Basics Photography 07: Exposure

178 Pages·2009·18.74 MB·english

by  David Präkel

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BASICS BASICS
David Präkel
PHOTOGRAPHY PHOTOGRAPHY
07 07
Featured topics The successfulBasics DB Featured contributors
David Präkelwas born and educated back and rim light Photographyseries from AVA avas Mara Ambrose
calibration idic Olgeir Andrésson
ihni st hfiers nt ocrathm oefr aE nagt tlahned a.g Hee o wf naisn ge iavennd cdleopsteh- uopf field Pcoumblpisrhisinegs’ sa Acoclaledcetmioina olisf ttitles Präs Ph EXPOSURE HStoéwpahradn Ae nBgouusrson
photography has played a central role EV compensation including: Lighting, Composition, keot Dan Deakin
in his life ever since. After studying Exposure Index (EI) Capturing Colour, Post-Production l og Robert Doisneau
Exposure Value (EV) r Raymond Ellstad
a
Psychology at the University of extreme lighting Colour, Post-Production Black & p Mike England
Manchester he enjoyed a successful filters White,Working in Black & White hy E Chambré Hardman
flash 0 Jacques Henri Lartigue
and diverse career in journalism, f-numbers and Exposure. Packed with useful 7 Caroline Leeming
photography and education. A natural graduated ND filters tips and fully illustrated with clear Murdo Macleod
communicator, he spent a sabbatical High Dynamic Range (HDR) diagrams and inspiring imagery, Dave Nightingale
histograms Jim Reed
year in America teaching photography this book offers an essential
infrared Marek Sikora
in night class and youth programmes key introduction to the subject. Patrick Smith
in Rochester, NY. light itself Chris Steele-Perkins
local exposure control Exposurelooks at one of the most n Otto Steinert
On return to the UK he taught the multiple exposures perplexing aspects of photography, total amount of light permitted Ron Thomas
open shutter to fall on film or sensor during Ilona Wellman
subject at all levels in universities, over- and underexposure for both film and digital cameras. the act of taking a photograph Adrian Wilson
colleges, schools and at the prestigious pushing and pulling film A poor exposure will rarely lead to
Kodak Imaging Training Centre in RAW files a great image and being able to E
reciprocity X
Harrow. He now runs his own shutter speed and time manipulate photographic variables P
photographic training workshops in speed and sensitivity such as shutter speed and aperture O ava publishing sa
Northumberland (Centre of Britain stops to your own ends is the mark of a S [email protected]
types of exposure meter U www.avabooks.ch
PhotoWorkshops Partnership). His true photographer.
white balance R
books on photographic composition, Zone System E
Starting with a basic look at how the
lighting and black-and-white
effects of light’s intensity and
photography are published in the AVA
duration can control a photographic
Academia series and are internationally
image, this book gives a
recognised as ideal starter texts.
comprehensive overview of the
subject. Exposurewill fully prepare
the photographer for difficult or
unusual situations and will provide
inspiration and advice for obtaining
creative and accurate results in
photographic exposure.
ISBN-13: 978-2-940411-05-4
9 782940 411054
£17.95
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BASICS
David Präkel
PHOTOGRAPHY
07
EXPOSURE
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EXPOSURE
COMPOSITION
XPOSURE
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Published by AVA Publishing SA EXPOSURE
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epleEercmtXriosnsPiiocOn, m oSfe cthUhea ncRiocpaEyl,r ipghhot thooclodpeyr.ing, recording or otherwise, without
ISBN 978-2-940411-05-4
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Production by AVA EBoXokP PrOodSuctUionR PtEe. Ltd., Singapore
Tel: [phone]
Fax: [phone]
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EXPOSURE
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Luke Tomlinson (polo player)
Careful choice of shutter speed and panning keeps the subject crisp while blurring the
background to add to the atmosphere. The dynamic blur of the moving hooves – not to
mention anticipating when all four feet would be off the ground – shows the power of the
shutter and camera movement to depict the dynamic, moving world.
Photographer: Marek Sikora.
Technical summary: Canon EOS 40D Canon 100–400mm L IS USM 1/60 at f/22 ISO 250 Evaluative metering.
Tone curve, hue and saturation adjusted in Photoshop.
