Photographer's Companion - User Guide

Photographer’s companion user guide
© StefSoftware
December 2020
(Updated to Android v1.7 and iOS v1.3)
Welcome to Photographer's companion!
Photographer’s companion was born in 2016 from a personal observation of not being able to
find the tools I needed combined in a single application and with a single grip.
I decide to share my work by telling myself that somewhere on this Earth someone might have
the same need as me. I still can't believe it, but today you are close to 300,000 having had this
need...
It is there to help you better understand the settings and thus tame your camera and after that,
all you have to do is imagine, be more creative, and compose your photos with the Sun, the
Moon, the Milky Way, the star trails, Eclipses, Thunderstorms, fireworks and many other things...
To achieve this, Photographer's companion includes all the tools you need.
This will all become clearer as you read this guide.
Ready? So let's go…
“Above all else, preparation is the key to success.” - Alexander Graham Bell
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Contents
Chapter 1: Get to know the application 6
Chapter 2: Equivalent Exposure 21
Chapter 3: Depth of field 23
Chapter 4: Field of view 27
Chapter 5: Exposure Value 29
Chapter 6: Flash 31
Chapter 7: Freeze subject 33
Chapter 8: Sun 34
Chapter 9: Moon 38
Chapter 10: Stars 45
Chapter 11: Northern lights 50
Chapter 12: Lightning and fireworks 52
Chapter 13: Light Meter 56
Chapter 14: Macro 63
Chapter 15: Time lapse 67
Chapter 16: Print size 69
Chapter 17: Planner 71
Chapter 18: Countdown 78
Chapter 19: Compass 79
Chapter 20: Bubble level 80
Chapter 21: Film developing 81
Chapter 22: Reciprocity failure 85
Chapter 23: Photographic composition 86
Chapter 24: Composed with colors 88
Chapter 25: Ephemeris 91
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Chapter 1: Get to know the application
Start by selecting your material.
1. Your cameras
1 - Features of the active camera

In this area you will find the characteristics of the active camera, namely:
 Sensor size
 The Crop factor
 The value of the circle of confusion
 Image size in pixel
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 ISO range
 The speed range
 The number of stops the camera stabilization system compensates
 Display of actual focal length or 35mm equivalent
 The steps for the ranges: ISO, shutter speed and aperture
You have the possibility to edit certain characteristics by clicking on the pencil icon or to
delete a model added by you by clicking on the trash can icon.
2 - Global camera settings

In this area you will find the settings that will apply to all cameras, namely:
 The presence or not of a focal length multiplier/reducer and its value
A focal length multiplier is an accessory that is inserted between the lens and the body and which allows to
obtain the framing that would be obtained with a lens with a focal length longer than the one used. It is an
economical solution that allows you to equip yourself more lightly.
On the other hand, by multiplying the dimensions of the central part of the image, its surface area is
squared and its luminosity is divided in the same proportions.
Example:
o With a multiplier by 1.4 the brightness is still divided by 2. We therefore lose 1 diaphragm.
o With a focal doubler, the brightness is divided by 4. We therefore lose 2 diaphragms.
o With a triplifier of focal length, the luminosity is divided by 9. We therefore lose more than 3
diaphragms.
Another consequence concerns autofocus. If we double the focal length of a lens open at f / 2.8, we obtain
another lens but open at f / 5.6, which is the maximum limit for most autofocus.
If you have such an accessory, you only need to enter the value of its multiplier. You can activate it or not
with the On / Off button.
 If the shutter speed unit is always displayed in s (90 s -> 1 min 30 s)
3 - Management of favorites (only with the Pro version)

It's possible to define cameras as favorite (no limit on the number) to facilitate switching
from one to another when you have several cameras.
Adding a camera to favorites is done by choosing the desired camera then clicking on the
heart-shaped icon (turns red).
The selection of a camera in the favorites is done simply by clicking on it.
To remove a camera from favorites, just click on the heart-shaped icon (turns gray).
4 - Camera repository
Selecting a camera from the repository is simply done by clicking on it or by performing a
search (magnifying glass icon). The selected camera becomes the active camera for the
various tools.
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If your camera is not in the list, don't panic, you can add it yourself by clicking on the plus
icon, then entering its characteristics.
If you do not know the characteristics of your camera, you can find them on the site:
Digital Photography Review
Camera change shortcut (only with Pro version)

At the bottom of each screen, you can access the choice of cameras by clicking on the
camera icon.
Add / Edit Camera

Adding a camera is done by clicking on the plus icon and changing the active camera by
clicking on the pencil icon.
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If the camera is part of the application library (was not created by the user), it will not be
possible to change the company name and the model name.
It's possible to capture a film camera by setting the "Digital camera" selector to Off. In this
case, the size of the sensor and the resolution will not have to be entered.
You must enter the characteristics of your camera, namely:
 Sensor size (Width x Height)
 Image size (Width x Height) in pixel
 ISO range
 Speed range
To save them, just click on the floppy disk (top right).
And voila, the camera is now available!
Circle of confusion
The circle of confusion is a term that one discovers with the depth of field. It is a
physiological reality (visual acuity) that makes it possible to express the impression of
sharpness of a photograph.
In photography, the rays which pass through the lens from a tiny point on the plane of
sharpness do not converge towards an ideal single point, but form a more or less great
spot, for the optics are not perfect and the focus may be more or less accurate. These
spots are called circles of confusion, for when they become too blurred, two juxtaposed
points seem to merge.
The circle of confusion represents the minimum blur diameter at the sensor to be visible to
the naked eye. From this value the details seem mixed, they are confused.
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The circle of confusion, applied to a sensor, is the smallest detail that it is able to grasp for
a given opening, knowing that the sensor is composed of photosites of well-defined size
that a moire filter as well as a reconstruction colors (demosaicing) will artificially expand
this smallest detail. We are not interested here in the consequences of viewing on a screen
or on a paper print that would involve the size of the screen or print and the distance
between the image and the observer (and its possible visual acuity failure or no).
The size of the circle of confusion is calculated simply by dividing the diagonal of the sensor
by a constant:
 1440 uses a less severe criterion, it is the constant most often used
 1730 is the constant that most closely matches the physiological reality
 3000 uses a more severe criterion
 The Airy disk (only with the Pro version)
For a given aperture, a point source of light will spread over the sensor in a disc called the
Airy spot whose diameter is proportional to the opening of the objective. Impossible to see
a finer detail, physics forbid it. Then, this stain is spread slightly by the anti moiré filter and
the demosaicing. In the end, the smallest diameter visible on the sensor is equal to the
diameter of the Airy spot increased by a width of approximately pixels. Following this
reasoning, we see that at no time does the size of the sensor intervene, but only the size of
its photosites.
Custom value (only with Pro version)

By clicking on the pencil and eye icon, you can set a custom value for the circle of
confusion.
Increments
Here, we define the normalised exposure scales corresponding to the settings of the box
that will be used in the other menus.
For each of the 3 exposure parameters (sensitivity, exposure time and aperture), there is a
scale of normalised values. Moving from a standard value to the next or previous one is
equivalent to changing the exposure index by 1 (+1 or -1 EV). In other words, multiply or
halve the amount of light (exposure time and aperture) or sensor sensitivity (sensitivity).
Sensitivity
Sensor sensitivity is expressed in ISO (International Standard Organization).
If the sensitivity of the sensor is doubled, the same exposure will require half the light (ISO
400 is twice as sensitive as ISO 200, which is twice as sensitive as ISO 100).
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Conversely, whenever the sensitivity of the sensor is reduced by half, obtaining the same
exposure requires a contribution of twice as much light.
Standard sensitivities (in ISO):
50 – 100 – 200 – 400 – 800 – 1,600 – 3,200 – 6,400 – 12,800 – 25,600 – 51,200 – 102,400
Going to the right, we increase the sensitivity, it is as if we added IL. Indeed, if we amplify
the sensitivity without moving the aperture and the exposure time, this is equivalent to
overexposing the photo. We get the same result as if we had doubled the amount of light.
Examples:
 Change from 100 to 200 ISO: + 1 EV
 Move from 100 to 400 ISO: + 2 EV
 Change from 800 to 400 ISO: - 1 EV
Exposure time
The exposure time (also called shutter speed) is the duration (expressed in seconds or
fractions of seconds) during which the shutter is open to allow light to pass through the
sensor.
Standardised shutter speeds (or exposure time in seconds):
30 s – 15 s – 8 s – 4 s – 2 s – 1 s – 1/2 s – 1/4 s – 1/8 s – 1/15 s – 1/30 s – 1/60 s – 1/125 s –
1/250 s – 1/500 s – 1/1000 s – 1/2000 s – 1/4000 s – 1/8000 s
The longer the duration (slower speed), the more light will pass. Moving from one standard
value to another is equivalent to twice as much light (to the left) or twice as much light (to
the right).
Examples:
 Change from 1 s to 2 s: + 1 EV
 Change from 1/15 s to 1/30 s: -1 EV
 Change from 1/500 s to 1/125 s: + 2 EV
Aperture
Thanks to the diaphragm of the lens, the diameter of the aperture through which the light
passes can vary. Depending on its size, this aperture will allow more or less light to pass for
the same period of time.
Normalised relative apertures:
1.0 – 1.4 – 2.0 – 2.8 – 4.0 – 5.6 – 8.0 – 11.0 – 16.0 – 22.0 – 32.0 – 45.0 – 64.0 – 90.0 – 128.0
A large diaphragm aperture corresponds to a small digit (4, 2.8, 1.4, ...) and a small
aperture is represented by a large digit (11.0, 16.0, 22.0, ...).
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The aperture is generally marked "f/" or "f:", for example, for an aperture of 4: f/4 or f:4.
Going left, we add EV: The larger the aperture (small number), the greater the amount of
light reaching the sensor. As with the exposure time, switching from one standard value to
another is equivalent to twice as much light (to the left) or twice less light (to the right).
Examples:
 Change from f / 4 to f / 2.8: + 1 EV
 Change from f / 8 to f / 4: +2 EV
 Change from f / 8 to f / 11: - 1 EV
In summary, it is possible to increase the exposure index by + 1 EV:
 By multiplying the laying time by two (for example from 1 to 2 seconds, from 1/500 s
to 1/250 s, ...),
 By increasing the aperture of the diaphragm by a value, i.e. By choosing a smaller
digit (e.g. from f / 5.6 to f / 4),
 By doubling the sensitivity (for example from 100 to 200 ISO).
And conversely, -1 EV is equivalent to dividing the exposure time or the sensitivity by two
or to decrease by a standard value the opening of the diaphragm (move to a higher figure).
The adjustment increments

