Manual exposure/spot metering question
Jan 10, 2014 18:20:13 #
Jan 11, 2014 05:43:35 #
Here's my take on mastering metering:
Why I believe Exposing to the right, (ETTR) is wrong
1.There is no advantage to image quality from ETTR that can't be duplicated by selecting a lower ISO, if a lower ISO setting is available. In some situations, such as where there is in-camera noise reduction, ETTR actually increases noise. That's what the practical tests show, and the theory of the case confirms the practical results to be correct.
2.The only situation where there is an advantage to ETTR is if you're already at the lowest ISO setting your camera, and you use ETTR to synthesize a lower ISO. However, given the noise performance of most modern cameras, that advantage is often very small. The test I did here - a small sensor high pixel count camera - is the best possible scenario for seeing an improvement. Using a modern DSLR, the improvement would be marginal at best.
3.Any kind of ETTR brings significant disadvantages in the shape of color and tone curve shifts that will have to be repaired in post processing. While these shifts are small, they are easily the equivalent in effect of changing profiles. So, in effect, ETTR negates the advantages that modern raw developers such as Lightroom bring with them.
Ok, Let's progress- First, Towards perfect exposure:
We all want Perfect Exposure, but how do we achieve this ?
What is Perfect Exposure? - Perfect exposure occurs when the lighting of the subject, balances with the Dynamic Range of the cameras sensor, (Usually 5 EV stops). In other words, there should be detail in highlight areas of a scene, without blown highlights, and detail in shadow areas without clipping.
First of all, lets take a look at our cameras metering methods, just to clear up some
confusion:
The scene is a person, standing on the beach, with a brightly-lit background -
a) Matrix,
(sometimes called evaluative, or multi-segment, depending on make of camera) would take an overall look at the scene and divide it into many segments, take into consideration the distance of the subject, and the lenss focal length setting. All this data is fed into the meters processing unit, in order to determine the best possible exposure. This mode of metering would give the best rendition of the scene, as it would tend to favour the subject, (person)
and modulate the background to suit.
b) Centre-Weighted,
would measure the scene and concentrate on the central part of the image frame, but it would be affected by the bright background, if the person doesnt fill the central area completely, so the resultant image would be an underexposed person, with a fairly-well exposed background.
c) Spot Metering,
Would take a reading from a very small, (1-3 degree) circle, at centre of the frame, in the viewfinder. This small area of measurement, when placed on the subject in the frame, will not get any reading at all from the background, resulting in a correct exposure for the person, against an over-exposed background.
NOTE: Some cameras, notably Canons entry level dslrs are equipped with
Partial Spot metering, (5% to 10% of image area) which veers more towards centre-weighted metering.
We are informed that there are just 3 exposure values in our photographic images, Black White and Middle Grey This Middle Grey is usually referred to as 18% or 13% grey, (depending on what you believe) or Average reflected tone. The theory being that if you average out all tones in an image, the result will be middle grey. Great, in theory! This only works if an adequate range of tones are present in the scene.
Because all cameras read tones differently, you need to know where Middle grey is on your camera.
With camera on tripod, exposure compensation at 0-0 and a scene with all tones:
set Exposure compensation (+/-) at +1 take a shot
Now in 1/3 (0.3) increments adjust exposure compensation and take a shot, all the way to -1, giving you seven images.
load these into imaging programme and select the image with best detail in shadows and highlights.
This setting will be your standard, set this on your camera, and you will never need to do this again - your camera will be calibrated for optimum exposure.
This is baseline, so if shot looks too dark or light, in certain conditions, just adjust (+/-) to suit.
I believe a basic understanding of The Zone System will be of benefit here, so I have included my intro to this:
Edward Weston/Ansel Adams developed the Zone System
To control exposure and contrast for black and white film photography
And To pre-visualize finished image after post processing in the darkroom,
There are11 zones black to white-each zone represent 1 EV (exposure value) stop:
0 Total black
I Almost black-no detail
II Dark grey-black -very dark detail in shadows
III Very dark grey-shadow detail-dark animal fur
IV Medium dark grey-dark green foliage, shadow side of Caucasian face
Dark stone-landscape shadow-dark skin-details plainly visible
V Medium grey-green grass-grey stone-dry tarmac-excellent detail
VI Rich mid-tone grey-Caucasian skin in sunlight-light stone and sand
VII Bright light grey-white with texture-silver hair
VIII Almost white-Delicate texture-no detail-reflected highlights on Caucasian skin
IX Nearly pure white
X Absolute white
Each zone is a tone between black and white
Each zone is either half or twice the exposure of its neighbour, depending on whether you are going up or down, For example Zone III is 2 stops darker than zone V, and zone VII is 2 stops lighter than zone V-As you move your exposure one stop (ev) say, from f 8 to f 11,or from 1/60sec to 1/125sec, you will have moved the exposure one zone
Although developed for black and white film, it can still be useful for digital imaging, and once you get used to using it, your resulting images will be superior to anything you have done before..
