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    Exposure meter

    The photographer's tool for measuring light

    A properly-exposed film will produce an image that correctly reproduces the subject in true-to-lifetones and colors. If film is struck by too much light, the resulting image will look pale and containless detail, and is said to be overexposed. If the film receives too little light, it is under-exposedand will look too dark.

    AN EXPOSURE METER MEASURES THE BRIGHTNESS OF LIGHT

    Since film exposure is controlled by the cameras shutter and aperture settings, it is essential toknow what those settings should be in order to take a picture that is properly exposed. Aphotographer must measure the amount of light to know how much of it should be allowed tostrike the film. With this knowledge, the photographer can then accurately select shutter andaperture settings so that no more and no less than the proper amount of light reaches the film.

    The tool photographers use to know how much light is needed for correct exposure is called anexposure meter, or simply a light meter.

    This versatile light meter measures both incident (or ambient) light and electronic flash.

    Photographers use a number of terms to describe their use of a light meter they say a lightmeter measures, reads, takes a light reading" or "meters the light. These terms all amount tothe same thing. There is no difference in their meaning, and any one of these terms may be usedthroughout this site and in photography books and manuals to refer to the taking of a light metermeasurement.

    All exposure meters have light-sensitive cells. They convert light energy into electrical energy,which can be measured more easily. (In a sense, an exposure meter is an electrical metercontaining a scale that is marked in shutter speeds and f-stops instead of volts or milliamps.)

    TWO BASIC TYPES OF EXPOSURE METER

    There are two basic types of light meter the reflected light meterand the incident or ambientlight meter. True to its name, the former measures the amount of light reflected from a surface

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    (the subject's "luminance"); the ambient light meter reads the amount of light falling onto (orincident to) a subject (the illumination). There are distinct advantages to both types, and mostprofessional photographers will have at least one of each type of meter. A third type, amultipurpose meter, is a combination of the two, and can be set to read either reflected orambient light.

    Nearly every camera sold today has a built-in exposure meter. Exposure meters that are built intocameras are reflected light meters, which means they measure the light reflected from a subject,its luminance.

    Ambient light meters are separate, hand-held units not built into a camera.

    LIGHT METERS SUGGEST CAMERA SETTINGS FOR PROPER EXPOSURE

    When you activate the reflected-light meter in your camera, it reads the total quantity of lightreflected from the scene in the viewfinder, and provides you with combinations of shutter speedsand apertures that will usually produce proper exposure of the film in the camera.

    The system is not perfect, however. For mainly dark or bright subjects, the camera's reflected-light exposure meter may tend to give a meter reading that will underexpose or overexpose theimage. Reflected-light meters are calibrated for average scenes, based on the light reflected froma gray card, and photographers may have to compensate to obtain correct exposure when thereare predominant areas of deep shadow or bright areas in a scene.

    SOME CAMERAS SELECT EXPOSURE SETTINGS AUTOMATICALLY

    Many cameras are made to automatically select a shutter speed/aperture combination for you, sothat all you have to do is focus on your subject and depress the shutter. With certain cameras,you can chose to have the camera automatically select both aperture and shutter speed in thecameras program mode or switch to manual mode to select the settings yourself.

    (Some cameras are fully-automatic and will also do the focusing for you and even set off the flashif the light is low. These cameras are called point-and-shoot cameras, because in automaticmode, they do not allow the photographer to operate any of the cameras controls, except for theshutter release button.)

    Other cameras with automatic exposure systems allow you to select one variable, either theshutter speed or the aperture, and the camera will automatically adjust the other itself. You setthe shutter speed when the camera is in shutter-priority mode, and select the aperture when thecamera is in aperture-priority mode.

    Fully-manual cameras require the photographer to select both aperture and shutter speedsettings.

    READ ON FOR DETAILED LIGHT METER INFORMATION

    Click on our sub-headings (left-hand column - scroll up) to go to sections of the site that describehow to properly use light meters, the advantages of a reflected light meterversus an ambient lightmeter, and specialized meters such as those that measure the brief burst of light from electronicflash orspot meters that read small areas of a scene.

    Overexposure & underexposure

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    When a photograph receives too much light, it is over-exposed. An image is under-exposed whenit receives too little light.

    OVEREXPOSURE

    Overexposure results in a loss of resolution (very fine detail), more graininess and less detail inhighlight areas.

    UNDEREXPOSURE

    Underexposure results in loss of detail in the subjects dark areas, which can become almostcompletely black and featureless.

    WHICH IS MORE HARMFUL?

    For negative films (or print films, as they are sometimes called), underexposure can be more

    harmful than overexposure. Details in an underexposed scenes dark areas may not be capturedby the film at all, whereas over-exposure may still capture some detail in highlight areas that maystill be printed using special darkroom techniques. It is safer to slightly overexpose than it is tounderexpose.

    For transparency film (slide film), the reverse is true, since slide film is a positive material, not anegative material. Slightly underexposing slide film is safer than overexposing it. In fact, manyprofessional photographers will consistently underexpose some slide films on purpose. (Note: Inprofessional photographer's jargon, they are not "underexposing" the film even though theytechnically are, since over- and underexposure are mistakes and they are not making a mistake.Intentional over- or underexposure is known as increasingordecreasing exposure.)

    PURPOSEFULLY OVER-EXPOSING THE BACKGROUND

    You can create an awesome picture - particularly a portrait - by over-exposing the backgroundunder certain conditions. Click on the Overexpose the background to find out how.

    Shutter speed/aperture combinations

    As we saw on the main page of this Exposure section, a range of shutter speed/aperturecombinations may be used to provide proper exposure. A picture that is properly exposed at ashutter speed of 1/125 sec and an aperture of 11 will also be properly exposed if photographedat 1/250 sec at 8, or 1/500 sec at 5.6, or 1/1000 sec at 4, and so on.

    Although each image taken at these equivalent exposures will be properly exposed, they will bedifferent in other ways. The exposure using the fastest shutter speed, for example, will showmore action stoppage, whereas the exposure using the smallest aperture will produce an imagewith greaterdepth of field.

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    Knowing how the shutter speed and aperture combinations will affect your pictures is the key tounderstanding and using the concept of proper exposure. Simply stated, fast shutter speeds stopmotion but have less depth of field because they require wider apertures, and small aperturesprovide greater depth of field but require slower shutter speeds that have less action-stoppingability.

    When you come across a shooting situation that requires both - a fairly fast shutter speed andgood depth of field - you may need to switch to a faster film to achieve a satisfactory exposuresetting.

    See ourShutter speed guide andAperture selection guide for helpful recommendations anduseful information when using various shutter speeds from B (shutter held open by thephotographer for time exposures) to 1/8000 second, and when using various aperture settingsfrom the lens widest opening to its smallest.

    Shutter speed guide

    Shutter speeds from "B" to 1/8000 sec

    A fast shutter

    speed was usedto freeze this bikerider in mid-air.

    The following provides information and hints for using various shutter speeds.

    B (Bulb) setting, 1-second and 1/2 sec:At the B shutter speed setting, the shutter stays open for as long as the shutter

    release is held in, allowing you to take long time exposures, and to show motion inimages that contain changing light patterns such as pictures offireworks, runningwater, lightning and night-time traffic. Watch out for a change in overall color castwith most color films when they are exposed for a long time. At all ultra-slow shutterspeed settings, you will need a tripod or another means of holding your camera rocksteady while the exposure is being made. Such slow shutter speed settings allowyou to use your lens smallest opening to obtain the greatest depth of field whenphotographing a dark scene.

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    1/4 sec and 1/8 secThese slow shutter speeds still need good camera support, like a tripod. You canshoot close-up portraits of people who can hold still at 1/4 sec, but its risky. Betterto use 1/8 sec and faster if your subject doesn't remain still. These shutter speedsare intended mainly for stationary subjects, but are effective in panning.

