ymc226
Well-known
Just got a MP and read somewhere that one learns to subconsciously adjust to different lighting situations. Presently using an automatic SLR with matrix metering.
For example, with a backlit subject, the face is usually dark.
I assume that even though the MP is very center weighted, adjustments to exposure have to be made. Would most overexpose by 1/2-1 stop with the meter aimed at the subject's face to get better highlights of the face (I use B&W film exclusively)?
Can forum members also comment on other common lighting situations that would be incorrectly exposed if built in meter was followed without any additional adjustments and what would be the correction that one would usually do in these particular situations.
Thanks in advance
For example, with a backlit subject, the face is usually dark.
I assume that even though the MP is very center weighted, adjustments to exposure have to be made. Would most overexpose by 1/2-1 stop with the meter aimed at the subject's face to get better highlights of the face (I use B&W film exclusively)?
Can forum members also comment on other common lighting situations that would be incorrectly exposed if built in meter was followed without any additional adjustments and what would be the correction that one would usually do in these particular situations.
Thanks in advance
Al Kaplan
Veteran
Assuming that you're in the same lighting as the subject try reading off the palm of your hand. If it's winter time and you spend most of your time indoors then open up a stop. Obviously peoples' hands aren't all the same so a bit of testing is in order. Still, when it comes to palms, there isn't much difference between white and black peoples' hands. In contrasty light take one reading with the hand turned towards the light, a second so you read the shadow side, and choose an exposure between the two.
The old rule of thumb is "expose for the shadows, develop for the highlights", meaning that without enough exposure there's no image in the deepest shadows but you can control contrast (and highlight density) by adjusting your developing time.
When I first get to a location I'll wander around, make readings here and there, and remember them (!), then pick a shutter speed that allows me to simply change the f/stop as I go from brighter areas to darker areas.
DO NOT meter every last exposure! You'll make yourself nuts! At some point you'll want to get an incident light meter so you can METER THE LIGHT rather than your subject. Get in the habit of guessing the exposure first, then checking your guess with the meter. Eventually you can get quite good at it. Your own central processing unit (brain) and light sensors (eyes) can be programed to give very good exposures.
Finally, use just ONE film, two at most, rather than trying to "learn" them all. Tri-X can cover you for 99% of your shooting. All 400 speed film isn't the same. Keep things simple.
The old rule of thumb is "expose for the shadows, develop for the highlights", meaning that without enough exposure there's no image in the deepest shadows but you can control contrast (and highlight density) by adjusting your developing time.
When I first get to a location I'll wander around, make readings here and there, and remember them (!), then pick a shutter speed that allows me to simply change the f/stop as I go from brighter areas to darker areas.
DO NOT meter every last exposure! You'll make yourself nuts! At some point you'll want to get an incident light meter so you can METER THE LIGHT rather than your subject. Get in the habit of guessing the exposure first, then checking your guess with the meter. Eventually you can get quite good at it. Your own central processing unit (brain) and light sensors (eyes) can be programed to give very good exposures.
Finally, use just ONE film, two at most, rather than trying to "learn" them all. Tri-X can cover you for 99% of your shooting. All 400 speed film isn't the same. Keep things simple.
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Lilserenity
Well-known
My rule of thumb for backlit is generally 1 1/2 stops to 2.
That said I think, and I don't know for sure but you can get AE lock by partially depressing the shutter on the subject you are exposing for; then holding and recompose and then push the full way.
An MP user could confirm that but on the M8 that's certainly the case and I think it's true of the M7 too.
Vicky
That said I think, and I don't know for sure but you can get AE lock by partially depressing the shutter on the subject you are exposing for; then holding and recompose and then push the full way.
An MP user could confirm that but on the M8 that's certainly the case and I think it's true of the M7 too.
Vicky
Tuolumne
Veteran
Great advice, Al, even for those of us who aren't newbies. Good practical recommendations that we need to be reminded of from time to time.
/T
kshapero
South Florida Man
I usually walk up and get a reading off the subject then step back and shot or I will just bring it down a half stop or so. Practice makes perfect. Other idea: send me the MP let me check it out for a year or two for you.
ferider
Veteran
I like using the old Gossen digital meters that allow you quickly, both reflective and incident to get a contrast range of the subject. Then you can pick highlights or shadow (or even the right zone) to expose for.
Best,
Roland.
Best,
Roland.
Al Kaplan
Veteran
Thanks, Tuolumne. I should add that reading off the face can work if you're always photographing people of the same race, and without facial hair which can vary from white to black and cover varying amounts of the face. I'm involved in local politics and live in a city with everything from very dark skinned Haitians to blue eyed blonds of Nordiic decent. I'm always going to parties and events that have some of everybody. The other day I photographed a barbeque for a blond woman running for a city council seat held at the home of a black Hispanic. Add in some Chinese, East Indian, American Indian, and every mixture you can imagine, and incident readings are the only way to go.
http://theprice of silver.blogspot.com
http://theprice of silver.blogspot.com
ymc226
Well-known
Thanks for all of your advice.
In regards to an incident meter, do you have to measure where the subject is?
In regards to an incident meter, do you have to measure where the subject is?
uhligfd
Well-known
Yep ymc226, you want to measure the light that falls onto the subject via incidence reading (with that white dome or plastic in front of the lightmeter that is ...)
Chris101
summicronia
(What's with the unpronouncable names?)
You need to meter the light that is falling on the subject for incident light reading. As uhligfd said, use the dome (or disk) part of the meter, go to the subject and point that toward the camera position to get an accurate incident light reading. For studio portraiture, I will take incident readings on both sides of the subject's head. However if the light is even, sunlight for example, then take the reading from anywhere, it'll all be the same.
You need to meter the light that is falling on the subject for incident light reading. As uhligfd said, use the dome (or disk) part of the meter, go to the subject and point that toward the camera position to get an accurate incident light reading. For studio portraiture, I will take incident readings on both sides of the subject's head. However if the light is even, sunlight for example, then take the reading from anywhere, it'll all be the same.
ymc226
Well-known
I have to get an incident meter to see how it works. I have a Pentax digital spotmeter but that is just the same as using the built in meter in the MP.
In regards to the incident meter, for example, if my subject is standing, facing me with the sun behind or indoors with a lamp behind, I would walk up to him/her, point the dome of the meter toward where my camera is and take the reading.
My question is, in this extreme lighting situation, do I take several meter readings? Do I meter in front of the subject's face (so the background light does not even get read by the meter) and also to the side of the subject so the lightsource "hits" the meter? How do I adjust the readings to get the most correct exposure? I may not be understanding the correct way to use an incident meter. Correct me if my process is off.
What I want to get at is, by using the incident meter systematically, how does this method allow you to get a better idea at the correct exposure compared to just spot metering from the camera from afar?
In regards to the incident meter, for example, if my subject is standing, facing me with the sun behind or indoors with a lamp behind, I would walk up to him/her, point the dome of the meter toward where my camera is and take the reading.
My question is, in this extreme lighting situation, do I take several meter readings? Do I meter in front of the subject's face (so the background light does not even get read by the meter) and also to the side of the subject so the lightsource "hits" the meter? How do I adjust the readings to get the most correct exposure? I may not be understanding the correct way to use an incident meter. Correct me if my process is off.
What I want to get at is, by using the incident meter systematically, how does this method allow you to get a better idea at the correct exposure compared to just spot metering from the camera from afar?