Basics 2. Then go here. Have fun! Practice…
ISO
The ISO setting controls how sensitive to light the camera will be programmatically, and is set before metering, setting aperture or shutter speed. ISO applies to film and digital photography. In film photography, each roll of film is manufactured to a specific light sensitivity called ISO, pre-programmed for each picture on the roll. In digital cameras the ISO can be set automatically (camera decides in automatic modes) or set manually. To learn ISO, you must set ISO manually. Less light sensitive settings have lower numbers like ISO 50, ISO 100, ISO 160 and ISO 200 and require longer exposure to light, or longer shutter speeds. Advantages of lower ISO settings are improved details in their images. In contrast, more light sensitive ISO settings such as ISO 400, ISO 800, or ISO 1200, and 1600 are good for lower light situations, for when it is darker outside, or for indoor shooting with out flash. Higher ISO settings cost is less detail or quality in the image. It takes longer (one stop) to expose an image at ISO 200 than at ISO 400. Whether film or digital ISO numbers are relative to light sensitivity for recording the image (to the film or to the digital sensor).
Many digital cameras automatically set the ISO; this convenience is not good for the beginner because it confuses learning about ISO settings and aperture settings.
For practicing photography, manually set the ISO, stay at that ISO setting, and choose your aperture setting. This way you will start to understand the relative difference between ISO numbers — and not get confused with aperture adjustments. Start with an ISO of 400 and leave it at ISO 400 for that light environment for several dozen pictures, but do change the aperture or shutter speed to practice. Take dozens of pictures of several subjects at the same ISO. On another day change the ISO setting, such as ISO 100, ISO 200, or ISO 800, leave it there and practice. How many pictures are several? 1, 2 or 3 dozen. The more pictures you shoot at a set ISO (like ISO 400), the more you will learn how aperture really works.(Retro Tip for fun: Picking 36 exposures as a target number will give you a similar experience film photographers had before they could change their ISO, because they could only change ISO when they changed the roll of film, usually after 36 exposures.) This limitation in film cameras helped photographers learn ISO. Avoid auto-ISO settings in DSLRs if you want to learn photography.
WHITE BALANCING (DIGITAL CAMERAS)
White balancing is how a digital camera sees the color white. We see white with our eyes, but digital sensors on digital cameras have to told “This color is white.” (Not verbally, but by setting white balance in the camera.) If the white balancing is correct, the other colors will look correct also. As each scene will be lit by different light sources (such as sunlight, tungsten bulbs, florescent light… each with their own color cast) white balancing can shift a lot. Fortunately digital cameras have good automated ways to help us tell the camera what color is white with the friendly name of “automatic white balancing” or AWB. The best place to start with white balancing in digital photography is to use AWB.
Custom White Balancing
The best white balancing possible is “custom white balancing.” This is a manual process, involving taking a picture (fill frame) of a white object (card, or cloth) and then telling the camera to reference custom white picture for a true color white balancing for the next pictures. Hence, this is called a custom white balance. Customer white balancing is an advanced topic but surprisingly not as difficult to do; many beginners and amateurs can rival professional white balancing by learning how to custom white balance. First, start with automatic white balancing (AWB). Then, experiment with other white balancing option presets (sun, incandescent, cloudy…) in your camera. Finally, try “custom white balancing”. Or skip the presets and go from AWB to custom white balancing like a pro. You’ll be okay. Don’t forget to learn how the other white balance presets in your camera render white (someday). Advanced cameras allow dialing in exact Kelvin numbers for white balancing. When shopping for a cameras check that it offers the option for custom white balance. Custom white balancing is very precise for the specific lighting in a particular scene. Remember to have fun!
METERING (FILM CAMERAS)
Metering is one of the most important technical parts of photography. It is not an easy subject. It is important to have some fun learning composition before focusing on metering, so each photographer has their own experience, memory and references. Then practicing metering while taking pictures makes sense to build metering skills. Fun is important!
Metering is the correct measurement of light. Every picture needs enough light for a correct exposure. Too little or too much light in the image and the image appears too light or dark. Many things must be factored with metering to include: ISO, aperture, shutter speed, the light source, reflection, — a lot of things! Some experience with composition, aperture and shutter speed makes learning metering possible.
”Metering for 18% gray” is the standard for film photography.
The happy bucket analogy and 18% gray. Film cameras were built with metering for 18% gray. Eighteen percent gray is the perfect amount light for a camera to record an image (at a given ISO, aperture and shutter speed). Imagine an empty bucket that is only happy when it is filled with water. The bucket can be filled from a hose at a slow rate (speed) or fast rate. Also, if the hose has a small or large opening (aperture) will effect when the bucket will be filled. Both the rate (speed) and the opening (aperture) relate to filling the bucket with water. With metering it is light (instead of water) that must be provided at a certain rate (shutter speed) and opening (aperture) for a meter reading at a specific ISO, like ISO 100. A slow shutter speed of 1/60th of second (slow speed) at opening of aperture of f/2.8 (large opening) lets in the same amount of light as a shutter speed of 1/500th of a second (fast speed) and f/8 (small opening).
Once adequately filled with light the camera meter is happy.
Your job as a photographer is to make your camera meter happy. Then the pictures you create can be correctly exposed. Surprised to hear this? I was!
