Category Archives: 35mm

Sunny 16 is not always correct.

Sunny 16 
 
I have been meaning to write this post for about two or three years. I pick up the subject, do a few test shots, write a bit, then shelve it. I don’t know why that is, perhaps because I’m doing it out of annoyance, rather than because I am excited to share something with you all. 
The thing that has been annoying me is the constant advice on social platforms to beginners that you can just shoot ‘Sunny 16’ and all will be perfect. There are a few myths in photography that regularly crop up in articles, blog posts and comment sections, and If you try to suggest that any of these commenters might be mistaken, you are immediately pounced on by a number of people who are totally convinced of the thing, despite never having tested it. The Sunny 16 Rule is one such myth in my opinion. Perhaps I should qualify that statement and say that it’s not so much a myth, because it does work sometimes. More a mistaken belief that this method is going to produce perfect results all of the time.
 
The sunny 16 rule is very old, and was originally devised as a way of shooting transparency film at a time when light meters were less common, and not very reliable. It was important to avoid overexposure with transparency film, so slight underexposure was preferable. Exposing for negative films is different, they benefit from slight overexposure (but not over development).
Let me explain what Sunny 16 actually is for those of you who do not know. The rule states that; ‘In sunny conditions, the camera can be set to f16, and the shutter speed will be the same as the ASA/ISO’. My preferred film is Ilford HP5 400 ASA/ISO, so for the purposes of this article I will be using that as a example. In sunlight the setting would then be a 400th of a second at f16. Now there are no cameras that allow you to manually select 400th of a second (actually I can think of just one, -Mamiya RB67), so most people go for the nearest speed, which is 500th. If you wanted to compensate for this slightly faster speed you could open your aperture to between f11 and f16, but it is my belief that you will still be underexposed in a number of situations (and anyway, that wouldn’t be sunny 16 would it?).
 
I shoot Ilford HP5 every day (Inland in the UK), and I’m consistently getting 125th at f16 in sunny conditions. This is two stops away from the sunny 16 setting and I’m not getting really overexposed negatives, this exposure gives me just enough shadow detail for the type of negative I like to print from. When I am at the coast, I get 250th at f16, and only at mid day there, with the sun behind me do I get 500th at f16. 
 
The difficulty with a statement that suggests all exposures to be the same, is that location is not taken into account, never mind the time of day. brightness of the sun is not constant from the Arctic to the equator, and even varies a full stop between coast and countryside. In the UK, bright sunny days are not common, so the rule might not be any use for 80% of the year anyway.
In the UK in summer, if you are near the sea, you might just get sunny 16 if you have the sun high in the sky and it is directly behind you. Inland, earlier or later in the day it will be less, and if you turn 90 degrees to the sun it will be reduced even more. Extra exposure is needed to bring tone to the areas not lit by the sun, so the rule does not apply any more. This is never mentioned when the rule is suggested, the advice is passed on because the reader saw it somewhere, but never tested it.
 
If you photograph in a city, you may be getting extra light reflected off pale concrete and large glass covered buildings, so you might find my setting quite different from your own. From my tests it would seem that the best time of day to get enough light for sunny 16 to work is mid day, but the harshness of the light at that time is not good for photography. Personally, I think it is the worst time of the day for pictures, but street photographers might disagree with me on that one. There is a fashion among current street photographers for solid black areas in pictures. This is basically underexposure with the highlights lifted afterwards. If this is the look you are after, then sunny 16 is probably fine for you. 
 
One thing that needs clarifying here is that most new film photographers these days are scanning their negatives, rather than printing in a darkroom and underexposed negatives can be easily rescued in Photoshop. if you have never tried to print your negatives in a darkroom, and have only used software to make images, then you might not be aware that your negs are a bit underexposed. Printing in a darkroom requires negatives with more density and a different approach to estimating exposure. If you make the switch from scanning to printing, you may find your negatives are not dense enough.
 
You may think that I am making this up, but you can test it even with a digital camera, and they don’t need as much exposure as a negative. Set your camera to 400 ASA/ISO, set the aperture to 16, and your shutter to 500th, it’s the setting that most people use when shooting sunny 16 with a 400 speed film.  Go out and shoot a number of frames in different directions, and don’t chimp, don’t look at the pictures until you have done 10 or 12. If the theory is correct, then all of your pictures should be perfectly exposed. I’m betting that they are not.
 
