Creative Metering and Exposure

Greetings and welcome to Hohenfels Volks, THE place for our place! I hope everyone is getting a decent start to the week. The Hohenfels area is beautiful this time of year, as many of you know, and full of go-to places for some great shots.

Today we’re going back a little to some basics. We’re primarily going to look at metering and exposure.

We all know the basics by now, that your meter offers a combination to make the measured area fall at 18% reflectance, or neutral gray. Most of us know that by overriding that proffered setting we can take fuller control and get closer to our vision.

I’ve discussed metering and key stops before, but today we’re going to see how it can be used for maximum impact when combined with our vision.

I’ll be referring to the following photo as an example.


ISO 125, f/22, 1/2 on Ilford FP4+
I, Un-Subjugated.When we leave the I, or in this case the red, unsubjugated, a wider variety can thrive.

In the above image, both the highlights and shadows were extremely close in values, and were identical with the light shifting as it was. My initial reading was 15 c/f2 for the shadows and 30 for the highlights. The brighter leaves are red and the darker ones are green. Knowing the values were so close, with the red reading about 2/3 to a whole stop brighter, I chose a red filter to bring up the reds and decrease the greens. A red filter allows about 97% of the red light through, while only allowing about 12.5% of the blue and green. It also gives a factor of 8x or 3 stops. Throwing in the aperture decrease, I was shooting with 5 stops less available light for the greens and shadows. By adding 4 stops to their initial reading of 30c/f2, their levels were increased and the red was 2 stops over neutral. In yesterday’s shot, the same leaves and exposures were made, only using a green filter, bringing all the levels more in line with their illuminations.

This is the same shot, and levels as the image I posted yesterday. This will allow you to see how using the tools and techniques at our disposal, we can lead our image and our viewer to the desired result.

When we meter at our key stop, both for highlights and shadows, what we’re learning is the illumination of the subject. The reciprocal of our shutter speed is the amount of illumination, expressed in candles per square foot. By metering off the shadows, mid-tones, and highlights, we have a range of illuminations with which we can work. Those readings will always be the same at any key combination. For instance ISO 100 and f/10 or ISO 400 and f/20. So, we meter 100 foot candles at ISO 400, f/22. At ISO 250, we would set f/16 to get the same results. Now to place that value at somewhat higher value, for instance, we could set our shutter speed to 1/50 instead of 1/100 at f/16 ISO 250, and get a result that is lighter than neutral, by about 1 stop.

Throw in the ability to see our desired results and the steps to get them; an image can be made, not captured. We have several tools to modify the exposure we’ve selected without destroying the original image. With digital photography, shooting RAW gives you complete control. By raising your red tones, and lowering your greens and blues, a red filter can be somewhat approximated, and so on.

By combining exposure, processing, and value controls throughout the photo making session, we can bring our creative expressions to life. The first step to learn is metering and how to use that information. This little tool can be used for a record photo that leaves little to interpretation, and one for the magic of creative photography, as well. You can give voice to your thoughts without uttering a word. Using what you know, and the tools available to you, vision can be brought to life, and given a meaning according to your creativity and visualization.

I hope everyone enjoys the rest of the week and makes an image using their knowledge, tools, and vision to share with all of us! Get out and make it happen, then show us, share what you felt through your images on our Hohenfels Volks Faceboook page.

Is there anything you’d like to see here? Do you have a question? Share your thoughts here or at the Hohenfels Volks Facebook page. Of course, commenting on both Facebook and here is always appreciated, too! Don't forget, we're on Google+, too!

Luminance Values and Exposure

Greetings, volks. Welcome to Hohenfels Volks, THE place for our place! Spring, being upon us here in Hohenfels, is ripe with opportunities for our craft. Looking around, the trees are bright and clean, the flowers are bursting with color, and the Germany is waking up to a wonderful summer ahead.

Today’s post, delayed by unfortunate occurrences, is about luminance values, and how we can record, refer to, and use those values to improve our image. There will be some math here, but nothing major.

The first thing we need to discuss is the exposure formula. Ansel Adams described it as being the reciprocal of the luminance at a speeds key stop. The key stop for any speed is the square root of the speed. Here is a list of most speed/stop combinations.

Speed Key Stop
100 10
125 11
160 12
250 16
320 17
400 20
480/500 22
620 25
800 28
1000 32

I began the table at ISO 100 and ended at ISO 1000. ISO 100 is the lowest most consumer cameras go, and f/32 is about as high as most consumer lenses get today.

By setting your camera to any of the pairs in the table, you can read the luminance of your metered object, measured in candles/square foot, or c/ft2. For instance at ISO 125, f/11, metering 1/125, then the luminance value is 125 c/ft2. If your meter shows 30 seconds, then the luminance is 1/30 c/ft2. That will put you at 18%, or neutral gray reference values. This is what I refer to as M, or an M exposure.

When photographing normal scenes, we often encounter a scale of values that for any given exposure will run from approximately M-5 and lower to M+5 or higher. By learning to look at luminance values as described above, you learn to tame that range, creating an image that will make you justifiably proud.

