The 4 Basics

**Loupey** · 02-21-2007, 11:26 AM

Speed: thanks for the endorsement! I just hope in my ramblings that some things make sense

Payn: I still think the aperture control should be a ring on the lens. Two years ago, I came this close to switching to Nikon because some of their compatible lenses still have the aperture ring.

**payn817** · 02-21-2007, 12:59 PM

You are just an old fashioned kinda guy!

So, I don't want to jump ahead and overwhelm anyone. However, is there a kind of "standard" of how you change the exposure if your subject moves to shadow?

For example, say light shadows 1/2 stop, med shadow 1 stop, etc?
Or, is that one of those things that come with practice, and time?

I'm excited about this, because A mode made me feel limited, and struggled in many situations. Therefore creating exposure issue, and upon trying to correct them, possibly hurting image quality.

**Sushigaijin** · 02-21-2007, 01:52 PM

Originally Posted by payn817

You are just an old fashioned kinda guy!

So, I don't want to jump ahead and overwhelm anyone. However, is there a kind of "standard" of how you change the exposure if your subject moves to shadow?

For example, say light shadows 1/2 stop, med shadow 1 stop, etc?
Or, is that one of those things that come with practice, and time?

I'm excited about this, because A mode made me feel limited, and struggled in many situations. Therefore creating exposure issue, and upon trying to correct them, possibly hurting image quality.

For this the in-camera meter is great. Set it to spot metering. You can adjust the exposure based upon the original meter reading by subtracting or adding exposure value. If you meter to "0" as your default and your subject moves into shadow - your in-camera meter will tell you what the exposure value is. For instance, it might tell you that the wing used to be 0, but now it is -1. You can just subtract one stop from your exposure to correct that to 0.

Shadows vary greatly, so there isn't any good standard to apply here...mostly it's just a comparison issue; know what used to be 0, and you will be able to easily get back to 0 by metering on the same spot.

**payn817** · 02-21-2007, 02:41 PM

Originally Posted by Sushigaijin

For this the in-camera meter is great. Set it to spot metering. You can adjust the exposure based upon the original meter reading by subtracting or adding exposure value. If you meter to "0" as your default and your subject moves into shadow - your in-camera meter will tell you what the exposure value is. For instance, it might tell you that the wing used to be 0, but now it is -1. You can just subtract one stop from your exposure to correct that to 0.

Shadows vary greatly, so there isn't any good standard to apply here...mostly it's just a comparison issue; know what used to be 0, and you will be able to easily get back to 0 by metering on the same spot.

Yeah, ummm... I asked a dumb question.

OK, I'll go be quiet, and hide in shame for a little while

**Loupey** · 02-21-2007, 03:09 PM

Originally Posted by Sushigaijin

For this the in-camera meter is great. Set it to spot metering. You can adjust the exposure based upon the original meter reading by subtracting or adding exposure value. If you meter to "0" as your default and your subject moves into shadow - your in-camera meter will tell you what the exposure value is. For instance, it might tell you that the wing used to be 0, but now it is -1. You can just subtract one stop from your exposure to correct that to 0.

Shadows vary greatly, so there isn't any good standard to apply here...mostly it's just a comparison issue; know what used to be 0, and you will be able to easily get back to 0 by metering on the same spot.

True, but many cameras don't have spot metering. Plus, I think spot metering is very difficult as you have to be REAL careful that you pick the appropriate small object from which to meter.

There are different levels of "shade". Open shade made from one lone tree out in an open field is quite different from the shade made within a forest. Payn, if you have time, try to find another middle-toned subject in the shade to repeat the process. If you don't have time, start flipping your command dial towards the "more exposure" side as you shoot. In 4 quick shots (less than 2 seconds without removing your eye), you can bump up your exposure +2 stops in 1/2 stop increments which should be more than enough.

**payn817** · 02-23-2007, 08:18 PM

Yeah, that makes sense. I was thinking that spot may be more difficult, but I can flick a dial while shooting a few frames. Then just remeter and get back to where I started. Good stuff! I went ahead and purchased a gray card.

BTW Loupey, the guy that owns the local camera shop says you need to contact him for your check. He owe's you about $100 commission for all these purchases you've influenced.

**Loupey** · 02-23-2007, 08:47 PM

OK, I'll send him my address to where he can send my check. Say, that reminds me, Kenko still hasn't sent me that one and someone still owes me a beer

Ironic that, in my back-to-basics approach, people have to go out and buy more equipment.

(hey, I just NOW figured out where all of you have been getting all those other smileys - the "more" button

). I just hope that they will be useful purchases!

Payn, your gray card should be white on the back side - good for setting custom white balance in the field. Also, it will be useful with your continuing macro work. Just remember to orient it in the direction that matches your subject. Hold if vertical to get an exposure reading to photograph the side of an object. Hold it horizontal to get an exposure reading to match the top of an object.

**Loupey** · 03-11-2007, 10:49 AM

Though not officially one of the 4 basics, I always consider the background as a key make-or-break element of the image. Regardless of the subject matter, one should ALWAYS consider the background (and foreground if there are overlapping elements) with the same regard as the subject itself.

I always try to place the subject in a neutral area of the background so there are no intersecting lines. If not possible, I try to place the main area of the subject (the head for example).

I shot this sequence a few days ago and I thought it might adequately demonstrate this. The first image is how I first spotted the bird. Not very impressive. Next, I always look for the appropriate background for any subject. The only break in the tree line I could find was a small opening (2nd shot). Refocusing on the bird (3rd shot), the opening grows by going OOF - just enough to encompass the bird. Much better now.

That's your lession for today. Now go out and shoot