The first of these digital shots was taken at 1/500th at f16. The camera was set to 400 ASA/ISO. The second shot was with aperture priority and the camera chose 1/140th.

 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
Now try shooting in sunlight with film. Take one shot at ‘sunny 16, and then take an incident reading and do a shot at that setting. If you have the time, repeat this with a number of situations and with the sun behind you and also to your side. Process your film and look at the difference in the negatives.
 
 
Some of the comments I have seen online illustrate the attitude many have; Sunny 16 is ‘incredibly reliable’, and ‘It has been the standard for over a century’, (actually only since 1960 when ASA standards were set). ‘It’s not foolish to believe in Sunny 16, because it’s not an opinion, it’s a fact’, -It’s not a fact, it only applies in limited situations.
One person even showed a picture with the details; ‘Sunny 16, Kiev 4AM (camera)’ -the picture was a night shot!
 
Don’t believe what you read, test things for yourself and make your own mind up.
 

If you have enjoyed this post and the information here and elsewhere on my blog, would you consider a small donation via Ko-fi please? You can send as little as £3.00, or more if you are feeling generous. This money goes towards materials used for the tests and printing for these articles. The link is; Ko-fi.com/andrewsandersonphotography

A film and development test to improve your negatives. One roll of film.

I was asked the other day by my friend Luis GV Caso, if there was a way of doing an exposure and development test using one roll of film. I knew how I would tackle it if I was working in my own darkroom, but I realised that I had never written this down. After I had sent it to him, I thought it would be useful to post it here.

Hi Luis,you asked if there was a way to do a full test on one roll of film. There is, but I think you would need to use 35mm, as you will need to cut the film into three sections after shooting. Doing this with medium format would leave short, curly bits of film which could become loose in the tank. Firstly, you need to think about the sort of lighting that you usually shoot in, or prefer. It is no use doing this test in full summer sun if you prefer shooting on foggy autumn days. Choose the appropriate scene and light (hopefully constant, and not likely to change for the duration of the test).

With the camera on a tripod, take a meter reading the way you normally do. This might get a lot of other photographers saying: ‘oh no, you need to do an incident reading’, or: ‘You have to do a range of spot metered readings and average them out’. This test is meant to help you get the best out of your way of working, not to get tied up in other people’s methodology or obsessions. Once you have your reading, draw out a range of camera settings which will give you a sequence of exposures from 4 stops under, all the way up to 4 stops over (see the diagram below). Shoot these nine frames, then cover the lens and shoot four blank frames. Shoot the same nine exposures then another four blanks. Shoot the last nine frames and one blank then rewind the film.

In the darkroom you will need to have something light tight that you can store sections of the film in, unless you have three tanks. Cut the leader off, then cut the film into three roughly equal lengths. The blank frames should give you enough space for error. The last length needs a small cut in the end (where the last blank frame was) to identify it. Load the first length into the dev tank and store the middle and end for now. Process this for 20% less than the recommended time. Stop, fix and wash as normal. Process the middle section for your normal time. Process the final length for 20% more than your normal time. When dry, do a contact sheet (longer paper needed for 9 frames, or tape two bits together). The test exposure to determine the correct time (for all 3 strips) should be the shortest possible exposure that will produce black under the clear edge of the film. Wash and dry the final contacts and look for the ‘correct’ frame. It should be frames number 6, 18 and 30, but your results might differ slightly. Contact printing is only an indication of the area you should be working in. You will have quite different choices for printing, depending on whether you are using a condenser or diffuser enlarger. Use the indicated frames to make test prints, but be prepared to see better results in the last section if you are using a diffuser enlarger, and in the first section if you are using a condenser enlarger.

If you have enjoyed this post and the information here and elsewhere on my blog, would you consider a small donation via Ko-fi please? You can send as little as £3.00, or more if you are feeling generous. This money goes towards materials used for the tests and printing for these articles. The link is; Ko-fi.com/andrewsandersonphotography

Cutting back development to reduce contrast.

