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
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
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
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
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.
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
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
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.
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. While often deemed
This image shows the transition of a darkened silhouette, where the image was exposed for the sky, all the way to an image where the metering was set to the
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