It can be difficult to understand that when working in color, that black and white and tones of grey can apply. Your cameras meter sees in black, white and tones of grey in between.
So to help you understand:
Your cameras built-in meter will average everything it sees as mid-grey (18% or 13%-whichever you believe to be correct) > ZONE V!
To prove that this is so, try this experiment:
Get a piece of white paper and a piece of black paper ( A4 sheets) take separate photo of each sheet, filling the frame, in the same lighting conditions, using the cameras meter - Surprise, Surprise! They both came out mid-grey. This is because the cameras meter averages out the scene, giving an average exposure for the scene at ZONE V.
The cameras light meter will measure and average everything its pointed at
So it becomes necessary to switch to spot metering-a spot meter will measure only a very small angle (1-2 Degrees)-spot metering will let the camera know the most important part of the scene in front of it.
Ok. Lets assume you have a Caucasian model against a relatively dark background-So you assess the scene before you, and decide that the models face is the most important part of the scene.
Usually Caucasian skin registers at Zone VI or Zone VII, (Even though we are looking at a color scene, the camera only sees light and dark.) When we spot meter for models face, this will register on camera as Zone V
We have decided to rate the models skin at Zone VII, and this means we must open up 2 EV stops to achieve this:
If we are in manual shooting mode, this will require us to either a) Decrease the shutter speed from, say 1/250th sec to 1/60th sec, or b) 0pen up aperture from, say F8 to F4.
If you are in auto mode/scene exposure mode, set exposure compensation to +1 or+2
Always do a final check using your histogram: In some situations, by placing the subject at a certain zone, could result in other areas of the image being under or over exposed.
From this you can see that the cameras Dynamic range is from zone III to zone, VII with Zone V being middle grey.
(For more information on the Zone System just Google it.)
If you have a scene with tones outside this 5-stop range, you will need to either use Graduated Neutral Density filters or blend two images (one metered for highlights and one metered for shadows) and blend them in Photoshop.
With camera on tripod: meter for highlight, take a shot-then meter for shadows, take another shot. In Photoshop, add lighter image to darker as a new layer, then: Select> Color Range-click highlights ,check invert, click OK. Add layer mask. Filter> Blur> Gaussian Blur 250 pixels. Flatten and save. You will get detail in highlights and shadows.
How zoom lenses can affect metering
There are two distinct types of zoom lenses
a) Constant aperture zooms, that maintain a fixed aperture when zooming
b) variable aperture zooms, where the aperture changes as you zoom
Therefore metering with a type b) zoom lens, is trickier than a type a) where the aperture remains constant, when in manual mode
So when you zoom away from the original metered scene, you will need to change the settings, because the aperture will have changed while zooming
So, with an 18-55 zoom lens, which aperture varies from F3.5-F5.6 as you zoom, If you get a meter reading at the 55mm (F5.6)setting, then zoom back to 18mm, your aperture will have changed to F3.5 .
Those two stops difference in exposure will make a noticeable effect on the final image
Manual Exposure Metering
Your camera uses reflected light readings for exposure-light reflected from different subjects, will result in a range of tones, which your cameras meter will try to average to give an overall exposure. It may not matter sometimes, but because any little deflection of lighting will give a different reading, and if you are photographing a wedding, for instance, it could look as if photos were taken on different days!
Incident light-light falling on the subjects is always constant.
Start using your in-built Incident exposure meter- Your eyes!