On July 9th 2015, I posted an article about metering and referred to the old adage of; ‘Expose for the shadows, develop for the highlights’. In that blog post I referred to the technique of cutting back development to reduce contrast. To beginners, the idea of cutting back, or reducing development is rather worrying. A fear of under development often causes people to go into over development just in case they don’t get anything on the film. This causes the negative to begin to ‘block up’ in those areas which have received the most light. An added problem that students have, is that they take too long between pouring the developer out, and pouring the stop bath in. This adds more time to the process and more density to the negative. Extra density in the heavily exposed areas, such as a white dress, or sunlit clouds is a bad idea, as it prevents light passing through at the printing or scanning stage. This isn’t just a matter of a longer print exposure to push enough light through to expose the paper, it also degrades the image, -with increased grain and ugly tonality in the mid tones, and loss of detail in areas of light grey or near white on the print.

So, if you are going to try cutting back, then how much should you try? Well if your negs are regularly dense, then the film will probably cope with losing up to 10% of the total time without suffering too much, but this depends on how much you are currently over developing. If your negatives generally print ok on a grade 2 Ilford Multigrade paper, then you don’t need to do anything. If you find that you are using Grade 1 or less quite regularly, or are split grade printing to get your light tones and whites to come in, then you should think about cutting your time back.

A simple way to test this is to set up the camera on a typical day, depending on the weather in your location. Sunny conditions will give a more accurate test result, but if you never shoot in bright sun then don’t test in it. Take an incident reading if possible, or establish the exposure of the scene with your light meter by reading from a mid grey (grass is good for this). Don’t use your digital camera as a meter for your film shots, it won’t be accurate.

Fire off a whole roll of 36 exposures at this setting and take the film back to be processed. Cut off roughly a third of the film and load it into a tank. Keep the rest somewhere totally light tight, you will need to process another bit later.

Process this at your normal time. Stop, Fix, Wash and dry.

Process another third of the film, but at 10% less time. Stop, Fix, Wash and dry.

Process the final third of film at a time which is 20% less than your normal time. Stop, Fix, Wash and dry.

Take a strip of negs from the first process, the one which is your normal time. Put it in the enlarger and set it up as you normally would. Pull the negative across slightly so that you can see the blank gap between frames. Make a series of test exposures to determine print time, but look for the first appearance of black where the gap between shots is. You are trying to find the shortest possible exposure to give black for the clear areas of the negative. Once you have established this, do a full print at that exposure. Before you put it in the developer, write ‘Normal dev’ on the back in pencil.

Put a strip of negatives in the enlarger from the film that had 10% less development. Do a full print at the same exposure as the first print. Before you put it in the developer, write ‘10% less dev’ on the back in pencil.

Put a strip of negatives in the enlarger from the film that had 20% less development. Do a full print at the same exposure as the first print. Before you put it in the developer, write ‘20% less dev’ on the back in pencil.

Process all three prints for the full time and then lay them out side by side. The print with the best highlight detail and tone is the indication of what your development time should be from now on.

Let me know if this post has been helpful to you.

If you have enjoyed this post and the information here and elsewhere on my blog, would you consider a small donation via Ko-fi please? You can send as little as £3.00, or more if you are feeling generous. This money goes towards materials used for the tests and printing for these articles. The link is; Ko-fi.com/andrewsandersonphotography

Influences.

Which photographers do you enjoy looking at? What inspires you? Do you have friends who share your enthusiasm, either in your locality or online?

I think it is always interesting to discover that another photographer really appreciates the same historical or contemporary photographers as yourself, or is a fan of the same style of work as yourself. It establishes a connection and deepens a friendship to have things to share.

It suddenly occurred to me today that I had a long list of names that I very rarely get a chance to talk about and that I should write a little about them. I don’t expect everyone to agree with me, but I will be interested to read your responses.

Should you welcome the influence of other photographers? Most University and College photography courses in the UK force students to work in the style of a short list of contemporary photographers and the criticise them for not being original. I’m glad that wasn’t the case when I studied photography.

In my early days as a student I found myself easily influenced by any photography that I saw. I wanted to develop a style that was my own and didn’t want to be influenced by anything that had gone before, so I made a conscious decision to stay away from as much of it as I possibly could. I avoided exhibitions, books and magazines (there wasn’t anything else in those days, except for TV and that was rubbish). I couldn’t keep it up, because photography is everywhere and I had to think of another strategy. I decided on the polar opposite approach: To look at as diverse a range of work as I possibly could, and lots of it. This had the effect of giving me an enormous range of styles and techniques to choose from, and it really opened my eyes to what was possible.

