​​فن التصوير .. المباديء والمنهاج -١٨- تعريضات وقراءات ضوئية سليمة -٢-

art of photography . . Principles and Curriculum Lesson Eighteen Proper exposures and light readings -2-

- Special exposure situations

In this lesson, we continue what we left off with the previous lesson, and begin to recognize the preference between discrete or implicit optical counters.

You must use your implicit light-meter with the same intelligence as you would the separate light-meter, ie you will get closer to the subject to get your reading.
Orienting your meter to the appropriate light area, using a blended reading method, and projecting shadows in contrasting conditions - in short, you have to use your wits.
When your implicit light counter is used in this way, it should be of the same quality as your separate light counter.
This is and still many professional photographers prefer to use a separate light meter even though there is an implicit light meter as well in
their cameras.
These point to a number of benefits:
1 - They can leave the camera on the tripod and measure last minute changes in the lighting of the subject.
2- The separate optical counter is larger and easier to read, and its calculations disc simplifies interpretation.
3- It is possible for the separate photometer to be more sensitive to weak light.
4- If the separate photometer is damaged, the photographer can still use his camera while that photometer is under repair.
5- It has often happened to highly advanced professionals that they use extremely complex light meters that can not only read ordinary external and artificial light, but can also read the light through a “strobe” or flash as well.
As for the present time, the light meter in your camera should meet your needs if it exists.

Using an automatic exposure camera:

Many of today's cameras feature automatic exposure, such as Nikon (FG), Olympus (OMG), and Minolta (700X). These automatic cameras come in three types:
a) Shutter priority.
b) aperture priority.
c) programmed.

In a shutter camera, it is preferable to choose your shutter speed, say it is 1/100, then point the camera towards the subject, and the diaphragm will adjust automatically until the correct aperture is reached. It is enough to point and shoot.
On your favorite aperture camera, you can choose f/stop, and the shutter speed will adjust itself automatically.
With this method or that, you only shoot and shoot, as the sensitivity in these new cameras is remarkable, automatic, with a length of up to 60 seconds. Also, adjusting the shutter speed in many popular aperture cameras is a continuous process, meaning that you are not limited to standard shutter speeds such as 1/60, 1/125, 1/250, but rather you can shoot at any exposure time between them.

A fierce debate has arisen about shutter priority or aperture advantage, and adherents of shutter preference feel that controlling shutter speed is more important, especially in poor light conditions, where a preferred aperture camera may choose a shutter speed that is slower than it should be to produce a sharp, prominent image while the camera is held in the hand.
Aperture preference enthusiasts feel that control over aperture is most important because they want to precisely adjust depth of field. To solve this problem, some diaphragm-priority makers are now introducing advanced AF cameras that give a choice of shutter priority, whereby simply pressing a small key, you can get this or that.

However, modern electronic science solved the problem with more manipulation by producing the third type of automatic cameras in our list, the camera programmed in this type of cameras. You don't choose shutter speed or aperture. The camera takes your place by choosing both. | Implicitly inside the camera, there is - a computer. It is based on microchips and analyzes the light, making a decision on the correct exposure, and choosing a shutter speed that will be sufficient to avoid visible camera shake. You know, the camera that while 1/4 second at f / 11 will give a correct exposure, you will get a more stable picture if this camera pushes you to shoot at 1/60 second at f / 2.8.

But AE cameras, for all their remarkable engineering, didn't make the light meter more—still, idiot, it couldn't do anything but read a grayscale of 18%, from here, and while these cameras' smarts are a boon for capturing Normal scenes - quickly, permeating all the dilemmas inherent in reading the light meter are present as they are. You must remain the obedient gentleman whenever the scene changes from what is said to be normal.

Special cases:
Problem: exposure readings at night.
Want to photograph the speckled glow of city lights at night?
Thus, you set your exposure meter away from the lights, and it indicates that you need an exposure of F / 2 for ten seconds, for example. And since you are accurate, you capture this exact exposure, and the result is blurry in which the fine points of light are burned, similar to thousands of glowing light searchlights.
What happened ?. Your exposure meter lied to you.
When you turned your meter at night towards the city, what did it see.?.
Accurate points of light in a sea of ​​darkness, and since he considered you behind an 18% gray image, adjust the points of light with the black contour.
You are not interested in adjusting light and dark.
You want light light and existing darkness.
This means that all you need to measure is the value of individual light points.
You may use a spot meter, but even this meter will not be accurate for the following reasons:
Firstly, even a spot meter with a viewing angle of one degree has a field that is too wide to measure a precise individual point of light.
Second - even if you could use a local meter to read it with an accuracy of just one point of light, you would get a reading of 18% gray. And you want your light to be bright, not standing gray. Did this counter really help you then? .
Since the site counter does not provide a practical solution, what do you do then? .
Use your normal meter and take a reading. Let's say it's f/2 for one tenth.
Take your first shot at one-tenth of the f/2 reading at one second.
Whereas, the factor of ten is purely guesswork.
Use it as a starting point and bracket for your shots.
Capture with f / 2 at 2 seconds. And at a second, and a half a second, and a quarter of a second.

Photographing fireworks or lightning:

Photographing Nazi Games and Lightning is actually relatively easy. What you need is a tripod.
For fireworks, focus your camera on a tripod, and set focus to infinity
Then you have to prepare the slot according to the following table:
aza 25 - f/5,6
Aza 50 - F / 8
Aza 100 - F / 11
Aza 400 - F / 16
Aza 1000 - F / 22

Since fireworks emit their own light paths, you have to leave the shutter open for a few seconds to capture the light path of each subject. A two second exposure produces a good system. But it is possible to produce interesting and overlapping systems with exposures of up to a few minutes, but when you work with such long exposures make sure to arrange your content so that there are no bright areas of lighting in the foreground - street lights for example - as long as these may get Overexposed obstructs the subject.

Lightning is depicted similarly. Place the camera on a tripod with focus on the end and point it in the general direction of the lightning with the shutter open, so the lightning will photograph itself. This is to avoid the flashing lights in the front again.

Photographing the moon:

Perhaps there is no photographer who has not been eager to capture the full moon - a full moon - and it is unfortunate that a photographer who lacks training usually ends up with a mansion that looks like the glowing main light of a motorcycle: . We bring all the enchanting details of the man in the palace, burnt and overexposed. Here's why this is happening and how to solve the problem.
The photographic capture of the moon raises dilemmas similar to the dilemma of photographing the lights of the horizon if you merely direct your light meter towards the moon. You will achieve an image that is too overexposed, to the point of burning all the details in the moon - that's because the meter is trying to turn the black sky into 18% grey, and what you want is a black sky not a gray sky, and a rich moon
Details are not burnt. So what do you do? .
As a starting point, with a shutter speed of 1/250, work with the following apertures:
Movie speed 25, aperture f / 5.6
32 - F / 5,6
64 - F / 8
125 - F / 11
400 - F / 22

Obviously, the combination of shutter speeds and apertures parallel to this table will work in turn.
This is your starting point. Circle your shots. Since the actual strength of the moonlight will vary depending on many factors, including weather conditions, time of night, time of year and phase of the moon, using this table as your starting point circle half a stop. A total of two stops above. And two stops under the first suggested exposures. When operated in this way, it should produce very satisfactory photographs of the full moon ⏹

Next lesson
Endorsement of black and white films