This is how us oldies who started in the late 1950s/60s learn to read exposure: You will often hear the term The sunny 16 rule, or Basic Daylight Exposure here it is explained:
Basically four apertures are used: F16; F11; F8; and F5.6
Shutter-speed is based on Equivalent ISO#
Watching the shadows, the base settings are: ( for ISO 200)
Hard-edged shadows .1/200 sec @ F16
Soft-edged shadows 1/200 sec @ F11
Barely visible Shadows ..1.200 sec @ F8
No Shadows .1/200 sec @ F5.6
Remember, these are the base settings: so variants would be:
1/200 @ F16
1/400 @ F11
1/800 @ F8
1/1600 @ F5.6
These all give the same exposure (But with different depths of field)
The other 3 settings use the same spatial relationship, the settings you choose are based on subject movement and/or depth of field desired. For instance If you want to keep the Aperture at F8:
Hard shadows 1/800 @ F8
Soft shadows .1/400@ F8
Barely visible shadows 1/200 @ F8
No shadows 1/100 @ F8 (As shadows fade, more light is required)
Heavily overcast ..1/125 @ F8
Deep Shade 1/60 @ F8
Pre-thunderstorm 1/30 @ F8
Brightly lit store interior 1/15 @ F8
Well-lit stage/sports arena 1/8 @ F8
Well-lit house interior .¼ @ F8
(Of course you would vary the F stop and shutter speed combinations to whatever would be most appropriate. )
To get more exact exposure readings, you may want to bracket exposures. As you cant use exposure compensation button when in manual made, this is what I do on my Nikon, your Dslr will have a similar action:
Achieving Perfect Exposure in any outdoor daylight condition
Choose a scene where there are objects in the foreground, middleground and background, with people if possible.
With camera on tripod,set ISO at 100,lens at fully open aperture, Meter scene.
Take shot, focusing on middle-ground objects. Write down aperture/shutter speed used.
Close down, One step at a time writing down aperture/shutter speed combinations
eg: F stop Shutter speed
3.5
4
5.6
8
11
16
22
Which combination suits you the best?
Go and find scenes where low light/fast speed combinations will work.
Come back with 3 images, of 3 scenes.
That concludes step two
Mastering Metering
Spot Metering
1. Create a custom White balance
2. Set camera
3. Take shot
4. Spot meter part of scene which you think matches tone of grey card:
-green grass-grey stone-dry tarmac
4. Adjust settings to suit spot reading
5. Take shot
Find a location where you can;t get close-across a river-across a busy street
Find backlit subjects,subjects in shade,subjects with wide tonal range
Spot meter off of different objects in these locations
Centre-weighted metering
New Location:
1. Check color balance
2. Adjust camera according to reading
3. Take a shot
4. Switch to Centre-weighted metering mode
5. Centre the subject, take reading
6. Change settings
7. Take shot
8. Place subject to one side
9. Take shot
Try spot reading backlit subjects
Matrix Metering
New Location
1. Take baseline shot
2. Find several subjects, and scenes using matrix metering for each of them
3. Change lighting, subject and distance.
At this point you should be able to analyse a scene for spot,centre-weighted or matrix metering,grey card, using that information to determine the correct exposure for any scene in daylight.
Why I believe Exposing to the right, (ETTR) is wrong
1.There is no advantage to image quality from ETTR that can't be duplicated by selecting a lower ISO, if a lower ISO setting is available. In some situations, such as where there is in-camera noise reduction, ETTR actually increases noise. That's what the practical tests show, and the theory of the case confirms the practical results to be correct.
2.The only situation where there is an advantage to ETTR is if you're already at the lowest ISO setting your camera, and you use ETTR to synthesize a lower ISO. However, given the noise performance of most modern cameras, that advantage is often very small. The test I did here - a small sensor high pixel count camera - is the best possible scenario for seeing an improvement. Using a modern DSLR, the improvement would be marginal at best.
3.Any kind of ETTR brings significant disadvantages in the shape of color and tone curve shifts that will have to be repaired in post processing. While these shifts are small, they are easily the equivalent in effect of changing profiles. So, in effect, ETTR negates the advantages that modern raw developers such as Lightroom bring with them.
Ok, Let's progress- First, Towards perfect exposure:
We all want Perfect Exposure, but how do we achieve this ?
What is Perfect Exposure? - Perfect exposure occurs when the lighting of the subject, balances with the Dynamic Range of the cameras sensor, (Usually 5 EV stops). In other words, there should be detail in highlight areas of a scene, without blown highlights, and detail in shadow areas without clipping.
