Swami Photography

Also known as camera modes, this dial is your starting point. It lets you decide two things: how to set the exposure and how to achieve the creative effect you want.

You’d slow down the shutter speed if you want motion blur, right? But that also means your image will get brighter...

The image gets brighter when you raise the ISO, but the side effect is a more "noisy" or grainy image.

While slow shutter speeds create motion blur, the side effect of changing the aperture is the level of background blur.

The side effect of changing the shutter speed is the amount of motion blur. To convey motion, use a slow shutter speed (shutter open for a longer time).

When you hit the shutter button, the camera captures the scene for the duration the shutter is open (shutter speed).

There are three ways to control the light coming into your camera—aperture, shutter, and ISO. But why do we need three ways if they're all doing the same thing?

When you frame your shot, make sure you're not cutting right at a joint. It will make them look amputated. Instead, cut in between the joints.

Before you hit the shutter button, make sure their feet are inside the frame. If not just move back a bit.

The camera needs a certain amount of light to create a perfectly exposed image--not too bright, not too dark. Your job is to ensure the camera gets the light it needs.

The aperture and shutter let light in (and you can change the aperture size or the shutter duration to control how much light you want in), but when the light ultimately reaches the sensor, the sensor decides how much of this light it wants to soak in.

The shutter is a curtain that opens and then closes after a bit. The longer it's open, the more light that goes through, but we need to know precisely how long it's open, so we have a unit for it: shutter speed.

The shutter is a curtain that's always closed. When you click the shutter button, the curtain opens for a bit to let the light in, and then closes again. You can control how long it stays open.

Just as we measure weight in lbs or kgs, we also need a unit for the aperture--so, whatever camera you use, you'll know exactly how bright or dark the image will be when you change the aperture size.

Aperture is just a fancy way of saying "hole." The lens has a hole in it so light can pass through. You can make the hole larger or smaller depending on your needs.

Light goes into your camera, through the aperture and shutter, and ultimately hits the sensor.

Here are the similarities and differences between the four types of cameras used for still photography.

Window light is soft and gorgeous because a window is like a large softbox. Place your model close to the window and position them so that one side of their face faces the window to get that nice side light.

Beauty may be in the eye of the beholder, but usually, there's one angle the model looks best.

We saw how pillars get nice side light. But in fact, any area with an indoor/outdoor partition will get you nice side light.

A little bit of hair light can add depth and visual interest to your image. Position your subject, so the sun is behind them and adjust their positioning until the hair glows.

Here's a trick to find beautiful, natural side light. Observe how light falls on objects (like pillars, wall edges, or trees).

If your model wants to look slimmer, ask her not to stand facing straight to the camera. A coin looks narrower when you angle it, right? Same with humans.

Photographers love shooting symmetry because, well, it's fascinating, but also because it brings harmony and balance to the image.

It's OK to have empty space in your picture. Just as a single art piece in a museum often takes up a whole wall, having negative space in your photo brings attention and importance to your subject.

Keep your photos straight, especially landscapes, and especially if the horizon is visible.

Highlighting texture is another way to bring out the depth in your scene. In rocky areas, look for varying shades formed by the play of light and shadow.

A fantastic way to convey depth in your scene is to show a "1-point perspective" where parallel lines appear to meet and vanish at the horizon.

Look for something in your foreground to "frame" your subject. It adds character to your photo and conveys depth in the scene.

Whether you're using natural or artificial light, position your model so the light hits them from the side.

Including a line in your photo can create a sense of depth--especially a line that starts from the edge of the frame and goes into the scene.

When you are shooting a group, make sure you're the only one taking the shot. If other photographers try to join you, ask them to wait until you're done. The group won't know which camera to look at with multiple photographers.

When shooting reflections, position the horizon at the center to emphasize the symmetry--don't use the rule of thirds here for the horizon.

For a more interesting look, position the horizon (where the sky meets the ground) one-third way up or down rather than at the center.

Take more close-up shots. Going closer not only reduces the background area (which means less clutter) but also produces a more engaging photo where you can see your subject's expressions and feel their emotions.

Divide the frame (mentally) into three equal parts vertically and horizontally, and place your subject at one of the four intersecting points. This can create a more interesting look than if you just center your subject.

When shooting people, look out for protruding objects. Trees or poles can appear to extend out from your subject's head and make them look unintentionally weird.

View your scene as three layers: background, middle-ground, and foreground. For example, if you’re at a beach, the sky is your background, the water is your middle-ground, and the sand is your foreground.

Shoot selfies from above, if you want to look your best. This also applies if you're shooting a close-up (face only) shot of someone else.

Before you take a shot, make sure there are no random people moving about in the background. Having people partially cut off in your frame makes it look cluttered and distracting, and you'll come across as a careless photographer.

Don't make your subjects face the sun when you shoot on a bright sunny day. They'll squint. And weird shadows might form on their faces. You should face the sun instead.

The evening sky goes through various stages of twilight as the sun journeys below the horizon. Knowing these stages can help you plan your shoot, especially for landscapes.

If you're shooting anything outdoors, shoot around sunrise or sunset. Not only is the sky more interesting, but the light is softer--which means your camera can see a wider spectrum of colors. Landscapes and portraits turn out much nicer when shot during "golden hour."

Real-life is 3D, but photos are 2D. The place you're at may be breathtaking, but when you take a photo, you lose a whole dimension...

Position your subject so there is ample room in the "line of sight". For example, if they are facing right, place them on the left. If you place them too close to the wrong edge, it would trigger an uncomfortable feeling--almost like they are going to walk off the frame.