How can I become a FASTER photographer? please help

[Cantab]

On my Canon 60D, if I want to shoot in an automated mode, I always set the aperture and shutter speed manually, and set the ISO to auto. For me, control over aperture and shutter speed is nearly always more important than ISO.

[Stagecoach]

I haven't posted in a while but recently got hired for a couple's engagement photoshoot. Pictures came out OK, but I was fairly disappointed in my overall SPEED.

I read this as you saying that you want to be able to confidently go up to a group say sat at a table (as an example), get them to look at the camera and , take the shot, not have chimp, fiddle with the camera and re-shoot it.

Practice, practice and practice is obvious but when learning it also helps if you consider the scenario/scene/subject and pre set the camera before even approaching the shot. This way you look more confident and the subjects are disturbed less because these days just about everyone considers a big black camera should be able to take a picture faster than their selfie phone can

The issue here is that I've only been using Manual mode but it's been a hassle coming out with good SHARP shots due to my constantly reworking the exposure wheel.

If your pictures were not "SHARP" it's most likely due to two reasons;

a) You are using a too low a shutter speed when determining your required exposure
b) You are not focusing on your subject correctly

You can find the answer to this by going through those un-sharp shots and looking at the settings.

have mostly stuck with my 50mm 1.8 lens for portrait shots for those blurred backgrounds, but at times interchange with my standard 18-55mm to capture wider backdrops.

If these are your two main lenses you should know your minimum hand holding speed that will get you sharp pictures, assuming static subjects.

While I usually set the ISO, aperture and shutter speed decently enough, it's the exposure which proves difficult to adjust to obtain an exact center considering my focal point. It's like for each shot the wheel needs to be adjusted over and over, and it seriously impedes on shooting fast enough, especially for those outdoor shoots. Sure I can adjust exposure and brightness in post, I find myself with far too many over or underexposed shots.

This is a bit unclear and I'm wondering if your 'exposure' (I'm talking correct brightness of the subject achieved) variance is due to metering mode chosen or re-composing?

Should I set the camera to another setting other than Manual? I'd hate to use auto, but am not entirely practiced as much in shutter or aperture priority.

I think the answer here will vary depending upon whether you are using flash.

Anyway, any tips would help. thanks a million!

[rpcrowe]

I have always used a combination of Manual, aperture priority, shutter priority and programmed exposure, depending on my needs at the time. I have never used full auto although I often set a camera on fully auto when I give it to my wife to shoot the adoption of a dog...

How you achieve the image is not a determination of professionalism, it is the image that you achieve that is the important factor. Some photographers tout that the ultimate mark of a professional is the use of manual exposure in all instances.

When shooting with a DSLR, I will most often use manual exposure in the studio, working with non-TTL studio strobes. It sounds obvious but when I need a specific shutter speed, I will use shutter priority and when I need a specific depth of field (either narrow or wide, I will use aperture priority. When I am thrown into a melee of different lighting and different subjects, I will use Programmed exposure. BTW: shooting in programmed doesn't mean that you need to accept the shutter speed/aperture choice of the camera. In fact you can go up and do the shutter speeds and the aperture will change as you do so. Conversely, you can change your aperture and the shutter speed will adjust. Finally, you can adjust the entire exposure with + or - exposure compensation.

I have noticed that I am using manual exposure more often with my Sony A6500 mirrorless camera because it is so darn easy. As I view the shot, I can see in real time what the image is going to look like and I can view this through the Eye Level Viewfinder. No chimping needed. If it is too dark or too light, I can easily adjust the exposure with my right thumb. I have the rear dial programmed for aperture and the shutter speed is adjusted with one of the top dials. All this time, I am viewing the shutter speed and f/stop in the viewfinder as well as what the final image will look like. I can actually shoot faster with manual that with some of the semi auto modes. The Eye-AF of this camera makes shooting even faster although it sometimes gets thrown for a loop. Toning I was photographing an artist showing two of her portraits. The camera tended to focus on the eye of the portrait rather than the artist...

