D igital cameras were supposed to make everything easier. Instant images would mean no more waiting for film to be processed. Immediate do-overs would spell the end of entire botched rolls at weddings, birthdays, and other once-in-a-lifetime experiences. Programs that crop out clutter and adjust color would allow us to fix even the worst of shots.

So why don’t your photos turn out better than they used to? Even though digital photography can be more forgiving than film, it’s not foolproof. Perhaps it’s time to step back and take a fresh look at some of the basics.

First, you need the right camera for the job. Consumer options range from less than US$100 for simple point-and-shoot models to more than $2,000 for top-of-the-line single-lens reflex (SLR) cameras. David D. Busch, author of dozens of photography guides, including Digital SLR Pro Secrets , recommends you figure out how you plan to use your camera before you buy one.

Are you a complete novice? Consider a less expensive point-and-shoot, and trade up later. Do you want the ability to change lenses and work in a variety of lighting conditions? Go with a digital SLR. Need the power of an SLR but prefer not to fuss with lenses or lug around extra weight? A digital superzoom might be for you. For comparisons of models in different categories, check out PCMag.com or Wired magazine.

Whatever you choose, conduct a few test runs before you take it on that Group Study Exchange trip you’ve been dreaming about. “Go out and simulate the sorts of situations you’re going to be taking pictures in,” says Busch. “Make sure you understand all the features and how your camera performs.”

Here are a few typical scenarios:

• Problem: The sky looks orange. Your friends appear jaundiced.
  Diagnosis: The color temperature needs adjusting.
  Solution: Select the white balance pre-sets that match the lighting conditions. Your camera should have options for most light sources, from incandescent to daylight.
• Problem: Photos are too dark or too light.
  Diagnosis: Over- or underexposure.
  Solution: Use the +EV/-EV controls to add or subtract exposure until the histogram curve (the one that looks like a mountain range) is roughly centered, with none of its leading or trailing slopes cut off at the left or right edges of the chart. Be aware, however, that the histogram samples an image pixel by pixel – even the darkest corners and brightest doorways – so a perfect curve is nearly impossible to achieve.
• Problem: It’s all too complicated.
  Diagnosis: Techno-exhaustion.
  Solution: Use the scene modes. These put your camera on autopilot for a given situation, such as sports, indoor, or nighttime photography. Select the mode, and the camera automatically finds the appropriate shutter speed, color temperature, and contrast.

The best way to understand settings and functions is to put down the manual and spend time troubleshooting common problems, says Richard Lawrence, an amateur photographer who made the switch from film to digital three years ago and won The Rotarian ’s photo contest in 2008. “It takes trial and error.”

Remember to keep the basic rules of photography in mind – general guidelines for composition and light still apply.

When outdoors, be careful not to shoot with the sun at your back, which results in subjects with squinty eyes and shadows in all the wrong places. “Keep the light off to one side, to your left or to your right, rather than behind you – or behind the subject, which causes backlighting and puts your subject in a silhouette,” Busch advises.

In his Digital Travel Photography: Digital Field Guide , Busch also covers composition basics, starting with the rule of thirds, a guideline that recommends dividing your frame into thirds vertically and horizontally, then placing your subject roughly where any of the invisible dividing lines would intersect. Dead center is rarely the most dynamic spot to put a subject.

Likewise, shooting straight-on from eye level usually results in flat, uninteresting photos. Too often, says Lawrence, an architect and member of the Rotary Club of Manchester, Conn., USA, beginners don’t consider alternatives. “If there’s a building or landscaping, walk around and try to take different angles,” he advises. Another quick fix: Get down on one knee to vary your vertical perspective.

When shifting, don’t move too far away from your subject. If phone wires or strangers milling about are recurring features in your work, start moving in for tighter shots, or use that $250 zoom you’ve been hauling around.

Editing programs do allow you to doctor your shots, but it’s more rewarding – and more accurate – to make the necessary adjustments in the field. “You don’t want to have to fix your photos,” says Busch. “You want them to come out right the first time.”

When digital photography starts feeling fun, you’ve mastered the basics. But beware of getting so caught up in the technology that you miss the moment.

“I know some people who’ve come back from trips, and they’ve only seen where they were through the viewfinder of the camera,” says Busch. “You need to do both: Take pictures, and then look and enjoy what you’re doing.”

M. Kathleen Pratt is a writer and editor based in Chicago.