You will I expect, be able to spot one or two of my influences in this list and that is fine. I have not tried to deliberately copy them, but I love the style of work they do and enjoy working in that style sometimes. I make no apology for this, after all, there is more than one band playing blues music.

There are quite a number of photographers in this list and I can’t include all the pictures that I love (I’m not even sure of the copyright issues with that), so instead of putting them in this blog post, I am going to give you a link to my Pinterest page where you can see a large and diverse selection.

I don’t have space here to say why I love the work of these people, but I hope that the images work for you too. I also hope that you discover work that you were unaware of. Please comment and let me know what you think, and perhaps recommend other photographers I might have missed.

Photographers
Richard Avedon, Roger Ballen, Bill Brandt, Zeke Berman, Harry Callahan, Trevor Crone, Robert Demachy, Baron Adolf De Meyer, William Eggleston, David Eustace, Lee Friedlander, Horst P Horst, Rhodri Jones, Sirkka-Liisa Konttinen, Josef Koudelka, Wright Morris, William Mortenson, Leonard Missone, Raymond Moore, Arnold Newman, Robert Parke Harrison, Irving Penn, Sabastiao Salgado, Edwin Smith, W. Eugene Smith, Frederick Sommer, Edward Steichen, Josef Sudek, Jerry Eulsmann, Bradford Washburn, Albert Watson, Edward Weston, Minor White, Joel Peter Witkin. Francesca Woodman, Ion Zupcu,

 

My Pinterest page of photographers work;  https://uk.pinterest.com/andrew2499/photographers/

If you have enjoyed this post and the information here and elsewhere on my blog, would you consider a small donation via Ko-fi please? You can send as little as £3.00, or more if you are feeling generous. This money goes towards materials used for the tests and printing for these articles. The link is; Ko-fi.com/andrewsandersonphotography

Are your film negatives good enough?

Are your negatives ‘good’?

As a film user, do you process, then scan, or do you print in a darkroom?
How do you know if your exposure and processing method is giving you the best negative for the kind of work you wish to produce?

If you use a scanner, followed by photo editing software to bring your pictures to life, you can manage with negatives that are way off the mark for exposure, processing, or both. Because of the tremendous ability of software to control and alter the contrast range of an image, many film photographers are producing negatives which are technically incorrect, then ‘pulling’ images out. I see this quite often when a picture is put online in an Face Book group, Twitter, or shared on Google +, I can see at a glance if a shot has poor shadow detail or is overdeveloped. Recently, someone had posted two images and had also included the negatives. It was obvious that the negatives were two stops underexposed, but the photographer was showing the shots as examples of his great talent.

Last year I did a little research into stand development and in a few places on the web there were photographers claiming that all monochrome films could be stand developed in Rodinal for an hour and all of them would be perfect. yesterday I watched a video in which the photographer claimed that two hours was the correct stand time for Rodinal. It didn’t take many films for me to realise that these opinions were started and perpetuated by people who were not printing them in a darkroom. When you print your negatives in a darkroom, you very quickly find that poor exposure and development of your negatives causes difficulties in contrast control and tonal representation. The better your negatives are, the easier and more productive your printing session will be.

So how do you know if your negatives are good?
A difficult question to answer using only the written word. Depending on subject matter, the negative should have a range of tones that run from clear film base, through the tones, up to areas of quite dark grey. You should NOT have any areas that are jet black, even if the subject or scene has the sun in the sky. If you have solid black, you have over processed, either by having the developer mixed too strong, or the temperature too high, or by giving it too long. Beginners often give their films longer in the dev because they are worried about not having anything on the film, but they create negatives which are a real headache to print. Many beginners don’t realise they are over developing, because they like the contrasty look that they get. High contrast negatives can be very creative in the right hands, but how many of us have the graphic vision of Bill Brandt, or Mario Giacomelli? Both of these photographers overexposed and over developed their film (grossly overdeveloped, in the case of Giacomelli), but made very strong work.