Film photographers point their camera’s meter to a “middle gray”, or “18% gray” subject for a correct reading.
“Metering your subject for middle gray“ is the continual challenge print film photography (negatives). “Middle gray” are the shadows on a face, green grass in the sun, a dirt road, gray ashphalt. This allows details in the shadows to appear correctly, instead of too dark. Film metering is “metering for shadow details”.
Metering for film slide (positives) and for digital photography is “metering for the highlights” by pointing the meter to the brightest part of the image. Highlight examples are clouds, lights, light reflecting of light colored skin. Caution: Do not point the camera directly at the sun ever, for the safety of your eyesight or for the safety of the metering system.
To start practicing set the camera to “center weighted” metering, point the center of the camera to the ideal, target metering subject and press the shutter button half way down. The half way mark takes the meter reading and locks in the exposure just before the picture is taken. Keeping the shutter button pressed half way allows you to meter, and then recompose (Rule of Thirds).
In digital photography metering is for the brightest part of the picture, or “metering for the highlights”, such as the sunlight outdoors.
METERING MODE
There are generally three metering modes available in SLR and DSLR cameras: matrix metering, center weighted metering and spot metering., These are listed in order from general to more specific metering modes. Different lighting in each scene may need a metering mode.
Matrix metering mode
The most general metering mode is called “matrix metering”. Matrix metering mode is a good choice when starting in photography, and it does not require a lot of knowledge from the photographer. The “matrix” are several different areas of the scene the camera measures light from, and then averages to determine the correct metering. It is good for situations where light is relatively even throughout the viewfinder (or screen) in terms of light and dark areas. Matrix metering is good for practicing composition, aperture and shutter speed (Basics I skills).
Center Weighted Metering Mode
The next metering mode is “center weighted” or “center weighted average”. Center weighted is good to start using while building experience with composition and aperture (Basics I). Center weighted metering prefers the center part of the image for setting about 75% of the meter reading (rough estimate), and then uses an average or matrix for the remaining (about) 25%. What you see in the center of the viewfinder is preferred for the meter reading with center weighted metering evaluates the lighting.
Spot Metering Mode
The third, most advanced metering mode is “spot” metering,” Spot metering takes the meter reading from the center focus point for the light reading. Spot metering is good for metering a heavily backlit subject. When there isn’t enough even light for the matrix or good lighting for center weighted metering, spot metering is the last resort for in-camera metering. To practice metering start with “matrix”, shoot, work up to “center weighted metering”, then lastly experiment with “spot metering”. While building experience, you’ll start to understand when to pick a spot and when to leave things in the center or matrix modes. Metering is only learned by practice and experience. Have fun with metering! It’s okay if metering always seems challenging.
NATURAL LIGHTING
Natural lighting is the best to practice photography. Sunlight, clear sky, clouds, and overcast clouds are all natural lighting. Our eyes are used to seeing natural light. Electric bulbs have been around less than 200 years. Shooting with natural lighting extends what our understanding of imagining our photography, and our ever evolving “photography eye,” the creative way of looking at life through images.
Natural Lighting Tip 1: Observe natural light
Early sunny mornings and later sunny afternoons have good angled sunlight. Overcast, cloudy days have softer, subdued light which makes subjects look flatter. Bright sunlight, a strong natural light, creates harsh light and shadow lines. Cloudy sky filtered light, softening light rays, and creates softer and smooth looks on a person’s face. Softer light is more flattering in general Strong or filtered light look different under the eye brows, under the nose and chin, and on landscapes. Good pictures can be taken in many different types of natural light. Observe natural light intentionally.
Natural Light Tip 2: Subject facing the sun. (Easy!)
Having the subject (person) facing the sun is a basic way to begin shooting in natural light. It allows attention to composition, timing and aperture. Facing the sun up to a 30% angle can also work. It allows seeing features on a person’s faces, and their smiles! It’s that simple. The disadvantage of this technique is with strong sunlight, the features on faces are washed out — but you can see a smile. Still try it to learn and then move on to the next tip.
Natural Light Tip 3: Sun behind the subject (New challenges)
Composing with the sun behind a subject is a good challenge to grow into to get better pictures. (Yes this is the opposite of the tip above.) The subject may look backlit (faces appear dark and you don’t see people smiling or their eyes). The “fix” to backlighting is “adding fill light” into the picture. We want to see those smiles. The ways to add fill light are to expose the image longer using longer shutter speeds. For example, if the shutter speed is supposed to be 1/500th second, shooting at 1/250th, 1/125th, or 1/60th second, allows more light into the image and allows that light to “fill light” the person’s face., solving the backlighting. A neat effect with the sun behind a person is the backlight offers hair highlights which adds accents to a picture. There are other ways to add fill light to learn over time (reflectors or flash). Metering off a person’s face is another way to determine how much more light to add in. Finally a fill flash is a very good way to add enough light to compensate for backlighting, but that’s another topic and beyond the basics.
Placing sunlight behind a person in a picture (or at an angle such as 30 degrees), can create intentionally creative portrait.
Working towards having the sun behind a person takes time to learn well. Keep having fun as you practice. Experience builds up with composition, aperture settings, spot metering, and more. Keep trying. A little knowledge, a little practice, and patience go a long way in learning metering, for side or backlit subjects. This is a rite of passage that is fun to earn for every photographer. Keep the fun in your photography when you practice.