    1/15 secWe are approaching hand-hold country with this shutter speed.Some super-steady photographers using normal and wide-anglelenses can hand-hold their camera at 1/15 sec and get sharppictures, but we recommend a tripod anyway. Why risk a goodpicture? If you have no choice but to hand-hold your camera, thisis the slowest-possible speed you should consider, but dont counton good results. Camera shake can be quite evident at this speed.

    1/30 secYou can hand-hold your camera at this shutter speed when using

    a wide-angle to a normal lens with luck and great steadiness onyour side, but camera support in the form of a tripod or itsequivalent is still recommended. If you must hand-hold, braceyourself against something solid and follow our recommendationsforSlow shutter hand-holding.

    Slow shutter speed reveals motion, shownparticularly by the dancer's blurred hands.

    A medium shutter speed is all that is needed when thesubject is not moving very fast.

    1/60 secFinally, a fairly-safe shutter speed at which to handhold your camera, although still requiring level-handedness and a smooth and steady shutter-releasefinger. This is the most commonly-recommendedfastest shutter speed to use with electronic flash,although your particular camera may allow flashoperation at a higher maximum shutter speed. Checkyour manual to find out. This shutter speed still allowsgood depth of field in most situations, and can usuallybe relied upon for image sharpness at the same time.

    1/125 secIf we had an all-around favorite, safe shutter speed,this would probably be ours, although 1/250 sec. alsocomes close. 1/125 sec is great for hand-holding acamera without visible camera shake, and suits thefilm speeds of most popular films while still providinggood depth of field (small apertures). Pictures taken atthis shutter speed in normal daylight will almostalways be satisfactory, since it coincides with medium

    to small apertures in most picture-taking situations.1/125 sec is not the best, however, for stopping fast-moving action, and higher shutter speeds are neededfor that, but its great for freezing people who are justwalking and interacting normally. In fact, this shutterspeed can be successfully used with short to medium-length telephoto lenses, in the range of 85mm to120mm.

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    1/250 secThis is the shutter speed for moderate actionphotography - anything that is not high-speed.

    Swimmers, runners, parade participants, for example.But, depth of field begins to become more shallow withmost film speeds at this shutter speed. That is often anadvantage since moderately-shallow depth of field canbe used to single out a fast-moving photographic targetfrom its background. A 250 mm lens can be hand-heldat this shutter speed with relative sharpness assurance.

    1/500 secThis is a fast shutter speed. It stops rapid motion -runners, fast-moving dancers, your childs slide intohome-plate. If the action is close and fast this shutterspeed may not be fast enough, but it should do the job

    for most sports, dance and action photography shot froma medium distance. Most blur will be evident in thesubjects extremities, and may add to the sense ofaction. A galloping horse may be sharp, but its faster-moving legs may be blurry.

    Low light levels require a slow shutter speed for properexposure.

    A point and shoot camera willautomatically select a fast shutter speed

    in bright sunlight.

    1/1000 secForget about good depth of field with this shutter speed. There isvery little, regardless of the film speed. But, this shutter speedstops fast action, whether it be skiing or a baseball game. 1/1000sec is very fast, but requires a wide aperture, which means shallowdepth of field and accurate focusing.

    1/2000 sec to 1/8000 sec

    Very fast shutter speeds not available on all cameras. These aretruly action-stopping, freezing very fast-moving subjects in theirtracks. Excellent shutter speeds for hand-holding long lenses.Depth of field is not usually a consideration when using theseextremely fast shutter speeds, making accurate focus essential.

    Pin-point sharp, stop-action photography is made possible by very fast shutter speeds, but focusing must be accurate.

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    Aperture

    What you should know about your camera's aperture

    The aperture is the hole you see in the diaphragm of the lens.

    WHAT IS AN APERTURE?

    An aperture - any aperture - is essentially a hole or an opening. Your mouth, for example, is an

    aperture. In a camera, however, an aperture is an opening in the lens' diaphragm.

    This aperture wants some food put in it. This young crow may help you to remember that an aperture is an opening. (It's safe to say, in thiscase, that the aperture is wide open.)

    The diaphragm mechanism of a lens acts like the iris of a human eye. In fact, somephotographers refer to the diaphragm as the lens iris. The eye dilates (opens wider) andconstricts (becomes narrower) because of the ability of the iris to adjust to more or less light. Inphotography, "aperture" describes not only the adjustable opening in the diaphragm, but the termalso refers to the size of the opening.

    WHAT DO YOU DO WITH AN APERTURE?

    By varying the diameter of the aperture, you control the amount of light passing through the lensinto the camera to expose the film. A large aperture (or wide lens opening) lets in more light thana small one, and can deliver the same brightness from a dimly-lit subject as a small aperture willdeliver from a brilliantly-lit subject.

    Aperture works in conjunction with the shutterto determine the amount of light that reaches thefilm. It is one of a cameras primary exposure controls, adjustable on all but the most basic

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    cameras, whether manually by you or automatically by your camera if so designed.

    HOW DOES IT WORK?

    Most diaphragms are made from thin metal blades which overlap. By rotating an aperture controlring fitted around the barrel of the lens, the blades move smoothly towards the center of the lens

    or away from it, resulting in the aperture being reduced or enlarged in diameter.

    HOW DO I KNOW WHAT MY APERTURE SETTING IS?

    The size of the aperture (the degree to which the lens is said to be "open") is represented bynumerically-identified -stops (pronounced "eff-stops"), which can typically be found engraved onthe control ring. The aperture ring can be turned to select one or another -stop. You will feel adistinct click as each -stop is selected. (Some cameras require you to choose the aperture witha dial on the camera itself.)

    The bottom row of numbers (16, 11, 8, etc.) on this lens shows the aperture set tings of the lens, which is currently set at -5.6. Thenumbers are inscribed on an adjustable "aperture control ring."

    Basic -stop numbers are 1, 1.4, 2, 2.8, 4, 5.6, 8, 11, 16, 22, 32, 45, 64 and 90. Your lens'aperture ring will contain some, but not all, of these -stop index numbers in a series from thesmallest to the largest. When written, these numbers usually appear as "-1.4, -2," and so on,even though the prefix "-" does not appear before the numbers on your aperture ring. (You willsometimes also see them written with a slash instead of a dash i.e. /1.4 or /2, or just with theletter f before the number, as in f 8.)

    IF EACH -STOP IS A DIFFERENT APERTURE SIZE, WHAT DO THE -STOP NUMBERSMEAN?

    It seems contradictory but is important for you to remember that a larger -stop numberdesignates a smaller lens opening, and vice-versa. For example, an aperture of /22 is a very

    small lens opening, whereas an aperture of /1.4 is a relatively huge opening, and will let a greatdeal more light pass through the lens. The widest aperture of your cameras normal or standard50mm or 55mm lens may be /1.2, /1.4, /2 or /2.8, depending on make and model.

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    An aperture of f16 is a small opening.

    A lens is said to be fast when it has a particularly large maximum aperture, so a 50mm lens thatopens to /1.4 is faster than a 50mm lens that has a maximum opening of 2.8.

    You are said to open the lens when you go from a smaller aperture to a larger one, and a lens iswide open or at "full aperture" when its maximum aperture is selected. When you select anysmaller aperture, you are said to be stopping down the lens, so a change in aperture from /5.6to /11 involves stopping down two stops - i.e from /5.6 through /8 to /11. (It seems strange tobe stopping down with - numbers that go up, but thats the way it is.) A lens that is fully stopped

    down is at its minimum aperture.

    An aperture of f/1.4 is a wide opening.

    IS THERE A REASON FOR THE PARTICULAR -STOP NUMBERS?

    -stop numbers are based on a standard geometric scale. Each -stop is precisely engineered tolet in twice as much light as the next smaller -stop, and half as much light as the next larger one./8 therefore allows twice as much light through the lens as /11 and half as much as /5.6. Thisof course also means that /8 allows the passage of four times as much light as /16 which is twostops smaller, or eight times as much light as /22, which is three stops smaller.