The way to prevent over dense negatives is to lower your dev times. This is where beginners start to panic; What if I cut back too much and there is nothing on the film? Well hopefully the detail and tone has been established by proper exposure, so you would have to cut back development severely to lose it all. Taking your processing time down by 25% will make a difference, but won’t lose the images unless your original time was wrong in the first place.
If you are a darkroom worker there is a simple test which will help you determine if your exposure and development regime is within acceptable limits (whatever they might be). Of course this can come down to personal taste, but this sequence will help you get it nearer to the middle mark.
Load your favourite 35mm film into your camera and find a normal scene with a good range of tones. Take a meter reading in the way you normally do and take a shot underexposed by two stops. Take the next shot one stop underexposed, then one at the indicated exposure. Follow this with one frame shot at a stop over and the next, two stops over. You now have a bracketed sequence of five frames with the indicated exposure in the centre. Repeat this sequence until the film is finished. (it is worth wasting one film on this, as it will clarify a number of things).
In total darkness, pull out the whole length of the film and cut it into three roughly equal sections. Load them into separate developer tanks (or, if you only have one tank, load one and store the other two bits in something totally light tight until your tank is clean and dry).

Now develop the first length of film at 20% less than the time you would normally use, keeping temperature and dilution the same. The second section of film should be processed as you would normally do, and the third section should get 20% extra dev time.
When the films are fixed, washed and dried, a contact print should be made of a five frame sequence from each of the three strips. The important thing though, is to realise that you must expose these for the shortest possible time that will give you a black under the clearest parts of the film, ie; the edge of the film, or the gaps between frames. So, your test exposure and the way you read it, must be done in a way that will give you this information. The exposure should be the same for each of the three strips. When the time has been established, contact all three strips (or sections of) on the same piece of paper. Look at the finished contact print and see which frame gives the best representation of the full tonal range of the scene. There should be one frame that looks right and some that are too flat and others that are too contrasty. This will tell you how far out your exposure or processing is. Try that frame as a print, using the same criteria that you used to judge the test for the contact sheet; Choose the first exposure that gives you a black in the clearest part of the film. Check the test, the highlight detail should be the same as the contact sheet. Make a full print at this exposure and compare it to your previous work. Adapt to the new information and establish a repeatable method for creating good negatives from that point forward..

 

Good luck with it all and let me know how you get on.

If you have enjoyed this post and the information here and elsewhere on my blog, would you consider a small donation via Ko-fi please? You can send as little as £3.00, or more if you are feeling generous. This money goes towards materials used for the tests and printing for these articles. The link is; Ko-fi.com/andrewsandersonphotography

Contrast control.

I promised in an earlier post that I would tackle the subject of contrast control. My original idea was to explain the methods I use in the darkroom, but I think I need to mention why you might have contrast problems in the first place.

Are you having problems with excessive contrast in your negatives? are you finding it difficult to print them in the darkroom without a lot of messing around with filters? I could give you some pointers for methods to create good prints from them (and I will), but perhaps we should look at why those negatives are so contrasty in the first place.

The first thing I would like to say, is that you might find it strange that exposure is not the cause of your contrast problems. By that I mean that overexposure is not your problem, gross underexposure might give you very thin negs which are difficult to pull detail from, but I am referring to excessive contrast. You only get heavy negs if you overdevelop, and this is the real crux of the problem; Film development is where the contrast is caused. Over development causes increased contrast and grain.

Where are you getting your dilution, time and temperature information from? Some random person who wrote on Flickr? Something another student told you? Check your information with a reliable source, but still be cautious.

Following the developing instructions on the box or the bottle will get you a result, but your negatives could still be over developed if your thermometer is a little bit out, your measuring jugs are not very accurate and if you tend to ‘give a little bit more, just to be sure’. Another thing I’ve seen with students is, they take too long between pouring out the dev and getting the stop bath in, adding another 30 seconds to a minute to the development time. All of these things can make a difference and if you have a combination of them you might be quite a bit out from the ‘norm’. Remember; Over development causes increased contrast and grain.

So perhaps this is one area you might need to look at. If high contrast negatives are giving you problems, then I would suggest running a test film through and processing for 15% less time than normal (this is just a rough estimate, as I have no idea what your negs look like).

Normal and high contrast negatives (simulated).

