Is the in-camera light meter providing feedback on the specific metering method used at the time? For example, using spot metering, is the return value based on the chosen spot? Or in a matrix type metering situation, the area around the meter point is also taken into account? If that's the case, has anyone tested the accuracy of the spot metering function in camera at a chosen area and compared that to a light meter at the same location?
Yes. You will get different readings based on the metering mode chosen. I will often switch to spot if I feel it will give me more valuable information (eg, backlighting situations, on stage where I want the face correctly exposed and don't care about the rest of the stage etc etc).
Sam, will have a look at the link later when I get a minute - thanks! Again, i HAVE used a lightmeter, when I took a class .... and was using studio lighting. It felt slow to me, vs my in-camera where I point/read the viewfinder info/adjust in a second or so/shoot again without even putting the camera down.
And I think it is fair to say that the simplest way for someone who lacks experience to get a correct exposure without having to "interpret" histogram data, guess and check, take 20 setup shots etc. is to use a light meter. It is certainly not the only way, but it is quick and accurate whether using strobes, natural light, or any combination thereof.
Only if they want to add the purchase of a lightmeter to their gear investment. IF they just want to use their camera's lightmeter, which they already have and which doesn't cost a bean - which I believe is where alaios is starting from - then... learning to use *that* tool is going to be the way to go. The main thing I've found is that you have to put the metering point in the camera over the area you want to read - sounds basic, but a lot of people using matrix metering forget that and then are disappointed with the results.
I think this is actually really valuable discussion - in-camera and handheld lightmeters are both great tools.
Sam...Thanks for sharing this! This was one that I hadn't seen in my search on tutorials on using flash. This video really enforces a lot of what Scott Robert Lim taught in his workshop on Creative Live, like both outstretched arms equals approximately 6 feet, and you can get good results with bare flash. Only difference, this video is getting exposure and flash settings using a light meter, and Scott Robert Lim's workshop is basically using the meter in the camera and a chart for the flash setting for a starting point.
One thing that the in camera meter can not do is meter for light ratios. Here is a video by Mark Wallace from Adorama TV that explains how to meter for light ratios using a Sekonic L-358. http://www.youtube.com/watch?v=Lbv69Um_FcE He also done a workshop on Creative Live called Understanding Light, which is another one that I had purchased. I had been researching light meters and because of this workshop I decided on the Sekonic L-358. Since this particular meter is no longer available brand new, I found one on eBay and purchased it, and I'm glad I did! I started using it at work with my product photography and it has made my life a whole lot easier! I find that I now can get the shot in one shot now!
I think this is actually really valuable discussion - in-camera and handheld light meters as well as the strengths and weaknesses of each, combined with the knowledge base of fellow forum members, are all great tools.
Sam, will have a look at the link later when I get a minute - thanks! Again, i HAVE used a lightmeter, when I took a class .... and was using studio lighting. It felt slow to me, vs my in-camera where I point/read the viewfinder info/adjust in a second or so/shoot again without even putting the camera down.
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This is the way I have been doing most of my shooting as well, but have started to use a flash meter.
Today I have a job photographing a Catholic school fund raiser with a silent auction, live auction, dinner, awards and fashion show put on by the kids. This is a pretty big deal, and takes over an entire locale hotel.
There will be several different lighting environments, including spot lights of unknown temp or luminosity for the fashion show.
I have plans to try a few different things than I would typically do. first I am going to set and use a specific kelvin value to match the ambient tempt for each room, if different. Once that is known I will use a gel to match that temp. Next I will shoot a color checker passport under each lighting condition.
Last but not least I am going to use my light meter to set the exposures.
I will report back in a few days as to the success or failure of trying all this out in the real world.
Two well known and hugely successful portrait photographers, Tony Corbell and Joel Grimes had back-to-back workshops on CL. Corbell uses a light meter constantly during the shoot. He said he didn't understand how you could control lighting without one. Next day Joel Grimes starts his class and says he never uses a light meter. He does everything by looking at the back of camera and sheer intuition. Go figure, right?