    WHAT IF I SET MY APERTURE BETWEEN TWO -STOPS?

    Many cameras will function with the aperture set between two -stop numbers, and then youraperture is neither one nor the other, but becomes a setting between the two. (There will be no

    discernible click when you set your aperture between two marked -stops.) Many photographersrefer to this as a half-stop, but they are being optimistic in assuming the aperture is set preciselyhalfway between two stops. (SeeAperture Trivia for a complete list of stops and half-stops.)

    OK, WHERE DO I GO FROM HERE?

    As you wend your way through this section on aperture, you will be exposed to the ways in whichyour camera's aperture can be used to improve your photography. Ability to change the lensaperture settings is particularly important because the size of the lens opening not only works in

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    direct partnership with your camera's shutter speed to provide correct exposure, but also governsincreases or decreases in "depth of field".

    DEPTH OF FIELD? WHAT'S THAT?

    Understanding the concept of depth of field and putting it to work are crucial to your success as a

    photographer. The concept and its application are explained in ourDepth of field section, whichwe recommend you visit.

    Once you have a solid grasp of depth of field, you will have enormously increased your ability tocontrol your camera's aperture, which will result in your producing many enjoyable photographs,all the more so because you will have consciously made them look the way they do.

    Built-in light meters

    In-camera meters can be simple or complex

    The exposure meter built into your cameras body is a reflective-light meter - sometimes alsocalled a reflection meter. The meter's display is usually shown in the vewfinder, often as a

    moving needle, red LEDs (light-emitting diodes) or a liquid crystal display (LCD).

    Many photographers believe that reflected light readings provide them with more chance toevaluate individual areas of the subject than do incident light readings.

    TYPES OF REFLECTIVE METERS

    Your camera's light meter may be an averaging meter, a center-weighted meter, a zonesegment system or even a spotmeter, and certain cameras have two, three or all of these typesbuilt in.

    METERS IN NON-SLR CAMERAS

    Non-SLR (non-single lens reflex) cameras usually have the metering system externally located,whereas most single lens reflex cameras have built-in TTL (through the lens) metering systems.The two main advantages of TTL systems is that they measure light only from the image area,regardless of the lens in use, and they provide accurate light measurement when filters areattached.

    AVERAGING METER

    This type of exposure meter reads the entire scene as shown in the viewfinder, averaging thelight reflected from all objects within its field of view to come up with an exposure that is usuallysuitable for average shooting situations. (The exposure is based on the meter being calibratedfor a tone with 18% reflectance regardless of the subject's shade.) However, if precise metering

    is required, an averaging meter will not always do the job since the photographer cantdetermine how much the meter is weighting areas within the scene.

    CENTER-WEIGHTED METERING

    Center-weighted or center-bias exposure meters have a high percentage of the meterssensitivity concentrated in the center of the viewfinder. These meters are useful where you wantto base exposure on a specific area in the scene, achieved by centering the area in the

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    viewfinder to take an exposure reading.

    Center-weighted and averaging systems can provide incorrect exposure readings where thescene has wide-ranging light levels and tones, or a particularly bright or dark area.

    ZONE-SEGMENTED METERING

    Many of todays cameras have internal microcomputers programmed to look at the fourquadrants of an image and the center, and to base exposure on a reasonable guess as to whatkind of subject is in the scene.

    The measurement of light in different zones of the viewfinder by segmented photocells providesa great deal of scene information of use in determining accurate exposure, even for scenes thatcause problems for center-weighted and averaging meter systems. Zone-segmented metering isa significant improvement over the simpler systems.

    The viewfinder scene is measured, evaluated compared to stored data on patterns, and thencategorized for subject type. Exposures determined in this manner are remarkably accurate, andwill reliably make proper automatic exposures in extremely complex lighting situations. They willeven determine if fill-in flash can be used, and will use it automatically and in the right amountwhen the flash is attached and turned on or when the camera has an integral flash that can beautomatically-activated.

    3D MATRIX METERING

    Sophisticated automatic exposure metering systems in some top 35 mm cameras, such asNikons state-of-the-art F5 model, have the ability to take not only the three-dimensionality ofyour subject but also even the colors of the scene into account in their exposure calculations.The F5's remarkable 3D Color Matrix metering system (only one of the cameras three types ofexposure metering systems) uses scene brightness, contrast, subject distance and colordistribution in calculating exposure.

    OTF (OFF-THE-FILM) METERING

    This is a particularly accurate form of TTL metering. The light readings are made from the actualfilm surface itself during exposure.

    Ambient or incident-light meter

    How to take an ambient-light meter reading

    Minolta's Auto Meter IV F is an example of atop-rated incident light meter. The meter'swhite dome is held in the light striking the

    Almost all new 35mm and medium-format cameras sold todaycome with a built-in light meter. Many experiencedphotographers, however, continue to use a handheld accessory

    exposure meter, known as an incident light meter or an ambientlight meter that measures light in a different manner.

    A camera's built-in meterreads the light reflected by thesubject; an incident-light meter reads the light falling onto thesubject. The camera must be pointed at the subject in order forits meter to make a reflected reading, whereas a handheldincident-light meter is usually pointed from the subject towards

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    subject and pointed towards the camera whentaking a reading.

    the camera to read the light striking the subject.

    Properly-used, incident-light meters give the most-accurateinformation about the amount of light.

    This page deals only with the incident-light meter and its

    application. It begins with how to take an incident or ambient-light meter reading.

    FIRST SET THE FILM SPEED

    With a fresh battery installed in your incident (or ambient) lightmeter and with the power button turned on, the first step intaking a light reading is to set the film speed.

    Various light meters have different means of setting film speed,and we recommend you refer to the operating manual suppliedwith your light meter. A common method is to depress the ISObutton (if so equipped) on the light meter and use the metersup/down control switch to select the ISO value of your film. Ifthe film in your camera is ISO 100, select 100 as the film speedon your meter.

    It is not unknown for photographers to forget to change thefilm speed on a hand-held light meter when you switch to afaster or slower film in your camera, particularly if you useone speed of film a lot. Sometimes you may accidentally hitthe wrong button, inadvertantly changing the film speed inyour meter, and not be aware of it. A good practice is to

    check your meters film speed indicator frequently - at leastwith every change of a roll of film.

    SECOND, SET THE SHUTTER SPEED, IF NECESSARY

    An incident-light meter generally provides a reading that istranslated into exposure values (EV) and shows severalsuggested combinations of shutter speeds and aperturesettings, each of which will give correct exposure.

    Some incident-light meters, however, will also display thecorrect f/number (aperture size) for a specific pre-set shutterspeed after taking a reading. For these meters, the shutter

    speed you intend to use should first be entered in the meter.This is usually accomplished by pressing the up/down switchuntil the correct shutter speed appears on the meters displaypanel. Top-quality light meters will have a shutter speedrange from 1/8000 to 30 seconds in -stop increments.

    For exposure meters that display only EV numbers, theshutter speed does not need to be pre-set. Still other meterscan be set to display either EV numbers or the recommended

    An ambient light meter will provide the samereading regardless of the background's

    reflectiveness.

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    f/stop for a pre-determined shutter speed.

    TAKING AN INCIDENT-LIGHT METER READING

    To take an incident-light reading, be sure your meter is set toambient mode, if necessary. Position the meter near your

    subject, aim the receptor - generally a silicon photo celllocated under a translucent white diffuser that is commonlydome-shaped (for three-dimensional subjects), but may alsobe flat (for photography of flat surfaces, like a painting's) -directly at the camera, and press the measuring button. Thedome (also known as a diffusing hemisphere or disc) over thephotocell "averages" the light falling on it.

    Whether the background is black or white or a highly-reflective mirror surface, an ambient lightmeter reads

    only the light striking it, not reflected from it.