First of all, lets take a look at our cameras metering methods, just to clear up some
confusion:
The scene is a person, standing on the beach, with a brightly-lit background -
a) Matrix,
(sometimes called evaluative, or multi-segment, depending on make of camera) would take an overall look at the scene and divide it into many segments, take into consideration the distance of the subject, and the lenss focal length setting. All this data is fed into the meters processing unit, in order to determine the best possible exposure. This mode of metering would give the best rendition of the scene, as it would tend to favour the subject, (person)
and modulate the background to suit.
b) Centre-Weighted,
would measure the scene and concentrate on the central part of the image frame, but it would be affected by the bright background, if the person doesnt fill the central area completely, so the resultant image would be an underexposed person, with a fairly-well exposed background.
c) Spot Metering,
Would take a reading from a very small, (1-3 degree) circle, at centre of the frame, in the viewfinder. This small area of measurement, when placed on the subject in the frame, will not get any reading at all from the background, resulting in a correct exposure for the person, against an over-exposed background.
NOTE: Some cameras, notably Canons entry level dslrs are equipped with
Partial Spot metering, (5% to 10% of image area) which veers more towards centre-weighted metering.
We are informed that there are just 3 exposure values in our photographic images, Black White and Middle Grey This Middle Grey is usually referred to as 18% or 13% grey, (depending on what you believe) or Average reflected tone. The theory being that if you average out all tones in an image, the result will be middle grey. Great, in theory! This only works if an adequate range of tones are present in the scene.
Because all cameras read tones differently, you need to know where Middle grey is on your camera.
With camera on tripod, exposure compensation at 0-0 and a scene with all tones:
set Exposure compensation (+/-) at +1 take a shot
Now in 1/3 (0.3) increments adjust exposure compensation and take a shot, all the way to -1, giving you seven images.
load these into imaging programme and select the image with best detail in shadows and highlights.
This setting will be your standard, set this on your camera, and you will never need to do this again - your camera will be calibrated for optimum exposure.
This is baseline, so if shot looks too dark or light, in certain conditions, just adjust (+/-) to suit.
I believe a basic understanding of The Zone System will be of benefit here, so I have included my intro to this:
Edward Weston/Ansel Adams developed the Zone System
To control exposure and contrast for black and white film photography
And To pre-visualize finished image after post processing in the darkroom,
There are11 zones black to white-each zone represent 1 EV (exposure value) stop:
0 Total black
I Almost black-no detail
II Dark grey-black -very dark detail in shadows
III Very dark grey-shadow detail-dark animal fur
IV Medium dark grey-dark green foliage, shadow side of Caucasian face
Dark stone-landscape shadow-dark skin-details plainly visible
V Medium grey-green grass-grey stone-dry tarmac-excellent detail
VI Rich mid-tone grey-Caucasian skin in sunlight-light stone and sand
VII Bright light grey-white with texture-silver hair
VIII Almost white-Delicate texture-no detail-reflected highlights on Caucasian skin
IX Nearly pure white
X Absolute white
Each zone is a tone between black and white
Each zone is either half or twice the exposure of its neighbour, depending on whether you are going up or down, For example Zone III is 2 stops darker than zone V, and zone VII is 2 stops lighter than zone V-As you move your exposure one stop (ev) say, from f 8 to f 11,or from 1/60sec to 1/125sec, you will have moved the exposure one zone
Although developed for black and white film, it can still be useful for digital imaging, and once you get used to using it, your resulting images will be superior to anything you have done before..
It can be difficult to understand that when working in color, that black and white and tones of grey can apply. Your cameras meter sees in black, white and tones of grey in between.
So to help you understand:
Your cameras built-in meter will average everything it sees as mid-grey (18% or 13%-whichever you believe to be correct) > ZONE V!
To prove that this is so, try this experiment:
Get a piece of white paper and a piece of black paper ( A4 sheets) take separate photo of each sheet, filling the frame, in the same lighting conditions, using the cameras meter - Surprise, Surprise! They both came out mid-grey. This is because the cameras meter averages out the scene, giving an average exposure for the scene at ZONE V.
The cameras light meter will measure and average everything its pointed at
So it becomes necessary to switch to spot metering-a spot meter will measure only a very small angle (1-2 Degrees)-spot metering will let the camera know the most important part of the scene in front of it.
Ok. Lets assume you have a Caucasian model against a relatively dark background-So you assess the scene before you, and decide that the models face is the most important part of the scene.
