dow
Member
Hi All,
I did some google searching of the site to no avail - apologies if this has been covered:
I took a bunch of interior architectural shots with my R3a with the CV 15mm the film was Superia 1600. On the whole they seemed underexposed. Is there something about the ultra-wide field of view that necessitates exposure compensation? There was a lot of contrast in the building's light as it was late afternoon - so it could be it was just metering more from the highlights. But the strong contrast wasn't an issue with many of the dark shots so I'm not sure.
I know - it would be helpful to post a pic, but I'm laid up at the moment with the Columbus Crud - a nasty sinus infection that's running through town (and my entire household, joy).
So if there are any "rules of thumb" when metering the 15mm, particularly with the R3a I'd love to hear them.
This lens is going to take some serious practice in terms of composition - so I've got my hands full with the little guy. It's going to be great for architecture once I get my head around it.
Thanks as always,
Dow
I did some google searching of the site to no avail - apologies if this has been covered:
I took a bunch of interior architectural shots with my R3a with the CV 15mm the film was Superia 1600. On the whole they seemed underexposed. Is there something about the ultra-wide field of view that necessitates exposure compensation? There was a lot of contrast in the building's light as it was late afternoon - so it could be it was just metering more from the highlights. But the strong contrast wasn't an issue with many of the dark shots so I'm not sure.
I know - it would be helpful to post a pic, but I'm laid up at the moment with the Columbus Crud - a nasty sinus infection that's running through town (and my entire household, joy).
So if there are any "rules of thumb" when metering the 15mm, particularly with the R3a I'd love to hear them.
This lens is going to take some serious practice in terms of composition - so I've got my hands full with the little guy. It's going to be great for architecture once I get my head around it.
Thanks as always,
Dow
RF-Addict
Well-known
Well, it all depends on the scene you are shooting. The meter will meter for an average - if you have lots of bright sky or light walls in your frame, then yes, the picture will be under exposed. I usually dial in at least +1/2 in exposure compensation when using the 15mm.
mwooten
light user
There were some threads in the RD1 forum concerning ultra-wides and exposure. I think, but I'm not sure, the meter patterns are alike on the two cameras.
Juan Valdenebro
Truth is beauty
Hi Dow,
There are two things to take care of: film's optimal ISO rating, and in camera metering. I use the 15 and the R3A too, by the way, and have used all fast color films.
First, the best ISO setting for metering any color negative (to me) is +1, so I meter Superia1600 incident at 800. That gives great color AND clean shadows. At 1600 you can get more or less fine colors where there's good light falling, but shadows get too grainy and muddy. Incident would be the best way to do it. You can meter with your camera too: set it to 800, but make sure you're metering a middle value. Alright, almost impossible with a 15, that's the problem... And with a 15 you'll normally have (if not sky) other light sources included in your frame, and those will fool the meter and make your camera tell you you need to expose for less light than you do... A good option is metering using another (much longer) lens to make it easy to meter a middle value and AVOID windows, lights, etc... Bessas' meters are very good. If not an incident/spot handheld meter, I'd carry another body with a short tele for metering without changing lenses.
Another thing to consider in architecture is, in general we photograph places where the light comes from above (artificial or natural sources) so unless the place is really small (not the common case) we have different amounts of light at floor level and above, and images with the 15 will include a scene with different light levels up and down. That adds to the previous problems and makes floor level, where people are, even more underexposed. Again, meter middle values at floor level, avoiding windows, light sources and white walls.
Cheers,
Juan
There are two things to take care of: film's optimal ISO rating, and in camera metering. I use the 15 and the R3A too, by the way, and have used all fast color films.
First, the best ISO setting for metering any color negative (to me) is +1, so I meter Superia1600 incident at 800. That gives great color AND clean shadows. At 1600 you can get more or less fine colors where there's good light falling, but shadows get too grainy and muddy. Incident would be the best way to do it. You can meter with your camera too: set it to 800, but make sure you're metering a middle value. Alright, almost impossible with a 15, that's the problem... And with a 15 you'll normally have (if not sky) other light sources included in your frame, and those will fool the meter and make your camera tell you you need to expose for less light than you do... A good option is metering using another (much longer) lens to make it easy to meter a middle value and AVOID windows, lights, etc... Bessas' meters are very good. If not an incident/spot handheld meter, I'd carry another body with a short tele for metering without changing lenses.
Another thing to consider in architecture is, in general we photograph places where the light comes from above (artificial or natural sources) so unless the place is really small (not the common case) we have different amounts of light at floor level and above, and images with the 15 will include a scene with different light levels up and down. That adds to the previous problems and makes floor level, where people are, even more underexposed. Again, meter middle values at floor level, avoiding windows, light sources and white walls.
Cheers,
Juan
dow
Member
Thanks All!
Juan - I appreciate you taking the time to write up such an exhaustive answer. I'm taking pics of the Arch building where I teach for my upcoming installation studio and the images wil be the basis for photo collages the students will use for their proposals.
So good photos are crucial - thanks for the advice!
Best,
Dow
Juan - I appreciate you taking the time to write up such an exhaustive answer. I'm taking pics of the Arch building where I teach for my upcoming installation studio and the images wil be the basis for photo collages the students will use for their proposals.
So good photos are crucial - thanks for the advice!
Best,
Dow
Benjamin Marks
Veteran
When I use super-wides, I meter off of the ground.