    Some photographers recommend placing the dome at anangle between the direction of the light source and thecamera when taking an incident-light reading to obtainsatisfactory results.

    When a flat diffuser is fitted to the light meter, the meteris first pointed at the camera from the subject, then at thebrightest source of illumination from the subject, and thetwo readings are averaged. This is called the DuplexMethod.

    Many meters will continue to make readings as long asthe measuring button is kept depressed, and the lastreading will remain in the display when the button isreleased.

    If you are unable to approach a sunlit subject because itis some distance away, across a river or road, for

    example, simply take a reading of the same sunlight thatis striking the subject from where you currently are. Thisis known as a "substitute reading."

    In a few situations, you may need to use slightly differentexposure settings than those suggested by an incident-light meter. A highly-reflective surface, such as a ski hillin winteror an outdoors rink, will require a decrease inexposure settings so that its surface texture is capturedon film. Conversely, a very dark subject, like a black bearin the shade, will require a slightly-increased exposure togive its fur some texture.

    If the reading is over or under the meters display rangeor measurement range, this will usually be indicated onthe meters display.

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    WHAT IF THE SUBJECT IS NOT EVENLY LIT?

    If you measure only the light falling on the brightly-lit side

    of a subject in high-contrast lighting, and take a picturebased on that exposure reading alone, there may beinsufficient detail in the subjects shadow side. Whereas asingle meter reading from the shadow side may bring outthe detail there, but will overexpose the subjects brightside, washing out the highlights.

    The answer is to take an average of both readings. If youobtain an exposure reading that calls for an aperture of -8 on the subjects shadow side and an aperture of -16on the subjects bright side, the average exposure is -11

    right between the two. A picture taken at -11 wouldlikely provide sufficient detail in both sides of your

    subject, dependent upon your films exposure range.

    (A films exposure range determines how bright and darkthe areas of a scene can be for the film to still recorddetail, and it is generally found in the information materialpackaged with the film. In general, color negative film hasan exposure range of approximately seven stops, andcolor slide film has only about five stops.)

    Some meters with built-in memories, like the Minolta IV F,will automatically calculate averaged exposure readingsfor you. You simply measure and store readings of thehighlight and shadow areas, and press the meters

    average button.

    Meter readings for subjects that are backlit should bebased on the light that is less bright in front. A reading ofthe bright back-lighting will cause your subject to beunder-exposed in front, because the front is in shadow.

    When the brightest light comes from behind yoursubject, it is called backlighting, and requires you totake a meter reading of the front light falling on your

    subject in the darker shadow area.

    An incident light meter does not "know" it when you have placed alight-reducing filter on your lens, and you must compensate for it

    when you take a meter reading.

    FILTER FACTOR CORRECTION

    A filterplaced on a lens can reduce the amount oflight reaching the film. Most filters absorb somelight some more than others. Since a hand-heldincident light meter is not built into the camera, it

    will measure the light as if there is no filterattached. To compensate for this, you will have toincrease the exposure that is indicated by thelight meter. (See our section on Filter factorforinformation on how to do this.)

    Some light meters permit you to add the filterfactor directly to the film speed setting so that themeter will automatically compensate for the light

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    absorbed by the filter (or filters, if more than onehas been attached to your lens).

    Gray card

    A reflected-light meter reading off a graycard that's in the same light as yoursubject will provide proper exposure.

    Most scenes and subjects reflect an overall average of about 18%of the light that strikes them. This is why exposure meters that read

    reflected light, such as the light meter built into a camera, arecalibrated to provide accurate exposure settings for subjects thatreflect 18% of the light striking them. If a subject reflects more orless than 18% of the light, the reflected light meter reading willprovide settings that under-expose or over-expose the subject.Scenes that have a great deal of snow or sand in bright sunshineare typically problematic for a reflected-light meter, as are scenesthat contain large, dark areas. But average scenes containing grass,foliage, neutral-colored clothing and other mid-tones usuallycompare closely to the average 18% reflectance.

    When a cameras light meter is aimed at a scene that contains largeareas that are unusually bright or unusually dark, its readings tend

    to render these subjects as if they were less bright or less dark. Sobright, white snow in a scene will be photographed as if it were gray,and a black shadow area will also be rendered on film as gray whenyou use the meters recommended exposure settings. You can getaround this problem with very bright scenes by manually increasingexposure (a wider aperture or a slower shutter speed). You woulddecrease exposure (a smaller aperture or faster shutter speed)when you want dark areas to look black, not light gray.

    HOW MUCH SHOULD I CHANGE EXPOSURE?

    When a scene doesnt have average illumination, you canguess. When shooting bright snow, for example, anexposure increase of around two stops will generallyprovide proper exposure, and your snow should looknaturally white, not gray.

    For real accuracy, however, you can take a substitutereading off a gray card that is placed in the same light asyour subject.

    WHAT IS A GRAY CARD?

    Also known as the Kodak neutral test card, a gray card isan 8" X 10" sturdy card, about 1/8" thick. It is uniformlygray on one side, which reflects precisely 18% of the whitelight that strikes it (corresponding to the calibration of areflected-light meter), and uniformly white on the other,which reflects 90% of the light. (Using metricmeasurement, the card is a little over 20 cm by 25.5 cm insize.) You can purchase a gray card from just about anyphotography retailer.

    If you rely on your camera's built-in meter for properexposure of a bright snow scene, snow turns out

    looking gray instead of white.

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    A gray card is useful for obtaining proper exposureof bright snow scenes.

    HOW DO I USE A GRAY CARD?

    (1) Hold the card in the same light that is falling upon thearea of the scene that you wish to be properly-exposed.(2) Be sure that the gray face of the card is directed straightat the camera position.

    (3) Point your light meter (or camera lens if using a built-inlight meter) directly at the face of the card.(4) Be sure the card is close enough so that the light meterreads only the light reflected from it. If you are lookingthrough the lens, bring the card so close that it occupies theentire viewframe.(5) Take a light meter reading, and use the resultingexposure settings to photograph your subject, which will nowbe properly-exposed.

    THE WHITE SIDE OF A GRAY CARD

    When there is insufficient light for you to take a reliable meterreading from the gray side, use the white side, and multiply theexposure given by 5. Why 5? Because the white side reflects fivetimes as much light as the gray side (90% versus 18%).

    The white side of a gray card can also be quite useful as areflector for bouncing flash onto your subject. (See our sectionentitled Bounce flash) The white side of a gray card has practical

    uses, too.

    Any scene that contains a wideexpanse of white can trick your

    camera's meter.

    REPLACE YOUR GRAY CARD PERIODICALLY

    You will find that a gray card that gets frequent use may become soiledor scratched over time, or may fade, particularly when improperly-stored.

    A good indicator of its condition is the white side, because deteriorationshows up better. If its white side has become yellowed, it's time to get anew one. You can also have a look at a new gray card next time you're ina camera store, and compare it with your own gray card. If you seedifferences, better buy a pristine replacement to avoid inaccurateexposure readings.

    Flash

    Flash photography is hard to predict at first

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    This image is the result of shooting without flash in

    a relatively-dark arena

    There is probably no type of photography that is moredisappointing to the beginner than flash photography. Unlikenatural-light photography, where what you see can often bewhat you get, it is difficult to visualize what the effects ofusing flash will be. Flash is shut off until the moment ofexposure, and then its illumination is too brief to visually

    evaluate what it does to your picture.

    Many of us just hope for the best, and when our pictures arereturned from being processed, we are frequently surprisedby the disappointing appearance of those in which we usedflash. Shadows can be harsh due to the high contrast fromdirect flash, and images can look stark; sometimes, faciallighting is flat or subjects have red-eye; foreground objectsare often overexposed, looking bleached out, whilebackground objects are darker than we expected - andthese are only some of the problems of using flashincorrectly. The sad results are that we become frustratedand tend to not use flash as often as we could, or we just

    accept the poor results of flash photography as unavoidable.