I have also been using two hybrid exposure methods: First is manually controlling f/stop and aperture while determining the final exposure with Auto ISO and the second is controlling the ISO, f/stop and shutter speed manually and getting the final exposure nailed using TTL exposure on my flash. Both of these methods have their pros and cons and I will use them when I have specific needs for those methods of exposure determination.

As I alluded to above, t is not the road you travel that makes you a good photographer, it is the ultimate destination - a decently exposed sharp image that is well composed...

Learning your camera so that changing the various parameters is automatic is the way that you can speed up your photography although some cameras are easier to do this with than other cameras. learning the camera simply means shooting, shooting and more shooting... And then after that, try some more shooting!

[William W]

I . . . got hired for a couple's engagement photoshoot. Pictures came out OK, but I was fairly disappointed in my overall SPEED. . . The issue here is that I've only been using Manual mode but it's been a hassle coming out with good SHARP shots due to my constantly reworking the exposure wheel. Currently shooting with a Canon Rebel T6i, have mostly stuck with my 50mm 1.8 lens for portrait shots for those blurred backgrounds, but at times interchange with my standard 18-55mm to capture wider backdrops. . . While I usually set the ISO, aperture and shutter speed decently enough, it's the exposure which proves difficult to adjust to obtain an exact center considering my focal point. It's like for each shot the wheel needs to be adjusted over and over, and it seriously impedes on shooting fast enough, especially for those outdoor shoots. . . Should I set the camera to another setting other than Manual? . . . I'd hate to use auto, but am not entirely practiced as much in shutter or aperture priority.

It's not polite to those who pay me, to give you (and others) all my course notes - but as I mentioned I am passionate about this topic - so these pointers might be worthwhile for you to consider:-

On the matter of SPEED (at an Engagement Portrait Shoot):

Establishing RAPPORT is essential. Usually, for a MALE photographer, especially creating RAPPORT with the GROOM. You have to practice and hone a RANGE of COMMUNICATION techniques (verbal and nonverbal) to ensure that the couple establish a RELAXED COMMUNICATION between THEMSELVES, oblivious to you and the camera. Once you have this RAPPORT (aka ‘trust’) you will be in a better position to not waste time waiting for ‘the moment’ and a simple DIRECTION from you will help to create a flow of images.

Planning an ORDER OF EXECUTION of your shots is imperative: for this you need to know the location and the props available and work from set to set within that general location, in an ordered and time efficient manner.

Additionally, people are very intuitive, even if it doesn’t register consciously – i.e. if you display that you KNOW where your are to take them next, that will trigger in their brain that you know what you are doing, hence, RAPPORT (trust) is increased and they become more relaxed and more focussed on each other and themselves, rather than you and your camera.

That’s more than 50% of the answer to "becoming faster" (at an Engagement Portrait Shoot).

A main issue is, that most Portrait Photographers won’t ever practice those two elements.

How can you practice? There are a few ways.

One simple way is to carry your camera EVERYWHERE; talk to people to practice creating RAPPORT and then and ask those people if you can make a few portrait shots of them.

Sounds daunting, doesn’t it? That I expect, is why most Portrait Photographers don’t do the exercise, even after paying hard earned cash to attend a Master Class where it was asked of them to do exactly that. Go figure?

Practicing planning an order of execution is simpler. Bribe, cajole or kidnap a few friends or relatives (in pars) and take them to a few DIFFERENT venues (without pre-planning) and work through a few hours of Portrait making. The concentration here is on backgrounds, foregrounds, light quality and shape, composition and all aspects of the image other than the people. But it is important that you watch how the couple act and react. At the end of the session ask the couple what areas they liked the most and ask them WHY (asking and noting WHY someone likes something is the most important bit).

Once you’ve done this exercise, maybe three times, in three different places, with three different couples, you’ll have a crude BASE from which you will establish a rough idea of what is more appealing and less appealing to a small range of people.

Next go back to the three venues and compose an order of execution for the walk through of the different ‘sets’ that would be both efficient and pleasurable: note also the different times of day and the different lighting types and conditions.

Once you have done this you will have at least three different ‘venues’, each with a general order of execution; each with its own lighting nuances; and each with a different appeal to different Client types.