Attention, on the devices, it is rare that the settings are made by the whole value of EV.
Usually, when you turn a control dial up or down, it changes the setting of 1/2 or 1/3 of EV.
The adjustment steps may differ from one exposure parameter to another (speed,
aperture, sensitivity), from one device to another and even from one user to another for
the same device (The increment can be customised).
Examples of intermediate values
By adjusting your device, you will therefore find the normalised values presented in the
previous part, but also intermediate values.
Examples of apertures between f/2.8 and f/22.
 1 EV adjustment:
2.8 - 4.0 - 5.6 - 8.0 - 11.0 - 16.0 - 22.0
 1/2 EV adjustment:
2.8 - 3.5 - 4.0 - 4.5 - 5.6 - 6.7 - 8.0 - 9.5 - 11.0 - 13.0 - 16.0 - 19.0 - 22.0
2.8 - 3.2 - 3.5 - 4.0 - 4.5 - 5.0 - 5.6 - 6.3 - 7.1 - 8.0 - 9.0 - 10.0 - 11.0 - 13.0 - 14.0 - 16.0
- 18.0 - 20.0 - 22.0
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2.8 - 2.9 - 3.0 - 3.1 - 3.3 - 3.4 - 3.5 - 3.6 - 3.7 - 3.9 - 4.0 - 4.1 - 4.3 - 4.4 - 4.6 - 4.8 - 4.9 -
5.1 - 5.3 - 5.5 - 5.6 - 5.9 - 6.1 - 6.3 - 6.5 - 6.7 - 7.0 - 7.2 - 7.5 - 7.7 - 8.0 - 8.3 - 8.6 - 8.9 -
9.2 - 9.5 - 9.9 - 10.2 - 10.6 - 11.0 - 11.3 - 11.7 - 12.1 - 12.6 - 13.0 - 13.5 - 13.9 - 14.4 -
14.9 - 15.5 - 16.0 - 16.6 - 17.1 - 17.8 - 18.4 - 19.0 - 19.7 - 20.4 - 21.1 - 22.0
Examples of shutter speeds between 1 s and 1/250 s.
 1 EV adjustment:
1 s - 1/2 s - 1/4 s - 1/8 s - 1/15 s - 1/30 s - 1/60 s - 1/125 s - 1/250 s
1 s - 0.7 s - 1/2 s - 0.3 s - 1/4 s - 1/6 s - 1/8 s - 1/10 s - 1/15 s - 1/20 s - 1/30 s - 1/45 s -
1/60 s - 1/90 s - 1/125 s - 1/180 s - 1/250 s
1 s - 0.8 s - 0.6 s - 1/2 s - 0.4 s - 0.3 s - 1/4 s - 1/5 s - 1/6 s - 1/8 s - 1/10 s - 1/13 s -
1/15 s - 1/20 s - 1/25 s - 1/30 s - 1/40 s - 1/50 s - 1/60 s - 1/80 s - 1/100 s - 1/125 s -
1/160 s - 1/200 s - 1/250 s
Focal values
Used to define whether the focal length value that will be entered in the different tools is
the real value or the 35 mm equivalence.
Stabilization stops
Stop value that the case stabilization system compensates. This value is used for calculating
the speed limit for handheld shots (without a tripod).
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2. Your lenses (only for the Pro version)
1. Characteristics of the active lens

In this area you will find the characteristics of the active lens, namely:
 The focal range
 The opening range
 Minimum focus distance
You have the possibility to edit certain characteristics by clicking on the pencil icon or to
delete a model added by you by clicking on the trash can icon.
2. Global lens parameters

In this area you will find the parameters that will apply to all lenses, namely:
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 The opening notation in decimal form or as a fraction of a stop
 Filtering lens format compatibility
To limit the selection of lenses, it is possible to filter the lenses according to their format
compatibility (35 mm, APS-C, 4/3 ...).
3. Management of favorites (only with the Pro version)

It is possible to define lenses as favorite (no limit on the number) to facilitate switching
from one to another when you have several lenses.
Adding a lens to favorites is done by choosing the desired lens then clicking on the heart-
shaped icon (turns red).
The selection of a lens in the favorites is done simply by clicking on it.
To remove a lens from favorites, just click on the heart-shaped icon (turns gray).
4. Lens repository
The selection of a lens in the repository is done simply by clicking on it or by carrying out a
search (magnifying glass icon). The selected lens becomes the active lens for the various
tools.
If your lens is not in the list, don't panic, you can add it yourself by clicking on the plus icon,
then entering its characteristics.
If you do not know the characteristics of your lens, you can find them on the site: Digital
Photography Review
Lens change shortcut (only with Pro version)

At the bottom right of each screen, you can access the choice of lenses by clicking on the
lens icon.
Add / Modify a lens

Adding a lens is done by clicking on the plus icon and changing the active lens by clicking on
the pencil icon.
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If the lens is part of the application library (was not created by the user), it will not be
possible to change the company name and the model name.
You must enter the characteristics of your lens, namely:
 The focal range (min <-> max)
 The opening range (max <-> min)
 The minimum focusing distance (in m)
 the lens format
To save them, just click on the floppy disk (top right).
And voila, the lens is now available!
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3. How to approach Photographer's companion?
Don't try to master everything the first time. It's like wanting to master all the buttons and
options on your camera the first time you use it. You are going to feel discouraged,
overwhelmed, and frustrated.
Instead, set a goal first
You want:
 know when the sun goes down today?
 calculate the depth of field?
 plan the photography of the Milky Way?
 …
When you know what you want to do, it's easier to use Photographer's companion to find the
answer.
So set a goal, find the tool you need, and come back to learn how to use it. Only then, go to
Photographer's companion and get the answers...
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4. Day/Night mode (only with Pro version)
It's possible to switch the display in Day or Night mode in the menu by clicking on the Sun or the
Moon.
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5. Organization of tools launch tiles (only with Pro version)
It is possible to rearrange the order of the launch tiles of the tools of the main screen.
How to move a tile:
1. Make a long press on the tile you want to move (until it turns yellow)
2. Make a short press on the destination tile
6. Metric and imperial measurements selection

Selection is made on each screen requiring a distance. Simply turn the wheel from left to right or
from right to left to select the desired unit. This will be stored at the output of the screen.
List of available distance units:
7. Icons explanation
1. Using tripod highly recommended

2. Using a remote control to prevent camera shake when triggering or using the self-timer
3. RAW mode to allow post-processing
4. Flash off
5. Manual focus
6. Manual mode
7. No camera shakes with manual shooting
8. Light camera shakes with manual shooting
9. Important camera shakes with manual shooting
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8. Photographer's companion vs Photographer's companion Pro
 Pro version
9. Tools
Now according to your needs, you can discover the various tools offered:
 Equivalent exposure
 Depth of field
 Field of view
 Exposure value
 Freeze subject
 Flash
 Macro
 Lightning and fireworks
 Sun
 Moon
 Stars
 Northern lights
 Light metter
 Time lapse
 Print size
Tools (only with Pro version)

 Countdown
 Compass
 Bubble level
 Notepad
 Film developing
 Planner
 Photographic composition
 Composed with the colors
Properties
 Camera properties
Properties (only with Pro version)

 Lens properties
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Chapter 2: Equivalent Exposure
What is the equivalent exposure?
Let's take an example: let's say I found the right exposure in automatic mode. I make a portrait
and I want to increase the aperture to have more blurred in the background. To maintain the
same exposure, I need to change another setting (ISO or shutter speed).
There is logic behind the triangle of exposure that will allow us to quickly find similar exposures.
The only problem is that we will have to learn all this a little by heart, or really use it often for
once again, to integrate this technique.
Fortunately, this tool is there to simplify you that!
Use
In the "Origin exposure" section

1. Set the values of your exposure (obtained automatically for example) by turning the
wheel or by clicking to enter the value
In the "equivalent exposure" section

2. Select the data to be determined (which will be used to compensate the exposure) by
turning the wheel or by clicking to enter the value
3. Set the other values according to what you want for your new exposure.
4. Raise the calculated value to make your new setting. The picture taken with this new
setting will have the same exposure as the one taken from the previous setting.
5. The information "Real shutter speed" is the actual speed of the sensor exposure if it was
timed. On the cameras we find the nominal value and not precise.
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Examples
Equivalent exposure with 4 photos taken in ISO 100.
The EV of these 4 photos is 13.