    The other side of the coin is that, properly employed, flash canimprove your pictures, provide you with a useful creative tool andallow you to take excellent photographs where there is insufficientambient light.

    After all, flash photography has been in use since the 1860s (whenmagnesium wire - later magnesium-based powder - was ignited toobtain a sufficiently-bright light), and we have come a long way

    from those early days in perfecting safer, less-messy and easier-to-deal-with systems of flash photography. When you think of thehardships and technical problems photographers must have dealtwith 140 and more years ago in taking flash pictures, it may inspireyou. Compared with those early times, it is very easy to learn howto use today's relatively-simple flash systems to make even betterpictures.

    This picture was taken with flash, using amedium telephoto lens (105 mm)

    Flash overexposed the foliage in the foreground, underexposed thebackground, but properly illuminated the subject - a wet 'vette that

    went off the road.

    KNOWLEDGE & EXPERIENCE MAKE GOODFLASH PICTURES

    This section ofPhotographyTips.com isintended to unwrap some of the mysteries offlash, and explain the techniques you need to

    know when you decide to add light from a flash(ormore than one flash) to your pictures.

    Once you put the information that is availablehere into practice, you should notice animprovement in your flash pictures, but therewill likely still be some problem photos.

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    The real learning process occurs over time, withtrial and error. You should not expect to becomean instant expert at flash photography, but

    persistence and observation (constantlycomparing your pictures with earlier ones, andidentifying not only the problems to overcome, butthe successes you have achieved) will give youthe experience you need to control flash andproduce consistently-good flash pictures.

    Click on the links in the left-hand column for moreinformation on the correct use of flash. Wesuggest you begin with Shutter speeds for flash.

    This image shows the stopping power of flash. These basketballsseem frozen in mid-air.

    Flash is very useful outdoors, especially as fill flash to brightenshadow areas on sunny days.

    SEND US YOUR PROBLEMS OR YOUR FLASHPHOTOGRAPHY TIPS

    When you take a picture with flash that doesntturn out as expected, and you dont know whatwent wrong, refer back to this section for theanswer. If the solution isnt here, send us an e-mail with a scan of the problem photo attached,and we will do our best to solve the problem foryou.

    If you have a flash photography tip that is notmentioned on PhotographyTips.com and wish toshare it with our viewers, we invite you to send itin, preferably with a picture to illustrate the tip. Wewill be sure to mention your name as the originatorof the information, and to give you credit for takingthe picture.

    Exposure using studio flash

    You need a light meter that works with flash

    How do you know what aperture setting to use whenemploying studio flash as your light source? The answer isthe same as when taking pictures using ambient light - youtake an exposure reading of the light falling on your subject.But, you dont use an ordinary exposure meter; you need aflash meter, a light meter that accurately measures the brief

    burst of light from the studio flash system.

    FLASH METER

    There are various makes and models of flash meteravailable. Quality, brand-name units are generally highly-reliable and differentiated more by their features than by theirflash metering accuracy. For instance, some advanced flashmeters will also read ambient light, or a mixture of ambient

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    This exposure meter measures the brief light from

    studio flash.

    and flash light. Or, they might provide the photographer withlighting ratio measurements when using two flash heads,scene contrast measurements, built-in filter factorcorrectionand so on. The flash meter may have interchangeable flatand domed diffusers, or an accessory that will allow themeter to take reflected light readings for accurate spot

    metering from the camera position.

    BASIC FEATURES

    A standard flash meter has

    an on-off switch,

    an ISO button to set film speed,

    a means of setting shutter speed, a sync terminal for connecting the flash meter with theflash system,

    a diffuser (generally a translucent white dome coveringa receptor photo cell),

    a measuring button that triggers the flash and activatesthe metering function, and

    a data panel where the reading is displayed. Mostmodern flash meters use a digital display, however someflash meters employ a movable needle on a scale toindicate measurement.

    Pressing the measuring button triggers the flash,permitting the meter to make a reading.

    STEP-BY-STEP OPERATION OF A FLASH METER(with a sync cord)

    If your flash meter permits measurement of eitherincident or reflected light, select the incident lightmetering method for this example. It is the simplestand most convenient method, and is suitable formost scenes.

    1. Install the battery or batteries, and press the

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    The sync cord connects the flash meter to the f lash units. Anelectrical signal travels along the cord when the flash mater's

    measuring button is depressed.

    power button to turn the flash meter on.2. Set the film speed and select the X-sync shutterspeed you intend to use.3. Connect a sync cord to the flash meters syncterminal. (Check to see if your meter needs to be setto cord mode for use of a sync cord, and set it

    accordingly. This is usually accomplished bypressing the Mode button.)4. Connect the other end of the sync cord to theflash systems connection.5. Turn on the flash system.6. Position the flash meter near your subject, withina couple of inches.7. Aim the domed receptor directly at the lens of thecamera.8. Depress the meters measuring button, triggeringthe flash and making the exposure reading.9. Look at the flash meters display, which will showthe aperture needed for correct exposure.

    Disconnect the sync cord from the flash meter and attach it yourcameras sync terminal. Be sure your camera is loaded with film of thesame speed that your flash meter was set for, and that your shutterspeed will synchronize for flash - generally the X setting. Make youraperture selection using the setting recommended by the flash meter'sreading. You are now ready to take a properly-exposed, flash-illuminated picture.

    Note that some flash meters can be operated without having a sync

    cord connected. See Metering flash for instructions.

    Is that all there is to it? As with many techniques in photography, theanswer is yes.... and no. When you are using multiple flash units orreflectors, you should use the flash meter to obtain more than onereading, i.e. from different areas of the scene, so that yourlighting ratiowill be as you wish it to be. You may find, for example, that theillumination from your main light will properly expose the subject, butthat you need to adjust the intensity of your fill lighting to improve thelighting ratio.

    A flash meter simplifies obtainingproper exposure when using studio

    flash.

    Spotmeter

    An exposure meter for a small area of a scene

    An exposure meter that measures a very small area of a scene, with an acceptance angle of 1degree or less, is referred to as a spotmeter.

    WHEN IS A SPOTMETER USED?

    A spotmeter is used for precise measurement of the light reflected from small areas of a largescene. A photographer using a long-focus lens on a camera that is not equipped with a built-in

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    exposure meterwould use a handheld spotmeter to determine exposure for the small area of thescene at which the lens will be aimed.

    The spotmeter has a viewing system similar to that in a camera so the photographer can see theprecise area that is being metered.

    A spotmeter would also be employed when the subject is at a distance and inaccessible, or if thesubject to be photographed is itself small, or for highly selective measurement of different areasof a scene. If, for example, a relatively-small subject, like a performer in a spotlight on anotherwise darkened stage, is brightly-lit and surrounded by deep shadow, the camera's normalmetering system may be inacapable of providing an accurate exposure for the subject alone. Aspotmeter, however, will provide a precise reading of the light reflected from the subject withoutinfluence from the surrounding darkness.

    SPOTMETERS ARE BUILT INTO SOME CAMERAS

    Certain high-end 35mm cameras with through-the-lens (TTL) metering systems have a built-inspotmeter in addition to their normal metering system. In the Nikon F5 in spotmeter mode, forexample, nearly 100% of the exposure meter's sensitivity is concentrated on a 4mm diameter

    area of the viewframe (approximately 1.5% of the entire frame). The photographer must selectspotmeter mode to use the system.

    The acceptance angle of the spot field varies with the focal length of the lens in use. With longlenses, this can be very small.

    NORMAL EXPOSURE METERS CAN ALSO READ NARROW ANGLES

    Some normal multipupose exposure meters can be fitted with a narrow-angle attachment thatpermits them to be used in a manner similar to that of a spotmeter, however aiming the meter isless accurate because there is no viewing system.

