blur effect caused by the digital cameras is prone to become smaller than that of conventional cameras.
But digital cameras can capture close-up images better than 35 mm or APS cameras because digital cameras have deeper depth of field.

Differences of image appearance at different shutter speeds

Photo 6.a.
An example captured at a slow shutter speed (The background is very blurred)

Photo 6.b.
An example captured at a fast shutter speed (The background is not much blurred.)

When you capture images in a dim room or at night without a electronic flash (speedlight), the images are prone to blur. In such conditions you need to use a slow shutter speed, so that you may capture blurred images due to a camera shake or object's movement. Such blurred image is a typical failure in photographing.
On the other hand, the blurring is essential factor when you want to represent object's movement.
And, if you want to stop a moving object in the image, you need to use a high-speed shutter.
By using a high-speed shutter, you can make the moving object stand still in the image completely. (Photo 6.h.)

COOLPIX 885 has [SCENE] mode (12 scene types), [CSM] mode (custom settings), [P] mode (program), and [M] mode (manual), as well as [AUTO] mode. COOLPIX 880 has [SCENE] mode (11 scene types), [CSM] mode, [P] mode, [A] mode (aperture priority), [M] mode, and [AUTO] mode.)
COOLPIX 995 has [S] mode (shutter speed priority), [CSM] mode (three settings), and [AUTO] mode, but does not have [SCENE] mode.

Photo 7.a.
Selecting the [SCENE] mode

Step 1. : How to use the [SCENE] mode

The [SCENE] mode lets you select conditions suitable for a scene. The [SCENE] mode of COOLPIX 885 includes [Portrait], [Party/Indoor], [Night Portrait], [Beach/Show], [Landscape], [Sunset], [Night Landscape], [Museum], [Fireworks Show], [Close Up], [Copy], and [Back Light].
For very complicated taking conditions, it may happens that you don't capture a good image even by using the [Scene] modes. But at least you can capture much better images than the [AUTO] mode thanks to the Scene mode.

Photo 7.b.
Selecting the Scene on the menu

In the brochure, there are sample images captured using [Scene] modes. Refer these images, notes, and the specifications in the brochure. When you capture images in a dim situation, I recommend using a tripod to keep the camera steady. In particular, you need to use the tripod when you capture fireworks.

Photo 8.
Selecting the [P] mode (Program)

Step 2. : How to use the [P] mode (program)

When you become moderately accustomed to handle the digital camera, I recommend you to use the [P] mode, using the modes such as the AF mode and the White Balance mode.
The [P] mode is designed to avoid failures, such as blur and out-of-focus. But, in very difficult situations, unfortunately, failures might occur. In this case, try again by changing the setting.

Photo 9.
Selecting the [A] mode (aperture-priority)

Step 3. : Challenge to the [A] mode or the [S] mode

When you want to see differences in image appearance created by changes in shutter and aperture, use the [A] mode or the [S] mode.
If your camera does not have the [S] mode, you can use the [A] mode instead.

Photo 9.
Selecting the [A] mode

For example, if you want to use more faster shutter speed, open the aperture by using the [A] mode, and you can use a faster shutter speed.

Photo 10.
[CSM] Mode (custom)

Setting favorite conditions by the [CSM] mode

The camera can store a variety of settings in the [CSM] mode.

When you often use similar settings, the [CSM] mode is very useful.

When you capture images in dim light, the built-in speedlight is very useful. The built-in speedlight has the reasonable amount of light that helps you avoid taking blurred images.
But the built-in speedlight's amount of light (Guide number) is not necessarily large. In the case of COOLPIX 885, objects up to 2.5 meters from the camera can be properly illuminated when the lens is set at telephoto position, and objects up to 3.7 meters can be properly illuminated at wide position.
When objets are over these ranges, captured images become fairly dark. In particular, you have to be careful shooting at night.
When the amount of light is not enough, one good way is to set Sensitivity higher.
The built-in speedlight provides the following five (5) flash modes. Each flash mode has different flash effect.

AUTO Mode (auto flash)

Built-in speedlight fires automatically only when the camera judges that a subject lacks brightness. You don't need to care about using flash.

Photo 11.a.
AUTO Mode (auto flash) (Indication of the AUTO mode is not displayed on the LCD. This differs by camera type and maker.)

Photo 11.b.
An example captured in the AUTO mode (auto flash)

Flash Cancel Mode

Flash is not fired even if the subject lacks brightness.
This mode is used when you capture images such as fireworks or a distant subject at night. For such distant subjects, the flash cannot emit the enough mount of light.
When you capture images at night or in a dim room, you can compensate in the + direction to create brighter images, though shutter speed becomes slow.
So be careful not to cause a camera shake. I recommend using a tripod.

Photo 12.a.
Flash Cancel Mode

Photo 12.b.
An example captured in the Flash Cancel mode (Compare subjects and backgrounds between Photos 11.b. and 12.b)

Slow Sync Mode

This mode is suitable for portraits in night scenes. The subject is illuminated by the built-in speedlight and the distant dark background becomes brighter with a slow shutter speed. It, however, is better to use a tripod.

Photo 13.a.
Slow Sync Mode

Photo 13.b.
An example captured in the Slow Sync mode (Compare subjects and backgrounds among Photos 11.b, 12b, and 13.b)

Anytime Flash Mode

Flash fires whenever a photo is taken, even if the scene is bright enough. For example, when the subject is backlit, this mode is useful in illuminating the subject's shadow.