On the other hand, it's noticeable that the depth of field is much greater with a smaller aperture
(Look at the background between the photo taken in f/3.5 and f/22).
This icon found on the screens of some tools allows you to use the settings calculated in this tool
to determine equivalent exposure, but with other settings.
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Chapter 3: Depth of field
What is the depth of field?
This is the area of the image in which the objects are sharp, i.e. the area of sharpness or focal
plane. We can also say that it is the distance between the first net plane and the last net plane of
the image.
What is important to notice is that the background blur (bokeh) is becoming increasingly
important as you move away from where you made the focus, that is to say the area of
sharpness.
The hyperfocal distance

The hyperfocal distance makes it possible to find the largest area of depth of field with sharp
subjects to infinity. Often used for street photos, the use of the hyperfocal dispenses with any
other focus (no auto focus / AF). But some objectives devoid of focus mark don't allow applying
this method of work.
Use
1. Set the focal length and aperture you want by turning the wheel or by clicking to enter
the value
2. Set the unit of distance you want (cm, m, km, in, ft., yd., and mi)
3. Set your focus distance
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In the part "Depth of field"
4. You get:
 The width of the depth of field (8.47 ft.)
 The distance of sharpness in front of (3.38 ft.) and behind (5.10 ft.) the subject which
adds up corresponds to the width of the depth of field (3.38 + 5.10 = 8.47)
 The focus distance min. (16.62 ft.) and max. (25.10 ft.) to have the subject still net.
 The distance from the hyperfocal (97.68 ft.)
Tips
Maximise the depth of field
To obtain a large depth of field, you must:
 Move away from the subject
 Master the focus area (1/3 of the total distance or a little more on the front)
 Close the diaphragm (large figure)
 Play the wide-angle effect
Minimise the depth of field

To decrease the depth of field, you must:
 Get closer to the subject or use the shortest focusing distance
 Mastering the focus on part of the subject
 Open the diaphragm (small number)
 Play the telephoto effect
Depth of field for portrait

For a medium or close-up portrait, the focus is on the eye with a sharpness area from the tip of
the nose to the ears (or the hair). The choice of an average aperture such as f/5.6, for example,
makes it possible to obtain this result while maintaining an aesthetic background blur.
A or AV exposure mode
Even if all the modes lead to the desired result, the aperture priority exposure mode: A or AV is
the preferred mode for choosing the aperture and therefore defining the depth of field. To avoid
motion blur or camera shake, you can choose to work with the ISO auto and possibly set the
minimum speed to keep.
The principle of Bokeh

The term "bokeh" is derived from Japanese "boke" (ボケ), which means "fuzzy" or "haze". Bokeh
is the pleasant or aesthetic version of the blur in photography.
If Bokeh is a photographic feature, the shape and size of this effect is determined by the lens
used. Bokeh varies according to the shape of the lamellae of the lens diaphragm. A lens with
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circular slats will give blurry orbs with rounded shapes, while a lens with a hexagonal aperture
will give blurred orbs with hexagonal shapes.
How to create a Bokeh in your photos?

To get a Bokeh effect in an image, you must use a light lens. The brighter the lens, the more
successful the effect will be. Opt for a lens with a minimum aperture of f/2.8.
You will need to shoot with your lens in full aperture. It is therefore advisable to select the
Aperture Priority or Manual mode.
Your lens is not very bright? This is not a problem. Increasing the distance between the
background and the subject makes it possible to create a Bokeh effect in photos made with small
apertures.
To emphasise Bokeh in your photos, increase the distance between your subject and the
background. To do this, reduce the distance between your camera and the subject. The lower the
depth of field or the farther the background, the fuzzier the background will be. A brightly lit
background will also accent the Bokeh. A backlight, a side light or a backlight will give a Bokeh
more enjoyable to watch.
Close-up portraits are particularly conducive to the Bokeh effect. Bokeh is also frequently used in
macro photos and close-ups of flowers and other elements of nature. Christmas lights or other
highly reflective objects turn into luminous orbs in intentionally fuzzy shots.
Bokeh adds sweetness to a very bright picture. By detaching your subject from the background,
this technique also allows you to use a low photogenic background. Thanks to its diffuse blur, the
Bokeh highlights the subject instead of diverting the attention of the latter.
Use
1. Set the focal length and aperture you want

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4. Set the distance from your foreground to the lens
5. Set the distance from your background to the lens
In the part "Bokeh simulator"

6. You get:
 The size of the Bokeh in the foreground (0.08 in)
 The size of the Bokeh in the background (0.2 in)
 The size of Bokeh to infinity (0.31 in)
 A simulation of the result
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Chapter 4: Field of view
The field of view or angle of view is the angle that an optical device can pick up. This angle
depends on the value of the focal length of the lens and the distance of the object.
Influence of the focal length on the field of view
The larger the focal length, the smaller the angle, or the smaller the field of view. Conversely, the
smaller the focal length, the larger the angle, or the wider the field of view.
Influence of the size of the sensor in the field of view
The size of the sensor affects the field of view of a lens:
 As the size of the sensor increases the field of view increases, the focal length appears
shorter
 As the size of the sensor decreases the field of view decreases, the focal length appears
longer
For a non-Full Frame camera, it is convenient to return the focal length value to its equivalent (or
effective) value in 24x36, i.e. the focal length that gives the same field of view on a full-frame
camera.
Use
1. Set the focal length you want by turning the wheel or by clicking to enter the value
In the bottom area

4. You get:
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 The width of the field of vision (7.14 ft. with a focal length of 50 mm and 3.57 ft. with a
focal length of 100 mm)
 The height of the field of view (4.77 ft. with a focal length of 50 mm and 2.38 ft. with a
focal length of 100 mm)
 The diagonal of the field of vision (8.58 ft. with a focal length of 50 mm and 4.29 ft. with
a focal length of 100 mm)
 The horizontal angle of the field of view (25.14 ° with a focal length of 50 mm and 12.72
° with a focal length of 100 mm)
 The vertical angle of the field of view (16.95 ° with a focal length of 50 mm and 8.52 °
with a focal length of 100 mm)
 The angle of the diagonal of the field of view (30.03 ° with a focal length of 50 mm and
15.28 ° with a focal length of 100 mm)
 A simulation of the rendering of the field of vision
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Chapter 5: Exposure Value
The exposure can be defined as a number that indicates:
 when negative, underexposure
 when positive, overexposure
 when it is zero, a correct exposure
The exhibition is the result of 3 major elements in photography:
 ISO (sensor sensitivity to light)
 Shutter speed (time during which the sensor is exposed to light)
 Aperture (hole allowing the light to pass through the lens)
Correct exposure is obtained by playing on the value of these 3 elements.

The unit used to measure this quantity is EV (Exposure Value) or IL in French (Lumination Index),
also referred to as LV (Light Value) or stops, all of these terms are synonymous.
Increasing + 1EV is equivalent to doubling the amount of light.
The luminous intensity of a scene can be defined by its amount of light. The more luminous it is
and the larger its EV, the following table summarises the classical cases:
 Scene: Brightness (EV)
 Black Night: -15
 Full Moon: -3
 City by night: 3
 Church: 5
 Interior of a house: 7
 Las Vegas by night: 8
 Cloudy periods: 10
 Sunset: 11
 Sky Cover: 13
 Great Sun: 15
 Great sun at sea / snow: 16
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Use
The tool allows you to either determine:

 the speed and the ISO according to the chosen aperture (mode 1)
 aperture and ISO according to the speed chosen (mode 2)
Mode 1
1. Unlock the aperture by clicking on the? (if it's positioned on the aperture)
2. Set the value of the desired aperture by turning the wheel or by clicking to enter the value
3. Set the desired exposure value
In the bottom area

4. You get:
 ISO and speed corresponding to exposure and aperture
5. You can transfer this data to the equivalent exposure calculation tool
Mode 2
1. Unlock the speed by clicking on the? (if it's positioned on the speed)
2. Set the desired speed value by turning the wheel or by clicking to enter the value
3. Set the desired exposure value
In the bottom area

4. You get:
 ISO and aperture corresponding to exposure and speed
30
Chapter 6: Flash
With the advent of E-TTL measurement, and the ability to get correct flash exposures without
thinking too much, it may seem that the ability to adjust the flash power manually is a turning
back. However, while E-TTL works most of the time, there are still those who prefer to have full
control over the flash in certain situations.
This calculator allows you to determine the maximum illumination distance of your flash
depending on your aperture or focusing distance.
For those of you who are not fully aware of guide numbers - the guide number (GN) is a measure
of the power of a flash. The higher the GN, the stronger the flash.
Use

the subject max. distance according to the chosen aperture (mode 1)
the smallest aperture to use according to the subject's distance (mode 2)
Mode 1
1. Unlock the aperture by clicking on the ?
2. Set the desired focal length as well as the ISO, flash output and guide number of your flash by
turning the wheel or by clicking to enter the value
In the bottom area

3. You get:
 The distance max. on the subject (11.79 ft.)
 The amount of flash light illuminating the subject
31
Mode 2
1. Unlock the focus distance by clicking on the ?
2. Set the ISO, flash output and guide number of your flash by turning the wheel or by clicking to
enter the value
3. Set the unit of focus distance
4. Set the focus distance
In the bottom area

5. You get:
 The smallest aperture to use (3.30 mm)
 The amount of flash light illuminating the subject
32
Chapter 7: Freeze subject
Photos may sometimes become blurred as the subject moves while the shutter-release button is
pressed. To avoid this, you need to set a shutter speed fast enough for such movement to be
negligible.
To avoid these areas of blurring, we must now decide what the acceptable limit will be. One
approach would be to have a very strict view and say, "I do not want the image on the sensor to
exceed more than half the distance between the pixels." This would give a figure of about 3-4
microns and would surely ensure that the image would remain sharp even if examined in
Photoshop. However, this would be a very demanding criterion that would result in an incredibly
high shutter speed.
For this reason you will find 3 requirements criteria:
 Net for A4 printing
 Net for viewing with the naked eye on a screen with a 100% display
 Net for viewing with the naked eye on a screen with a 400% display
Use
1. Set the focal length and speed unit of the subject