Personally, I started off by using the Chuck Gardner's "white towel" method for determining best exposure using the camera's light meter for off-camera flash. Eventually I graduated to the light meter and never looked back. It's just way more efficient for me.
Sam, will have a look at the link later when I get a minute - thanks! Again, i HAVE used a lightmeter, when I took a class .... and was using studio lighting. It felt slow to me, vs my in-camera where I point/read the viewfinder info/adjust in a second or so/shoot again without even putting the camera down.
>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>
This is the way I have been doing most of my shooting as well, but have started to use a flash meter.
Today I have a job photographing a Catholic school fund raiser with a silent auction, live auction, dinner, awards and fashion show put on by the kids. This is a pretty big deal, and takes over an entire locale hotel.
There will be several different lighting environments, including spot lights of unknown temp or luminosity for the fashion show.
I have plans to try a few different things than I would typically do. first I am going to set and use a specific kelvin value to match the ambient tempt for each room, if different. Once that is known I will use a gel to match that temp. Next I will shoot a color checker passport under each lighting condition.
Last but not least I am going to use my light meter to set the exposures.
I will report back in a few days as to the success or failure of trying all this out in the real world.
Sam
Quick report:
Dark quickly changing environment. The fashion show was a trying time!! Unevenly lit runway, lights turning on and off semi-randomly, Different exposure front to rear even if the lights were left on.
Lighting changed from rehearsal, to matinee to Evening show.
Other rooms had some different challenges.
Had very nice success determining Kelvin value for ambient light , and matching speed light with gel.
Things moved much too quickly to use the light meter in many situations, but was great help when I was able to get a quick reading, or determining a base reading for the runway lights at full intensity vrs low intensity. Also in getting reading for some special shots.
Although I think a light meter will be invaluable, (to me) for portraits, engagements , and many wedding type shots, and while I will take it all future event type assignments it's not as easy to use in those situations but can still add value to the event photos.
I did tend to work off some base readings but after that ended up using primarily manual setting and adjusting per histogram on the fly.
All in all I think the results of this shoot were improved.
Two well known and hugely successful portrait photographers, Tony Corbell and Joel Grimes had back-to-back workshops on CL. Corbell uses a light meter constantly during the shoot. He said he didn't understand how you could control lighting without one. Next day Joel Grimes starts his class and says he never uses a light meter. He does everything by looking at the back of camera and sheer intuition. Go figure, right?
Personally, I started off by using the Chuck Gardner's "white towel" method for determining best exposure using the camera's light meter for off-camera flash. Eventually I graduated to the light meter and never looked back. It's just way more efficient for me.
Maybe because I did work as a photojournalist and didn't have time to play with a lightmeter I'm used to using the camera. If I am shooting people its spot metering and I adjust the exposure compensation +/- in aperture mode and adjust off camera flash appropriately either in manual mode or TTL in most cases. If I'm using monolights outdoors then I'm in manual mode, set exposure for the backgrounds and then adjust the lights. It has become second nature. Looking at the videos of the guys using a meter doesn't look like it would save much more time, and in some cases may take more time.
For me using a lightmeter would be another tool to keep up with and eventually lose.
The superiority of an incident light meter cannot be denied. Everything else is a work-around. However, you can get the same results if you know what you're doing. I almost never use a light meter.
(Sam, note the contraction of you are.)
-Jack
An "accurate" reproduction of a scene and a good photograph are often two different things.
The superiority of a light meter cannot be denied. Everything else is a work-around. However, you can get the same results if you know what you're doing. I almost never use a light meter.
(Sam, note the contraction of you are.)
I know there is a message here for me somewhere. Dang ifin I knows what it coulds be.
Up date I delivered the images of the event to the client. I set up a quick slideshow on my laptop, with music. Sooo easy on a Mac, and got lots of spontaneous oohs and ah's.
Comments
Yes. You will get different readings based on the metering mode chosen. I will often switch to spot if I feel it will give me more valuable information (eg, backlighting situations, on stage where I want the face correctly exposed and don't care about the rest of the stage etc etc).