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Contents
How to get the most out of this book 6
Introduction 8
Basic theory 10 Shutter speed and Aperture and depth
time 56 of field 72
Light itself 12
Motion and time 58 f-numbers and stops 74
What is a good
exposure? 20 Neutral Density (ND) Depth of field 78
filters to extend time 60
Histograms 22 Creative use 84
Types of shutter 62
Contrast 24
Creative use of shutter
Stops 26
speed 68
Reciprocity 28
Exposure Value (EV) 30
Subject Brightness
Range (SBR) 34
Over- and
underexposure 38
Clipping 44
Key 46
Speed and sensitivity 48
Exposure Index (EI) 52
Filters 54
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Meters and metering88 Dynamic range 122 Special cases 146
Types of exposure Graduated Neutral Technical versus
meter 90 Density (Grad ND) subjective exposure 148
filters 124
Reflected versus Back and rim light 150
incident light meters 92 RAW files 126
White balance 152
Exposure Value (EV) High Dynamic Range
Winter weather 154
compensation 106 (HDR) 130
Flash 156
Other light meters 110 The Zone System 136
Close-up 160
So why not do it in Pushing and pulling
Infrared 164
Photoshop? 120 film 140
Open shutter 166
Local exposure
control 142 Multiple exposures 168
Extreme lighting 170
Conclusion 172
Contacts 173
Glossary 174
Acknowledgements and image credits 176
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How to get the most out of this book
This book covers all aspects of exposure, whether you are using a film or a digital
camera. Technical concepts are identified and explained in a straightforward manner
on the page through clear diagrams and in a concise glossary. The book is illustrated
throughout with creative, thought-provoking images – many taken especially – from
contemporary practitioners and classic sources.
Meters and metering 88_89
Pioneer photographers soon understood that in order to get a good exposure
every time, especially with their expensive and difficult-to-use materials and processes,
some way of measuring exposure rather than a guess or estimation was needed.
This chapter opens with review of the development of the modern high-sensitivity
hand-held light meter.
You can choose to measure the light falling on the subject or you can measure the light
reflected from the scene. There are light meters that do one or the other and meters that
do both but how you interpret the information they give is key to a good exposure.
The drawbacks of the commonly used reflected light meter and ways to interpret the
readings from it are assessed in this chapter.
Nearly every modern camera features a reflective light meter of some sort. Sophisticated
metering patterns and intelligent use of look-up tables containing thousands of prior successful
exposures lie behind the apparent simplicity of the modern camera auto exposure. This section
looks at the different metering modes offered by camera manufacturers, their strengths and
their disadvantages.
Because cameras rely on reflected light meters, however sophisticated their ‘intelligent’
assessment of the scene, some method of compensating for the reflective nature of what is
being photographed is usually needed. A section of this chapter looks at how single strong
colours can confuse camera light meters and how exposure compensation can be applied
to overcome misreading with tricky subjects that are either all-dark or all-light.
Some light meters work in continuous light while others are designed for measuring the brief
burst of light from photographic flash. The differences are explored and explained. This chapter
also looks in some depth at a light meter that doesn’t give exposure readings at all: the colour
temperature meter. Another specialist meter is the spot meter. How this differs from the spot
meter function on some cameras is explained. A true spot meter can give very misleading
results if not used correctly and without knowledge about what it is meant to be measuring.
A final thought is given to reasons why you need to get the exposure right in the camera
and not rely on image-editing software to make corrections.
Power Station
Understanding your camera’s light meter gives you full expressive control over your images
as with this difficult to meter backlit subject.
Photographer: Adrian Wilson.
Technical summary: Canon 5D Canon 17-40mm f/4 L USM at 17mm at f/16 ISO 100. ND grad filter 0.9
(Cokin ZPRO). Spot metered off the sky. RAW capture image cropped, horizon straightened, levels adjusted
and local contrast adjusted in the plumes of steam using Photoshop contrast curve.
Images Main chapter pages Image captions
All images have been carefully Special chapter introductions Captions provide the creative
chosen to show only the theory or outline the major ideas that and technical background to
technique that is being discussed. will be covered. the image chosen and give
a technical summary of the
camera, exposure details and
any post-production work.
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Aperture and depth of field F-numbers and stops 76_77
Headings
The idea of the stop was introduced on pages 26 and 27. The mechanism controlling the
Each important concept is shown accmarenao btueens t c ioslof c sliaegldhle tdd po tawhsens iantopg e rtrehtsurtorreiuc.g tT hthh aee msliogo-hdctea prllnae sdles finn-ssg ti osthp tr honeuu gmirhibs t.eh Tresh loee rni rjsius.s Tits hf -men avuadmreiba oebfrl sem aserizteae lud lse heaodvl eetso t hthisat 1 stop as mupcahs sliegsh th aaslf pasa smseusc htw liigchet as 1a slstoop
indicate how much light is passing through the lens.
in the heading at the top of the At maximum aperture (what photographers call ‘fully open’) all the glass of the lens is used.
