Are you in the habit of always letting the camera make decisions on your behalf? If so, sooner or later you’ll want to switch out of Auto and experiment with other exposure modes than provide far more control. Otherwise you’ll have difficulty expressing your creative of vision as your skills evolve.

Don’t worry: This isn’t one of those silly tutorials insisting that “you’re not a real photographer if you don’t shoot in Manual mode.” What you’ll learn instead is how and when you’re much better off shooting in either Aperture Priority, Program mode, or Shutter Priority. Of course, there’s also a discussion of Manual Mode too.

This instructional video comes from the Behind the Tripod YouTube channel— a  great source of information designed to help inexperienced shooters elevate their skills. A clear understanding of how to refine exposure is essential to your growth. So pull up a chair, hit the Play button on the video, and sit back and watch instructor Steve Mill explain how the various options on your camera’s Mode dial function.

Keep in mind that that there’s no magic exposure mode that’s ideal for every situation. Thus, part of the process is understanding which option is the optimum choice, depending upon the specific subject at hand. You might even find it helpful to have a camera handy while watching Mills’  10-minute explainer so you can cycle through the modes as they’re discussed.

Your assignment is to stop being a passenger, learn how to drive your camera, and start taking photos you’re proud of beginning today. Mills admits that the Auto mode is the easiest “and least scary” way to shoot photos while relying upon the latest camera technology to achieve a good shot. But “good” really is good enough if you want to create imagery that’s truly special.

When thinking about exposure there are three primary considerations, aperture, shutter speed and ISO. Depending upon the mode of your choice, the interplay between this trio of variables works in different ways to let the correct amount of light to hit the camera’s sensor. This simple equation is often depicted in a graphical form known as the “Exposure Triangle.”

With all this in mind, it’s now time to take a deep breath, launch the quick video, and elevate your skills. Once you’re done watching head over to Mills’ instructional YouTube channel for more straightforward lessons like this one.

And if you occasionally shoot with a phone, be sure to check out our recent post with an ultimate guide to the iPhone camera and important photocentric settings.

As Hamlet one said: “To edit in color or to edit in b&w, that is the question.” Well, not really, but it’s a question you should ask yourself regardless of the type of images you shoot.

Today’s very interesting discussion will help you make the right choice, depending upon the photo in question and the mood you want to create. Photographer Dave Herring explains how he determines which way to go.

An original thinker himself, Herring’s tutorials often take a unique approach. Like other photo educators he regularly shares favorite photographic techniques, but he also addresses the cultural and philosophical values he’s acquired during his journeys.

Herring says, “I’m 70% color and 30% b&w,” but when he takes the monochrome route he does so with conviction and for very specific reasons. Interestingly, he always sets his camera’s rear LCD to monochrome, regardless of whether the final edited image will be in presented in color or b&w.

For Herring the decision comes down to one simple question: “What is more interesting in this composition; is it the color or the contrast?” A secondary consideration has to do with what’s most appropriate for a particular subject; namely, is it simplicity or is it complexity? Herring’s view is this: “I find b&w to be a little more minimal, more simplistic, and a little more isolating.” Conversely, he views color imagery as complex, richer, and “more robust.”

Herring notes that today’s sophisticated processing tools enable us to present an alternate reality—regardless of whether the image one creates is monochrome or in color. His view is that b&w imagery offers abundant opportunities in this regard because we’re not required to depict reality as it is. Moreover, we’re all accustomed to viewing the world in color.

Similarly, Herring says that when editing color photos we can also create an alternate reality by manipulating color and tones. Or in his words, “We edit color photos to present our  version of reality and what we would prefer to see.”

After describing his thought process Herring presents several images from a recent trip to the Olympic Peninsula—some in color and others in b&w. And then he explains why and how he took the specific approach he did. It’s all very interesting and informative. You can find more insights and techniques by visiting Herring’s YouTube channel, so be sure to do that as soon as you have time.

And for those times that you edit in color and want to get the job done quickly and efficiently, don’t miss our earlier tutorial with a basic four-minute color-grading method designed for those new to Lightroom.