2. Adjust the speed of the subject manually or by clicking on one of the 6 pre-programmed icons
3. Choose the requirement criterion for blur (A4 print, naked eye on a screen with a 100% display
or naked eye on a screen with a 400% display)
4. Choose the direction of movement of the subject (side, front or diagonal)
5. Set the focus unit
6. Set the focus distance
In the bottom area

7. You get:
 The shutter speed min. to put
33
Chapter 8: Sun
Finding the place to shoot
This is not necessarily obvious and it can take time, but it will guarantee a more impressive
photo. But it's absolutely not essential to take beautiful pictures of sunset. For that, you just need
a beautiful sunset... and a camera.
The technique of shooting

In manual mode, an aperture is selected from f / 11 to f / 16 to have a good depth of field (large
area of sharpness) and an ISO of 100 in order to have the best possible image quality.
The goal is to underexpose to saturate the colors. This can be achieved by increasing the speed
(for example from 1/200 s to 1/400 s).
To have detailed in the dark parts, you have to put more light into the sensor. To bring in light,
we will use a slower speed. But we're going to be faced with a problem. We're gonna have a blur.
So, it will be necessary to use a tripod. In general, for photos of landscapes a little pushed, it is an
absolutely indispensable accessory.
The graduated photo filter

The problem is that by increasing the light, we will have the detail in the dark areas (often below)
but we will overexpose the illuminated areas (often at the top). The solution is to use a
graduated filter. You have understood, you must stop the light at the top of the image and leave
the bottom of the image as it is. It is necessary to take a filter called GND (Gradient Neutral
Density).
Blue / Golden hour

The periods named blue hour or golden hour correspond to positions of the Sun around the
sunrise or sunset.
Blue hour: altitude between -6° and -4°
Golden hour: altitude between -4° and 6°
Dawn and Dusk

The periods named dawn and dusk correspond to positions of the Sun before sunrise (Dawn) or
after sunset (Dusk). During these periods, the rays of the Sun bring a glow in the sky. These 2
periods are divided into 3 according to the amount of light that the sun's rays will bring:
 Civil twilight: The center of the sun is between 0° and -6°
 Nautical twilight: The center of the sun is between -6° and -12°
 Astronomical twilight: The center of the sun is between -12° and -18°
34
Use
1. Set the aperture, ISO and possibly the value of your ND filter
In the bottom area

2. You get:
 Shutter speed for different periods
 The application will calculate the optimal exposure for the different periods of the day
according to the current altitude of the Sun. These exposures are described in the table
below.
35
Position
To prepare your shots, you can consult the position of the Sun, either currently or for another
date.
Use
1. Set the date

2. Choose the viewing mode (fixed or compass)
In the bottom area

3. You get:
 The position of the sun in the sky
 The position of the sunrise and sunset
 The sunrise and sunset times for the day and the following 2 days
36
Solar eclipse
The observation of lunar eclipses is harmless to the naked eye, but solar eclipses are not. You
must take the necessary precautions to avoid damaging your vision. You should also use a "sun
filter" to avoid damaging the camera's image sensor as well as to get the correct exposure.
A solar eclipse occurs when the shadow of the moon covers the Earth. This can only happen at
the new moon, when the moon passes between the sun and the Earth. There are at least two
eclipses a year that occurs when the geometry is perfectly aligned, so that part of the moon's
shadow falls on the surface of the Earth and there is a solar eclipse in this region.
Use
1. Set the aperture, ISO and possibly the value of your ND filter by turning the wheel or by
clicking to enter the value
2. Choose the shutter speed without atmospheric attenuation or with
5. Adjust the brightness level (exposure value at ISO 100) of each phase
In the bottom area

3. You get:
 Shutter speed for the different phases
37
Chapter 9: Moon
No need to present the natural satellite of the Earth. This star is closest to us and therefore the
easiest to observe and photograph. We just need to know when to observe it, know its position
in the sky and its phase.
Using the position screen
1. By default the selected date is the current date, but it's possible to choose another one for
example to plan a photo shoot.
2. Activate or deactivate the compass mode which will allow you to orient yourself more easily
The information given:

 The phase corresponding to the date (the visual, the name of the phase, the percentage of
lighting of the phase and the age of the phase compared to the last new moon)
 The position of the moon in the sky over 24h and its current altitude and azimuth
 The sunrise / sunset time of the chosen date as well as its position and percentage of
lighting at these times
 The sunrise / sunset time of the chosen date and its position and percentage of lighting at
these times
 The dates of the next new and full moon
The Moon and the photo

In photography, the Moon can be used as a model or as a light source.
38
Using the Moon as a model
What lens?
In terms of optics, the ideal is to have a long focal length: 100 mm, 200 mm, 300 mm, even 600
mm or more if you have the finances!
The longer your focal length, the closer you can see the moon and make a tight portrait.
A photo tripod
The problem of long focal lengths is that the slightest movement is amplified (a movement of the
wind, or your hand at the time of the trigger for example), which will cause a blur of shake.
To avoid this problem, you will need a tripod. In this way, your device will be stable.
A remote control or a self-timer
If you have a remote trigger remote control, then go out, this is the right time.
If you do not have one, simply set your camera to the self-timer. For example, at 5 or 10 seconds.
In this way, your device will have a few seconds to stabilise between the moment you press the
button (causing a small earthquake in the case) and triggering the shot.

Switch your focus to manual focus (turn off autofocus) and put your camera in:
 manual mode,
 RAW recording,
 self-timer (2s, 5s or 10s),
 auto white balance
Focusing issues
You may have some trouble tuning.
It is not always obvious to find the infinite in manual and the autofocus is struggling on very
bright subjects on a black background, like the moon.
In this case, it can be done by using a more closed diaphragm and increasing the depth of field.
39
Use
1. Indicate the clarity of the sky (clear sky, light cloudy veil or cloudy veil)
2. Set the focal length you want.
3. Set the aperture you want.
4. Set the ISO you want.
In the bottom area

5. You get:
 The shutter speed corresponding to the phase of the Moon of the moment
 The max. to avoid having to compensate for the rotation of the Earth
 Preview of the result
Photographing a well-detailed moon

This put in f / 8, because it is usually good value to have good optical rendering. On some zoom,
you will be obliged to switch to f / 11.
40
300 mm - f/8 - ISO 100 - 1/125 s - CANON EOS 700D © Stéphane DOUCET
Photographing a red or bright moon

Digital joys, just look at the result immediately to correct and get the desired picture.
If you wish to have a brighter moon, it is enough either:
Open the diaphragm one notch (change from f / 8 to f / 5.6)
Increase the laying time of value (to be avoided freehand)
Increase the ISO sensitivity (doubling from 100 to 200 ISO)
If your Moon is not yet bright enough, play simultaneously on the aperture (aperture) and the
exposure time (Shutter).
Photograph the phases of a lunar eclipse

The lunar eclipse comes from the projection of the shadow of the Earth on the Moon. The moon
is then indirectly lit, which gives it an unusual orange-red hue. This color that the Moon takes
during a total eclipse can vary from very light yellow to very dark red.
Photographing a lunar eclipse is much more accessible than photographing a solar eclipse
because there is no need for a particular filter. As, it is impossible to predict the brightness of the
Moon during a lunar eclipse, so it is impossible to give exact settings. There are still basic settings
that follow the Danjon scale. It is divided into 5 values from L4 to L0 which correspond to the
brightness of the total eclipse. L4 being a luminous eclipse and L0 an eclipse very little light.
L4 Eclipse copper or orange color very bright with a bluish and very bright outer zone.
L3 Red brick eclipse.
L2 Eclipse dark red or rust color. Very dark central shadow with the outer area of the shadow
lighter.
L1 Eclipse dark and brownish or gray in color. The details are difficult to distinguish.
L0 Very dark eclipse. Moon almost invisible especially in the middle of the totality.
41
The tool is there to give you the different speeds of the main phases depending on the opening
and the ISO.
Use
1. Set the aperture, ISO you want by turning the wheel or by clicking to enter the value
2. Choose the shutter speed without atmospheric attenuation or with
5. Adjust the brightness level (exposure value at ISO 100) of each phase
In the bottom area

3. You get:
 The shutter speed corresponding to each phase of the lunar eclipse
The main phases of the end of the lunar eclipse of 27/07/2018 © Stéphane DOUCET
42
Using the Moon as a Light Source
This method achieves results close to what is obtained in daylight with a neutral density filter.
What lens?
In terms of optics, the ideal is to have a luminous lens.
A photo tripod
The problem of long pauses is that the slightest movement will cause a blur of shake.
To avoid this problem, you will need a tripod. In this way, your device will be stable.
43
Use
1. Indicate the clarity of the sky (clear sky, light cloudy veil or cloudy veil)
2. Set the aperture you want.
3. Set the ISO you want.
In the bottom area

4. You get:
 The shutter speed corresponding to the lighting of the phase of the Moon of the moment
14 mm - f4.0 - ISO 400 - 246 s

44
Chapter 10: Stars
Weather conditions
To photograph the stars and the Milky Way, it is necessary first a clear night and if possible with a
moon not very visible (avoids the evenings of full moon). Then find a place with little light
pollution (more and more difficult to find).
The place
We must find a place with little light pollution (increasingly difficult to find) and having a
foreground that will highlight the sky (tree, building, rock ...). The star yarn will depend on the
direction (N, E, S, and W) and altitude with respect to the viewing horizon.
To determine altitude in degree, there is an approximate method (but largely enough). Use your
fist. The height of your fist is about 10 °.
Without star trail

When using a camera on a tripod, the rotation of the Earth is not compensated. If we make a
long pose the stars will no longer appear punctual, but will take the form of arcs of circles. If this
effect makes it possible to obtain beautiful images, it is sometimes also desired to avoid it.
From the latitude of the location, altitude and direction, the software will calculate the
declination. This will determine what the speed will be to avoid having a star yarn. The speed will
not be uniform over the whole photo especially if you use a wide angle. It is for this reason that
the maximum star-free time is calculated for each third of the image.
Depending on the end use of the photo, you will find 3 requirements criteria:
Without star trail for A4 printing
45
Without star trail for viewing with the naked eye on a screen in 100%
Without star trail for viewing with the naked eye on a zooming screen
The result produces a neutral exposure in reasonably dark sky conditions. Results can appear
brighter than natural but exposure can be pulled down in post processing.
Equipment
It requires a tripod and a camera, it is doable with any camera that has a manual mode and with
which you can adjust the ISO manually, even if the best results will be obtained with a DSLR.
Choose a wide angle, not only to photograph the stars but also a little landscape.


