Portraiture exposure metering
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Printed Date: 13 May 2025 at 08:07
Topic: Portraiture exposure metering
Posted By: Frankman
Subject: Portraiture exposure metering
Date Posted: 07 February 2012 at 10:03
Introduction There are countless ways to meter for portraits. One of the reasons I prefer Sony/Maxxum cameras is the ease of which they allow spot metering lock on a model's face in full automatic mode. What sets Sony/Maxxum apart from most of the competition is their ability to lock toggle that reading, without having to hold the button down to keep the reading. The lock feature allows an entire session to be captured with one click of the button, a quick exposure compensation... all in automatic. I prefer to work in Aperture Priority mode. But this method would also work well with Shutter Priority, Program, and full Manual metering. In Manual exposure mode, the Spot Lock feature will lock the exposure value so that shutter speed and aperture change in unison but keep the same light values. Any way you use Spot Lock, the metering value is locked in, and you as the photographer are free to adjust aperture and shutter speed in unison to accommodate background blur or motion. Image #1  For ease of explanation, you’ll see that by spot metering on the face without exposure compensation produces a relatively dark image. I find that with fair skin tones, a +1 stop exposure compensation is all that is needed to bring image density to where I want it to be for great proofing right out of the camera, and good files to work with later on in PS. Since the film days, with a Maxxum 9xi and 600si, I've metered for natural light portraits with Spot Lock on the model face with a +1 exposure compensation. Today, I don't even bother with taking a "0" reading. My camera is set for +1 all day and adjusted from there. I only show the "0" setting here for demonstration purposes. An argument could be made that +0.7 may be better suited for proper exposure. My preference is +1 in most situations (even for film). This setting really gives the girls those bright and creamy skin tones they want to see. Image #2  The method works equally well for both front lit and back lit sittings. Image #3  Image #4  When shooting a person with medium skin tones, I’ll use +0.5 or +0.7, as not to brighten them up too much. For darker skin tones, the spot meter is typically set to “0” compensation. Darker skin tones are just about the same density as a gray card, or a new pair of blue jeans. Image #5  This is something you’ll want to adjust for personal taste. The slight side lighting here does not affect the formula of +1 compensation too much for concern. Image #6  But now changing to the opposite side from the previous shot requires a meter reset and new reading. Notice the exposure is exactly the same at 1/320ss / f4. But the exposure compensation to get there requires a new exposure compensation at +1.3 rather than the standard +1.0. Experiment to taste, but know that you’ll always be pretty close if you spot meter on the face and add exposure comp. Image #7  For front lighting (natural window light), neither the background nor clothing will influence the spot reading on the model face. You’ll still retain great detail in both the shadows of dark clothing and the highlights of bright whites. Now the shot below on the far right is accomplished with a photo reflector below the model face, rather than complete natural lighting shown in all the others so far. Make sure you take the spot meter reading based upon the light with the reflector. This formula doesn’t work if you shoot with a reflector but didn’t meter with it in place. Image #8  Again, if you use reflectors for fill lighting, make sure that your meter reading includes that reflected light. Then just add +1.0 exposure compensation and you’re pretty close to where you need to be. Image #9  Strong side lighting requires a more precise spot meter reading. In this case, spot meter was directed only upon the highlight side of the face. To get that super bright contrasty look, cheat a little and try adding +1.3. Image #10  Works every time, regardless of who’s holding the reflector... Image #11  With about $400 worth of Sony/Maxxum kit, a photographer has everything needed to produce a professional photo shoot for paying clients. I could have used expensive lenses and high MP full frame cameras for this weekend actors portrait shoot. But experience has taught me that high volume retail sessions don’t always require ultimate quality that will never be seen. What’s needed here is IQ good enough to fulfil the client requirements, yet also allows smaller files for super fast image editing and post production finishing. I’ll shoot about ten people per day, multiple looks, with around 1600 images to sort through per day. Fast shooting and image processing is important to make this job profitable and enjoyable. Image #12  Image #13  Image #14  Image #15  Image #16  Image #17  