Sam, will have a look at the link later when I get a minute - thanks! Again, i HAVE used a lightmeter, when I took a class .... and was using studio lighting. It felt slow to me, vs my in-camera where I point/read the viewfinder info/adjust in a second or so/shoot again without even putting the camera down.
Only if they want to add the purchase of a lightmeter to their gear investment. IF they just want to use their camera's lightmeter, which they already have and which doesn't cost a bean - which I believe is where alaios is starting from - then... learning to use *that* tool is going to be the way to go. The main thing I've found is that you have to put the metering point in the camera over the area you want to read - sounds basic, but a lot of people using matrix metering forget that and then are disappointed with the results.
I think this is actually really valuable discussion - in-camera and handheld lightmeters are both great tools.
Good info Gary!
Sam
Fixed it for 'ya.
.
Sam, will have a look at the link later when I get a minute - thanks! Again, i HAVE used a lightmeter, when I took a class .... and was using studio lighting. It felt slow to me, vs my in-camera where I point/read the viewfinder info/adjust in a second or so/shoot again without even putting the camera down.
>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>
This is the way I have been doing most of my shooting as well, but have started to use a flash meter.
Today I have a job photographing a Catholic school fund raiser with a silent auction, live auction, dinner, awards and fashion show put on by the kids. This is a pretty big deal, and takes over an entire locale hotel.
There will be several different lighting environments, including spot lights of unknown temp or luminosity for the fashion show.
I have plans to try a few different things than I would typically do. first I am going to set and use a specific kelvin value to match the ambient tempt for each room, if different. Once that is known I will use a gel to match that temp. Next I will shoot a color checker passport under each lighting condition.
Last but not least I am going to use my light meter to set the exposures.
I will report back in a few days as to the success or failure of trying all this out in the real world.
Sam
Two well known and hugely successful portrait photographers, Tony Corbell and Joel Grimes had back-to-back workshops on CL. Corbell uses a light meter constantly during the shoot. He said he didn't understand how you could control lighting without one. Next day Joel Grimes starts his class and says he never uses a light meter. He does everything by looking at the back of camera and sheer intuition. Go figure, right?
Personally, I started off by using the Chuck Gardner's "white towel" method for determining best exposure using the camera's light meter for off-camera flash. Eventually I graduated to the light meter and never looked back. It's just way more efficient for me.
Link to my Smugmug site
Quick report:
Dark quickly changing environment. The fashion show was a trying time!! Unevenly lit runway, lights turning on and off semi-randomly, Different exposure front to rear even if the lights were left on.
Lighting changed from rehearsal, to matinee to Evening show.
Other rooms had some different challenges.
Had very nice success determining Kelvin value for ambient light , and matching speed light with gel.
Things moved much too quickly to use the light meter in many situations, but was great help when I was able to get a quick reading, or determining a base reading for the runway lights at full intensity vrs low intensity. Also in getting reading for some special shots.
Although I think a light meter will be invaluable, (to me) for portraits, engagements , and many wedding type shots, and while I will take it all future event type assignments it's not as easy to use in those situations but can still add value to the event photos.
I did tend to work off some base readings but after that ended up using primarily manual setting and adjusting per histogram on the fly.
All in all I think the results of this shoot were improved.
Sam
Maybe because I did work as a photojournalist and didn't have time to play with a lightmeter I'm used to using the camera. If I am shooting people its spot metering and I adjust the exposure compensation +/- in aperture mode and adjust off camera flash appropriately either in manual mode or TTL in most cases. If I'm using monolights outdoors then I'm in manual mode, set exposure for the backgrounds and then adjust the lights. It has become second nature. Looking at the videos of the guys using a meter doesn't look like it would save much more time, and in some cases may take more time.
For me using a lightmeter would be another tool to keep up with and eventually lose.
(Sam, note the contraction of you are.)
An "accurate" reproduction of a scene and a good photograph are often two different things.
I know there is a message here for me somewhere. Dang ifin I knows what it coulds be.
Up date I delivered the images of the event to the client. I set up a quick slideshow on my laptop, with music. Sooo easy on a Mac, and got lots of spontaneous oohs and ah's.
Bottom line is they were very happy.
Sam