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page, so you can quickly refer wmiathx iam wumid ea pmeartxuimreu (mus uapalelyrt aurroeu wnidll cf/o4m omr fo/5n.l6y) baes dae ‘ssclorwib’e lde nass. aT h‘fiass its’ ale nsus;b ojenceti vwei tmh eaa ssmuraell
olefn tsh eis lisgahidt gtoat bheer ‘instgo p‘ppoewde rri’g ohft tdhoew lenn’.s. At minimum aperture, little light gets through and the AThpee rintuterrevsal is called a ‘stop’; there is one stop from f/2.8 to f/4 and one stop from f/16 to f/22. What confuses
to any topic of interest. AFtwaosopi t ctehahar netal u flfel/roee1nnc gilsaset l nh odls epei sne(f tigngnhtieiehnvdye.g nI dato sotgfh: i 5eveth0xe liemses ttdamt eb iam ruw mfte oiecanutos elcudsrltr a ehoas af os lvtoifhce tbea oar ll i fego5 mnhp0stt:oni5 cone0spes, eyasa nn ion1idnfv: 1gtsoh olraeve sit lniha maget i a ofafrg-na nlesocu.htt mi Aioop nbf 5 a ee0onrxmf d pits mhew ane-o sfrfouiaovcltcdeiaoa lbg -l olelleaef nsdntshgge etstihnh ca .rltpeihbneeersitdrure mloaietspfsa etsmnhr ytelaiug xpfrhoeiemtcso. a uIpstlm u lleiesc , fn heobg acaetsahscil ae f–l/ure 3 tsnth.oe5ge –tri htew5 .mi.si6d e.ce mTor hutbhinseet res wirifm iiynnpodtuluyoi twtmihv ieetnh,ak ein s osm tf h tothahratee ta lfti -hgsnemhu tlma eclnlbo snme urloe masssbe i nseb .rel iZmignohgeot a tmgnhase lt e hlsoneiztsrseien osog ffm pltighaoheywt hl,ee aarn v asbes io g viptga eiersinra zinbnoulgoem mambsea eadxr iftmmroaewucamtainorsdns
maonpaden nubinfeag ca to fufor 1cea2).l . A5lem 5nm0gmt htom o g-vleievrne 2s t hwoeri t a1hn: 4a fn /r2 ao tlpieoen.nsi.n Ag 5o0f m25mm-mfo cwaol-uleldn gbteh hf/a4v lee nas 2 w5:o5u0l do rh a1v:2e rlaetnios Lsuigbhjet crat yast finrofimnity
It is the circular hole – the aperture – that lets through the light. Because we are dealing with
the area of circles (or the equivalent area in the case of metal bladed irises), the mathematics
itnhveo rlavdesiu tsh (eπ cxo rn2s).t aTnhte P hi.a Tlvhineg f oarnmdu dlao ufobrl itnhge nauremab oefr sa sctiarcrtlein igs fProi mm uoltnipe liaerde broyu tnhdee sdq tuoa rgeiv oef
the familiar f-stop number sequence where each setting passes exactly half as much light
as its neighbour above and twice as much light as its neighbour below.
50mm diameter
lens opening focal length =100mm
F-number
Aperture is the diameter of the lens opening as a fraction of the focal length – in this example focal
Iris length/lens opening 100/50 = f/2 aperture.
A mechanism between the lens elements comprising flat overlapping plates that can be adjusted to change
the size of the hole – or aperture – at its centre. This is used to control the intensity of the light passing through
Running glossary the camera lens and is homologous to the iris in the human eye.
Technical terms and phrases are
explained on the page they occur.
Meters and metering Other light meters 114_115
The spot meter – grey tone
An alternative method of using the spot meter is to choose an area to measure that you judge
to be equivalent to mid-grey (18 per cent reflectance). You take just one spot meter reading
from that tone. This technique is more prone to errors than the average high-low reading
technique because it relies on your choice of a suitable mid-grey tone. It is however preferred
by Zone System workers who are looking to ‘place’ a particular subject tone on mid-grey in
their final image as part of the visualisation process.
It bears repeating that the film speed or digital sensitivity must be set correctly on a hand-held
light meter before taking a reading; get into the habit of making the ISO setting on the meter
the first thing you look at every time to avoid under or over readings. The spot meter is used
to take a reading from a single small area of tone and this EV reading is then converted into
a suitable combination of shutter speed and aperture for manual setting on the camera.
Again the choice of tone is subjective but you will be certain that whatever subject tone
you chose to meter from will reproduce as mid-grey in your final image.