For this, the a200, and similar cameras, are actually overkill in terms of quality needed. The largest portfolio print these actors will ever use is a 9x12. And their comp cards are letter size at best with many of the shots being run as 4x6. I’ve shot this particular client for over twenty years, with never a complaint about quality, even when I used to shoot it with a 3.5mp Fuji S1. Having a camera in my hand all day, the issue of lightweight is a major factor for me. I have no desire to hold a big a900 with vertical grip and a heavy f2.8 super zoom all day. Aside from size, what Sony brings to the game is the Maxxum DNA of Spot Meter Toggle mode. This method of metering portraits makes for quick work in the field, allowing me to concentrate on interacting with the subject rather than fiddling with camera controls. Add about $200 worth of quality Maxxum vintage glass, and I’ve got a guilt free recipe for equipment abuse in a package that really delivers. Nothing beats the functionality of Sony/Maxxum designed cameras for quick work on busy days. Here’s the finished files of much of the shoot. Spot Lock Toggle was used entirely. And the constant f4 apertures of the 35-70mm f4 and 70-210mm f4 beercan duo made quick work for shooting high quality wide open all day long without worrying that an aperture would shift during zoom. In fact, much of the metering was accomplished by zooming in fully, spot meter on face, then zoom out for the actual shoot. Both these little lenses are lightweight, fast operating, and focus very close for headshots. Add the 24-50mm f4 and you’ve got a great kit for events too. Happy Shooting! Kind regards, Clyde Thomas http://www.ctphotographx.com/" rel="nofollow - http://www.ctphotographx.com/ ------------- *** Sony A850 * A700 * Minolta 5D and other stuff *** |
Replies:
Posted By: brettania
Date Posted: 07 February 2012 at 10:25
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Clyde -- looking through your gallery is an edifying experience considering the resources used. You are a true master of light! TFS your "tips". ------------- http://www.dyxum.com/dforum/posting-images-and-links-faqs_topic28010.html - Posting Images and Links | http://tinyurl.com/oz62mfp - Posts awaiting answers |
Posted By: maewpa
Date Posted: 07 February 2012 at 10:31
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Thanks Clyde. I'd just worked out to do that myself, through trial and error, but the additional details here will save me a lot more trial and error! Very well written and illustrated too. ------------- Paul aka maewpa |
Posted By: artuk
Date Posted: 07 February 2012 at 12:04
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Thanks so much for the information. Interestingly, there have been a series of articles in the UKs "Amateur Photographer" magazine (a very long running and well respected weekly here), and the author suggested +ve EV for caucasian skin, but -ve EV for dark skin (and little or no compensation for medium skintones such as Mediterranean or some asian skin tones). I would be interested to know if the pictures you posted with such nice skint ones are stragith from camera, or post processed (i.e. from raw), and what camera and colour settings you tend to use. (I often struggle to get what I regard as "nice" skin tones). ------------- Art |
Posted By: Photosopher
Date Posted: 07 February 2012 at 23:09
Hi artuk, the photos shown from the Adobe Bridge screen shots are completely RAW untouched. The shots at the bottom of the article are all the finished retouched product delivered to client with final treatments. This particular shoot only required 8x12 prints and so I shot with Sony a200, 70-210mm f4 beercan and 35-70mm f4 mini beercan. Plenty of quality for that and sometimes a 16x24 order will come through with no problems. All the head shots wide open at f4. I only use f5.6 at the tele end of the 70-210mm for full length shots. It gives a little better edge sharpness where the face is at the top. But for head shots, I only care about center sharpness on the eyes. Both these little Maxxum zooms are excellent wide open in center. The 35-70mm is especially sharp in macro mode, and since I use all manual focus, it works great for me. On such busy days, I leave camera white balance at 5000K. All shots get final color corrections for web proofs in Camera RAW before converting to JPGs. When final order comes, I'll pull the RAW file and finish with retouching and final treatments, like the shots at the bottom of this article. Hope I answered your questions! |
artuk wrote:Posted By: Sanjuro
Date Posted: 08 February 2012 at 07:14
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Thanks a lot for this wonderful information and the work you put on it. I usually use the beercan and/or the 50/1.4 (if I am at home) for portraits. and I think the 35-70 is a great cheap lens! Really nice article! ------------- Rgds Sanjuro "I paint objects as I think them, not as I see them." --Pablo Picasso |