An example of exposing for your luminance reading is when you meter the clear sky; you should read about f/11, ISO125, 1/300. This will put your sky into the range of 18% reflectance. We know that a clear Northern sky should fall about M+1, which means we should expose for the sky at f/11, ISO125, 1/150. Of course, this goes back to place and fall exposures. You must decide the key elements within your scene and where they should be placed. Once this exposure and placement is determined, all other values fall where their luminance levels impact your sensor. Knowing these values will help you determine where you wish to place elements and where your remaining elements will fall.

Even metering clouds, you will find a range of luminance values that may run from 200 c/ft2 to 1000 c/ft2. By meter the brightest part, 1000 c/ft2, then adding 3 stops, you bring your 200 c/ft2 up to nearly M+1 ½ in the exposure range, which is slightly brighter than the surrounding blue sky, and significantly darker than the brights in the clouds. Your brights will print out with slight tonal variations, and darker areas will have adequate or better textural ranges. You also bring areas metering at 50 c/ft2 up to the equivalent exposure of 400 c/ft2. These equivalent values are in relation to your original metering from the bright part of the clouds.

Recording your luminance values across the range of your scene will help you learn to recognize values, and expose with more confidence. It will also help in editing your images and preparing them for either printing or display. I would suggest metering across the range of M-4 to M+4 after determining your priorities, and noting the results. Even if you’re shooting at some combination not listed above, take the luminance readings using a combination. After reading the values, switch to your desired settings, compose, and make your image. Values for M+ and M- can be extrapolated by halving or doubling the values obtained with your meter. This is less accurate, but still of considerable value in perfecting your images.

Another great advantage of knowing your luminance and place values, is the ability to tell anyone about your exposure without giving the ISO, f/stop, EI, shutter speed, and so on. Tell them you metered this at 250 c/ft2, and gave M+1 to get the exposure where you wanted it. Regardless of your settings, they will know that to get that exposure from 250 c/ft2, then they give M+1 at whatever aperture and speed they desire, for instance ISO 125, f/8, 1/250 or ISO 400, f/5.6, 1/1600. Both will give the same results, and use the same values, 250 c/ft2 +1 stop, and make exposing a scene more consistent. It’s also useful when referring to edits performed. Taking the last example, you may have shot at M+1, and then edited it to M to decrease contrast. In this case, you can say this was shot at 250 c/ft2 +1 stop, then edited to M for the final effect. This will help others understand and help you remember your shots without having to know every little bit of detail.

There are other ways of expressing luminance, for instance EV or c/m2, or lumens, and as long as you find a consistent method of evaluating and expressing that exposure, your images will be consistent with your vision. Don’t get hung up on what I use, try it and if it doesn’t work, try something else. You’ll still have a working system, and you’ll still be enjoying what we love to do!

Time to get out and do some shooting, I hope you’ll be out today getting your shots in, too!

I’m looking forward to seeing your results and hearing from you. Let me know what you think and how you’re using your camera! Share your thoughts here or at the Hohenfels Volks Facebook page. Of course, commenting on both Facebook and here is always appreciated, too! Don't forget, we're on Google+, too!

Shot Records

Greetings, volks. Welcome to Hohenfels Volks, THE place for our place! The wonderful weather has given rise to many photographic opportunities; I hope you’ve taken advantage of it to create some art.

Today we’re going to discuss the importance if shot records. No… not a transcript of your vaccinations. We’re going to talk about recording information about your shots as a learning tool.


A sample shot record

In the above shot, you have fields for all the important information. If you remember in a previous post, we discussed the exposure formula. If you recall, your shutter speed should be the reciprocal of the luminance in foot-candles, at your key stop. Your key stop is the square root of your ISO, or the nearest stop to it. For ISO 100, it’s f/10, ISO 125 it’s f/11, ISO 400 it’s f/20 and so on. In the sample record, we see that shot 3 was ISO 125, metered at f/11. At our mid-tones, we metered 1/200, which means we have 200 foot-candles in the middle of the scale. Notice that trying to keep the middle values properly exposed, we changed to f/16 at 1/100, which gives us the same exposure, but more DOF.

By tracking your shots with something similar, you can keep track of what levels you want to record at the desired exposures and refer back to it once your images are on the computer. Another nice thing about it is the ability to recall where and when you took a shot.

By recording your meter readings, you know how to move your image areas to the desired exposure, according to your vision. In the same example, we see the shadows read 1/25 at f/11. That would expose for 18% gray, as we all know by now. By stopping down 2 stops, say to 1/100, we keep our texture in the shadow areas of the image, while allowing our gray to move up to 18% +1 stop, giving a brighter overall appearance to our image and creating a bit of glow about our middle values. This is especially true when they are surrounded by slightly darker tones, and an even, soft light.

The simple fact is that shot records help us learn, as we examine our images and review our settings, we see how to improve our exposures. We also see how to create better lighting and impact by changing values. I am often remiss in keeping records of my settings as I take the shot, but have a form that I use taken from Ansel Adams’s book, The Negative. It uses zones and luminance values, and includes details on development and the like.