Move your lens to manual focus and set the aperture to the smallest number your lens will allow
you to achieve (ideal is to have an aperture less than or equal to f / 2.8).
Put your camera in:
 manual exposure,
 RAW recording,
Don't be afraid to use a high ISO value. If you are concerned about noise, remember that you can
correct some of it in post-processing (stacking technique).
46
14 mm - f/3.5 - ISO 800 - 20 s - NIKON D750 © Rémi PARARD
14 mm - f/2.8 - ISO 12800 - 15 s - NIKON D750 © Rémi PARARD
47
© Laurent DENAMIEL
© Laurent DENAMIEL
48
Illustration of noise suppression by the stacking method. Left the original result and right by
stacking it 9 times.
49
Chapter 11: Northern lights
What is a polar aurora?
They are called aurora borealis or northern lights in the northern hemisphere and southern
aurora in the southern hemisphere, but they result from the same phenomenon. The solar
particles electromagnetize and the release of this energy creates this colored phenomenon. If
auroras are generally green, it's simply because it's the color released by oxygen, the dominant
element in solar particles. However, depending on the altitude and the components of the
particles, purple, blue or red polar auroras can also be observed.
The power of dawn depends on strictly physical phenomena that can be measured. This means
that we are also able to provide a minimum!
Where to observe polar aurora?

To admire the aurora, we must get closer to the poles. In general, you must enter the Arctic
Circle or Antarctic, to have a good chance to see!
When can we observe them?

To see a polar aurora, it must be dark, so the best time is between September and April.
We must avoid full moon weeks (applies to all night shots in general) because it generates a lot of
stray light.
To know if it will be possible to see an aurora polar, there are two data to take into account: the
weather and the index Kp.
They occur at high altitude, well above the clouds: it requires a clear sky to have the chance to
observe them. The index Kp indicates the aurora probabilities. It's not 100% reliable, but it's a
good index.
There are some sites and applications giving forecasts.
Equipment
It takes a tripod and a camera, it is possible with any camera that has a manual mode and with
which one can adjust the ISO manually, even if the best results will be obtained with a SLR.
Choose a wide-angle light, to take a picture of a little landscape too.
Also provide a headlamp and what to warm, because near the poles, at night, the temperatures
are very negative.
Remote control or self-timer

If you have a Remote Trigger Remote, then take it out, it's the right time.
If you do not have one, simply set your device to self-timer. For example, at 5 or 10 seconds. In
this way, your device will have a few seconds to stabilise between the moment when you press
the button (which causes a small earthquake in the case) and the triggering of the shooting.
50
Shift your focus into manual focus (turn off autofocus) and set the aperture to the smallest
number that your lens will allow you to achieve (ideally, you should have an aperture smaller
than or equal to f/2.8) .
Choose an ISO value between 800 and 3200 (1600 is a good value to start). The more you
increase it, the more you will have what is called "noise", that is to say that your photos will not
be totally clear, you will have like grains on it. The lowest ISO must be found, depending on the
aperture and the exposure time.
Auroras can have different light intensities (from very bright to not bright) and can be either slow
or fast. This involves exposure times to use that vary greatly. 2s to avoid overexposure to more
than 20s if the dawn is not very bright.
The luminescence index of the auroras is between -6 EV (not bright) and -3 EV (very bright). Their
light intensity will play on the exposure time. The adjustment is made in the application with the
slider.
The main idea is to freeze the aurora borealis to reveal its draperies without having too much
noise.
put your camera in:
 manual mode,
 RAW recording,
51
Chapter 12: Lightning and fireworks
The photo of thunderstorms and fireworks are almost identical. Not only because the favorable
period is in summer, but also because the shooting technique is very close.
Thunderstorms
Even if the technique between the two is very close, it must be remembered that storm
photography is a very random discipline, the results of which depend on many factors that you
do not control. It is therefore possible that you go completely empty-handed, even with the
advice.
Some precautions
It is obvious that shooting storms can be dangerous. So practice at your own risk, but above all
use common sense:
Stay in the immediate vicinity of a car, which is an ideal protection against a storm (it is
impossible to be struck down if you are inside the cabin). If your hair gets on your head or you
feel tingling, immediately drop the shot and take refuge in your car. This is a precursor sign that a
lightning will fall very close to you. It is better to lose your equipment than life...
Stay away from what could be struck down and fall on you (isolated trees, old buildings,
electricity pylons ...).
In some areas, severe thunderstorms can cause extremely sudden floods. So avoid the proximity
of streams.
The place
You have to be in the right place at the right time. And that's the difficulty...
A storm remains unpredictable, but some tools can help you. There are sites (Chasseurs d’orages,
Lightning Maps ...) or apps that provide more accurate maps that will help you determine where
the lightning will fall. This can allow you to visualize the trajectory of the storm and to be able to
estimate where the lightning strike could be within an hour.
It is necessary to be extremely reactive to move in an ideal place to photograph the storm
(slightly in height with an unobstructed view and located a few kilometers). Do not make the
mistake of placing yourself in the storm.
The technique
A flash will only last for a fraction of a second. Its exposure on the sensor will therefore not be
influenced by the exposure time, but only by the ISO sensitivity and the aperture. So do not try to
capture it on the spot, it will be absolutely impossible. It will be necessary to use a long exposure
(if possible at night, it will be simpler and more aesthetic).
Since you never know when a lightning will fall and where it will fall, it will be necessary to
maximize your chances to have one of the image:
 Be constantly taking a picture (not to miss the right moment)
52
 Use a wide-angle focal length, to have the maximum of the landscape (even to reframe
later)
Regarding hardware and settings:
 Take a rain cover to protect your camera and a microfiber cloth to wipe drops of water on
the lens
 A flashlight may be useful to help you make and check your settings in the dark and store
your equipment at the end.
 Place your device on a sturdy tripod (you can get windy)
 A trigger with or without wire. Not essential but I highly recommend it to avoid vibrations
due to triggering but especially for use with the BULB mode. If you have the possibility,
activate the mirror lock to limit vibrations (consult your manual)
 Disengage the autofocus and set the focus to infinity (MF button on the side of the lens in
general)
 Set Manual Mode M: ISO to minimum (max 200), medium iris (f/8 or f/11), and Bulb Mode
(or 30s pose)
 Disable the flash, unless you want to illuminate a very interesting foreground. In the
majority of cases, it is useless for this type of shooting. Start from the fact that lighting up
the light does not make sense...
We have seen that the exposure of the lightning is only influenced by the opening and the ISO,
but that of the setting will be influenced by all the settings. So it will be necessary to take a first
shot to estimate the settings that allow to properly exposing the landscape (if you want to see it).
This will depend mainly on your environment:
 in town, you will not be able to pose too long without overexposing
 in the countryside, conversely, if there is not too light pollution, you can do much longer
poses.
So does a first test shot: try 10 to 20 seconds in town, 30 seconds and more in the field, and
adjust to have a good exposure.
Unfortunately, to photograph the lightning of a storm, there is no perfect setting ready for use.
These settings are a starting point, but you may need to adapt them. Indeed, it is difficult to
predict the light intensity of lightning. The closer it is, the brighter it will be: if you have 3
overexposed images in a row, close the aperture with one or two values. To compensate for the
landscape exposure, multiply the exposure time by 2 or 4, respectively.
If your ideal exposure time is less than 30 seconds, rather than using the Bulb mode, the most
practical is to set the exposure time and set the take of 5 or 10 photos in a row, which will
maximize your chances of success. To have a flash. Remember, you must be taking a picture all
the time! It obviously involves a lot of photos taken that will be without lightning (so missed), but
it is the only solution to succeed to have one.
Use
53
On the screen, set the desired aperture and ISO, then position the slider according to the
ambient brightness you have and the intensity of the flashes (from distant flashbacks to near-city
flashes).
Fireworks
The place
Knowing where you will be before the show starts is important. If you are misplaced while the
show started, you will not have time to move to another location.
In order to have better photos on the night of the fireworks, I advise you to arrive early enough
to spot the perfect place where you will have to settle. The ideal would be to locate when it is
still a day. It is important to know where the rockets will be launched. Then look for a place with
an unobstructed view of the place.
As you know, the pyrotechnic shows are generally packed with people, so it is better to stay quite
far away, which will allow you in the process, to integrate more easily some elements of the
landscape in your images and not to risk having sheaves outside the frame.
You must also beware of the wind. Indeed, from the first launches, the fireworks produce smoke
that may alter the colors and sharpness of your photos if the wind comes to you from the front.
The technique
First of all, you should know that the brightness of a fireworks display varies depending on:
 The more or less steady rhythm of the rockets that explode in the sky
 The sheaves that overlap
 The colors of the sheaves. The brightest colors will be white, then green and finally red and
the less bright will be blue, purple and gold.
Regarding hardware and settings:
 A flashlight may be useful to help you make and check your settings in the dark and store
your equipment at the end.
 Place your camera on a tripod
 A trigger with or without wire. Not essential but I highly recommend it to avoid vibrations
due to triggering but especially for use with the BULB mode. If you have the possibility,
activate the mirror lock to limit vibrations (consult your manual)
 Disengage the autofocus and set the focus to infinity (MF button on the side of the lens in
general)
 Set Manual Mode M: ISO Minimum (Max 200), Middle Aperture (f/8 or f/11)
 Disable the flash, unless you want to illuminate a very interesting foreground. In the
majority of cases, it is useless for this type of shooting. Start from the fact that lighting up
the light does not make sense...
The exposure time will be used to capture a maximum of sheaves and its impact on the exposure
of fireworks streaks will be less preponderant compared to the opening and the sensitivity. It is
not by changing the shutter speed that the exposure of the fireworks is corrected. It will have a
54
direct influence on the exposure of the ambient lighting. Everything will be a question of dosage
depending on the environment.
I advise you to set a time of 4 seconds to start but it may vary depending on the number of
sheaves and the pace of the fireworks.
For better control of the exposure time, I advise you to use the Bulb mode of your camera with
the help of your remote control.
As soon as you hear the fireworks rockets leaving, you will press and hold the shutter button on
your remote control to keep the shutter open for a few seconds and release the button when the
light trails have finished their descent.
Only be careful, too long exposure time may overload the photo and overexpose the sheaves
that are superimposed over the fireworks. To avoid this, between launches, you can place a piece
of black cloth in front of the lens without moving it. You will be able to act in sequence and
include or not certain luminous elements on your photo. You can do this too in post-processing
by superimposing several snapshots.
Finally, to conclude, do not stay glued to your viewfinder. Have an overview to anticipate and be
responsive at the right time.
Use
On the screen, set the desired aperture and ISO, then position the slider according to the
brightness of the sheaves (from faint to very bright).
55
Chapter 13: Light Meter
A light meter is a device used in photography to measure the brightness of a scene and thus
determine the optimum exposure of a shot.
This tool measures the illumination (amount of light received in lux) at a defined location (usually
where the subject is) irrespective of the reflectivity of the subject itself and calculates the
optimum aperture or shutter speed.
They should be distinguished from flash meters designed to measure the light emitted by flash
units.
There are two distinct ways to measure light to ensure a good exposure to our shots:
Measuring incident light
It is the amount of light emitted by the light source (sun, spot ...). To measure it, the brightness
sensor (located on the side of the screen) must be placed in the light source (taking care not to
interfere between the screen and the light source) and click on the button (Or volume +/-) to
freeze the amount of light received.
Measurement of reflected light
It is the amount of incident light reflected by the subject. To measure it, place the brightness
sensor (located on the side of the screen) towards the subject (close enough 20/30 cm) and click
the measurement button (or volume +/-) to freeze the quantity of reflected light. Since the
measurement varies according to the color and / or reflection coefficient of the subject, place a
white sheet on the subject and orient the screen towards the subject at an angle of about 45 °.
56
Measuring incident light
Advantages:
 High accuracy of measurement
 Identical measurement irrespective of the color and / or reflection coefficient of the
subject
 Possibility to make a whole series of photo under the same light without ever changing its
exposure
The defects:
 It is necessary to be physically close to the subject or for subjects illuminated by the
sunlight placed in an area receiving the same intensity of light
 The incident light measurement does not take into account a possible colored, polarizing
or other filters
 The incident light measurement does not take into account the elongation of the photo
macro shot or a focal multiplier
 It is necessary to press each time to make a new measurement and to report the figures in
manual mode
Measurement in reflected light