Posted By: MartyMoose
Date Posted: 08 February 2012 at 07:59
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A very nice read and very generous of you to share. The illustrations are really great and while looking at them I couldn't help but notice the color balance. Do you set a custom white balance or do you shoot a gray and adjust later? Thanks in advance, Steve ------------- ILCE's a6000, a7, a7ii, a6400 CZ Batis 25, 85, SEL's 55/1.8, 35/1.4, 16-70/4, 24-70/4, 70-200/4, 90/2.8G Macro, 55-210/4.5-6.3, 16-50/3.5-5.6, Rokinon E 12/2, and a modest collection of vintage lenses |
Posted By: Sanjuro
Date Posted: 08 February 2012 at 08:39
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Clyde, one question I forgot before. Why did you use iso400 all the time. It seems like in many shots you could have use iso 100 or 200 without any problems, is a specific reason on why the iso 400? Thanks! ------------- Rgds Sanjuro "I paint objects as I think them, not as I see them." --Pablo Picasso |
Posted By: Photosopher
Date Posted: 08 February 2012 at 15:39
It really depends on the shoot, the output requirements, and what product is being sold. For newbie wanna be model/actor portraits (and any portrait for that matter), or editorial fashion, the product is the model. Skin tones are most important. That's best left for my eye to judge. Not a gray card. Reality is secondary. The "feeling" is paramount. I set a mental "target" before these shoots... In this case the target to hit is "approachable". I want the models to be "approachable". The pathway to depict them as "approachable" is to capture them as clean, fresh, glowing, confident, satisfied. This is a matter of taste and experience. A gray card just gets in the way... for me. So my camera lives at 5000K, shot on RAW. I found when using a gray card, that I was adjusting to my personal taste anyway. So I stopped using one for these types of shots. I just "eye it up" from a calibrated Mac Cinema Display. Two monitors actually... one stock from factory to color balance web views, and the other calibrated for my print shop, which is color accurate for North American CMYK PrePress. This satisfies my Imation Matchprint Press, the Canon IPF 12 color, and anything requiring out lab CMYK. But for catalog fashion work, the product is the clothing. Gray Card (and color chart) will definitely be used for any product where customer is ordering through catalog. It gives a reference to the pre press house, and helps to ensure that red dress in the catalog is close to the red dress delivered to the customer. I'll still shoot at 5000K RAW, but use the gray card for accurate color balance in PS.
It's a matter of being shoot specific. The final output requirements for this particular job are well served by iso400 on a 10mp camera (a200). In my old age, I've discovered certain jobs that simply don't justify ultimate image quality. The hassles of changing ISO are traded for the benefits of an invisible camera. I want the camera to disappear. These heavy shoot days are best served by me interacting with the talent and stylists. I have no desire to fiddle with gear or settings. I'd much rather joke around with the kids. The a900 slept in the bag all day as backup. I didn't even bring the prime lenses. But for anything art related, journalism, or personal projects, I'll definitely "fiddle" with settings to ensure potential for ultimate IQ later on. Each job gets it's own "base settings" philosophy at the beginning. That philosophy is designed to fulfill the final output requirements. For instance, I just shot a parts catalog for a refrigeration company. Tiny little parts that would never be displayed beyond 300x300pxl on a web site. No one, not me, nor my client wants to rifle through a thousand full resolution 24mp RAW files just to end up resize them later on. I learned this philosophy early on in my career when shooting client work for catalog. Art directors would bring us page layouts that had specific output sizing requirements. We'd tape the translucent sheets to the back of our view cameras. We'd use 8x10 for full and half page, but smaller shots were satisfied with 4x5 and medium format. We called it "shoot to size", literally cropping the shot based upon the page layout photo box taped to the back of the view camera. Doing so made everyones job much easier in post production. I guess old habits are hard to break. |
Posted By: coyote1086
Date Posted: 09 February 2012 at 17:09
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Thank you for sharing the secrets ... I will definitely try it next time when there is a portrait session. Really enjoyed the read and all those nice pictures. A question, do you need to add contrast and saturation to the photos ? in camera or by software ? Thanks. James |
Posted By: Photosopher
Date Posted: 10 February 2012 at 06:47
