Rule number one: there are no rules. A ‘mistake’ may not necessarily be a mistake if it helps convey the message or story or feeling intended by the photographer. I can easily think of multiple examples that go against every scenario described below. That said, for the most part, I’ve found these ‘mistakes’ to hold true. And if you want to achieve something very specific, then you either won’t be reading this article in the first place, or you’ll know when to bend the rules. The general viewing public probably has some preformed opinions of what is right/good, but these are born out of as much ignorance as conditioning by companies trying to sell more software or lenses or something else. There are rational reasons why these opinions may not necessarily be right in the context of fulfilling creative intention.
Understanding Metering, Part One: Introduction by Ming Thein
This is part one of Ming Thein‘s series on Understanding Metering.
An image from my recent Introduction to Wildlife workshop, and a very tricky metering situation – more importantly, do you know why, and what to do in a situation like this to achieve the desired exposure outcome?
One of the more important – yet almost always overlooked – aspects of camera operation is metering. Simply put, the meter determines what your final exposure is, and how bright or dark your image looks relative to the scene. Unless you are shooting manual – and even then – the camera’s exposure is determined by the meter. Add the fact that the eyes of a viewer tend to go to the brightest and/ or highest contrast portions of an image first (i.e. this should be your subject) – and it’s clear to see why it’s absolutely critical to understand both how metering works as a fundamental concept and any camera-specific peccadilloes that might exist. The last thing you want is to find that your camera drastically underexposed a once-in-a-lifetime shot of some critically important event because you didn’t know (or forgot) that the meter was extremely affected by point light sources*.[Read More…]
Aspect Ratios And Compositional Theory by Ming Thein’s
This post details Ming Thein‘s thoughts on aspect ratios and composition.
Round plate in a square frame. The composition is ostensibly balanced, but a little randomization is created by the uneven lighting. Leica D-Lux 5
Aspect ratio: image width/ image height, with the long dimension first.
There are six common aspect ratios for cameras today (and as many as you like if you use the crop tool, but that’s another subject for another day 🙂[Read More…]