Photo 14.a.
Anytime Flash Mode

Photo 14.b.
An example captured
in the AUTO mode

Photo 14.c.
An example captured
in the Anytime Flash mode

Red-Eye Reduction Mode

In a point-and-shoot camera, the built-in speedlight is sometimes arranged close to the lens. This causes red-eye phenomena in which the subjects' eyes look red because speedlight's light is reflected from the retina of eye.
To prevent red-eye phenomena, in the Red-Eye Reduction mode, pre-flash light is fired to the subject in advance to make the pupil of eye small. Just after the pre-flash, the main flash is fired to the subject. This method decreases the red-eye phenomena.
When you capture images of dogs and cats, the eyes sometimes appear green or blue. This also belongs to the red-eye phenomena. So you can decrease the phenomena by using the Red-Eye Reduction mode.
But if dogs or cats turn their eyes just after pre-flash, you may not have desired images. When you take the photo of a person, it's better to notice pre-flash to the person in advance.

Photo 15.a.
Selecting the Red-Eye Reduction mode

Photo 15.b.
An example captured in the AUTO mode. Red-eye appears.

Photo 15.c.
An example captured in the Red-Eye Reduction mode

Although it may seem to be a little strange, light includes color.
Color is recognized by the human brain. Daylight is white light that is used as standard light in both of digital and silver-halide photography. When you use silver-halide film, it is well known that the image captured in incandescent light shifts in color to a little orangish color, and the image captured in fluorescent light shifts in color to a little greenish color.
The human eye sees color based upon past experience. Once the human eye has perceived a thing to be white, after that, the eye tends to regard the thing as white even when the thing is lightened by a different type of light. This is called "color adaptation".
But the silver-halide film does not have this nature. So, when silver-halide pictures are printed, we feel that the color of the picture is different from the original color.

Photo 16.a.
An example captured in daylight when the White Balance is manually set to Fine

Photo 16.b.
An example captured in incandescent light
when the White Balance is manually set to Fine

Photo 16.c.
An example captured in a fluorescent light (daylight)
when the White Balance is manually set to Fine

In Photos 16.a. to 16.c, the White Balance of COOLPIX 885 is manually set to Fine. (This corresponds to use a daylight type color film in silver-halide photography.)
Photos 16.a. 16.b. and 16.c are captured in sunlight, incandescent light, and fluorescent light (daylight).
Compare color differences of the subject among three images.
As described at the beginning of this section, the digital image is electronic information unlike the silver-halide image. So color correction of the digital image is fairly easy. If an image is captured in light that isn't white light, the color of the captured image can be corrected to the color that a photographer remembers.
Such color correction is performed by AWB.

Photo 17.a.
An example captured in sunlight using the Auto White Balance

Photo 17.b.
An example captured in incandescent light using the Auto White Balance

Photo 17.c.
An example captured in fluorescent light (daylight) using the Auto White Balance

These three photos are captured in sunlight, incandescent light, and fluorescent light using the Auto White Balance of COOLPIX 885 / 880. Color captured in fluorescent light, surprisingly, is fairly reproduced as well as color captured in sunlight.
Although orangish color remains a little in the image captured in incandescent light, this "warm" white color seems to be not so bad. I assume that the camera is designed to remain warm white in incandescent light.

Although the Auto White Balance (AWB) is a fairly excellent function, the original color of the subject is not always reproduced completely. In this case, switch the Auto White Balance to the Manual setting.
You can easily do it. Press the Menu button to choose options on the menu of the White Balance, and then choose a light source type used in the actual taking scene. COOLPIX 885 / 880 has the following options on the menu, and their effects are as follows.

• Fine: The White Balance is set for direct sunlight that is the standard for conventional and digital photography. This setting reproduces almost the same color as daylight-type reversal film.
• Incandescent: has the effect like using a blue filter.
• Fluorescent: has the effect like using a bright magenta filter.
• Cloudy: has the effect like using a pale blue filter.
• Speedlight: has the effect like using a pale blue filter.

Photo 18.
Manual setting of the White Balance

COOLPIX 885 / 880 has a function to enhance blue or red a little for each choice.
Using this function, you can adjust color to meet the property of lighting equipment (COOLPIX 885 / 880 has the function of bracketing). On fluorescent light, you can select three types of fluorescent lamps.
To reproduce color correctly, it is basically important to use a single type of light source. It is better to avoid using a fluorescent lamp and a tungsten lamp simultaneously.
In the White Balance, if you select a type of light source different from the actual used one, you can enjoy a variety of color variation.

Photo 19.a.
Setting to Fine (A light source is an external speedlight)

Photo 19.b.
Setting to Speedlight (A light source is an external speedlight)

Photo 19.c.
Setting to Incandescent (A light source is an external speedlight)

These three (3) photos (Photo 19.a. to 19.c.) are captured using an external speedlight that provides the same white light as sunlight, with White Balance being manually set.
Although the colors of the images may look a little strange, the images also seem interesting and tasteful.
Try to make sure color variation of images by setting the White Balance for Manual settings.

Photo 20.a.
Selecting Preset of White Balance

When you cannot reproduce color correctly by using the manual settings of the White Balance, or you cannot use a single type of light source, it is better to use the Preset function of the White Balance.
In the Preset, white material such as white paper (pure white is desirable) is shot, and this white color is used as the standard white color. This shot is not stored into the recording media (ex, memory cards).
By using this function, it is possible to reproduce correct color unless you use special light. But it is difficult to reproduce delicate colors because digital cameras and computer monitors have limitation on color reproducibility.

I may have introduced too many functions at one time. Try to master these functions one by one.

Photo 20.b.
In the Preset, white paper or the like is shot as the standard white color.

Photo 20.c.
Indication of Preset

Next part (Part 3) is "Handling images on the personal computer". Wait and see !