You can judge from the preview photos if they "need" post processing to your personal liking or not. That's fairly subjective depending upon the final look desired by the photographer. Personally, for me, image correction is a three step process. First, get the color/contrast levels in a good range at the time of capture. Second, perform global color corrections to prepare for client web proofing. And thirdly, give each final image order the battery of retouching, color/saturation tweak, burning, dodging, sharpening required for each particular publishing medium. I'll begin with the image in largest size and retouch all blemishes, airbrush skin tones. Then save the original as a layered TIFF. Final treatments will be different depending upon if client is ordering an in house print, or canvas, or an out lab service with different color calibration. Each image order is then sized for appropriate medium (web or print) and sharpened specifically for that specific size and for that specific purpose. Then I save that version as JPGfin. Sometimes I can resize from that JPGfin to another size, and sometimes I have to go back to the full size layered TIFF for another set of corrections. Point being, that client may order a glossy 8x12 print, and a flat 11x17 stretched canvas or cotton rag print. The color/contrast/saturation and everything will be different between those mediums, just as it is for a 300pxl vs 900pxl web shot. |
Posted By: gqc
Date Posted: 14 February 2012 at 01:21
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Thank you for sharing. ------------- A580,M(white)80-200mm f2.8 GHS,M RS 28-105mm f3.5-4.5,M macro 100mm f2.8,M 70-210mm f3.5-4.5,M 35-105mm f3.5-4.5(white),T 35-105mm f2.8,MAXXUM 7,SAL35F18,SAL50F18 |
Posted By: dca1213
Date Posted: 14 February 2012 at 02:12
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Your work speaks for itself and it is exquisite, but when using flash I prefer to use a flash meter in manual exposure mode, I just like the results better, but to each his own. Thanks for sharing, and I do agree about the 35-70 and 70-210 f4 lenses, they are superb. ------------- Dennis |
Posted By: kozmo
Date Posted: 16 February 2012 at 01:12
Thanks for the tips, I will have to try them out some more, my first attempt shows I need much more work, I will have to try the 5000k wb and wish I would have kept my 35-70 and beercan. I tried my 50 1.4 and then my 30 2.8 macro was near so I tried it.   Your work is amazing by the way!!  ------------- A850 vg, A57 A33. Zeiss 135 1.8, Tamron 200-400 17-50 2.8 Minolta 100 f2, 50 1.7, 85 1.4 RS, , 35-105, sony 30 macro, tokina 19-35, Beercan. |
Posted By: mike77
Date Posted: 16 February 2012 at 04:42
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One question: if I shoot RAW, is really that important when taking the picture whether exposure compensation should be 0, +0.7, or +1.0? As I understand it, RAW should give you enough room to change these exposure settings when post-processing. After reading this article, I am not sure I am right though. ------------- A99, NEX-C3, HVL-F43M, more than enough glass (A, E, M42, MD) |
Posted By: Photosopher
Date Posted: 16 February 2012 at 04:50
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I mean this in the kindest way, but shooting RAW is no excuse for poor metering. Sure you get plenty of latitude with RAW files to take them up or down. But when dealing with hundreds, perhaps thousands of images, it's nice to have them close to proof ready right out of the camera. I remember shooting with other togs at the beginning of digital. "We'll just fix it in post production... put the extra work on the client dime". Those studios didn't last very long. Those who lasted were the ones who shot digital with just as much care as the film togs. We respected the client dime. The production side is the boring part keeping us from shooting more. We should consider doing everything possible to shoot it right in the field, in order to make post processing as quick and easy as possible... IMHO. |
Posted By: Photosopher
Date Posted: 16 February 2012 at 14:44
Wow kozmo... I don't know how much more work you really need on these. They look perfect. The goal here is to get proof quality images right out of camera. I'd say you accomplished that in spades. Did you have to do anything to them? Your WB looks fine for these shots. If that's natural window light, I'd say you hit it around 5500-6000K on a cloudy day... warmed up northern light? Well it looks like Auto WB the way it's shot. No problem for quick grab portraits. But there is a tad of inconsistency in the color between them. On first gaze, they have a very classic feel. Pardon the pun, but your metering is spot on for that glowing face. It speaks to the viewer, inviting them in to share the spirit of the subject. Your highlights are well within range, before blowing out, the skin tone glistens. The shot is spirited, inviting, very approachable. Your shadows are deep enough to show contrast, yet not blocked up. They have enough detail to relate mood. Really, the metering on these is perfectly executed. Assuming subject stays at the same distance from light source, then a complete session of consistent images can be captured, in automation, with a simple toggle lock spot reading on face. Very nicely seen and executed kozmo. |