Advantages:
 High speed - measurement and adjustments are almost instantaneous because the meter
is integrated in the cameras.
 The built-in meter takes into account the filters you mount on your lens, as well as the
lengthening of the macro print or the presence of a focal multiplier
The defects:
 The measurement varies according to the color and / or the reflection coefficient of the
subject, doing the work of automatic changing and finally relatively unreliable
 Less precise overall
If your device doesn't have a light sensor, you can use the camera instead. The measurement will
be done by taking a photo and examining the EXIF data (no real time measurements in this case).
57
Use

the aperture according to the speed and ISO chosen (mode 1)
the speed according to the aperture and the ISO chosen (mode 2)
Mode 1
1. Unlock the speed by clicking on the ? (if it is positioned on the speed)
2. Set the speed and ISO you want
3. Orient the phone either to the light source (incident light) or to the subject (reflected light) and
freeze the brightness value by clicking the on-screen button or the volume +/- buttons
In the bottom area

4. You get:
 The aperture corresponding to the brightness
 The brightness found
 The color temperature (if your device has an RGB light sensor)
Mode 2
1. Unlock the aperture by clicking on the ? (if it's positioned on the aperture)
2. Set the aperture and ISO you want
58
3. Orient the phone either to the light source (incident light) or to the subject (reflected light) and
freeze the brightness value by clicking the on-screen button or the volume +/- buttons
In the bottom area
4. You get:
 The speed corresponding to the brightness
 The brightness found
 The color temperature (if your device has an RGB light sensor)
Calibration
The result obtained by this brightness sensor may be different from reality and it is for this
reason that it must be calibrated so that the result display is the closest to reality.
Principle:
 Take a sheet of standard matte white paper, fix it on the surface of which you want to
know the illumination (flat surface or almost). If the light has a majority direction, try
placing the sheet in a plane perpendicular to the direction of that light.
 To avoid disturbing the measurement with reflected light:
1. place a dark surface on the plane whose illumination is to be measured
2. place a white sheet not too big (A4 sheet folded into 4)
 With the camera, take the sheet as the aiming target, paying attention
1. that the blank sheet occupies 100% of the field of view,
2. not to shade the target,
3. the angle of view with the sheet is as close as possible to 45 °
 Record the 3 exposure values suggested by the device (ISO, shutter speed and aperture) as
necessary redo the operation 2 or 3 times to ensure that the values are stable.
 Report these values in the formula and calculate: L = 48 x Focal² / (ISO x Shutter Speed)
-> you obtain a fairly correct value of the illuminance in lux of the target area.
 Measure the incident light with your phone and adjust the result (calibration) to get close
to the value obtained with the formula.
59
Do not expect much accuracy with the phone's brightness sensor. A difference of 50% can be
obtained with the value given by a good luxmeter.
As with a luxmeter, to take a measurement, it is advisable to place the phone on the surface
whose illumination is to be measured and to position it in front of the (main) light.
Reflectance (or Albedo)

In most cases, the light that will arrive on the sensor (or film) will be the reflected light. Each
surface has a different reflective power, called reflectance (or albedo). It's possible to change this
reflectance for calculations in measurement of the incident light. By default this value is 12.5%.
If you want to enter a value that does not exist in the list, simply make a long click on the drop-
down list and enter its value.
Example of reflectance values:

Ground, sand, rock
Carbon (Coal, forged iron): 4%
Black soil (dry): 7% - 8%
Black soil (wet): 2% - 5%
Bare soil: 17%
Grey soil (wet): 10% - 12%
Grey soil (dry): 25% - 30%
Dry silt loam soil: 23% - 28%
Dry clay soil: 15% - 35%
Dry sandy soil: 25% - 45%
Dry salt cover: 50%
Sand (dry): 40%
Sand (wet): 23%
Yellow clay: 16%
Rock: 30% - 40%
Vegetation
Conifer Forest: 8% - 12%
Deciduous trees: 15% - 18%
Tall wild grass: 16% - 18%
Short green grass: 20% - 25%
Grain crops: 10% - 25%
Corn field: 16% - 17%
Tea bushes: 16% - 18%
Summer foliage: 9% - 12%
Autumn foliage: 15% - 30%
Tundra: 20%
Snow, ice, water
Melting snow (clean): 60% - 62%
60
Ice: 50% - 70%
Ice (sea): 30% - 45%
Ice (glacier): 20% - 40%
Fresh snow: 70% - 90%
Water (sun near zenith): 50%
Water (sun near horizon): 50% - 80%
Asphalt
New asphalt: 4% - 5%
Aged asphalt: 10% - 18%
Wet asphalt: 6% - 8%
Gravel: 13%
Roofs
Tar & gravel: 33%
Corrugated roof: 10% - 15%
Red/Brown roof tiles: 10% - 35%
White asphalt shingle: 20%
Concrete
Aged concrete: 20% - 30%
New concrete (traditional): 40% - 55%
Polished concrete: 55%
New concrete with white portland cement: 70% - 80%
Wood
Batten (fresh wood): 35% - 42%
Batten (old, weathered): 12% - 16%
Varnished wood: 13%
Tiles, bricks, finishings, etc
Terracotta tile: 28%
Brick: 20% - 40%
Sandstone: 18%
Plaster: 40% - 45%
Magnesium oxide: 96%
White gypsum: 85%
Alabaster: 92%
Granite gray: 35% - 40%
Paint
Black acrylic paint: 5%
White acrylic paint: 80%
Colored paint: 15% - 35%
Misc
Forged Iron: 4%
Natural silk fabric: 35% - 55%
Skin: 25% - 35%
61
White paper sheet: 60% - 70%
Mirror: 100%
62
Chapter 14: Macro
Macrophotography (often called "macro-photo" or "macro") represents, in the minds of many
photographers, the close-up photo.
Definition
Magnification is the ratio of the size of the image on the camera sensor to the actual size of the
subject being photographed.
The magnification M = Image / Object
Examples:
 A 2 in photographed object with an image measuring 1 in on the sensor will give a
magnification ratio of ½ (often noted as 1:2) or a magnification factor of 0.5x
 If the image of this object measures 2 in on the sensor, the magnification ratio will be 1/1
(1:1) or a factor of 1x
The scientific definition of macro photography
A true macro lens will have a fixed focal length that achieves a magnification factor of at least 1.
Many standard zooms are called "macro" but in reality they are not macro objectives in the strict
sense of the term because they do not achieve the magnification of 1. With these objectives you
can do only the proxy-photography.
How to increase the magnification factor of your lens?