Usually Caucasian skin registers at Zone VI or Zone VII, (Even though we are looking at a color scene, the camera only sees light and dark.) When we spot meter for models face, this will register on camera as Zone V
We have decided to rate the models skin at Zone VII, and this means we must open up 2 EV stops to achieve this:
If we are in manual shooting mode, this will require us to either a) Decrease the shutter speed from, say 1/250th sec to 1/60th sec, or b) 0pen up aperture from, say F8 to F4.
If you are in auto mode/scene exposure mode, set exposure compensation to +1 or+2
Always do a final check using your histogram: In some situations, by placing the subject at a certain zone, could result in other areas of the image being under or over exposed.
From this you can see that the cameras Dynamic range is from zone III to zone, VII with Zone V being middle grey.
(For more information on the Zone System just Google it.)
If you have a scene with tones outside this 5-stop range, you will need to either use Graduated Neutral Density filters or blend two images (one metered for highlights and one metered for shadows) and blend them in Photoshop.
With camera on tripod: meter for highlight, take a shot-then meter for shadows, take another shot. In Photoshop, add lighter image to darker as a new layer, then: Select> Color Range-click highlights ,check invert, click OK. Add layer mask. Filter> Blur> Gaussian Blur 250 pixels. Flatten and save. You will get detail in highlights and shadows.
How zoom lenses can affect metering
There are two distinct types of zoom lenses
a) Constant aperture zooms, that maintain a fixed aperture when zooming
b) variable aperture zooms, where the aperture changes as you zoom
Therefore metering with a type b) zoom lens, is trickier than a type a) where the aperture remains constant, when in manual mode
So when you zoom away from the original metered scene, you will need to change the settings, because the aperture will have changed while zooming
So, with an 18-55 zoom lens, which aperture varies from F3.5-F5.6 as you zoom, If you get a meter reading at the 55mm (F5.6)setting, then zoom back to 18mm, your aperture will have changed to F3.5 .
Those two stops difference in exposure will make a noticeable effect on the final image
Manual Exposure Metering
Your camera uses reflected light readings for exposure-light reflected from different subjects, will result in a range of tones, which your cameras meter will try to average to give an overall exposure. It may not matter sometimes, but because any little deflection of lighting will give a different reading, and if you are photographing a wedding, for instance, it could look as if photos were taken on different days!
Incident light-light falling on the subjects is always constant.
Start using your in-built Incident exposure meter- Your eyes!
This is how us oldies who started in the late 1950s/60s learn to read exposure: You will often hear the term The sunny 16 rule, or Basic Daylight Exposure here it is explained:
Basically four apertures are used: F16; F11; F8; and F5.6
Shutter-speed is based on Equivalent ISO#
Watching the shadows, the base settings are: ( for ISO 200)
Hard-edged shadows .1/200 sec @ F16
Soft-edged shadows 1/200 sec @ F11
Barely visible Shadows ..1.200 sec @ F8
No Shadows .1/200 sec @ F5.6
Remember, these are the base settings: so variants would be:
1/200 @ F16
1/400 @ F11
1/800 @ F8
1/1600 @ F5.6
These all give the same exposure (But with different depths of field)
The other 3 settings use the same spatial relationship, the settings you choose are based on subject movement and/or depth of field desired. For instance If you want to keep the Aperture at F8:
Hard shadows 1/800 @ F8
Soft shadows .1/400@ F8
Barely visible shadows 1/200 @ F8
No shadows 1/100 @ F8 (As shadows fade, more light is required)
Heavily overcast ..1/125 @ F8
Deep Shade 1/60 @ F8
Pre-thunderstorm 1/30 @ F8
Brightly lit store interior 1/15 @ F8
Well-lit stage/sports arena 1/8 @ F8
Well-lit house interior .¼ @ F8
(Of course you would vary the F stop and shutter speed combinations to whatever would be most appropriate. )
To get more exact exposure readings, you may want to bracket exposures. As you cant use exposure compensation button when in manual made, this is what I do on my Nikon, your Dslr will have a similar action:
Achieving Perfect Exposure in any outdoor daylight condition
Choose a scene where there are objects in the foreground, middleground and background, with people if possible.
With camera on tripod,set ISO at 100,lens at fully open aperture, Meter scene.
Take shot, focusing on middle-ground objects. Write down aperture/shutter speed used.
Close down, One step at a time writing down aperture/shutter speed combinations
eg: F stop Shutter speed
3.5
4
5.6
8
11
16
22
Which combination suits you the best?