Posted By: kozmo
Date Posted: 17 February 2012 at 01:40
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Thanks for the reply. I have taken flat portaits sometimes and this +1 exposure seems to help in that respect, but I felt these still needed help. Compared to the sample pics in the post especially. I only spent a little while setting this up to try, so I am happy with the results. I look forward to trying it out some more later. The sample pics are so beautiful and have so much color that they pop off the page. I posted a link to this article on dpreview and only one person responded. I'm amazed more did not check this out or try it. Their loss I guess. Thanks again for posting! ------------- A850 vg, A57 A33. Zeiss 135 1.8, Tamron 200-400 17-50 2.8 Minolta 100 f2, 50 1.7, 85 1.4 RS, , 35-105, sony 30 macro, tokina 19-35, Beercan. |
Posted By: rickztahone
Date Posted: 17 February 2012 at 03:43
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TFS, very great read. In situations where the lighting isn't that great, granted, it wouldn't be a pro shoot, more of a personal, grab the camera as fast as you can situation, how would you meter then? When does your WB settings change? ------------- a99+VG|a77+VG|a55|Nex6|HVL-56/58|minO|58 1.2|24|Tam|90|SAL||16-50|70-200|∑|50 1.4|∑| 24-70 2.8 [URL=http://www.flickr.com/photos/rickztahone/]Flickr |
Posted By: kozmo
Date Posted: 17 February 2012 at 14:40
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Sorry I forgot to mention that I blended a little under her eyes where darker lines appeared. I also bumped saturation a little and clarity. A small vignette. Thanks again for your kind words. I aspire to take better portraits and this has helped.  ------------- A850 vg, A57 A33. Zeiss 135 1.8, Tamron 200-400 17-50 2.8 Minolta 100 f2, 50 1.7, 85 1.4 RS, , 35-105, sony 30 macro, tokina 19-35, Beercan. |
Posted By: 9000AF
Date Posted: 17 February 2012 at 15:29
| Clyde, great read, thank you for sharing! Very good information for someone who only shoots more formal portraits a few times per year. I really need to start using reflectors. I have also been using spot metering and lock since the 9000 and 600si film days and have always appreciated the ease of use and reliable outcomes. I completely agree with your point of using a small and light "invisible" camera especially when working with kids. For me the A55 and the old Tokina AT-X 28-70mm f/2.8 set to f/4 in A-mode and the Sigma 50-150mm f/2.8 are filling the role nicely. |
Posted By: Photosopher
Date Posted: 17 February 2012 at 18:30
I appreciate that. I worked as a photojournalist for six years and understand that sometime you just have to get the shot quickly. But let's be honest and distinguish between grab shots and portraits. Sometimes a quick flip to full AUTO (AF, ISO, Settings) will allow for the fastest grab shots. But you know we did it back in the film days too, with full manual everything. For quick grabs back then, WB wasn't an issue because the film was usually B&W. It's not very difficult to look at a room and know the range of exposures. For instance, from experience, walk into any HS gymnasium and realize your settings will be somewhere in the range of 1/250th f2.8 iso1600 wb3000K. That might not be perfect, but I'd bet a plucked chicken it's pretty darn close. Then know the mid court is brighter than under the net. Just think about the light. Quick grabs today are for P or AUTO modes. But more than five seconds passes and I've returned to A-Priority with a quick spot meter lock/toggle. If there is time to point the AF sensor, then there is time to spot/toggle lock a reading. If further time is permitted, then a proper spot meter on face is performed with the appropriate exposure compensation. Shooting RAW always, I've resolved to having two main WB. 5000K and 3000K, depending upon situation. I may hit 4000K for mixed daylight and tungsten. Most florescent lights are closer to 4700K these days (depending on age). But for those that aren't, around 6500K will get close. Regardless, my camera is always on RAW for the freedom to fine tune WB later. Haven't shot a JPG in years. |
Posted By: Photosopher
Date Posted: 17 February 2012 at 18:33
Sounds like a great kit for accomplishing excellent portraits. You've got a pretty thoughtless setup, and that's the goal... make that equipment disappear. Nothing should stand between you and subject interaction. Your kit also translates to other shoots too. Would also make for travel and photo J, small product... Good to have the basic ranges covered so well. |
Posted By: bartman
Date Posted: 18 February 2012 at 21:52
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It works! Thank you Clyde for this free lesson. This one is straight from my a580 with minolta 50/1.4. 