Normal contrast

High contrast

The contrast is caused by allowing the dense parts of the negative to develop too long. This extra density prevents light getting through, either when printing, or scanning, leaving those areas to be totally white and without detail as a positive image. By careful control of temperature, volume and time, you can stop development at the correct point, giving you a negative with a long tonal scale that will print or scan properly.

Printing

If you have negatives in your files which are dense, how can you get a better print from them?

Split grade printing can be very useful for difficult negatives. There are many conflicting ideas about split grade printing, but I shall give you a simple and effective method. The secret to getting good results is in making the Grade 00 exposure first (I am assuming you know how to do the basics). Put a Grade 00 filter in, and do a test strip in the densest part of the image. Find out the exposure time for the subtle highlight detail you need, remembering that many papers dry slightly darker. Once this time has been established (and it could be a long exposure if the light has to get through your dense neg and the filter), expose a strip of paper for this indicated time Next, put a Grade 5 filter in and do a series of test exposures over the top. These exposures will not be as long as the Grade 00 because you are printing the thinner parts of the negative. Make this second test in a shadow area of the image.

When this two part test has been developed and fixed, look for the point where the black appears, and you will have your Grade 5 exposure. Give the full print these two exposures, working in the same sequence as before and develop the print.

The reason this method works better is that the Grade 5 exposure is not increased by the Grade 00 coming after it. (The effect is slight but it does happen).

To add to the technique above, you could pre-flash the paper to lower its contrast, though to be accurate, you would need to pre-flash the test strips and the final piece of paper to the same amount of light. If you want to get really ambitious, you can pre-flash through a mask to confine the pre-flash exposure to the highlight areas! This technique is a bit too much for this article, but I’ll be happy to explain and demonstrate if you would care to come for a workshop.

Let me know how you get on and write to me via the comments here or on Facebook and Twitter.

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If you have enjoyed this post and the information here and elsewhere on my blog, would you consider a small donation via Ko-fi please? You can send as little as £3.00, or more if you are feeling generous. This money goes towards materials used for the tests and printing for these articles. The link is; Ko-fi.com/andrewsandersonphotography

Is your metering method causing you problems?

Following on from my previous post on comparisons between meters, I thought it important to point out that HOW you use your meter has a significant effect on the exposure you get on the film. There are basically two ways to meter a scene, but a few variations on how those measurements are actually taken and interpreted;

The two main ways of taking a light reading are Reflective and Incident. Reflected readings are measurements of how much light is falling ON THE SCENE and Incident readings are measurements of how much light is falling ON THE METER. Spot meters measure small areas, but are still reflective types and when you take a reading through the camera lens (TTL metering), you are also taking a reflected reading. The trouble is, your choice of subject, or the angle that you shoot from, will influence the brightness that the camera reads. For instance, If I point my camera at a bunch of trees from thirty feet away, I will probably get a reasonable reading from the camera. If I then walk up to the nearest tree and lie underneath it, pointing the camera up through the branches at the sky, I will get quite a different reading, even though the light levels are the same.

In another scenario; I have in front of me two garage doors. One of them is painted black, and the other is white. If I stand some distance away, my reflective reading will average out the lights and darks, giving me an exposure somewhere in between. If I then walk towards the garage doors and take a reading from each, I will have TWO OTHER readings, even though the light levels are still the same.

This kind of subject influenced reading happens on sunny beaches, snowy landscapes, stage photography, night photography, or whenever you photograph any object, scene or person with a predominance of dark tones, or light tones. Given the infinite range of everyday lighting situations and possibilities for error, it is amazing that most shots come out at all. The reason they do, is because film is so forgiving, especially if you are scanning from your negatives and working on the images in photo-editing software. When I say film, I am referring to black and white, or colour negative films. Colour transparency film is far less forgiving and needs more careful metering.

The other method of metering  I mentioned was the incident reading. With this, there is usually a white plastic cone which goes over the light cell and this then allows the meter to read the light falling on the meter, and this is not affected by the tone of the subject. Incident readings are a quick and very accurate way of establishing a reading and are correct in most situations. If used in a back lighting situation, they will favour the shadow tones and give you an exposure which will show the lit areas as overexposed, so use them intelligently.