There are photo accessories that can increase the magnification factor of a lens. We will see 2
here.
1) Lens close-up
63
A close-up lens is a converging lens that adds to a lens, increases the deviation of light rays and
thus brings the focus plane closer together. We can get closer to the subject to photograph and
therefore enlarge it further (increase the magnification).
Depending on the power (expressed in diopters) of the close-up lens, you can approach more or
less close to your subject and thus more or less enlarge the image obtained.
The first time you use a close-up lens, you may be surprised by its particular mode of operation:
once screwed to your lens, you will not be able to focus on even a few distant subjects (the focus
will not be beyond 40 inches and even well before in most cases). You do not have alternatives,
you must use the close-up lens for its first and only function: to do close-up photography, proxy-
photography or macro photography.
The table below gives the magnification obtained with a close-up lens according to the power of
the lens in diopters and the focal length of the lens used.
The calculated focus distance and magnification are those obtained with the focus ring set to
infinity. This means that with the ring set to the minimum focus distance of the lens, you can get
even closer to your subject and thus achieve a magnification even greater than that shown in the
chart.
Attention, the calculations are theoretical and the result, even if it gives a good order of
magnitude, remains approximate (they are based on the assumption of a simple optical formula
to a lens).
2) Extension tube
The extension tube is a hollow tube devoid of optical elements that is placed between the optics
and the housing. It allows (by lengthening the distance to the optics) to reduce the minimum
distance of focus and thus increase the magnification. It keeps the autofocus and the
measurement of the light. Be careful not to confuse them with zoom magnifiers, which allow
them to increase the focal length of your lens, but does not affect the minimum focus.
There are several thicknesses and the thicker the ring, the closer you can get to the subject and
get it enlarged on the picture. It is also possible to mount several rings on top of each other for
even greater magnification.
The big disadvantage of the extended rings is that the depth of field will be reduced.
64
Comparison of magnification with a lens close-up and with an extension tube
65
Use
Close-up lens
1. Choose the desired unit for the results
2. Set the focal length, the value of your close-up lens and the focus distance you want by turning
the wheel or by clicking to enter the value
In the bottom area

3. You get:
 The diopter value of your set (lens + close-up lens)
 The minimum focus range in relation to the subject
 The magnification value that will be obtained
 The size max. of the object so that it remains visible in full on the image
Extension tube
1. Choose the desired unit for the results
2. Adjust the focal length, the value of your extension tube and the focus distance you want
In the bottom area

3. You get:
 The value of the diopter of your set (lens + extension tube)
 The minimum focus range in relation to the subject
 The magnification value that will be obtained
 The size max. of the object so that it remains visible in full on the image
66
Chapter 15: Time lapse
The time-lapse
Have you heard of the time lapse without knowing its meaning?
To put it simply, time lapse is an accelerated effect performed on a large series of snapshots of
the same place at regular intervals, then assembled as a video at a certain rate of frames per
second. You have already seen the blossoming of a flower or building a building at lightning
speed.
The technique is relatively simple and the result is often breathtaking. You will only need a
camera and a tripod since the technique is to photograph a fixed place.
To have photos that are homogeneous over the entire duration is to photograph entirely in
manual (both the shooting mode and focus).
The shooting
Before all carefully prepare your installation and your settings because once started, we cannot
stop a time lapse to resume afterwards.
Obviously, this kind of video is more interesting when there is a fixed part and a moving part. All
the rules of the photo therefore apply to the framing necessary for a successful time lapse. It's
the same for your speed and aperture settings.
Once all this is done, you just have to take your measurements with test photos and continue.
Use
1. Choose the average size of the photos and the number of frames per second of the final video
2. Choose the data you are looking for (Event duration, Shooting interval or Clip length)
In the bottom area

3. You get:
 The event duration
 The shooting interval
67
 The clip length
 The number of photos needed
 The memory size needed to store photos
The selection of one of the 3 data to be searched will open a window with the data of the 2
others to be completed.
68
Chapter 16: Print size
You want to know if the resolution of your camera will be sufficient to have quality prints?
The definition of the photo limits the resolution of the print
 Definition of a photo: it's the number of pixels that compose the photo
 Print Resolution: This is the number of dots printed every 1 inch. It's expressed in dpi (dot
per inch)
Ideally, we use at least 1 pixel of the photo to print 1 point of the print.
For example, a print in 4 x 6 in at 300 dpi requires at least a definition photo 1200 x 1800 pixels (4
× 300 = 1200 and 6 × 300 = 1800).
2 cases may occur:
 The definition of the photo is higher than necessary: no problem, a printing point will
actually be the average of several pixels.
 The definition of the photo is less than that needed: problem: either we do not change the
definition and the print will be pixelated, or we increase the definition of software and the
result may be mediocre enough (the software cannot invent the missing pixels).
Minimum distance of observation of a print run and choice of the resolution
If you have read the definition of the circle of confusion (Case Properties) you know that the eye
has a limit to distinguish the details. It has in fact a limited angular resolution, of the order of one
minute of arc (1/60 °), which corresponds to a vision of 10/10 (a detail of 0.01 in at 40 in). The
smallest detail visible to the human eye is 0.002 in.
In addition, our field of vision is also limited. We fix at 40 ° field of vision max to be able to
distinguish the forms.
 l: width of the photo

 d: minimum viewing distance "comfortable"
69
 p: size of the smallest detail that can be distinguished.
dpi = p
With a lower resolution the points will be distinguishable; with a higher resolution the difference
in quality will not be visible.
Attention, the choice of the minimum distance of observation is debatable; it's quite legitimate
to want to look at the print closely to admire the details, the resolution to use is then a function
of the distance you want to put between you and the photo.
Use
1. Choose the unit of printing

2. Choose the size of your printing
In the bottom area

You get the information for the optimal viewing distance of printing:
3. The theoretical distance of observation of the printing to see all of it
4. The minimum resolution for this printing
5. The minimum dimension of the image of this printing
6. The size of the smallest detail that can be distinguished
The following lines provide information for closer viewing distances than the optimal viewing
distance.
7. You can limit the resolution to the smallest detail visible to the human eye.
70
Chapter 17: Planner
The planner tool will allow you to prepare an outdoor photo.
You can define your position relative to the subject and determine the correct position of the
Sun, Moon or Galactic Center of the Milky Way you want.
The first screen lists your saved schedules. You can either reopen one or define a new one.
71
The interface of the planner is divided into 4 parts:
1. The toolbar that allows you to:

 Quit the tool
 Save planning
 Delete planning
 Share planning
2. Date selection
 Back to now
 Go to yesterday
 Open the calendar
 Go to tomorrow
 Go to a day's time
3. The timeline indicating the height of the Sun and Moon during the day
 Move the slider to the left or right to change the time
4. The map
 Moving on the map
 Information about the photographer position and the Sun, Moon and Galactic Center
(depending on what you want visible) positions.
72
5. Information on the subject position
6. Selection of the photographer location
73
Click = enter position
Long click = positioning on the cross
In the selection window of the location, you have the possibility to:
 View information from the current location
 Define a name for your planning
 Edit Latitude
 Change the Longitude
You can select your physical location by clicking on "Here"
7. Selecting the location of the subject
Click = enter position

Long click = positioning on the cross
In the selection window of the location, you have the possibility to:
 View information from the current location
74
 Edit Latitude
 Change the Longitude
You can select your physical location by clicking on "Here"
8. Set the layers you want to see on the map
In the window for setting visible layers, you have the possibility to:
 Make a layer visible or invisible by clicking on the eye
 Make a sub-element of the layer visible or not by clicking on the On / Off button
When the hyperfocal is activated, two arcs are drawn in the cone of the field of view, to indicate:
 The hyperfocal distance (thicker dark blue line)
 The start distance of the sharpness when the focus is made at the hyperfocal (finer line
light blue)
75
Use OpenStreetMap maps in Offline
It's possible to copy OpenStreetMap maps (non-vector) to your device for offline use or other
renderings.
Just copy the card into the "osmdroid" folder.
Compatible card format:
 MBTiles SQLite
 Osmdroid ZIP
 Osmdroid GEMF
 Osmdroid SQLite
If you want to create your own maps, you can use:
 Mobile Atlas Creator (MOBAC)
 Maperitive.net
76
77
Chapter 18: Countdown
1. Setting the duration

2. Starting the countdown
3. Reset time
4. Pausing the countdown
5. Single click: Start / Stop Countdown

Long click: Reset time
6. Pause / Restart Countdown
78
Chapter 19: Compass
Calibrate the compass
Sometimes the compass may shift due to magnetic interference. When the compass is launched,
a message indicates the level of accuracy (High, Medium, or Low). If you notice that the accuracy
level is degrading, you will need to recalibrate it. To remedy this, Google has integrated with
Android a series of movements to put things in the right direction. To do this, go to the compass
screen and then do the following with your smartphone or tablet:
 Tilt it forward then back
 Tilt it to the left and right
 Move it to the left and right
79
Chapter 20: Bubble level
Calibrate the bubble level
The sensors are calibrated at the factory, but this calibration is often not correct.
To calibrate the bubble level, lay your device flat on a level surface and press the calibration
button at the bottom right. If you want to return to the factory setting, press and hold the
calibration button.
80
Chapter 21: Film developing
Development in Black and White
Development in Black and White is not something excessively complicated, but it requires having
a methodology.
Step 1: The development