    MAKESHIFT SPOTMETER

    If you need a spotmeter but your camera's built-in system is an averaging or center-weightedexposure system, you can still use your system as a makeshift spotmeter by switching to a verylong lens. Attach the telephoto lens, meter the desired area of the scene, then switch back to ashorter lens to take the picture using the exposure settings derived by metering through the longlens.

    TURN YOURSELF INTO A SPOTMETER

    If you must have an exact exposure of a small area of a scene and you do not have a spotmeteror a long lens, you can still use your camera's normal center-weighted or averaging meter toobtain the exposure you need. Simply approach close to the small area until it fills your

    viewfinder (something you won't always be able to do), take a meter reading and either lock itinto your camera (if it has an exposure lock feature) or make a note of the exposure settings. Goback to your shooting location, and take the picture using the exposure data you got frommetering close-up. If you can't approach close enough, can you meter an object that is inidentical illumination (that has the same luminance as the subject you wish to photograph)? If so,use that exposure reading for your picture.

    Simple home studioYou probably already have a photo

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    A playroom, television room - even a garage - can be converted to a studio. It

    must have a lot of window area if you are going to do natural-lightphotography. If you intend to take pictures using hot lights or flash, windows

    are not needed.

    studio, and just dont know it. We arebeing a bit facetious when we say thatbecause you may not have a true studio -a room completely dedicated tophotography and equipped withbackdrops, specialized lighting units,

    props and so on - but if you have a roomin which you take pictures, then its astudio. By definition, a photography studiois the workroom of a photographer.

    For certain types of photography, aprofessional, fully-equipped studio isessential. If it wasnt, there wouldnt behigh-end studios. But a professionalstudio is not necessary for all goodindoors photography. You can takebeautiful portraits indoors without theneed for a full-blown studio or much

    studio equipment. Almost any room in thehouse can be used for photography, notjust of people, but of many other subjectsas well. But, for now, let's stay withpeople, and set up a simple portrait studioin your home.

    The human body is not that big. You arenot photographing a logging truck, anorchestra or a battleship. A person fitsnicely into a small room, and if that roomhas a fair-sized window or a number ofwindows that let in a lot of daylight, you

    can make beautiful portraits using windowlight alone. Ideally, though you willenhance those portraits by adding thelight from electronic flash or from simplereflectors to emulate studio lighting. Youcan go one step closer to the studio lookby using a simple bed sheet, a length offabric, a large towel or other fabrics andmaterials as a backdrop, and makeimpressive people pictures that willperhaps amaze even yourself by how wellthey turn out.

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    CREATING A SIMPLE PORTRAIT STUDIO AT HOME

    (1) The room should ideally (but not necessarily) be long enough

    for you to photograph a tall person full-length, using a portrait-typelens or the portrait setting on your point-and-shoot camera. If youare shooting with a 35 mm camera that has interchangeablelenses, a portrait lens is one that has a focal length in the range of85 mm to 135 mm.

    With a 105 mm telephoto lens, for example, you'll need abouttwenty feet in camera-to-subject distance for a full-length shot of asix-foot tall model. Since your subject is rarely posed tight upagainst a backdrop, the ideal room would therefore be a minimumof 25 to 30-feet long, and at least 10-feet wide, preferably wider topermit you to shoot from side locations.

    With your portrait lens (or a zoom lens set to a focal length ofaround 105 mm) mounted on your camera, look through theviewfinder to see if a full-length person will fit comfortably into theviewfinder frame while you are standing somewhere in the room. Ifyou have a point-and-shoot camera, set it at its portrait setting,and conduct the same test. If a standing person fits, your room issuitable.

    However, in a pinch, you can take many a good photograph in asmaller room, even one that only affords a camera-to-subjectdistance of around ten to twelve-feet. At an absolute minimum, theroom should permit full-length photography with a normal lens. Itscrowded, but it can be done. Youll use your normal lens a lot, and

    telephoto lenses will be used for close-ups.

    If the room you'd like to use as a studio is really small, check tosee if you can shoot through a doorway from outside the room in ahallway, or even backed into a closet. An extra three or four feetcan make all the difference.

    If the room is small or narrow, its wall and ceiling colors may affectyour photography. Light reflected from a colored surface will becolored, and will in turn cast some color onto your subject. Thewalls and ceiling should ideally be repainted to either gray, forminimal reflectance, or white for greater reflectance. If you can'trepaint, try hanging white fabric (sheets, for example) or even verydark material on surface areas that reflect colored light onto yoursubject.

    Ideally, the room will be large enough for afull-length photograph with a portrait lens.

    (2) The backdrop should be plain and close tofeatureless. A wall painted in a neutral color will workfine. Be sure it has a non-reflective finish. You canalso tack a large bed sheet, canvas or a huge pieceof material to the wall, but in most professionalstudios the background is often seamless backdroppaper that can be purchased from a local camera

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    Seamless backdrop paper provides you with a plain color

    studio background. You will need a means of mounting theroll or of attaching a large piece of it to the wall.

    dealer. If you can afford to buy a roll, it will give yourimages a much more professional look with itsuniform color and curved base.

    Seamless backdrop paper comes in rolls ofvarying widths, beginning at nine-feet wide.

    It's fairly expensive, but there's a lot of it on a rolland, with care, will last through many photographysessions.

    You will need a way of supporting it - generallysome means of attaching it to a wall near the ceiling -so that it can be rolled out onto the floor.

    A portable seamless paper support system (twoadjustable stands that hold a rod which goes throughthe roll) can be purchased at reasonable cost.

    One fabric that produces a dark and dramaticbackdrop is black velvet or velveteen, which seemsto just absorb light. If you can lay your hands on a

    very large piece, sufficient to cover the wall and thefloor, you will be delighted with the results it provides.You may need the reflective value of bright whitepaper, though, if the amount of available light is fairlylow.

    (3) The floormust have an even, flat surface.

    Smooth concrete, linoleum, vinyl tile and terrazzo are ideal.

    A smooth wood surface is also fine.

    A level surface is the key for seamless paper. If the floor iscovered with carpet or ceramic tile, a models high heels willpuncture the paper. Even low heels and bare feet will cause itto look bumpy.

    Masking tape is generally used to hold the paper in placeon the floor, and to keep someone from tripping on its edges ifthey begin to turn up.

    (4) The window or windows should be large and let in a lot oflight. Ideally there would be more than one window, preferablyon both sides of the room. A skylight, especially a large one,can be very effective. The more daylight there is illuminatingthe studio, the more choices you will have in photography.

    The window or skylight cannot be blocked by the seamlessbackdrop paper if daylight is your primary light source.

    The window or windows must be located where their lightstrikes the model when in the proper position.

    Bright window light is essential with a simple point-and-shoot camera, since its camera-mounted flash is less thanideal for your pictures to have a studio look. The lightingfrom on-camera flash is too flat, and it often results in red-eye.

    Masking tape attaching the seamless paper tothe floor holds it flat and will keep anyone from

    tripping on the edges.

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    Moreover, it will probably cast a strong shadow on thebackdrop.

    Place a white sheet over the window if the light coming in isdirect sunlight. This will diffuse the light. Unfortunately, it willalso reduce the brightness.

    A large sheet of tracing paper will be more effective since it

    is thinner and, therefore, brighter. On overcast days or if the sun doesnt shine directlythrough the window, you can probably get away with nowindow light diffusion.

    The light from even a large window can be deceptive. Itsbrightness falls off rapidly as it moves away from the

    window.

    Window light can be deceptive. The room may appearto be very bright, but when you use that light for yourphotography, you may find it is insufficient for properexposure at hand-held shutter speeds, or that the lightfalls off too rapidly towards the middle of the room.

    Use your light meter to measure the amount of lightthat would strike your subject on an average day beforeyou create a studio from a particular room.

    Measure the light in several spots around the room.

    If the amount of light is borderline on an average,bright day, keep in mind that there will be much lesslight in the winter months and on overcast days.

