We live in an era of super computers and cutting edge technology. Manufacturers of the leading camera systems such as Canon, Nikon, Minolta and others have embraced the rapidly evolving technology by incorporating many new or improved features into their best cameras and accessories. Most people new to nature photography and even those with a great deal of experience either do not fully understand the features and functions available, or they simply choose to ignore them. The purpose of this article is two-fold: Part One: Educate the reader about the most popular features offered on modern 35 mm film camera bodies, and Part Two: How to maximize use of your camera by taking advantage of other accessories and equipment designed to augment your particular system. Most pro bodies have more features and options than you will ever need or use - my intent is to make you aware, and then you may choose which options best apply to your style of photography.

The best advice I can give, whether you just bought a new body yesterday or have owned it for 5 years is to thoroughly read and understand the owner's manual. I refer to mine regularly. The importance of knowing "how" to use my camera became eminent two years ago when I changed camera systems - going from Nikon to Canon. I had to re-learn where controls were located, adjust to new ergonomics, and gain the speed of operation necessary to get good images. Thinking and acting fast in the field often makes all the difference in image quality. Time and space constraints preclude my covering features available on all major systems, so we will cover the most common and a few you may be unaware of.

Exposure Modes - Nearly all advanced and professional photographers like to have control over the all-important exposure function. I do not know of any pros that opt to use Program mode, whereby the computer chip inside picks what it believes to be optimal shutter speed (SS) and aperture. Use of Aperture Priority, Shutter Priority, or Manual mode gives you the opportunity to select the appropriate SS and/or aperture as it applies to the given situation at hand. Experiment with the three latter modes in varied situations, and you may find one preferred mode or a combination of one or more works best.

In-Camera Meter - All in-camera meters measure reflected light regardless of whether in spot, center-weighted, or averaging mode. Which mode or combination of modes you use is largely a matter of personal choice, confidence and level of trust in your meter. Be aware of each type and experiment in varied lighting conditions. In time you will learn when your meter is getting fooled by certain lighting conditions, which leads me to the next, often overlooked feature.

Exposure Compensation - When shooting a middle-toned subject against a bright background such as sky, most in-camera meters will under-expose the subject. In order to get the correct exposure, you must dial in + 1/3 - + 2 stops depending on the situation. The opposite would apply if the subject is again, middle-toned and the background is dark.

Learn where your exposure compensation controls are and how and when to make adjustments quickly without having to move the camera from your eye.

Focus Sensor Selection - Anywhere from 3 to 45 sensors are available depending on your individual body. You can select one or more sensors based on subject and lighting conditions. Memorize how to change selectors quickly - remember where those controls are located on your camera.

Depth of Field (DOF) Preview - Auto-focus lenses remain opened at their widest aperture until the shutter is pressed. Then, at that instant, the lens is closed down to the chosen aperture long enough for the image to be made. The reason for this is so the photographer will have a bright viewfinder through which he or she can compose and acquire focus. Changes in DOF are not apparent unless you press the DOF preview button prior to making the exposure. After pressing the button, the viewfinder darkens accordingly, and you can see by looking carefully what portion of the image will be in focus. Learn how to use the DOF preview feature to selectively control focus in your images.

Mirror Lock-Up (MLU) - This feature is particularly useful during long exposures or when using long lenses. During exposure, the mirror swings up out of the way so the film can be exposed. This rapid movement can, during long exposures, cause vibration that may have a deleterious effect on the final image. Locking the mirror up during exposure reduces that chance. Generally MLU is used in combination with a remote shutter cord.

AI Servo VS One-Shot (Single-Servo) - Mainly with Nikon and Canon users, this option allows for either continuous AF tracking (AI servo) or one-shot mode allows locking exposure by slightly depressing the shutter button, then recomposing and tweaking focus. Consult your owner's manual for a more detailed explanation of this most useful option.

Motor Drive - Choose either to make a single exposure with each press of the shutter, or Continuous Slow (CS), making slow, repeated exposures, usually 3-5 per second. Or choose Continuous High (CH) and fire off up to 10 fps depending on your particular brand and model. Also available on many bodies is the option for delayed exposure. Again, each may have a time and place within your style of nature photography.

Custom Functions - Most medium to high end bodies offer a plethora of the latest technically advanced features available in the form of custom functions. They are numerous including such options as leaving the film leader out, increasing amount of focusing sensors used, and changing functions of knobs to match your desire. Many are useful while others may never see use - again, this is a personal matter. You simply make a choice as to which ones you need and when to use them.

Today, highly technical cameras are an ubiquitous commodity, yet relatively few photographers are capable of utilizing them to their fullest extent. You can gain a better understanding of your camera by first reading the User's Manual - then practice, practice, and practice some more! Stay tuned for Part Two covering mastering your system's equipment and accessories.

About the Images

Great Egret
Camera: Nikon F5
Lens: 600mm F4
Film: Fuji Velvia
Flash: none
Commentary: By using selective focus and tweaking exposure, I was able to render the man-made fence in the background softly blurred and not so noticeable.

Columbine Bloom
Camera: Canon EOS 1-v
Lens: 180mm macro
Film: Fuji Velvia
Flash: none
Commentary: I used DOF preview button to ensure enough of the 1.5" wide bloom was in focus; then I used MLU to minimize blur caused by mirror induced vibration.

Ruby-crowned Kinglet
Camera: Canon EOS 1-v
Lens: 600mm F4/1.4X TC
Film: Fuji Velvia
Flash: Fill @ -1.3
Commentary: It was necessary to use CH drive, exposing 8 fps to catch this tiny, fast moving bird in focus. Out of over 30 frames, only a few were sharp.

Editor's Comment: Let us know what you think! Please email the Editor to let us know your thoughts. Bill is the Senior Staff Photographer for PhotoMigrations and would like to invite you to visit his website located at Birds of Oklahoma - trust me, you will be pleasantly surprised!.