As we move through the phases on our journey toward crafting and making the perfect photo, we can see where we’ve been, and where we’re headed if we keep records. In today’s digital age, EXIF gives us our ISO, f/stop, shutter speed, and other information. The things it can’t give us are our luminance values, meter readings for other than middle gray, and it certainly can’t tell us the real subject of the shot.

That’s enough for today. I hope everyone has the chance to work on crafting their images and creating their masterpiece! Just remember to record the details. Enjoy the rest of your week!

Don’t forget to post any of your images you’d like to see here at the Hohenfels Volks Facebook page. Of course, commenting on both Facebook and here is always appreciated, too! Don't forget, we're on Google+, too!

Tech Talk: Candles and Calculations

Greetings, volks. Welcome to Hohenfels Volks, THE place for our place!

Today we’re going to go a little bit into what makes up your exposure numbers and how metering works. It sounds familiar, but we’ll be dealing with more math and other advanced parts of your exposure settings.

Let’s start with your ISO. Back in the old days there were lots of ways to label film sensitivity. There was by DIN number, ASA, Weston, and EV, as well as various others fallen by the wayside. Today we use ISO, which is for the most part ASA. Some folks use DIN, that’s why film still carries the DIN number. Under today’s scheme, 3 degrees DIN are equal to 1 full stop. ISO 100/21 has half the sensitivity of ISO 200/24. The Weston number, another popular standard used to gauge a film’s sensitivity, referencing Weston’s meters, is usually .8 times the ISO. Since we’re shooting today, we’ll use ISO, but there may be times we reference others in our future.

Moving on we come to light and light levels. Without the fancy gadgets we have to meter our exposure built into cameras, folks used external meters. Ansel Adams broke it down in his book The Negative. Meters used to measure light in candles, or candela, per square foot. That was the basis for your shutter speed. This will become important in a couple paragraphs.

Next we have aperture, the size of the opening through which light enters the camera. Each ISO had its native f/stop. To find the native stop for any ISO take its square root. For ISO 100 the native f/stop is f/10, for ISO 125 it’s 11, for 200 it’s about 14, and for 400 the native f/stop is 20. Apertures are measured in f/stop, which is a ratio based on the square root of 2, as each step is doubling or halving the light.

The last part is shutter speed. For a native aperture, the shutter speed should be 1/ the light measured in candles per square foot, or c/ft². If you read 125 c/ft², your shutter speed for a native aperture should be 1/125 second. It sounds easy doesn’t it? Well, don’t give up hope. Things are about to get tricky.

Since most light meters today don’t measure in c/ft², finding that speed may be difficult. Automation has taken away many of the tools used by those who came before us in every arena. You can buy a cheap ambient light meter and use it for your photography. The readings are usually in LUX. LUX can be converted, however, by dividing by 10.764. Just round to 10, and there you have it. 1000 LUX is 100 c/ft². At your native aperture, shoot 1/100 for zone 5 placement of what you just read and you’re cooking with gas. Using you digital camera’s metering, set your aperture to the ISO’s native aperture in AV mode. Then seeing the required shutter speed tells you there are that many c/ft² or 10 times that much in LUX.

It seems like talking about this doesn’t do much for you shooting digital, but knowing it will help you improve your light reading skill without your camera’s meter and make getting your exposure correct a lot easier. Plus, if you decide to go old school and shoot with an old camera or use an old meter it will help you to figure that stuff out. It also comes in handy when working with the zone system. Reading 1/100 at your native aperture, you have the knowledge of how to combine your speeds and apertures to get the right exposure for 100 c/ft². You also have the knowledge that you can move your image up or down a zone without playing guessing games as much. It’s quicker and easier to figure out once you try it a few times. A good example is on a bright, sunny, semi-cloudless day. The sky reads about 300 c/ft² when read usually. So for ISO 125 at f/11 you should be set for 1/300 as a good starting point. Then adjusting your speed inverse to any desired aperture changes, and you should have a decent exposure with the sky at zone 5. You can adjust just your aperture or speed to move the sky and other subjects into different zones and create what you visualized that way.

Ansel Adams described it as the exposure formula. He taught that zone 5 was 1/c/ft² at a film’s key aperture. It still holds true. Some minor adjustments may need to be made, but you should be almost dead on. It helps to spot meter for your highlights and shadows to get the best range in your image, but for quick shooting, try it out! I think you’ll see something very cool!

The new theme for this week is “Flattery (Not everything complimentary is flattery!)” You may have already guessed that this has to do with colors, right? Your shots should be composed with complimentary colors as a major element of your composition. Another aspect of your image must consist of contrast in your subject, as well as the contrasting complimentary colors. Perhaps age and youth, or hot and cold. I hope that you get the creative juices flowing for this one and get working on it soon! I also hope that we will see everyone out there submitting this time!

Don’t forget to post any of your images you’d like to see here at the Hohenfels Volks Facebook page. Of course, commenting on both Facebook and here is always appreciated, too!