Many folks are so accustomed to using cameras in Automatic modes, that they find it amazing that one really can shoot out of doors without a meter much of the time, just using Sunny 16. Sunny 16 is a nice skill to have in one's quiver, and is not that heavy to carry into the field.
One can do a similar thing in the studio with studio lights or flashes, because as long as the light does not change, and the light to subject distance does not change, then the exposure does not change.
I shoot Av and Tv at times as needed, but find my frame to frame exposures more consistent, out of doors, if I shoot in Manual mode, and just watch my histogram to verify the accuracy of the exposures.
Soo Great!
No one has posted on this in a while. I hope that doesn't mean people aren't finding this information. Strange for me, I have been trying to focus more on proper metering as well as w/b but specifically metering for the past few days. To further the coincidence I will be back out on the slopes for the first time in 3 years! (a trampolene/snowboard related injury which highly contibuted to the refining of my photography skills) So this is perfect timing to have discovered this sweet sweet technique. Thank you DG and (kidstreet clap) to you guys for a great first impression.
No one has posted on this in a while. I hope that doesn't mean people aren't finding this information. Strange for me, I have been trying to focus more on proper metering as well as w/b but specifically metering for the past few days. To further the coincidence I will be back out on the slopes for the first time in 3 years! (a trampolene/snowboard related injury which highly contibuted to the refining of my photography skills) So this is perfect timing to have discovered this sweet sweet technique. Thank you DG and (kidstreet clap) to you guys for a great first impression.
Be aware: shooting snowy outdoors is tricky. Camera will try to underexpose by a stop or two.
The reflected light meter in your camera in a snow field in the sun, will do what it is designed to do - set an exposure for a medium grey scene. Unfortunately, that MAY not be what you want for snow. You will expect the snow to be white, and that will require 1.5 to 2 stops of positive exposure compensation.
The reflected light meter in your camera in a snow field in the sun, will do what it is designed to do - set an exposure for a medium grey scene. Unfortunately, that MAY not be what you want for snow. You will expect the snow to be white, and that will require 1.5 to 2 stops of positive exposure compensation.
Another thing, if your subject is snowy landscape itself (and not a person in darkigh clothes on the foreground), is to turn the Highlight Priority to ON/Strong, thus forcing the camera to concentrate on the high part of the spectrum, thus capturing tiny variations of white, which optherwise, will most like become one huge evenly blown out R255G255B255 blob...
Another thing, if your subject is snowy landscape itself (and not a person in darkigh clothes on the foreground), is to turn the Highlight Priority to ON/Strong, thus forcing the camera to concentrate on the high part of the spectrum, thus capturing tiny variations of white, which optherwise, will most like become one huge evenly blown out R255G255B255 blob...
Rarely snows here but this brings up a question....
If shooting RAW.....what does Highlight Priority do for me?......I assume nothing.....am I wrong?
...and by the same token...if shooting RAW....what effect will having Dynamic Lighting enabled have on my image.
Rarely snows here but this brings up a question....
If shooting RAW.....what does Highlight Priority do for me?......I assume nothing.....am I wrong?
...and by the same token...if shooting RAW....what effect will having Dynamic Lighting enabled have on my image.
Is it worth losing ISO100 to enable it?
I didn't spend too much time on this, by my understanding is that it affects the capture process, RAW or not. Essentially, it takes the upper quarter of the spectrum (highlights) and stretches it 3 times, while compressing the rest three quarters (i.e. midtones, shdows and blacks) into the bottom one (blacks).
Same about The dynamic lighting. Whether or not it's worth it - it's up to you...
I didn't spend too much time on this, by my understanding is that it affects the capture process, RAW or not. Essentially, it takes the upper quarter of the spectrum (highlights) and stretches it 3 times, while compressing the rest three quarters (i.e. midtones, shdows and blacks) into the bottom one (blacks).
Same about The dynamic lighting. Whether or not it's worth it - it's up to you...
I used the feature once when I first purchased the 50D.
The renderings looked fine on the LCD, but looked much different in post.....leading me to believe that the settings only affected the jpeg.
I need to experiment with this again. I deemed it pointless for RAW capture after that first go.
As someone who got started with photography with dslrs, I have noticed that I always have "a-ha" moments when I talk with someone who has been doing photography for a long time with film before going digital. This tutorial is one of them. Thanks for taking the time to write this.
Comments
never heard of this ,gave it a go out the window ,better than the camera meter.:jawdrop
Many folks are so accustomed to using cameras in Automatic modes, that they find it amazing that one really can shoot out of doors without a meter much of the time, just using Sunny 16. Sunny 16 is a nice skill to have in one's quiver, and is not that heavy to carry into the field.
One can do a similar thing in the studio with studio lights or flashes, because as long as the light does not change, and the light to subject distance does not change, then the exposure does not change.
I shoot Av and Tv at times as needed, but find my frame to frame exposures more consistent, out of doors, if I shoot in Manual mode, and just watch my histogram to verify the accuracy of the exposures.
Moderator of the Technique Forum and Finishing School on Dgrin
No one has posted on this in a while. I hope that doesn't mean people aren't finding this information. Strange for me, I have been trying to focus more on proper metering as well as w/b but specifically metering for the past few days. To further the coincidence I will be back out on the slopes for the first time in 3 years! (a trampolene/snowboard related injury which highly contibuted to the refining of my photography skills) So this is perfect timing to have discovered this sweet sweet technique. Thank you DG and
The reflected light meter in your camera in a snow field in the sun, will do what it is designed to do - set an exposure for a medium grey scene. Unfortunately, that MAY not be what you want for snow. You will expect the snow to be white, and that will require 1.5 to 2 stops of positive exposure compensation.
Moderator of the Technique Forum and Finishing School on Dgrin
Another thing, if your subject is snowy landscape itself (and not a person in darkigh clothes on the foreground), is to turn the Highlight Priority to ON/Strong, thus forcing the camera to concentrate on the high part of the spectrum, thus capturing tiny variations of white, which optherwise, will most like become one huge evenly blown out R255G255B255 blob...
Rarely snows here but this brings up a question....
If shooting RAW.....what does Highlight Priority do for me?......I assume nothing.....am I wrong?
...and by the same token...if shooting RAW....what effect will having Dynamic Lighting enabled have on my image.
Is it worth losing ISO100 to enable it?
Jeff
-Need help with Dgrin?; Wedding Photography Resources
-My Website - Blog - Tips for Senior Portraiture
I didn't spend too much time on this, by my understanding is that it affects the capture process, RAW or not. Essentially, it takes the upper quarter of the spectrum (highlights) and stretches it 3 times, while compressing the rest three quarters (i.e. midtones, shdows and blacks) into the bottom one (blacks).
Same about The dynamic lighting. Whether or not it's worth it - it's up to you...
I used the feature once when I first purchased the 50D.
The renderings looked fine on the LCD, but looked much different in post.....leading me to believe that the settings only affected the jpeg.
I need to experiment with this again. I deemed it pointless for RAW capture after that first go.
Jeff
-Need help with Dgrin?; Wedding Photography Resources
-My Website - Blog - Tips for Senior Portraiture
FWIW, since most of these things are buriedn deep down in custom settings, I put them on my custom menu, which at the moment looks like this:
Nikolai's Custom Menu (Canon):
This way if I see the shot calls for some non-trivial highlights treatment, I can adjust my settings instantly.