Exposure can be really confusing. It’s particularly so with modern digital cameras. Why? The type of light meters built into cameras is a big reason. Those meters are reflective meters. They measure the amount of light bouncing off the subject. A reflective meter’s exposure makes whatever it sees 12.5% gray.
A silhouette can make a beautiful photograph. They are a true minimalistic image, and can even evoke a feeling of mystery or suspense. And the good thing is that they are relatively simple to create! The basics of creating a silhouette is that your background will need to be brighter
Having the ability to accurately capture an image’s color in-camera is a powerful one. How many times have you taken a photo and grown frustrated because your camera doesn’t capture it “the way you saw it?” Often we become resigned to shoot an image and fix it in post-processing later.
Am I a lazy photographer? Maybe. The shortest path to the best possible image is the way I like to go. After years of shooting, I also tend to get set in my ways. However, sometimes it’s good to get out of your familiar bubble and explore with new techniques
I just received a pre-production Illuminati incident light meter that uses bluetooth to connect to a smart phone. I am really excited to use it on a job… Why use an incident lightmeter? The answer is really simple. The meters in our cameras are kinda crippled. Want to see what
The light meter in our camera’s only read light bouncing off the subject. They can’t read color or flash (unless it’s from its own speedlight.) They also can’t read light falling on the subject also know as “incident” measurement. Incident flash meters run from a low end of $200.00 to
The previous Exposure Tactics post, explored understanding the difference between how Lightroom, Photoshop, and light meters measure exposure. Now we continue to look at working with the files in postproduction. Exposure Tweaks in Lightroom & Camera Raw Calibrated computer monitors are great for displaying color and brightness. Unfortunately, the human
More often than not when shooting in the mixed light of partially-shaded areas, such as under canopy or near water where available light can be a spotty mixture of shadow and highlight, it can be difficult to locate a neutral tone on which to meter an accurate exposure. Seasoned shooters
My last post showed why it’s difficult to get the exposure right with the reflective meters in our cameras. They measure the light without being able to differentiate whether a subject is bright, dark or in-between. This one is how to get accurate exposures every time. The trick is to
This tutorial is from a new class called Up and Running with Studio Strobes I just completed for Lynda.com. It is co-taught with my friend Abba Shapiro. http://www.youtube.com/watch?v=_8bmCsoWIQU While often deemed a creative endeavor, photography can involve some math. In this tutorial, learn how light meters, which indicate precisely how
Post by Rick Sammon Heres an important thing to think about when comes to seeing the light (the key to getting a good exposure): you can control what your cameras meter sees. Basically, digital SLR cameras, and even some compact cameras, have at least three metering modes: spot metering, which
