The perfect exposure
Why is it necessary to achieve this degree of exposure accuracy?
Remember, it’s better to get the exposure correct in the camera
than to waste time in postproduction. True, if you are shooting
in RAW mode ( complete discussion of RAW
capture), you can miss slightly with the exposure, and still
correct it somewhat after the fact. It’s your time, so use it
wisely.
Many photographers use the camera’s built-in bracketing function
for a wider exposure compensation solution. Bracketing is
a time-honored photo technique where multiple images of the
same subject are made at different exposure levels. The idea is
that one of them will be the best, and some may be acceptable.
Typically, in Auto Bracket mode, the fi rst frame is exposed with
no compensation, the second is underexposed, and the third is
overexposed. Activating these settings allows the camera to
automatically take several exposures simultaneously at different
exposure settings. Tip from Barry: be sure to hold the camera
steady as those additional images are automatically taken. This
method is quite practical for landscape, architecture, studio, and
still-life photography, because the subjects aren’t usually moving.
It’s not as practical for photojournalists or sports and wedding
shooters, who have only one chance to capture the moment.
As a budding newspaper photojournalist just out of college,
Barry learned to photograph with only available light. Adding
extra light via fl ash was frowned upon, downright outlawed by
several of his clients. Besides, those 20th-century fl ash units
were cumbersome at best. In those black-and-white fi lm days,
color balance wasn’t an issue, and the darkroom techniques of
burning and dodging were used to produce acceptable prints for
the paper. As publications moved into color photography, lighting
had to be enhanced. The ISO rating of color fi lms was far
too slow for available light work. In fact, artifi cial lighting
(usually electronic fl ash units) was often used for good exposure,
even on location assignments. Newspaper and magazine photographers
often traveled with full lighting kits, setting up lightstands,
positioning the lights, taking fl ash meter readings before
they began their “candid, unposed photojournalism coverage.”
Times and trends do change, and it’s much more acceptable now
to just add “fi ll light” to supplement the available light in a scene.
The key is to skillfully blend the fi ll light so it doesn’t look like
any fi ll was used. Flash fi ll, when used correctly, adds a bit of
crispness to the photograph. It’s possible to use one dedicated
fl ash on the camera acting as a master unit, remotely triggering
one or more similar speedlights aimed into the scene. Here’s a
homework assignment that will reveal a little secret: look through
books and magazines and study the photographs, specifi cally
looking at the eyes of the subjects for the “catch light.” A person’s
eye will refl ect the light source used when the image was
taken, and you can often tell what kind of lighting was used to
make the photograph. A small dot of light indicates a small light
source, such as an on-camera speedlight. A larger round catch
light is indicative of an umbrella, whereas a square or rectangle
means that a soft box was used. You can also look at the shadows
being cast to help determine light placement.
Using a fi ll light outdoors in bright sunlight isn’t as crazy as it
sounds. There’s nothing worse than portrait photography under
harsh direct overhead light. That’s why the Golden Hour is so
special to photographers. When forced to shoot at high noon, fi ll
fl ash is a lifesaver, fi lling in the eye sockets to soften an otherwise
nasty image. Proper exposure is easy if you’ve got a dedicated
fl ash for your camera, although there are some fl ash units
that work well in TTL (Through-the-Lens) mode on a variety of
cameras. First, make sure the camera is set for the proper overall
exposure. Set the fl ash to TTL mode and make a test shot. By
zooming into the image on the LCD, you can see the effect of
the fi ll light in the subject’s eyes. The best way to increase or
decrease the amount of fi ll light is by adjusting the exposure
compensation of the fl ash unit, not the camera.
by
Better AvailableLight DigitalPhotographyHow to Make the Most of YourNight and Low-Light Shots
Second Edition
Joe Farace
Barry Staver
The perfect exposure…
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