Fred, I would guess they do. Since these were taken at 1/6 and .6 seconds respectively, they were definitely too slow a shutter speed to catch any variation is luminosity. --Bob
Thanks much! Excellent info. I know just the spot to try this on.
rmalarz wrote:
In a previous post, https://www.uglyhedgehog.com/t-574456-1.html , I was asked to provide a tutorial on how I approached taking these photographs. It's actually quite simple. I spot metered the brightest source of light in both scenes. These are denoted with a red rectangle in the two images posted here. After spot metering the lights, I increased my exposure 4 stops. This places those bright sources of light in Zone IX. This is white without any texture and similar to specular reflections (The reflection of the sun from a chrome bumper, or any shiny surface).
By increasing the exposure for those bright lights I also increased the exposure of the darker areas of the scene as well. This is all well and good, as I can then tone them back down in processing. Additionally, by exposing for the brightest light, the others, such as the neon lights were kept at an exposure that prevented them from being blown out or simply a smudge of color where in reality they are individual tubes of neon light. I attempted to retain that presentation as best I could.
I hope this explains the process sufficiently. --Bob
I have also enjoyed taking photos at night. They are usually taken with a F1.9 25 mm (50 equivilent) lens. Metering is done by the camera aimed at the scene. Attached is one recently taken in Havana.
Thanks Mr. Bob......that was very informative and makes sense to me. Sometimes when we can't get our cameras to do what we want we need little tricks to overcome our lack of technical skill in special conditions like low light availability. I must learn to do some post processing soon to expand my abilities. Thanks again sir.
But I think getting all in one shot is becoming less important today.
Bracketing is a better answer for night photography. I can't imagine today trying to get a single shot to capture it all. In the film days yes, but this is 2019.
ETTR and similar ideas are no longer valid in my opinion but, you do make a good point for understanding optimum exposure.
rmalarz wrote:
In a previous post, https://www.uglyhedgehog.com/t-574456-1.html , I was asked to provide a tutorial on how I approached taking these photographs. It's actually quite simple. I spot metered the brightest source of light in both scenes. These are denoted with a red rectangle in the two images posted here. After spot metering the lights, I increased my exposure 4 stops. This places those bright sources of light in Zone IX. This is white without any texture and similar to specular reflections (The reflection of the sun from a chrome bumper, or any shiny surface).
By increasing the exposure for those bright lights I also increased the exposure of the darker areas of the scene as well. This is all well and good, as I can then tone them back down in processing. Additionally, by exposing for the brightest light, the others, such as the neon lights were kept at an exposure that prevented them from being blown out or simply a smudge of color where in reality they are individual tubes of neon light. I attempted to retain that presentation as best I could.
I hope this explains the process sufficiently. --Bob
In a previous post, https://www.uglyhedgehog.com/t-574456-1.html , I was asked to provide a tutorial on how I approached taking these photographs. It's actually quite simple. I spot metered the brightest source of light in both scenes. These are denoted with a red rectangle in the two images posted here. After spot metering the lights, I increased my exposure 4 stops. This places those bright sources of light in Zone IX. This is white without any texture and similar to specular reflections (The reflection of the sun from a chrome bumper, or any shiny surface).
By increasing the exposure for those bright lights I also increased the exposure of the darker areas of the scene as well. This is all well and good, as I can then tone them back down in processing. Additionally, by exposing for the brightest light, the others, such as the neon lights were kept at an exposure that prevented them from being blown out or simply a smudge of color where in reality they are individual tubes of neon light. I attempted to retain that presentation as best I could.
I hope this explains the process sufficiently. --Bob