Noted - After attending a Master Class, on average, fewer than 50% do this exercise, but of those who do, more than 75% rocketed as their bookings doubled and annual turnover tripled, within twelve months (REF: my feedback forms F/Y 2016~2017).

You might not want to increase your shooting as a business exercise, but, doing this will increase your skills and your speed.

***

When you posed the question I expect that you were seeking a ‘technical answer’. There are ways to increase your technical speed: much here too is based in structured exercises.

You mentioned that you swapped lenses – practice that until you can do it one handed; do it whilst walking; do it whilst talking; do it whilst adjusting (hands on) a pose.

You mentioned that the exposure adjustment proved difficult (I assume that means ‘took too much time to make exposure adjustments’) – if my interpretation is correct, your technique is lacking or in error. If you are doing Engagement Portraits, then, the most time efficient method is to establish an EXPOSURE for EACH LIGHTING SET. That exposure does NOT change, unless you move to a new Lighting Set, whereupon you establish a new exposure.

What I think was happening at your shoot – (as an example) you had them posed near a lake, facing you with the lake behind; you made some tight shots and some wide shots and some close shots and some far shots – but essentially the couple were in about the same place and facing in generally the same direction – BUT… as you (the camera) moved about and zoomed in and out and up and down the TTL meter in your camera gave you different readings… TO WHICH YOU REACTED ASSUMING THAT THE CAMERA KNOWS MORE THAN YOU DO.

Your Camera is DUMB, it is you who has a BRAIN.

If this was generally the scenario for each LIGHTING SET that you established then think long about this question:

As you moved about to get a different angle or perspective or as the Subjects made minor movements - was the light which was illuminating the SUBJECT changing?

If the answer is NO, (and in mostly all cases the answer is NO, because that’s one reason why you have to establish an order of execution of your shots), then you should never ever, ever, have been wasting time playing with the exposure, but rather concentrating on framing, composition, communication, direction, etc.

Note that changing Av (and Tv or ISO) TO CHANGE DoF (whilst maintaining a CONSISTENT exposure) is not ‘changing exposure’ – and this execution must be pre-planned so you can bump Av open or closed and correspondingly change the Tv or ISO to compensate.

This exercise you should practice until you can do it, whilst you are moving, and without looking at the dials.

I have my cameras set in 1/3 stops, and I simply count the ‘clicks’, 3, 6 or 9 to move one two or three stops. What I usually do is set an ISO to allow a range of three stops of Tv without compromising arresting Subject Motion Blur, that way I can range the Av typically from about F/2 to F/5.6.

On the ISO: I suggest that you should practice so you set that before you arrive at the next LIGHTING SET. Note that the ISO will dictate the RANGE of Av and Tv that you can use: this is important if you use FLASH as KEY and critically important if you are using FLASH as FILL. I suggest you put a lot of effort into planning what ISO you will TYPICALLY use, in the small array of typical LIGHTING SETS that we expect to encounter in Portraits Shoots.

Another suggestion: it is very possible that you are not metering for the ‘correct’ exposure of the Skin Tones.

The 750D has a 63 segment meter, providing algorithms for four different METERING MODES (Evaluative; Centre Weighted Average; Spot and for Partial). It doesn’t matter how you get to the ‘correct’ exposure each of your LIGHTING SETS, but practice a method which suits you, and make it work so you can do it quickly and efficiently.

Concerning yourself about: M Mode; Av Mode; Tv Mode; P Mode; Auto Mode is not OF ITSELF going to make you faster (or slower).

Knowing the benefits and shortcomings of EACH Camera Mode – SPECIFICALLY PARTICULAR TO YOUR PREFERRED WAY OF WORKING, is what I suggest that you establish - this WILL make you faster.

As two examples -

If we are discussing ONLY an Engagement Portrait Shoot, and one that is typically in four or five locations (i.e. four or five different lighting sets) then for my way of working I would always choose the Camera on M Mode; and Flash on Auto TTL; with FEC (Flash Exposure Compensation) engaged.

If we are discussing a Wedding Coverage, for the parts of the day when the MAIN LIGHT could be CHANGE with little notice, I would tend to usually always use Camera on Av Mode; Flash on TTL; with EC and FEC engaged.