The first step is to transfer the film from its cartridge into the development vessel. It is necessary
to put in the dark for this step, because I remind you that your film is always sensitive to the
light! Once the film is wound on the coil and placed in the tank, it's sealed to light by screwing
the funnel and lid.
Step 2: The dilution

For mixing, you can turn on the light again. Because dosing in the dark isn't easy. Above all, rinse
your equipment well, because it isn't certain that during the last use, it was done during the last
use.
A dilution of 1+4 means that for a dose of the product, we will add 4 doses of water.
Example, if one wants to obtain 17 fl oz (US) of total volume, it will be necessary to put 3 fl oz
(US) of product and 14 fl oz (US) of water.
Step 3: The baths

We will successively use 3 baths:
 to reveal the image on the film,
 to stop the revelation reaction
 to fix the image on the film.
To realise these 3 baths, we will use 3 products:
 The developer (the base)
 Stop bath (acid)
 The fixer (the product that stinks)
In terms of the time to use for these 3 baths, we must look at:
 the film used,
 development temperature (68° F in general),
 developer used
81
In general, these times are indicated directly on the bottle of the product.
To properly distribute the product in the tank, I advise you to shake the tank during the first
minute, let stand 1 min and shake for 15 seconds every minute. At the end of each agitation, tap
the tank to flush the bubbles and bring them to the surface. This will prevent those leaving traces
on the film.
Step 4: Wash and dry

The last stages of development are important:
 elimination of hyposulfite
 washing
 drying
Removal of the hyposulphite may be an additional step prior to washing to destroy residual
hyposulfite (contained in the fixative) or accelerate its removal.
Wash the film in clean water between 10 and 15 minutes depending on whether the previous
step was done or not. It's necessary to renew the water as often as possible. This step makes it
possible to remove any trace of fixative on the film and thus to guarantee its good conservation
over time. You can do a final wash with wetting agent (or dishwashing liquid). This will break the
drop of water and avoid leaving traces during drying.
The last step is drying. If you do not have a dryer at your disposal, this is the case for 99% of us.
You can use a clothesline and two clips (one weighted so that the film is taut and the water flows
well to the bottom).
82
Use
Create a new development configuration

Choose an existing development configuration
83
The data of your configuration can be edited by clicking on the icons on the right (pencil shape).
Set your configuration
Set the ambient room temperature
Choose the start step
Start the countdown (it is possible to define the start step by clicking on the icon to the left of it).
It will be necessary to press on the icon of countdown in lower right to launch the next step.
84
Chapter 22: Reciprocity failure
In photography, reciprocity is the inverse relationship between the intensity and duration of light
which determines the reaction of a material sensitive to light.
Reciprocal failure is how we describe the film reacting unevenly to exposure. Usually, film
exposure is quite linear: exposing film at f/2.8 for 1/60 s will give you the same negative density
as exposure at f/4 for 1/30 s or f/2 for 1/125 s. However, when you start to reduce the number of
photons hitting your photosensitive material per second, things get a little out of sync. You need
more photons to make the photosensitive material react, so you need to extend your exposure
time.
In practice, this means that for long exposures you need to calculate a reciprocity failure. The
length of time depends on the type of film you are using. With black and white, it's quite simple:
you just have to extend the times. With color film, because different layers lose their reciprocity
at different rates, you will often get a color change and you will have to correct this with color
filters. This is one aspect of photography that digital does better.
85
Chapter 23: Photographic composition
You get to make beautiful, clear and correctly exposed photos, but something is missing making
them unique. So, let's look at the composition of the images?
If this notion is new to you, you are in the right place to discover its secrets.
Composition is an art, the best painters have always mastered it, but it is easy to appropriate the
essential principles to apply immediately to your photos and get much better results. These
principles are simple to understand, accessible to all, and do not require any additional
investment. It's all about changing the way you frame, fill the field of your viewfinder, and see
your subject differently.
The composition corresponds to the organization of the elements inside the frame. It is often
neglected while it is a determining parameter. A successful photo is often a photo with a neat
composition!
Although there are many ways to compose a photo, it is interesting to rely on certain principles
or rules of composition. When you are familiar with these rules, you will be surprised how much
of them are universal. It will also be easier for you to understand why some photos "work" and
why others are commonplace.
But composition is not a science and the rules are there to help you. And we must know how to
move away too when we master them.
Basic concepts
There are three main concepts to 'get' a beautiful composition:
 the point of interest,
 structure lines
 the balance.
Each of these concepts has an impact on others, but each is essential for you to get photos you
will be proud of.
The point of interest

This is the element that will catch the eye before everything else.
There are several ways to create a point of interest in a photo:
 a face or an object
 high contrast
 a particular color
 a suitable depth of field
 a movement
 ...
A point of interest is usually guided by the presence:
 of guidelines
 of a particular frame
86
 geometric shapes
Structure lines
Surely you have already heard about the rules of composition: the rule of thirds, the triangle, the
diagonal, the spiral of gold, the symmetry...
Be careful not to abuse the same rule, because your photos will all end up looking alike.
The rule of thirds
It determines how you can divide the image into three identical horizontal and vertical parts.
These axes determine the three zones of the image as well as the four resulting strong points, the
intersections.
You need to position the most important elements on these lines and if you place your point of
interest on one of the four highlights, you will more easily attract the viewer.
The triangle
This rule is inspired by the very common pyramid composition in the creative arts. Portrait and
architecture are generally good.
The diagonal
This rule will tend to give perspective by bringing the eye to the point of interest in the center of
the image.
The golden spiral
The golden spiral is a rule that allows you to reproduce a form that is often found in nature. It
gives more rounded results compared to the rule of thirds which is more geometric. It will also
give a less static observation and force the spectator's gaze to move in the image to get to the
point of interest.
The symmetry
Symmetry makes use of the mirror effects and reflections encountered in architecture and in
nature. She is extremely powerful and immediately draws attention.
Other rules
There are other rules that you can apply like:
 the odd rule of composing an image with an odd number of subjects.
 don't follow if no match and think outside the box.
The balance
A harmonious composition must remain balanced.
You must not have:
 dark areas without clear elements,
 identical colors without any other color in compensation,
 faces of the same size without any of them coming out of the lot,
 geometric shapes all identical.
87
Chapter 24: Composed with colors
In photography, we often neglect an element which is: The choice of colors. However, they have
a decisive role in the composition of the final photo, since they are the ones that will serve as
GPS in the eyes of the viewer by attracting him to the desired location and making him feel the
emotion that you wanted to convey.
Analogous colors
Analogous (or similar) colors use neighboring tones on the chromatic circle. They will by their
similarity create a harmonious combination while having slight variations, but without disturbing
the chromatic unity of the image.
88
Complementary colors
The complementary colors are opposite each other on the chromatic circle. These two colors will
reinforce each other and thus appear more vivid, more contrasting and stand out.
Monochrome colors
Monochrome colors are for the same color, the association of dark, medium and light shades.
They will give your photo an impression of calm and unity.
89
The triadic colors
The triadic colors have the same differences on the chromatic circle. They will create visual
contrast while retaining the harmony of colors. They will highlight both the elements of the
photo and the photo as a whole.
90
Chapter 25: Ephemeris
The ephemeris screen gives access to the main information of a day for:
 The sun
 The moon
 The galactic center
You have the possibility to change the place and the day to be represented.
There is also a widget to have this information on the home screen.
91
Adding the widget
Actions on the widget
1. Force data refresh (Automatic every 30 minutes)

2. Remove, configure or resize the widget
3. Access tools
92

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Photographer’s companion user guide

Welcome to Photographer's companion!

Ready? So let's go…

1 - Features of the active camera

2 - Global camera settings

 If the shutter speed unit is always displayed in s (90 s -> 1 min 30 s)

3 - Management of favorites (only with the Pro version)

Camera change shortcut (only with Pro version)

Add / Edit Camera

Custom value (only with Pro version)

The adjustment increments

1. Characteristics of the active lens

2. Global lens parameters

3. Management of favorites (only with the Pro version)

Lens change shortcut (only with Pro version)

Add / Modify a lens

6. Metric and imperial measurements selection

1. Using tripod highly recommended

Tools (only with Pro version)

Properties (only with Pro version)

In the "Origin exposure" section

In the "equivalent exposure" section

The EV of these 4 photos is 13.

The hyperfocal distance

Minimise the depth of field

Depth of field for portrait

The principle of Bokeh

How to create a Bokeh in your photos?

1. Set the focal length and aperture you want

In the part "Bokeh simulator"

In the bottom area

Correct exposure is obtained by playing on the value of these 3 elements.

The tool allows you to either determine:

In the bottom area

In the bottom area

The tool allows you to either determine:

In the bottom area

In the bottom area

1. Set the focal length and speed unit of the subject

In the bottom area

The technique of shooting

The graduated photo filter

Blue / Golden hour

Dawn and Dusk

In the bottom area

1. Set the date

In the bottom area

In the bottom area

Using the position screen

The information given:

The Moon and the photo

The technique of shooting

In the bottom area

Photographing a well-detailed moon

Photographing a red or bright moon

Photograph the phases of a lunar eclipse

In the bottom area

In the bottom area

14 mm - f4.0 - ISO 400 - 246 s

Without star trail

A remote control or a self-timer

The technique of shooting

14 mm - f/2.8 - ISO 12800 - 15 s - NIKON D750 © Rémi PARARD

Photographer's Companion - User Guide

Photographer's Companion - User Guide