There is one rule when taking incident readings, and that is that you must point the cone from the scene towards the camera, -not towards the light source. The reason the white thing is a cone, and not a flat disc, is so that in side lighting, one side will be lit and the other shaded, the meter can then average them out. If you point the meter at the light source, it will not take shaded areas into account and you will have an underexposed shot.

Screen Shot 2015-08-31 at 16.57.05

If you have a meter with the facility for taking both types of reading, you can take two readings beginning with an incident, then decide if the reflective is giving you a proper mid tone. I usually take an incident and check that against a reflective reading off the grass, or tarmac on the road, both of these are very close to mid grey.

In certain weather conditions, fog for instance, or snow scenes on a grey day, the light remains constant for a number of hours and one meter reading will be sufficient for many shots. Take one incident reading and the light will be the same for every shot.

Screen Shot 2015-08-31 at 16.51.51

Spot metering. The spot meter is an excellent invention, but needs careful thought when being used. Typically it will take a reflected reading from a small area, indicated by a circle in the viewfinder of the meter. Anything outside of this area will not be metered, though they do pick up a bit of stray light if you have areas of brightness nearby, or are pointing into the light.

Some people think that all you have to do is take one reading from the shadows, and another from the highlights and put your setting right in the middle. This can be done, but it will depend on how high your bright areas go. Are you reading off a white painted door, or the clouds nearest to the sun? A far more accurate way to do it is to read the exposure for the darkest tone that you would like detail in and underexpose from that reading by two stops.

The important thing to remember is that exposure determines shadow detail and development determines highlight detail.

Just let that sink in a bit; Exposure determines shadow detail and development determines highlight detail. There is no shadow detail that can’t be rendered on film if given enough exposure. Leave the shutter open long enough and the film will record light that your eyes cannot detect. Okay, we’ve got that, but what about contrast? Well, if you have exposed so that the shadow detail will produce some pale greys on the negative, but you have areas where a lot more light reached the film, say for instance, a gap in dark woodland with a sunlit area beyond, this area will have obviously received an excess of light. This will only become unprintable if you keep it in the developer long enough for it to go to black. You don’t want that, you want a dark grey that you can print through, so the answer is to cut back the developer so that this doesn’t happen. I’ll be covering this subject in my next post.

Metering through the camera lens (TTL). This is a quick and practical way to get your exposures pretty close to correct as long as you understand a few things; What you point the camera at for the picture, doesn’t have to be exactly the same thing you point it at to take a reading. For instance, if you were shooting tall buildings in the city from ground level, you would most likely be pointing the camera up and getting lots of sky. Point the camera at the building, excluding sky, take the reading and use that for the up shots. If you are shooting a band on stage, exclude the lighting rig from the frame when you take the reading, then set it and fire away.

For street shooting, a 35mm camera is ideal, but you won’t have time to take a reading as you compose the shot. Think about the tonality of the scene, take a reading from something typical, then set it and forget it.

Metering in low light.

Metering in situations where there is low, even light only requires a good incident reading, a reciprocity chart and a tripod. Metering in situations where there are areas of deep shadow, coupled with hotspots of intense light, such as a concert needs a different approach. Uprating is commonly used in these situations, but this creates negatives of higher contrast, requiring very careful metering. Whenever I see images online and the photographer is claiming that the film was rated at 12500 ASA / ISO or some such high number, my first thought is; Yes, but where did you meter from? If the shots are taken at a concert, or some dark restaurant or club, there will be areas of deep shadow and very bright spots of light. In that kind of situation, a 12500 ASA reading from dark clothing in the corner of the room will give pretty much the same exposure settings as a 400 ASA reading from a well lit face. TTL metering will give you a result, but if the shot is important, then a carefully taken incident reading would be better.

Outdoors in changeable weather conditions: If you have one of those days when the sun is in and out every two minutes messing up your readings, remember that the exposure will only drop by one to one and a half stops when a small cloud comes over. Proper storm clouds will take much more light away, but a typical British summer day with fleeting clouds is easy to meter; If you meter the grass for the sunny areas, the shadows from the clouds will be 1.5 – 2 stops darker than mid grey, but if you meter for the grass when the cloud comes over, the sunny patches will be 1.5 – 2 stops brighter than mid grey. Meter the scene according to the look you are after.

Go out and try these methods and let me know how you get on. If there are any other lighting situations you are having difficulty with, then please leave a comment or question.

 

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