However – traversing any large lighting set change, (for example outdoors to indoors and vice a versa) when shooting on the hop and under the pressure of time (for example ‘bride arrive at venue’ to bride enter venue’ and ‘bride and groom in venue’ to ‘bride and groom exit venue'), I will never use Camera on Av Mode and I have taught myself to switch to Camera on M Mode – this is to ensure that I have complete accuracy of my expectation as how the Flash and the Camera’s selection of the Tv will behave.

In those three situations I will usually have the Meter on Evaluative, sometimes switching to Spot, never on CWA or Partial. I mainly use Canon EOS 5D Series DSLRs and Canon EOS Mirror-less for this type of work.

Those three scenarios are examples of how I prefer to work with my gear, firstly knowing thoroughly EXACTLY HOW my gear will act under several different shooting scenarios, with and without Flash

Some last tips – much of the essence of working fast at Sports and Events Portraiture is being in the best Camera Position, BEFORE the shot is ready. That’s ANTICIPATION.

For Structured Portraiture I have found it difficult to make a prescribed practice to assist increasing anticipation: it is easier with Sports, Dance, and similar types of Portraiture.

Yet with time and practicing the rapid creation of RAPPORT, you’ll get to intuitively know how people tend to react and accordingly you’ll get to be there for the shot, quicker, more often than not.

Lastly don’t sweat the shot you miss; unless imperative (very few are), let the one you miss go and concentrate on the next one – do NOT stuff up THE FLOW OF THE SHOOT by attempting to recreate the one that you missed.

Break a leg.

WW

[george013]

All good points. But I wonder how you archive this:

......
However – traversing any large lighting set change, (for example outdoors to indoors and vice a versa) when shooting on the hop and under the pressure of time (for example ‘bride arrive at venue’ to bride enter venue’ and ‘bride and groom in venue’ to ‘bride and groom exit venue'), I will never use Camera on Av Mode and I have taught myself to switch to Camera on M Mode – this is to ensure that I have complete accuracy of my expectation as how the Flash and the Camera’s selection of the Tv will behave.
......
WW

Even if this paragraph is specific flash related, how do you set the values for M. Iso fixed for the simplicity.

George

[William W]

. . . I wonder how you archive this:

(Originally Posted by William W )

However – traversing any large lighting set change, (for example outdoors to indoors and vice a versa) when shooting on the hop and under the pressure of time (for example ‘bride arrive at venue’ to bride enter venue’ and ‘bride and groom in venue’ to ‘bride and groom exit venue'), I will never use Camera on Av Mode and I have taught myself to switch to Camera on M Mode – this is to ensure that I have complete accuracy of my expectation as how the Flash and the Camera’s selection of the Tv will behave.

Even if this paragraph is specific flash related, how do you set the values for M. Iso fixed for the simplicity.

George

As outlined in this sentence: "In those three situations I will usually have the Meter on Evaluative, sometimes switching to Spot, never on CWA or Partial."

Specifically - The values for M are achieved by first metering the new lighting scene (i.e. the one that I would be moving into) using the Camera's TTL Meter, usually set on EVALUATIVE, sometimes set on SPOT and then (maybe) adjusting those suggested settings, based upon experience and/or for effect or technical function.

An example of an adjustment based upon experience and/or for effect, would be, when moving from inside to outside and shooting into the light, with the TTL Meter on Evaluative, I would necessarily open up 1/2 to 1 Stop if not using Flash and stop down 1/2 to 1 Stop if using Flash as Fill (the latter to accent the Flash as more toward Key than as Fill).

An example of an adjustment based upon pure technical function, would be Spot Metering a typical Caucasian Skin tone and adjusting for that not being a Standard Photographic Grey Tone.

The ISO is unlikely to be fixed when "traversing any large lighting set change". To keep the ISO fixed would more likely be a disaster rather than "simplicity".

For example, consider the lighting set change being the difference between shooting inside a typical 1800 classic style Church, Flash not allowed, and moving into daylight with no cloud cover: the former scene would have a typical ISO1600 to 3200, the latter typically would be ISO 100 ~ 200.

