A child's joy in life (candid) C&C welcome

[Dave Humphries]

In my case, the bulb usually breaks.

... and then you show us the pictures

(has that got you thinking Mike?)

[William W]

Kim - I think Dave has answered why I would increase the EC when a large white garment enters the scene.

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Mike and Dave – Dave’s assumption is correct – the Lighting Scenario “Soft” was describing a scene like the one Kim was in - the scene is lit by “soft” light.

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Dave, Kim and Mike - My description of three general Lighting scenarios:

"Soft" is a description of the light ON the scene.

"Soft" is NOT a description of 'the day'.

This is a concept which might be difficult to put down accurately in a few words. But - in Mike's example of "a lot of sky in the scene" that might be either "Soft" or "Harsh Daylight" it depends on HOW that scene (of a lot of sky) is lit. Even if there are clouds in that scene (of a lot of sky) it will still depend on HOW those clouds are lit.

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I think that only leaves one question of Kim’s unanswered and that’s concerns the INITIAL EC that I would use. Yes, Kim you understood correctly. As a general rule of thumb in MATRIX MODE for a new model NIKON DSLR when using A Mode, I would set about +⅔ EC (overexpose by ⅔ Stop). The rationale is because MATRIX Mode will tend to be conservative and not allow any large area to be BLOWN OUT (beyond recovery in Post Production).

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I would expect a late model Nikon DSLR to allow +⅔ Stop on a “MATRIX” meter reading and still be able to recover the highlights in post reproduction. This assumes capturing in ‘raw’ format. All I am doing is employing ETTR Technique (Expose To The Right)

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Did I miss anything? Does that make sense?

WW

[William W]

In each outdoor SCENE below a large amount of sky is one of the ELEMENTS of the SCENE.
In relation to my comments above, I have described how I would generally categorize the lighting ON the major elements of each scene:


Sky, Building Trees and Roadway – all are lit by Hard Sunlight

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Mountains and Ravine are generally lit by Soft light: the Sky and Clouds are lit by Harsh Sunlight.

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All Elements in the scene are lit by Soft Light.

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Some of the building is lit by Harsh Sunlight, but some of it is lit by Soft Light, the Clouds are lit by Soft Light

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The vast majority of the elements in this scene are lit by Harsh Sunlight

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All the Elements in this scene are lit by Soft Light

***

In Kim’s image:


The little boy and the pathway and the shrubs are generally lit with Soft Light. So in this scene if I were in A Mode and Matrix Metering I would be at about +⅔EC as my INITIAL Exposure Compensation.

However The FACE of the little boy has dappled light which seems a little HARDER than the general scene lighting (we discussed the sun peeking through the clouds earlier). . . BUT . . . maybe the Lighting on his face only APPEARS harder and it is the fact of his bone structure (proud forehead) that renders the shadow area to make the light only APPEAR harder. In either case it doesn't matter to me. the main point is, I reckon the FACE of the SUBJECT as a very important ELEMENT in the Scene and as such I most likely would have bumped the EC to +1 for all the side lit shots of the little boy.

Just a reminder - all the EC suggestions are predicted on using ‘MATRIX’ METERING MODE and ‘A’ CAMERA MODE

WW

All Images Except ‘Little Boy’ © AJ Group Pty Ltd Aust 1996~2015, WMW 1965~1996

[KimC]

I'm still smiling over it; glad it came on!

Hey Kim, I love it when the bulb comes on

... and I've had a few similar LOL moments myself over the years!

[KimC]

Yes he did and I figured out my error in thinking.

Kim - I think Dave has answered why I would increase the EC when a large white garment enters the scene.

Boy, that tip is worth a million dollars -- thanks so much!

Yes, all my questions have been addressed.

I think that only leaves one question of Kim’s unanswered and that’s concerns the INITIAL EC that I would use. Yes, Kim you understood correctly. As a general rule of thumb in MATRIX MODE for a new model NIKON DSLR when using A Mode, I would set about +⅔ EC (overexpose by ⅔ Stop). The rationale is because MATRIX Mode will tend to be conservative and not allow any large area to be BLOWN OUT (beyond recovery in Post Production).

WW

[KimC]

Extremely helpful information to anyone reading this post AND me -- thank you for taking the time to post the pictures and provide specifics around my image. I def have learned that I need my brain to think differently when in A camera mode...and today it started!