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Posted By: tomiZG
Date Posted: 23 February 2012 at 08:57
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Thank you Clyde, it's a very interesting approach. I get more and more jobs (events, especially) where I have to hand the photos immediately to the client and I have no chance to run them through my Lightroom presets. My Lightroom portrait presets have a +0,7 Exp.comp. dialled in, some B/W even +1,5, now I know why  It also reminds me of a good article I read on http://www.lensdiaries.com/photo-tips/90-percent-rule-lighting-photographic-lighting/" rel="nofollow - Rolando Gomez Lens diaries blog , also a very good read, btw. I love your work, btw. ------------- a900+VG, a850, Nex3n | Dynax500 | http://www.tomislavsebek.com - portfolio |
Posted By: Photosopher
Date Posted: 23 February 2012 at 16:41
Absolutely perfect bartman. The highlights are bright and alive without blowing and the shadows have plenty of detail and depth. You hit this one spot on. The nice thing about getting such wide latitude straight from camera is that you've got what I call a really "fat file" to tweak more with contrast, saturation for final printing. There is lots of "room" to work this image. Great job! |
Posted By: Photosopher
Date Posted: 23 February 2012 at 16:48
Yep, that's why. And by doing it in camera provides a better file to work with for final treatments too. You'll be able to add your special effects to a deeper level before the file starts breaking up. Stuff that doesn't show up on web will suddenly appear on quality printing. Exposing it brighter to begin with allows manipulation without losing IQ.
Good read about reflectors and black cards. There are many approaches to portrait illumination. Experiment to find a signature style that works for you... and is consistently repeatable. |
Posted By: tefoonez
Date Posted: 23 February 2012 at 19:01
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Thanks for sharing such knowledge, it's invaluable. Looking forward to putting it to good use in the near future. Out of interest, would the same settings work when shooting portraits of animals? I have had it suggested that shooting swans, for example, it's sensible to minus on the exposure to keep the details, and viceversa for a brown bear? Cheers Daniel ------------- A77II, Sony 70-400G II, Tamron 28-75, Sigma 18-35, Zeiss 135 1.8 |
Posted By: Photosopher
Date Posted: 23 February 2012 at 22:28
Very doubtful, in fact, no. But if one photographed the same animal regularly, they'd find consistent settings and lighting conditions that pleased them. There you would build a formula upon. Once that is achieved, experimenting with the formula provides refinement, and opportunity for a high level of artistic interpretation.
Black Swans? Polar Bears? Point being, that each critter and environment will be unique. Only experimentation and consistency can produce a formula. Were I shooting white swans (which I don't), I would begin with a spot meter reading with +1.5 and go from there. Were I shooting black/brown bears in deep woods, I'd begin with a spot meter reading with -1 and go from there. But for any serious formula, you'd have to consult a wildlife specialist. What you'll find, with any specialty type of photography from landscapes to medical, is that there are consistencies to rely upon within each discipline. With enough experience, you'll start to "see" the scene and be able to know the settings without even metering. _______ Olympus OM-3 & 4's, and Maxxum Xi series with Spot Meter Expansion cards and a neat feature for metering from highlights (swans) and shadows (black bears). You'd take a spot meter reading on white, press highlight, and the cameras would automatically add +2 exposure compensation. Or meter on black, and the cameras would automatically subtract -2 exposure compensation. It worked quite well, and was based upon the principle of grey card spot metering at 0. |
Posted By: tefoonez
Date Posted: 24 February 2012 at 09:56
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Thanks again, I'll certainly enjoy trying this out and experimenting as you say to see what results are achieved in each scenario. Daniel ------------- A77II, Sony 70-400G II, Tamron 28-75, Sigma 18-35, Zeiss 135 1.8 |
Posted By: kozmo
Date Posted: 27 February 2012 at 23:49
2nd attempt, but my other daughter is very pale so I PP them to something different  ------------- A850 vg, A57 A33. Zeiss 135 1.8, Tamron 200-400 17-50 2.8 Minolta 100 f2, 50 1.7, 85 1.4 RS, , 35-105, sony 30 macro, tokina 19-35, Beercan. |
Posted By: Photosopher
Date Posted: 29 February 2012 at 01:34
| kozmo, if this is using the +1 comp, I'd say you're catching on quite well. These look great and glowing. Good tonalities in both the color and b&w. If the paleness bothers you on the color, try adding a bit of +red in the RAW converter... just a bit, then a touch of saturation and I think you'll liven things up. But really, it looks terrific with the slight greenish/gold the way it is. |