    If you are using window light as your principal sourceof illumination, your best room may be the one thatnormally has direct, bright sun shining through itswindow(s), since you can diffuse this strong light andend up with sufficient soft lighting for your photography.

    (5) A reflectorto bounce the window light back ontoyour subjects shadow side or onto the back side of yoursubject for a rim lighting effect is your nextconsideration. A reflector is really important to give yourpictures the studio look of more than one light source.

    A full-length mirror is handy. It will reflect a harsh light,which can be ideal for rim lighting.

    A sheet ofwhite styrofoam gives a much softerreflection, but will have to be positioned quite close toyour subject for maximum effect.

    You can even use white poster board or a white sheetthat is held open and reasonably flat, but these itemshave less reflective value and will not brighten yoursubject's shadow side too effectively.

    You can also purchase a professional reflector fromyour camera dealer that is usually more efficient thanhome-made types.

    In some cases, a mirror fixed above and behind yoursubject can be used to bounce light onto the top of yoursubjects head, emulating a studio hairlight.

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    (6) Flash for the final touch - If your camera has a removable flash unit, nows the time toremove it and use it off-camera. Off-camera flash can be angled from a position that is differentfrom the camera position to create professional-looking, studio-type lighting, especially whencombined with window light and/or a reflector.

    You will need to purchase a sync cord to connect the remote flash to your cameras hot shoeso it will fire when the shutter is tripped.

    The flash unit can also be triggered manually, without a cord connection to the camera, whenthe cameras shutter is open. This is effective in time exposure photography, with the cameraattached to a tripod or other firm support.

    Aiming the open flash directly at the subject will deliver harsh, direct lighting.

    Its light, however, can be diffused by either placing a diffusion material in front of the flash head(even a handkerchief) or by bouncing the flashs light off a reflective surface.

    If you are able to acquire an umbrella reflector, you can aim your flash at it and bounce the lightonto your subject for a very pleasing and professional look.

    (7) Putting your mini-studio to work - Now that you're set up, you'll want to know how to useyour studio to make quality pictures. Here's a surprise. It's not all that difficult. You have thebasics - window light, reflectors, a good backdrop, perhaps a removable flash unit. Be sure yourcamera is loaded with film of sufficient speed to avoid blur in the available light. Start with ISO400 film to be confident. Now, you just need a willing subject to get started.

    Ask a friend to sit in as your model, positioned and posed in the window light.

    Set up your reflector(s) to cast light on your new model's shadow side.

    Use your camera's light meterto obtain an exposure reading for the light falling on the windowside of your model - the brightest side. (You may have to move in close to get the reading, thengo back to your shooting position to take the picture.)

    If the exposure requires a shutter speed that is too slow forhand-holding, be sure to use atripod to avoid blur.

    Now, take the picture.

    You'll probably be surprised at how nicely the picture turns out, and will want to run back into yournew studio for more, and to experiment with different reflector angles, different poses, andultimately using studio flash for either your main or fill lighting.

    Experimentation and frequent use will lead you to advancement in understanding studio lightingtechniques, and to better and better pictures. Take it one step at a time, and add a new elementonce you are confident with the effect of others you have already used.

    An important note about daylightAs your sole source of illumination, daylight through a window or skylights is inconsistent,unreliable, usually not as bright as you'd like, and not always available when you wish to takepictures. Using its light alone may be economical, but it is very limiting. Unless you have big, very

    bright windows and lots of sunshine on most days, you can very quickly become frustrated by therestrictions of having to rely on daylight only. You should plan to purchase studio lightingequipment if you expect to be be using your studio frequently.

    Portrait photography

    Physical likeness & character make a good portrait

    Just about anyone who can aim a camera can make

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    Bergie Solberg, one of the famous "cougar lady" sisters of the

    West Coast, chose her own pose for this portrait.

    a portrait. It goes without saying that some do itbetter than others. Top portrait photographers do itall the time, reliably producing outstanding portraitswith just about every subject they photograph. Whyis that? What do they know and what do they do thatmakes their portraits special? The answer to both

    these questions is quite a bit, because there is lotsto know about a lot of things in order to produce agreat portrait.

    Can you learn what they know, and do what theydo? We dont see any reason why not, and the bestway to start is by learning the basics and taking itone step at a time. You may not have the studio, theequipment and the technical resources that the bestportrait photographers have, but you can stillproduce excellent portraits by following their basictechniques and by understanding what makes agood portrait.

    WHAT IS A PORTRAIT?

    A portrait is defined as a likeness of a person, especially of thepersons face. Simply that. But, the word in general use hasdeeper connotations. A photographic portrait is understood to

    be a good quality image that not only captures a personsphysical likeness on film, but also something of the personscharacter, generally in a manner that is attractive and pleasingto the subject.

    CHARACTER REVELATION

    A good portrait will contain at least one element that reveals thesubjects personality, attitude, unique mannerisms or any of theother features or traits that form the individual nature of theperson. It will tell us something about the subject. You mayhave heard someone remark that a particular photographerreally captured their father or child, for example, in a picture.

    They are referring in part to the image being a true physicallikeness, but what they are really saying is that the image alsoreveals a significant, identifiable part of the subjects character.The portrait photographer who has never previously met thesubject therefore has quite a challenge.

    A portrait does not need a formally-dressedsubject. Casual wear may be more revealing of

    the subject's character and lifestyle.

    This portrait clearly reveals

    HOW DO YOU DISCOVER CHARACTER TRAITS?

    We all reveal our feelings and attitudes differently. Some of us may show ourindividual character with immediate transparency, while others may be more

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    the subject's interest (andthe horse's tongue, which

    may explain his name,"Licker.")

    difficult to read at first. The portrait photographer must become proficient atstudying people whom he or she doesnt know in order to capture theiressence. This means watching for signals in a subjects mannerism,reactions, expressions, body language and so on, and then judging how bestto have the subjects character revealed for the camera.

    This takes skill and an understanding of human nature. It almost alwaysrequires engaging the subject in conversation, and quickly finding a suitabletopic that will grab her or his interest and evoke a reaction. Find commonground or a topic of particular interest to your subject, which can be a hobby,the latest news, a mutual acquaintance, or any number of topics. Building arapport with the subject is important, whether a three-year-old child or aninety-five-year old statesman, because it makes the subject more at ease inyour presence, and therefore more-relaxed and natural-looking for the lens.You must take all possible steps to put a subject at ease in order for her orhim to appear natural. Visit Character revelation for more information.

    WHEN TO BEGIN TAKING PICTURES

    Sometimes your best picture is your first picture, andsometimes its the last exposure you make. If the subject isin position, relatively-comfortable and you are ready toshoot, there is usually no reason not to begin right away.

    Often just getting started is enough to cause a subject tosettle down if they are uneasy or tense. You have to useyour best judgement in every case. No portrait sessionshould be rushed, but there is no sense taking up yoursubjects time in idle chatter while you could be makingexposures.

    There is also no reason for your conversation to cease justbecause you have started shooting. If the session seemsto be going well, tell your subject; it may provide addedconfidence that will show in their expression. Drawing asubject out by having them talk while you are takingpictures will often result in interesting and revealingexpressions.

    Subjects do not have to smile to make a good portrait. Aserious or thoughtful expression can often be morerevealing of character, and a better portrait.

    Black & white portraits can be very powerful, havingimpact that is unachievable with color film.

    OTHER POINTERS

    There are many components to a good portrait, but the maincomponent is control by the photographer. You must be in chargeandmust be looked upon by your subject as being competent andknowledgeable if your subject is to have any confidence in you.

    This means you must be prepared in advance, not fumbling withfilm when the subject is ready to be photographed. It means you

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    The natural light of evening-time can

    provide a portrait with a mood of its own.

    must be confident in yourself and exude that confidencethroughout the session, and must be relaxed yourself if you expectyour subject to become relaxed.