Go and find scenes where low light/fast speed combinations will work.
Come back with 3 images, of 3 scenes.
That concludes step two
Mastering Metering
Spot Metering
1. Create a custom White balance
2. Set camera
3. Take shot
4. Spot meter part of scene which you think matches tone of grey card:
-green grass-grey stone-dry tarmac
4. Adjust settings to suit spot reading
5. Take shot
Find a location where you can;t get close-across a river-across a busy street
Find backlit subjects,subjects in shade,subjects with wide tonal range
Spot meter off of different objects in these locations
Centre-weighted metering
New Location:
1. Check color balance
2. Adjust camera according to reading
3. Take a shot
4. Switch to Centre-weighted metering mode
5. Centre the subject, take reading
6. Change settings
7. Take shot
8. Place subject to one side
9. Take shot
Try spot reading backlit subjects
Matrix Metering
New Location
1. Take baseline shot
2. Find several subjects, and scenes using matrix metering for each of them
3. Change lighting, subject and distance.
At this point you should be able to analyse a scene for spot,centre-weighted or matrix metering,grey card, using that information to determine the correct exposure for any scene in daylight.
Jan 11, 2014 07:04:12 #
sueyeisert
Loc: New Jersey
I saw Tim Cooper at B&H lecture on exposure using the zone system. After heating his lecture I bought his excellent DVD on exposure. He will be back at B&H the end of the month. http://www.timcooperphotography.com/store.html
Jan 11, 2014 08:06:01 #
I often use spot metering and normally meter off of my lens cleaning cloth which I order in 18% grey. I find manual focus ( especially in live view) always gives superior results. Try it for yourself....with your camera on a tripod take an exposure in auto then one in manual...I would wager you will tweak the focus ring
It is more fun when you have control
It is more fun when you have control
Jan 11, 2014 10:31:14 #
dandi wrote:
I noticed that he always used Manual exposure mode. More than that he used spot metering.
When I forgot to take my camera out of spot metering and took some landscape pictures on the moors they were just short of terrible!
Possibly your photographer is taking spot meter readings of several points and working out the best exposure himself hence the manual mode. You could also meter off a gray card for the average incident light.
By why reinvent the wheel when your camera can average out the exposures for you and select where to pick the points. Generally it does a very good job of it and a small amount of post processing completes the job.
Jan 11, 2014 11:15:11 #
Stage Light
Loc: Northeast
There is a good chance that the photographer used an incident reading for the overall exposure and the spot metering to check for the highlights and shadows.
Jan 11, 2014 11:33:14 #
sueyeisert
Loc: New Jersey
You have to find a medium tone to meter of with spot metering. Or using matrix fill the frame with a medium tone and meter. Be mindful if you're using a variable zoom lens- exposure can change with zoom.
Crwiwy wrote:
When I forgot to take my camera out of spot meteri... (show quote)
Jan 11, 2014 12:07:26 #
dandi wrote:
...I understand that spot metering does not make a lot of sense without the Zone System. ....
You only need a superficial understanding of the Zone system to take advantage of spot metering. The part about light and dark is basic and simple and it makes sense for digital or any other form of photography.
Much of the Zone system is aimed at B&W film photography and ways to vary negative development to manage exposure ranges. You can skip that part.
Jan 11, 2014 13:21:57 #
You can skip the whole zone system unless you're one of those people who like growing and making all your own food from scratch, saving the seeds from year to year to ensure food quality. Or being a person who uses a slide rule when you want to figure your bottom line. Get a good handheld meter like a Sekonic 358 or up and learn how to use it. It's like today's computers compared to an abacus. You CAN even duplicate the results of a handheld meter by learning how to use a grey card and your on-board camera meter. Given an equal amount of skill and patience, ten to one, you won't be able to tell the difference in an image done today in the 1900 style and an image using the latest tools of today but with modern tools you'll have a lot more time to shoot. I'm sure there will be disagreement so you may have to do the test yourself.
Jan 11, 2014 13:26:10 #
gessman wrote:
You can skip the whole zone system unless you're o... (show quote)
Wow! Those are spendy little buggers. How much do you think a person should pay for one of those?
Here is a very sincere question. I'm not being sarcastic at all. What is the difference between this meter and the one in your camera? I know most people probably know the answer to that question, but I do not.