It is worthwhile learning what items in the real world are at or close to mid-grey for the
purposes of spot metering. Some Zone System courses take their participants out into the
street with their spot meters to play ‘Spot Zone V’. Zone V in the Zone System is the equivalent
of mid-grey. Once a participant has chosen a particular object, tree bark, fence, area of stone,
then a reading will be taken and compared against a grey card reading in the same lighting to
see how close to a real Zone V reading the chosen object was. Points can be awarded! In my Whitby
experience the best items to choose for a Zone V mid-grey reading are weathered wood on a With an unknown proportional mix of light and dark tones
fence or building, dusty and dirty sidewalks or very dark Caucasian skin you would describe metering from a mid-tone grey will guarantee the correct
as ‘weather-beaten’. Brown paper grocery bags can also make a surprisingly good grey card reproduction of the full range of tones. The building upper
substitute. Just make certain that whatever you choose as your Zone V substitute is in the left of centre was judged to be a suitable candidate for
same quality of light as the overall scene and not in the shadows or in a bright refection. mid-tone spot metering.
Photographer: David G Präkel.
Full details of the Zone System for digital and film workers are covered in Chapter 5 between Technical summary: Leica R8 180mm Elmarit-R Fuji Provia 100
pages 136 and 139. (processed by the author in Tetenal E6) 1/500at f/4.
‘Light meters read; photographers interpret.’ SVipeowt tmhreotuegrh d disigpiltaayl spot viewer
Catherine Jo Morgan (American artist and painter) viewfinder (simulated) – one-
degree angle of acceptance.
Quotations Diagrams
Specially selected quotes contain the pertinent Screen shots, clear diagrams and concise charts are
thoughts of famous photographers, commentators, used to explain and support key technical concepts.
artists and philosophers.
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Introduction
Exposure is often seen as one of those annoying things that gets in the way of true
photographic creativity. The calculating mindset required to juggle apertures and shutter
speeds seems to be at odds with looking at the world, selecting scenes to photograph
and reacting intuitively to create great images. It seems far easier to use the increasingly
sophisticated automation offered by camera manufacturers (and if the images turn out
poorly they can always be fixed later in an image-editing program on the computer).
Nothing could be further from the truth.
A poor exposure will rarely lead to a great image. All that the computerised cleverness of the
modern camera leads to, in the end, is an exposure combining a selected shutter speed with
a selected aperture. The camera’s ‘scene modes’ may be convenient but they are not magic.
They reflect an acceptable pre-ordained view of your world. It is not your view. Taking charge
of your camera may mean complete manual control or just overseeing its automatic functions.
True photographic self-expression is being able to manipulate the photographic variables of
shutter speed and aperture to your own ends. Without this control you would not be able to
express yourself through the language of photography.
This book explains the basic theory behind making an exposure – what is technically known
as sensitometry. It explains how the photographic image is rooted in the effects of controlling
light’s intensity and duration and asks: ‘What is a good exposure?’ It then looks at the camera
controls that let us manipulate these aspects and the devices we use to measure light energy
to establish that ‘good’ exposure. Every photographic medium (both film and digital) has its
limits to record detail in the brightest and darkest parts of the image. No camera ‘sees’ what
our eyes can see – the light meter and an understanding of exposure help us bridge this gap
to make memorable, expressive images.
Basic theory Meters and metering
The book opens with an explanation of light itself, This section looks at the range of light meters that are
its qualities and how light-sensitive materials (both available, when to rely on your camera exposure meter
photographic film and sensors) capture and relay and when not, as well as techniques for establishing a
its energy. meter reading for good exposure.
Shutter speed and time Dynamic range
This section of the book investigates the different types No photographic image can capture both the
of shutter that control the duration of a photographic shadow and highlight detail seen by the human eye.
exposure. This chapter investigates the limited dynamic range of
every photographic medium (film and digital, colour or
Aperture and depth of field black and white) and looks at how best to exploit it.
Aperture changes the intensity of light passing through
the lens and creates different fields of acceptable Special cases
focus around the plane where the lens is critically This chapter deals with difficult-to-crack problems,
focused. This chapter looks at the optical mechanism such as white balance, winter photography, close-up
of this depth of field and how it is used creatively. photography and flash photography.
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Chicago night
Only with control of all aspects of exposure can photography truly be used expressively.
To create the sense of isolation felt by the occupant of a hotel room overlooking a busy
city, this image used a long shutter speed to create subject blur, intentional camera blur
(and diffusion through a net curtain) plus a knowledge of how to judge a suitable exposure
to keep the city twilight looking dark.
Photographer: David G Präkel.
Technical summary: Leica R4 Leica 24mm f/2.8 Elmarit-R hyperfocal focusing 4-5 sec at f/8 Kodachrome 64.
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