    Keep in mind that it is theperson who is emphasized in a portrait,not his or her surroundings. Viewers of the portrait should see

    more than just a recognizable photograph of someone. Thepicture must contain mood, show personality and character,allowing the viewer to draw conclusions about the person in theportrait.

    SEND US YOUR TIPS

    The information and pointers in this section ofphotographytips.com are intended to help you to gain thecontrol you need, to be properly prepared and to function withconfidence in order to make good portraits. We hope you find ituseful.

    We may have overlooked useful and valuable portraitphotography information and hints that seem obvious to you, oryou may have tips from your own experience that we haventcontemplated here.

    We invite you to send us your tips and pointers, preferably witha picture that illustrates them, to share with our viewers. If weuse them on the website, we will be delighted to provide youwith a credit as both the source of the tip and the photographerof the image.

    Sometimes a candid portrait is as revealing of

    character as one that is carefully posed.

    ReflectorsReflectors provide the photographer with a quick and simple means ofgetting light onto a subjects shadow side, to produce an attractive rim-lighting effect when used to back-light a subject or to illuminate a personor object when the light source is behind it. They are availablecommercially, while many photographers use home-made orfoundreflectors.

    COMMERCIALLY-AVAILABLE REFLECTORS

    Collapsible reflectors, available from camera dealers, provide anefficient and convenient way to bounce partially-diffused bright light ontoyour subject. They are round or oval-shaped, and come in differentsizes, generally from 20" to 52". Some change the lights color. Theshiny panels are made from fabric coated in a range of bright colors thatinclude soft gold, gold, silver and white. Each side usually has a

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    Direct sunlight creates darkshadow on the side of a subject.

    different color. They are quite sturdy, and can withstand a good deal ofuse. Like any lightweight panel, the larger-sized reflectors can bedifficult to control when it is windy. They fold down to a smaller shape forstorage in a zippered pouch.

    Some manufacturers also make a telescoping arm that grips opposite

    edges of the reflector, keeping it stiff and permitting one-handedholding.

    Umbrella-type reflectors are designed mainly for bouncing electronicflash in the studio, changing strong directional light to softer, diffusedillumination. Some have removable backing so light can be flashedthrough the translucent material. Different sizes can be purchased, andthe reflective fabric may be white, silver/white or silver.

    FOUND REFLECTORS

    Found reflectors are all around us - a white wall, forexample, that has sunlight striking it. By placing yoursubject near the wall, you can choose a camera positionthat has your subject illuminated by direct sunlight on oneside and by reflected sunlight on the other. If the wall,however, is colored, the light it reflects may cast its coloronto your subject.

    Other found reflectors include windows and mirrors, whichproduce a reflection similar to the light source with nodiffusion (i.e no softening of the light. If the light source isstrong or harsh, its reflection from mirrors and windows will

    be, too.) Snow and sand can be highly-reflective, and canbe used to fill shadow areas with light.

    Many common objects can be used to reflect light onto yoursubject. See our section entitled Common uses foruncommon things for handy tips on using everyday items inphotography.

    A collapsible gold reflector illuminates the shadowside and warms skin tones.

    TECHNIQUE

    You will very likely need an assistant to holdthe reflector. To illuminate the shadow side, itshould be held quite close to your subject formaximum shadow fill, but watch out that it

    doesnt enter the picture frame. If you arereflecting continuous light (i.e. not flash), youcan see its effect on your subject, judge itssuitability and change the reflectors positionand orientation until you get the effect you like.

    A meter reading that is within one stop of themain light falling on your subject shouldproduce pleasing illumination.

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    A gold reflector added the right amount of shine to the model's hair in

    this whimsical outdoor scene.

    If sunlight or another main light source causesyour subject to squint, have your subject turnhis or her back to the sun so you can reflectsunlight onto your subjects face. A brightreflector can still cause squinting, whereas areflector that diffuses the light (like a white card

    orstyrofoam sheet) will produce softerillumination in which the subjects eyes can befully open. An added bonus of this techniqueoccurs when you position your camera to catchthe suns reflection off your subjects hair,either on top or off to one side. You can alsoframe your subject so the sun is positioneddirectly behind his or her head to provide rimlighting. This can make an especially attractivepicture when the subject has long hair.

    Fabrics and photography

    Backdrops and more from fabrics

    Meter the subject as if the lace was not there

    Looking for an inexpensive, versatilebackdrop for a portrait? Need a non-reflective background or a rich-lookingsurface cover for a product shot? Wouldyou like to make your own diffusionfilter?

    Visit your local fabric store and amazeyourself with the richness of materialsavailable there to improve your

    photography.

    Here are some examples and ideas forthe use of fabrics in your photography:

    FAKE FUR & VELOUR

    These are plush materials available in a variety of colors and patterns can be used to convey asense of comfort or softness, such as you might require forbaby pictures. Fake fur is oftenavailable in animal skin patterns - spotted to resemble a cowhide or leopard, for example. Velourcan be stretched, a characteristic that may be useful in figure photography or to create aninteresting backdrop.

    BLACK VELVET

    The non-reflective quality of black velvet orvelveteen make these fabrics ideal when you

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    The light-absorbing, non-reflective characteristic of black velvet makes

    it ideal for a completely-dark background

    need a light-absorbing, deep dark background.

    The nap of these fabrics also helps to concealthe shadow cast by your subject.

    Many different shades of velvet orvelveteen are available to provide youwith great background variety.

    As you can see by the inordinatenumber of pictures here featuring black

    velvet, it is one of our favorite fabricsand finds a great deal of use in thestudio and on location.

    A deep black background can be verydramatic, and can be used over andover without fear of boredom, unlessyour subject is boring. This is because ablack background is neutral. The sameeffect could not be achieved with afluorescent tangerine fabric backdrop,since it would quickly result in overkill.

    A black fabric background contributes to a dramatic look.

    PRINTED FABRICS

    Tie-dye and other printed fabrics can be used towrap around objects that serve as props when theirdesigns match the theme of your shoot. They makeexcellent backdrops when you want the backdrop totie into the subject, and can also serve as colorful,casual wraps formodels, or as a fake, but effective,

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    Colorful, patterned fabric can make a photograph seemhomey and warm

    table cloth for a food setting.

    SATIN

    Satin is luxuriously reflective and comes in a greatselection of rich shades that convey a sense of

    quality to a product photographed on them.

    POLAR FLEECE

    Made from polyester but still remarkably thick andsoft, polar fleece comes in tons of colors andpatterns. This is the material to put a baby on if youwant to convey warmth and real softness. Its a littlemore expensive, but it is colorfast and washable, andwill last a long time.

    FELT

    The material used on pool tables, felt is non-reflective but looks great under bright lights. It showsshadows well. Available in a rash of bright andcountry colors, felt can provide a dead flat, wrinkle-free surface for photography of small or largeobjects. It can be bonded to a curved surface, whichmakes it very useful for seamless backdrops.

    CHIFFON

    A light, airy material, chiffon seems to float in the air. Think ofsilky scarves, and imagine a long piece of chiffon held lightlyby a model, flowing lightly in the breeze from a fan or azephyr. It is a beautiful, semi-transparent material that, whenused a prop, can add delicate and graceful dynamics to ascene.

    CANVAS

    For large, inexpensive backdrops, canvas (cotton with a littlebit of polyester) is available in widths up to 96", and ofcourse almost any length. Although it cannot be dyed likemuslin (because it has no fibre to accept dye), it can bepainted to create your own patterned or colored backdrops.

    TULLE

    Tulle, a fine net-like material, can create a cloud-like effectwhen placed around a subject photographed against aseamless backdrop. It is available in many colors, butbecause of its fineness, tulle photographs as if it were a lightshade of pastel, which lends subtlety to your photographs.

    The parallel lines of this fabric draw the eye intothe picture and contribute liveliness to this

    commercial

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