alun Posted March 11, 2009 Share #1 Posted March 11, 2009 Advertisement (gone after registration) I wonder whether any members will have tips/views regarding metering into strong light sources with M6/7. I have found that metering into strong light sources (across a room towards a window -- even when metering downwards to exclude the light source, for example) will throw the M6/7 meter and for this reason usually opt for an incident reading from a handheld meter in such circumstances... But I wonder whether anyone has tips/suggestions for dealing with such circumstances when the handheld is elsewhere? Do you have a method with the on-board meter that works for you consistently in tricky lighting (such as meter the shadows/floor/midtone/whatever and open up two stops, for instance)? I'm just curious. cheers Link to post Share on other sites More sharing options...
Advertisement Posted March 11, 2009 Posted March 11, 2009 Hi alun, Take a look here Metering against the light. I'm sure you'll find what you were looking for!
stuny Posted March 11, 2009 Share #2 Posted March 11, 2009 I don't know the characteristics of the M6/7 meter, but when in situations like that I spot meter the section (such as a face) I want exposed correctly. Link to post Share on other sites More sharing options...
stunsworth Posted March 11, 2009 Share #3 Posted March 11, 2009 Take the meter reading and then open up a couple of stops. Link to post Share on other sites More sharing options...
NZDavid Posted March 11, 2009 Share #4 Posted March 11, 2009 Walk up close to the subject, if you can, say to meter a face against a bright window. Or half depress the shutter to take various meter readings, then bracket. Link to post Share on other sites More sharing options...
Guest darkstar2004 Posted March 11, 2009 Share #5 Posted March 11, 2009 For the subject of David's photo (above), I would get close to her - close enough that her face pretty much fills the viewfinder lines for the focal length lens you are using, take a meter reading and open up one stop since she is caucasian. That is going to get you pretty close; you might bracket 1/4 to 1/3 a stop too just for insurance. Link to post Share on other sites More sharing options...
alun Posted March 12, 2009 Author Share #6 Posted March 12, 2009 Thanks to those who have commented so far. Link to post Share on other sites More sharing options...
Freelander Posted March 12, 2009 Share #7 Posted March 12, 2009 Advertisement (gone after registration) A Grey card . or taking a reading from your hand is another method . If you can't get closer and you have a longer lens take a reading using that .Then change the lens to the one you want to use. The best method is to get close however ...and bracket Link to post Share on other sites More sharing options...
mongrelnomad Posted March 12, 2009 Share #8 Posted March 12, 2009 I usually find something outside of the subject and away from the light-source that is about the same brightness. Meter against that and then recompose. Works fine for me... Link to post Share on other sites More sharing options...
lars_bergquist Posted March 13, 2009 Share #9 Posted March 13, 2009 As NZDavid's picture shows, heavily backlighted subjects will often overtax the camera's or the film's dynamic range, causing badly blown highlights. Indoors, I use fill flash bounced from the ceiling or whatever, at half to quarter power. Out of doors, I have to use it directly or held at arm's length, but still cranked down considerably. The SF24D does well at this, as long as you use a Nikon 'system' cable to get it off the camera. Take a look at Sean Reid's pieces about 'working with flashlight'. He knows what he's talking about. And his pics do not look as if they had been taken with a flash cube on an Instamatic. The old man from the Age of Flashpowder Link to post Share on other sites More sharing options...
dpattinson Posted March 13, 2009 Share #10 Posted March 13, 2009 I meter my hand and then open up a stop One trick I've learned when shooting into strong afternoon light, is to set my M7 to auto - then find the aperture that will result in a shutter speed of 1/1000 when pointing into the light - then open up by one or two stops. That way I've effectively ensured that if I point the camera anywhere else I can still get a usable shutter speed - but if I shoot into the light, I will get correct 'overexposure' vs. the meter due to the maximum shutter speed being used. YMMV Link to post Share on other sites More sharing options...
NZDavid Posted March 13, 2009 Share #11 Posted March 13, 2009 As NZDavid's picture shows, heavily backlighted subjects will often overtax the camera's or the film's dynamic range, causing badly blown highlights.] Absolutely, Lars. Some subjects just aren't worth trying if the contrast is too much -- film or digital.I got a much better shot of her in her study. Link to post Share on other sites More sharing options...
lars_bergquist Posted March 14, 2009 Share #12 Posted March 14, 2009 I'd think so, David. ---Much depends on the nature of the background. If it consists mostly of middle tones, such as foliage, then you can sometimes do a controlled overexposure of it without getting large areas of burnout, and still 'lift' the main subject considerably. But in many casesyou have to use either a largish reflex screen, or fill flash. A window in a room can often be considered a light source, if it does not take up too much of the picture area, and be allowed to burn out. But I have a sitting room with one glass wall so I had to learn using fill light. I do not think fill flash has to make you a pariah if you do it well. Gene Smith was once asked: "Mr Smith, do you always use available light?" ---"Yes, all the light that's available." The old man from the Age of Flashpowder Link to post Share on other sites More sharing options...
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