Having spent most of my career on the technical side of photography, I've learned that the real mechanical challenge is to take a picture that renders a final image closely matching the reality we saw through the viewfinder. I also know that "auto mode" is not synonymous with "auto success".
We can manipulate images, add special effects and tweak the color/density/saturation/contrast characteristics of a photograph in programs like Adobe's Photoshop®. But the trick is composing a picture and "knowing" that when the shutter goes "click", we've captured the moment inside a digital file that will need little or no digital enhancement.
This kind of photographic certainty begins and ends with EXPOSURE. For the beginning DSLR photographer, mastering exposure will put you on the path to taking great pictures and loving every minute you spend behind the camera. It was his insights and understanding of the importance of exposure that enabled Ansel Adams to capture unforgettable images and inspire the generations of photographers that followed.
So critically fundamental is exposure to photographers of all skill levels, that I'm posting a series of entries on the topic. Each post will be bite size and include a practical assignment aimed at helping you form a life-long creative partnership with your camera.
The three images above are indicative of the exposure problem every photographer faces. The left image is UNDEREXPOSED. While the picture on the right is OVEREXPOSED. Finally the center photo is correctly exposed. What's interesting is that with your camera set in "auto mode" the odds that this picture would have been exposed as shown in the center picture are only about 50/50.
As you may or may not know, it's ultimately your camera's shutter and aperture controls that will determine just how much light strikes your camera's sensor to record the picture. These light controls will be discussed at length in later posts.
But, for this discussion, we must start with the device directing the actions of the shutter and aperture -- the camera's built-in light meter. This is where we'll start our understanding of exposure. Keeping the three pictures above in mind, the question is: "What is the camera's light meter trying to tell me?". Followed closely with: "Why doesn't the meter 'automatically' give me good pictures every time?".
The answers to these questions lie in our own misconceptions about the functioning and capabilities of the light meters built into every modern film or digital camera. Understanding what the light meter is attempting to accomplish, leads to a simple experiment. In this assignment, only use the camera in your mind. Your real camera isn't needed at this time. I ask you to take three mental pictures, develop them in your mind and report on the results. Here are the subjects for your three pictures:
Picture 1: A white card approximately 16" x 20" in size. Instructions:
Picture 2: A BLACK card approximately 16" x 20" in size.
Instructions: Follow the same instructions as described for Picture 1 above.
Picture 3: A middle GRAY card approximately
16" x 20" in size.
Instructions: Follow the same instructions as described for Picture 1 above.
Now it's time to finish the assignment. Process these three pictures in the same way you normally process all your photos. Only this time do it in your mind. Again in your mind, take a look at the final three prints from the pictures you took.
Describe what you see.
Picture 1: What does it look like?
Picture 2: What does it look like?
Picture 3: What does it look like?
That's it for this entry. The answers and explanation are available in my next post.
As always, feel free to comment as to the usefulness of this discussion in your understanding of photography.
We can manipulate images, add special effects and tweak the color/density/saturation/contrast characteristics of a photograph in programs like Adobe's Photoshop®. But the trick is composing a picture and "knowing" that when the shutter goes "click", we've captured the moment inside a digital file that will need little or no digital enhancement.
This kind of photographic certainty begins and ends with EXPOSURE. For the beginning DSLR photographer, mastering exposure will put you on the path to taking great pictures and loving every minute you spend behind the camera. It was his insights and understanding of the importance of exposure that enabled Ansel Adams to capture unforgettable images and inspire the generations of photographers that followed.
So critically fundamental is exposure to photographers of all skill levels, that I'm posting a series of entries on the topic. Each post will be bite size and include a practical assignment aimed at helping you form a life-long creative partnership with your camera.
The three images above are indicative of the exposure problem every photographer faces. The left image is UNDEREXPOSED. While the picture on the right is OVEREXPOSED. Finally the center photo is correctly exposed. What's interesting is that with your camera set in "auto mode" the odds that this picture would have been exposed as shown in the center picture are only about 50/50.
As you may or may not know, it's ultimately your camera's shutter and aperture controls that will determine just how much light strikes your camera's sensor to record the picture. These light controls will be discussed at length in later posts.
But, for this discussion, we must start with the device directing the actions of the shutter and aperture -- the camera's built-in light meter. This is where we'll start our understanding of exposure. Keeping the three pictures above in mind, the question is: "What is the camera's light meter trying to tell me?". Followed closely with: "Why doesn't the meter 'automatically' give me good pictures every time?".
The answers to these questions lie in our own misconceptions about the functioning and capabilities of the light meters built into every modern film or digital camera. Understanding what the light meter is attempting to accomplish, leads to a simple experiment. In this assignment, only use the camera in your mind. Your real camera isn't needed at this time. I ask you to take three mental pictures, develop them in your mind and report on the results. Here are the subjects for your three pictures:
Picture 1: A white card approximately 16" x 20" in size. Instructions: - Go outdoors and find a nice shady spot to take the picture.
- Place your camera in full "automatic mode"
- Compose the picture by moving close enough to the white card so it fills the entire viewfinder image. (All you see through your viewfinder is "white")
- Take the picture.
Picture 2: A BLACK card approximately 16" x 20" in size. Instructions: Follow the same instructions as described for Picture 1 above.
Picture 3: A middle GRAY card approximately16" x 20" in size.
Instructions: Follow the same instructions as described for Picture 1 above.
Now it's time to finish the assignment. Process these three pictures in the same way you normally process all your photos. Only this time do it in your mind. Again in your mind, take a look at the final three prints from the pictures you took.
Describe what you see.
Picture 1: What does it look like?
Picture 2: What does it look like?
Picture 3: What does it look like?
That's it for this entry. The answers and explanation are available in my next post.
As always, feel free to comment as to the usefulness of this discussion in your understanding of photography.
2 comments:
I would like to do the lessons in order as you suggested, but Parts 1b and 2 are not in your Table of Contents. How do I access these two lessons?
Well that's is indeed strange. It's supposed to be automatically added to the Table of Contents.
But I can certainly supply the links here:
Part 1B: http://www.hubbardcamera.com/2008/08/exposure-is-everything-part-1-whats_06.html
Part 2: http://www.hubbardcamera.com/2008/08/4-more-ingredients-in-perfect-picture.html
Let me know if you have any difficulties with these links.
Good luck and enjoy.
Hub
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