WW

[george013]

As outlined in this sentence: "In those three situations I will usually have the Meter on Evaluative, sometimes switching to Spot, never on CWA or Partial."

Specifically - The values for M are achieved by first metering the new lighting scene (i.e. the one that I would be moving into) using the Camera's TTL Meter, usually set on EVALUATIVE, sometimes set on SPOT and then (maybe) adjusting those suggested settings, based upon experience and/or for effect or technical function.

An example of an adjustment based upon experience and/or for effect, would be, when moving from inside to outside and shooting into the light, with the TTL Meter on Evaluative, I would necessarily open up 1/2 to 1 Stop if not using Flash and stop down 1/2 to 1 Stop if using Flash as Fill (the latter to accent the Flash as more toward Key than as Fill).

An example of an adjustment based upon pure technical function, would be Spot Metering a typical Caucasian Skin tone and adjusting for that not being a Standard Photographic Grey Tone.

The ISO is unlikely to be fixed when "traversing any large lighting set change". To keep the ISO fixed would more likely be a disaster rather than "simplicity".

For example, consider the lighting set change being the difference between shooting inside a typical 1800 classic style Church, Flash not allowed, and moving into daylight with no cloud cover: the former scene would have a typical ISO1600 to 3200, the latter typically would be ISO 100 ~ 200.

WW

My input to Sergio's question was that there's no difference between M, A and S as long you follow the in camera metering system, whatever metering mode. In my opinion M is mostly used to disable the control of the metering system over the camera, I do it anyway.
But what happens when you use auto iso? The light meter gets control over the camera again, well partly within a range. And how do you choose the initial setting? With auto iso on or off?

I must admit I tried auto iso only a few times not so long ago to be sure of a minimum shutter speed. I think I was satisfied.

George

[William W]

My input to Sergio's question was that there's no difference between M, A and S as long you follow the in camera metering system, whatever metering mode.

If this sentence is interpreted literally, then it is definitely incorrect and the rationale behind it is flawed.

The OP specifically is asking about the SPEED (i.e. the amount of time taken) when making Portrait Photos - and in respect to that criterion of SPEED, then there is a difference: sometimes it is a dramatic difference in the time taken to prepare a shot before the shutter is released.

The facts are: IF a camera is set on Av or Tv Mode (Aperture Priority or Shutter Priority) then the exposure parameters are constantly being evaluated by the camera and will change, automatically in response to the TTL Meter, just prior to the Shutter Release: the time taken for that change is very short.

On the other hand, if the Camera is in M Mode, there is relatively a substantially longer period of time to make the exposure change to "follow the in camera metering system" as the meter reads differently the light changes AND/OR if the camera is moved.

Apropos of "working quickly between shots" and the choice of the Camera Mode to suit the fastest speed between shots, two main points to consider are:

1. > identify EXACTLY what type of lighting situations exists

For example if there are actually 'rapid lighting changes', IME many photographers think that there are, and often they are wrong in that thinking.

2. > choose the Camera Mode that makes you (not me or the author of a textbook) the fastest that you can be, with the least compromise to your own technical accuracy to suit the outcome that is required.

For example it is of little gain to be exceptionally fast between shots having chosen Av Mode only to realize that the lighting situation required a constant jiggle of the EC wheel, which you didn't do, and that necessitates 10x the amount of time in Post Production to make consistency throughout a series of shots.

On the other hand, the situation might be that a series of shots ARE imperative, or one key shot is imperative; in which case to get a particular shot or shots, is the priority; thus making the SPEED between shots the ultimate priority and technical accuracy would take a second place. Provided that Post Production could be employed to make the final image acceptable for purpose - you can live with minor inaccuracies - provided that there is time later to correct them if necessary (sometimes there is NOT that time).

In my experience there is a lot of confusion around identifying precisely what is a "rapidly changing lighting situation" and what exactly are "imperative shots".

WW

[xpatUSA]

Originally Posted by george013 My input to Sergio's question was that there's no difference between M, A and S as long you follow the in camera metering system, whatever the metering mode.