In each outdoor SCENE below a large amount of sky is one of the ELEMENTS of the SCENE.
In relation to my comments above, I have described how I would generally categorize the lighting ON the major elements of each scene:


Sky, Building Trees and Roadway – all are lit by Hard Sunlight

*


Mountains and Ravine are generally lit by Soft light: the Sky and Clouds are lit by Harsh Sunlight.

*


All Elements in the scene are lit by Soft Light.

*


Some of the building is lit by Harsh Sunlight, but some of it is lit by Soft Light, the Clouds are lit by Soft Light

*


The vast majority of the elements in this scene are lit by Harsh Sunlight

*


All the Elements in this scene are lit by Soft Light

***

In Kim’s image:


The little boy and the pathway and the shrubs are generally lit with Soft Light. So in this scene if I were in A Mode and Matrix Metering I would be at about +⅔EC as my INITIAL Exposure Compensation.

However The FACE of the little boy has dappled light which seems a little HARDER than the general scene lighting (we discussed the sun peeking through the clouds earlier). . . BUT . . . maybe the Lighting on his face only APPEARS harder and it is the fact of his bone structure (proud forehead) that renders the shadow area to make the light only APPEAR harder. In either case it doesn't matter to me. the main point is, I reckon the FACE of the SUBJECT as a very important ELEMENT in the Scene and as such I most likely would have bumped the EC to +1 for all the side lit shots of the little boy.

Just a reminder - all the EC suggestions are predicted on using ‘MATRIX’ METERING MODE and ‘A’ CAMERA MODE

WW

All Images Except ‘Little Boy’ © AJ Group Pty Ltd Aust 1996~2015, WMW 1965~1996

[William W]

Kim - I think Dave has answered why I would increase the EC when a large white garment enters the scene.

Yes he did and I figured out my error in thinking. Boy, that tip is worth a million dollars -- thanks so much!

The same applies for a (large) ELEMENT in the scene being an highly reflective surface upon which there is is strong direct lighting.

It doesn’t matter what is the colour of that element, what matters is if the element reflects bright light into the camera’s TTL meter – for example direct sunlight or stage light onto highly polished / lacquered wood:
> A Piano (portrait of person playing at it)
> A Lectern (portrait of person speaking at it)
> Glass wall / doors / windows (portrait of person near it)
are three examples.

The three examples above are really important to consider if one is using FLASH. In these cases the FEC (Flash Exposure Compensation) has to be adjusted if the flash will cause a very bright area from the highly reflective surface, directly into the camera. I have seen a few novices completely stuff-up the Portraits of people making Readings at Church Lectern, because they failed to consider where the REFLECTION of the Flash off the highly polished wood was directed. (I haven’t got an example of that scenario easily at hand, but hopefully I have explained it adequately).

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(A more severe) INCREASE in the EC, when using Matrix Metering Mode and “A” Camera Mode, usually applies to my description of a lighting scenario in Post #40:

“> Dim with hard bright light sources (includes stage lighting, harsh interior domestic lighting, etc)”

Note for clarity the phrase “hard bright light sources” means these are ELEMENTS in the SCENE.

So the Scene is generally “Dimly lit” (i.e. low EV, a scene of low level Available Light) – BUT – there are HARD and BRIGHT light sources in the picture e.g.:



and



Aside – having stated all that: most of the sample images (probably all) were made using my cameras in “M” Mode.

That is NOT to suggest “M” Mode is ‘better than’ A Mode, it is just that I work quicker that way. If I am using the Camera’s TTL Meter I’d rather plonk the little needle (LED indicator) above or below the centre mark, rather than set the Aperture and then ride the Exposure Compensation.

WW

All Images © AJ Group Pty Ltd Aust 1996~2015, WMW 1965~1996

[KimC]

Thank you for the added information and examples Bill.

Your last comment made me smile as it's how I have been feeling, but I need to give the A camera mode more time too see if my brain gets more comfortable with the thought process.

....

That is NOT to suggest “M” Mode is ‘better than’ A Mode, it is just that I work quicker that way. If I am using the Camera’s TTL Meter I’d rather plonk the little needle (LED indicator) above or below the centre mark, rather than set the Aperture and then ride the Exposure Compensation.

WW

All Images © AJ Group Pty Ltd Aust 1996~2015, WMW 1965~1996