Jan 11, 2014 13:44:13 #
Nightski wrote:
Wow! Those are spendy little buggers. How much do you think a person should pay for one of those?
Here is a very sincere question. I'm not being sarcastic at all. What is the difference between this meter and the one in your camera? I know most people probably know the answer to that question, but I do not.
Here is a very sincere question. I'm not being sarcastic at all. What is the difference between this meter and the one in your camera? I know most people probably know the answer to that question, but I do not.
I think the going price is around $300. You can take a chance on one from ebay, maybe for less, but you might get a defect, just a hair off that will be hard for you to detect but could affect your images. You've got a wad tied up in gear already. What is it worth for you to easily elevate the quality of your images? You can use your camera meter but a handheld works best for me.
There are two types of readings, reflected and incidence. Reflected is the light bouncing back to you off of your subject. In a reflected reading, the lights and darks in the scene will fool your in-camera meter and yield a badly exposed image. An incidence reading is the light that is hitting the subject typically coming from behind you and all the lights and darks are averaged for you which is what the zone system does for you in a more primitive way.
You can simulate an incidence reading with your in-camera meter by aiming it at a grey card with the light hitting it like it is hitting the scene and using that reading to set your camera settings in manual mode. Otherwise the meter in your camera will only give you a reading that can be easily fooled, a reflected reading, without the grey card technique, while the handheld meter will give you both kinds of readings.
Jan 11, 2014 13:47:44 #
Or, as a shortcut, I use a red canon baseball cap,place it so it is lit by the same light as the subject,then spot meter off of that, and set manual exposure to the settings gained. (mid red, blue, or green give 18/13% grey reflectivity)
Jan 11, 2014 13:49:25 #
nekon wrote:
Or, as a shortcut, I use a red canon baseball cap,place it so it is lit by the same light as the subject,then spot meter off of that, and set manual exposure to the settings gained. (mid red, blue, or green give 18/13% grey reflectivity)
Yes, your hand, grass, blue sky, pavement, any mid-tone that approximates 18/13% grey but none of those are quite as accurate as a grey card. Some of those objects can be better than a grey card. It's a crap shoot. Handheld meters are not, mostly.
Jan 11, 2014 13:53:07 #
Thank you, Guessman. I still wasn't sure how it was different after you explained it to me. So I googled, and I came up with this little treasure. I see now that you hold the meter right up to your subject.
http://www.youtube.com/watch?v=zWQWxQIPJDU
http://www.youtube.com/watch?v=zWQWxQIPJDU
Jan 11, 2014 13:56:53 #
gessman wrote:
You can skip the whole zone system unless you're o... (show quote)
Nightski wrote:
Gessman got back here before I did, but I'll continue anyway. :) The chief difference between that ~$300 Sekonic and the meter in your camera is that the in-camera meter is designed primarily to read light reflected from a subject. The Sekonic line, for pretty much ever, has been primarily designed to read light falling on a subject, what is called incident light. Gessman is 100% correct that, very generally, incident meters will give you a more accurate exposure than reflected owing to an incident meter not taking reflectivity of a subject into account. Nekon gives a great example of photographing a piece of black paper and a piece of white paper. Your in-camera meter will expose both of them to give a middle, Zone V or 18% gray. An incident meter, OR taking a reflected reading from an 18% gray target will cause the camera to give identical exposure to each, with the result that the black paper photographs black and the white paper white.Wow! Those are spendy little buggers. How much do you think a person should pay for one of those?
Here is a very sincere question. I'm not being sarcastic at all. What is the difference between this meter and the one in your camera? I know most people probably know the answer to that question, but I do not.
Here is a very sincere question. I'm not being sarcastic at all. What is the difference between this meter and the one in your camera? I know most people probably know the answer to that question, but I do not.
The Sekonics can take reflected readings, too, but they're designed with that big hemisphere which makes taking incident readings easy and accurate. I used a Gossen Ultra-Pro, which was primarily designed for reflected readings but had a small hemisphere for incident. The BIG thing about the L-358 and the Gossen Ultra-Pro is that both are capable of recording highly accurate FLASH readings, which is why I had one. Doesn't matter if you're using one flash or a hundred, a quick incident reading at subject position will tell you your /stop to a fare-thee-well. Nailed. Every time. That might be worth it to you if you want/need to use a lot of flash, esp. multiple flashes.
If you want to reply, then register here. Registration is free and your account is created instantly, so you can post right away.