If this sentence is interpreted literally, then it is definitely incorrect and the rationale behind it is flawed.

Sorry, Bill, I agree with George's premise and believe it to be correct insofar as basic camera reflective metering is concerned.

As soon as we introduce the need for EC, etc, the subject just becomes a different kettle of fish ...

[Cantab]

Sorry, Bill, I agree with George's premise and believe it to be correct insofar as basic camera reflective metering is concerned.

As soon as we introduce the need for EC, etc, the subject just becomes a different kettle of fish ...

Ted, I believe Bill's comment was specifically linked to the criterion of speed. I do not believe he was saying that issues around basic camera reflective metering were altered depending on whether one used M, A or S. However, I could be wrong....

[William W]

I separated these responses because I think that "Auto ISO" is an important topic of itself.

Auto ISO can have very useful applications. I have learnt that over the past three years. Before that I was silly enough not to consider using Auto ISO, probably due to simple laziness. It was the members of this forum who stimulated me to investigate Auto ISO and for that I have been always grateful.

It is way off topic for me to explain when and how I use Auto ISO, suffice to say: very rarely.

But it is relevant for me to outline why I would not use it here -

. . . what happens when you use auto iso? The light meter gets control over the camera again, well partly within a range. And how do you choose the initial setting? With auto iso on or off? . . .

In the situations I have described in this conversation I would NOT ever use Auto ISO.

Two major reasons for that choice are:

1. > My cameras do NOT allow Exposure Compensation when Auto ISO is engaged and when the camera is in M Mode.
This therefore means that the Camera is the ultimate decision maker and I do neither work the most efficiently nor the most quickly in such a situation.

2. > I require a split second more time to assess what Auto ISO is going to do, when I am assessing if I require to make an Exposure Compensation change, when the camera is in Av Mode. It is not so much that the time taken to make that assessment is a critical factor for me, but having to THINK ABOUT IT can be devastating for me – (I exaggerate for impact, obviously I am not ‘devastated’).

The essence of speed and technical excellence (for me) has always been bedded in simplicity.

Less is often much more. Fewer elements to think about allow me to be: more efficient; quicker; more accurate; less stressed; able to go for longer on less than adequate fuel and water, if necessary.

***

The BUSINESS ELEMENT in the OP

The OP’s question undeniably has a business element to it: “. . . got hired for a couple's engagement photoshoot. Pictures came out OK, but I was fairly disappointed in my overall SPEED.”

That sentence tells us that the Photographer, upon his own debrief (which is an excellent tool for any business to employ) was “OK” with the result images. I understand that to mean it was not a PB, not an excellent outcome, but “OK”, hence the images could be improve upon next time.

Secondly he tells us that he identified an area that needs improvement: his SPEED (time taken) between seeing the shot and making the image.

I think it would be unwise to conclude that it was only because of “speed” that the images were assessed as “OK” and not “excellent”.

I think that there are a few other contributing factors that need attention, refining, honing – probably more importantly completely rethinking.

Your (George’s) comment in Post #20 is appropriate, and the second sentence is sage: “And using A or S or even P gives a opportunity to become a FASTER photographer. But I think this isn't his only problem.”

For me in business, simplicity is a more an important factor, than in my Photography.

By keeping things simple I can concentrate on: excellent performance; quality outcomes; and extreme customer service.

For example, if I have correctly assessed and also confirmed that the Client ordered Duck l'Orange for main course - it’s silly for me to spend time creating the very best Béarnaise Sauce even sillier creating a Béarnaise Sauce, at the shoot.

So, (for example) if this 'Engagement Couple' are: laid back; place little emphasis on clothing and fashion; don't frequent the beach much; have a concern about photos because "there is always reflections off my thick glasses, which I need to wear because of my poor eyesight, and that always make me look like a Martian" - then I obviously would not waste time even talking about: a shoot on the Beach; or in bright sunlight; or with three clothing changes . . . "simple"

***

RETHINKING some of the BASICS - perhaps applicable here -

On the aspect of rethinking -

IME many Photographers don’t understand the nuances (sometimes not even the basics) of the differences between the Metering Modes on their Cameras and yet they pontificate on and escalate in discussion the importance of choosing the ‘best’ Camera Mode to use – that is backwards thinking in my opinion.