Posted By: alphatini
Date Posted: 01 March 2012 at 01:52
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TFS Clyde, i'm a pretty owner of one of the few sony's (330) missing the AEL button. I'm not using it often lately, too much 'black frames' so my 7 gets most of the work. Using film is your 'recipe' always working / how different was it back in your analog days. thanks ------------- |
Posted By: Photosopher
Date Posted: 01 March 2012 at 02:51
Haven't changed a thing since film days. Works great on both chromes and negatives... though the chromes required a more precise reading. In fact, this all came about because shooting fashion/portraits back in the day was best IQ with chromes for publications. I hated carrying an incident handheld meter, and didn't like slowing things down with bracketing. So the +1 metering on faces with chrome film solved a lot of problems and got the exposures pretty darn perfect for final print. |
Posted By: blinztree
Date Posted: 01 March 2012 at 09:11
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Great work, Clyde. You are a valuable asset to this forum. ------------- ¿Location? Beats me... I'm lost on a far.far.away.tropical island. Eldred ZeTerrible@Borneo, Land of the Head Hunters |
Posted By: DaveK
Date Posted: 25 March 2012 at 21:09
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Missed this one, Clyde. Great learning stuff! Thanks a lot! ------------- Best regards, Dave A7r & A7r3 Let's make a colorful world! http://dave-kloren.smugmug.com/ - Gallery |
Posted By: Debra
Date Posted: 26 March 2012 at 14:23
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This is a wonderful thread/information very good information and tips. I did have a go today my pics look ok well for one of my photos lol... I think the plus one is a good guide as many shots I have taken on the setting at the time which I always use spot metering seem that bit dark and have also used a grey card in the past which they have been okish.. On some of my photos I think I only done plus .07 and plus 1.. ?I took some inside the house but had plenty of daylight and some under the umbrella which is cream, the high sun in Thailand is so bright though that when I took some photos of my husband where he is loosing his hair there is always a shiny part so wondering what can I do to help that situation? Also, I love cooking then taking photos for my blog, is there any tips on how to get good exposure with natural light, I do take photos outside as the natural light in the house even though pretty bright it seems to be a bit lackless.. I haev tried using the flash but without success.. Regards Debra |
Posted By: romke
Date Posted: 26 March 2012 at 20:23
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thanks for sharing the excellent examples and the very useful tips. to some extend dialing in the required EV compensation is also a matter of personal preference (i would have perhaps chosen a bit less) but for demonstration purposes the series of examples are perfect. it also shows that spotmetering and then locking the value obtained during the complete session can save a lot of work needed in PP and most likely will be more accurate then to use a new matrix metering for every shot you take. one interesting note is where you mention that a "fresh new jeans" can also be used for correct spotmetering. i often employ that principle when shooting soccer, using the green grass as the basis for the metering. if you get more used to spotmetering you will more or less automatically learn what objects are suitable for spotmetering and what EV-compensation will be needed, depending on the object you choose for metering. |
Posted By: rickztahone
Date Posted: 26 March 2012 at 21:29
CPL filter for the shiny head :) ------------- a99+VG|a77+VG|a55|Nex6|HVL-56/58|minO|58 1.2|24|Tam|90|SAL||16-50|70-200|∑|50 1.4|∑| 24-70 2.8 [URL=http://www.flickr.com/photos/rickztahone/]Flickr |
Posted By: Photosopher
Date Posted: 27 March 2012 at 00:55
Set it close to the window on one side and bounce mirror from the other to fill the shadows. The more mirrors to bounce back the better. Or if shooting downward, put the window light behind the plate and bounce front fill with mirrors. More dramatic lighting that way. I like to use those vanity makeup mirrors with stands that flip around for a normal mirror on one side and a magnified mirror on the other. The magnified mirror can act like a little spot light. I use three or more of these mirrors when shooting natural light product work... even studio product work. http://www.ctphotographx.com/studio/studioslideshows/foodfolly/index.php#1" rel="nofollow - See my food gallery here. First two shots are natural window light with mirrors. Good luck! |
Posted By: Photosopher
Date Posted: 27 March 2012 at 01:00
No doubt about it.