It seems basic to me that we need to understand how the algorithms of the different metering modes will perform, according to the different lighting scenarios, before we choose what Camera Mode we will use.

The logic for that process is obvious to me – the Metering Mode is the fundamental DRIVER of the camera’s choices in any Automatic Mode and the Metering Mode is the data provider for the Photographer when s/he looks through the Viewfinder.

One of my oft asked questions has been:

“OK, I understand that you choose to use Av Mode and you also choose to use EC, and you applied EC + -½ Stop for that particular shot or series of shots – but what was the LANGUAGE that your camera’s METER was using?”

(Unfortunately) that question often gets a blank face from quite a few ‘very experienced’ folk who paid good money to attend a Master Class. I mention that ONLY to highlight what I think is a systemic and widespread flaw in general PHOTOGRAPHIC TECHNIQUE.

WW

[William W]

Sorry, Bill, I agree with George's premise and believe it to be correct insofar as basic camera reflective metering is concerned.

As soon as we introduce the need for EC, etc, the subject just becomes a different kettle of fish ...

The OP was asking about "SPEED" (i.e. the time taken to prepare a shot and then release the shutter).

I responded to George's statement where George wrote that George was responding to the OP's question: that question was about "speed". Additionally George wrote "as long you follow the in camera metering".

It is a fact that when the camera is in Av or Tv mode the response time "[to] follow the in camera metering" will always be quicker than if the camera is in M Mode and the operator has to react "[to] follow the in camera metering".

I know of no Photographer who can adjust an exposure parameter (or exposure parameters), manually, as quickly as a modern camera can do automatically.

I thought my response to George clearly articulated that I was addressing the OP's question - fundamentally about how to improve his speed between shots - WITH the proviso George added ""[to] follow the in camera metering".[/I] - obviously that was not clear to you, sorry for that.

***

HOWEVER, so there is not further confusion:

Whilst it is fact that Av or Tv will be quicker than M if you are "[to] follow the in camera metering" - PRIMARY questions to address are:

> 1. "Is this a situation where I should choose to follow the in camera metering?"

> 2. "If NO to 1. then what will be quickest method of ADJUSTING the exposure from the in camera metering?"

WW



PS and BTW

There is no need to be sorry, Ted, for disagreeing.

It occurs to me that there was a simple misinterpretation of meaning.

By the same token, George may not have meant the words as I literally interpreted the meaning of them.

But (as many of us have mentioned often before), we only have the written word in this forum, that makes it very important to return and articulate with alternate words and/or a different explanation, if there seems to be a misinterpretation of meaning.

***

I think that it was Manfred who mentioned that many on this conversation are making the same, or similar points, and points on which the majority will agree.

One example I noted is - Paul mentioned that M Mode is not the best choice for rapidly changing lighting conditions - in summary: I agree 100% with that as a premise.

However, there is much fine detail in many of the posts in this conversation: certainly I think that we all try to make our points as clear as possible, and I know that I for one re-think how I might phrase things to avoid misinterpretations –

That stated, if someone were to make ONLY a cursory read of my comments, or if they cherry picked some quotes, out of context, they might come with the idea that I actually was advocating the use of M Mode “in rapidly changing lighting conditions”, and they might cite where I mentioned how I definitively always use M Mode, when moving from “Bride and Groom inside Church” to “Bride and Groom outside Church” to make their point.

A cursory read, or a read out of context, might not pick up on the fact that, that situation is NOT “a rapidly changing lighting situation”, but rather, it is a controlled and prescribed move from one (known) mostly static lighting situation - into another - different (known) mostly static, lighting situation – I think that I made that quite clear from the get-go: but to some readers, I might not have.

WW

[William W]

. . .I believe Bill's comment was specifically linked to the criterion of speed. I do not believe he was saying that issues around basic camera reflective metering were altered depending on whether one used M, A or S.

Correct on both counts.

Pls see my above.

Thanks for your quick and decisive explanation

WW