Can also use a heavy vignetting lens like the 70-210 Beercan at f4 to cut the glare a bit. Crop tight and make that bald scalp round perfectly with the vignette blend. But the article also shows use of reflectors, which in some cases (blondes, bald), should be used as overhead baffles. |
Posted By: romke
Date Posted: 27 March 2012 at 08:10
hmmm, that remark was not mine.... |
Posted By: Debra
Date Posted: 27 March 2012 at 12:16
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Thanks Photoshopper for help/tips... I will have a hunt around phu ket to see if I can find those mirrors if not will have to see what else I can see.. Regards Debra |
Posted By: Photosopher
Date Posted: 28 March 2012 at 18:02
Oh wow sorry... fixed my bad. |
Posted By: Debra
Date Posted: 31 March 2012 at 13:29
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I have one more question if I may.. I have been having a go with this, but I am not sure where abouts on the face you get the reading, some parts show a bit lighter than others.. I have to say that I think my photos are okish but just would like to know if there its on the darker area or the lighter, but there is not much in it.. Thank you Debra |
Posted By: rpenmanparker
Date Posted: 31 March 2012 at 17:31
In general you would have two differently lit sections of the face, the "normally" lit area and the shadow area. Or to put it into studio terms, the area lit by the main and fill lights and the area lit only by the fill. You should meter the brighter area, the area lit by the main and fill in the studio, or area lit by sunshine outside. If you feel that will make your shadow areas too dark, you can do a few things. Pump up your fill for a lower lighting ratio between the main and fill. If you do this, don't forget to re-meter the bright. Or outside you can add fill from flash or a refelctor. The reflector works inside too. But in simplest terms it is the brightest area of the face that is subject to the metering principles discussed in this thread. ------------- Robert |
Posted By: Photosopher
Date Posted: 01 April 2012 at 03:27
rpenmanparker gave a pretty good answer but there's a little more to it than that. On this shot, it is true that I spot metered tightly on the bright side of face. But that's only because it satisfied the look I was attempting to achieve. I didn't want the highlights to blow out on this particular shot. It would have been much too contrasty against the dark background. But there is no right or wrong. You must find your own personal taste for each shot just as much as deciding background or red vs blue sweater. Keep in mind that the lighting changes in this tutorial. For front lit shots like these (natural window light), pretty much anywhere on the flesh will do fine. Measure on a cheek or nose or forehead, or better yet, try and make the spot circle fit the entire face: The same principle holds true for backlit shots (still natural light, reflecting from the background window onto the wall behind me). The lighting is very even, so anywhere on the face will work fine. But for shots like these, that only have a little side light, or creep over from the backlight, the reflector helps to fill shadows to even out the lighting enough that a full face reading will be great. Don't need to worry about separating shadows from highlights. Just meter the entire face and you'll get it. A browse through my website shows that I only use this metering for the most clean style of portraits.    But this method is not a hard and fast rule by any means. It's offered as a learning tool to take the guesswork out of clean portraiture. It is easily modified to your own personal taste for more editorial style imagery later on... Experiment and see which look suits your personal style. Have fun with it! The following images are a variation on the same type of metering. Some with +1, some with -1 or +2. You decide how you want it to be. But learn to use that spot meter.         
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Posted By: Debra
Date Posted: 03 April 2012 at 14:01
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Thank you rpenmanparker and photoshopper for replying will take on board and try more tomorrow or during this week.. I do use my spot meter all the time from when I read in a book and info about grey card reading... I think impresser thus method and like you say find my way from this.. You mentioned spot reading the face I only have the in camera meter reading and it only does a little area on my a500 and I am not sure about using center weight?. Thanks again Debra |
Posted By: Photosopher
Date Posted: 03 April 2012 at 14:43
| Sorry Debra I'm unfamiliar with the a500. I would think it has three types of metering in the menu selection, that being matrix, center, and spot. You can achieve the same results with center weight but you'll need to get closer to your subject to accommodate the expanded metering circle. I would assume it also has toggle lock on the a500, but I'm speaking without real knowledge here. |
Posted By: HPS3
Date Posted: 23 June 2012 at 00:05
| Thanks for this wonderful information. |
Posted By: crlowryjr
Date Posted: 23 June 2012 at 00:42
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Veeeeeeeeeeeery interesting. I shoot almost entirely in fully manual mode, but what I have stumbled upon is pretty much the same you're outlining Clyde ... and wouldn't it figure, while I go by Rob my first name is Clyde as well. So for me, I use spot meter exclusively, meter for the brighter side of the person's face, and 'adjust something' until I'm about 1+. If I'm already on the edge of risking shake / inducing blur, I'll adjust the F-Stop, or if the DOF is already where I want it, I'll bump the ISO. And while my personal taste is usually for a bit more shadow and contrast, I find doing this, and then pulling the image down a bit in my RAW converter creates a much better image than shooting it darker and then having to push it up. Always interesting to me, when people stumble across very similar solutions from a different angle. ------------- ---Rob Lowry Sony a850, a7 and NiB a99 going up for sale. Min 17-35 G as well. |