What if the scene has very dark areas, and very light areas too?
A example of this is the dimly interior of a vehicle or building, with bright daylight seen through the window. The outside might need much, much exposure than the inside, and a digital sensor can not do that. The idea is to keep the aperture constant [so that the same objects are in focus in each exposure], and to vary the shutter speed.
You will choose a tiny aperture if you want the interior and exterior scene to be in focus, and a large aperture to purposely blur one or the other. With manual lenses, one turns the aperture ring, and, with a 1 lens in manual mode one spins the multi selector.
We will need a tripod, so that the camera does not move. We will not use any automatic settings, like ISO and white balance because we do not want the camera to defeat our clever efforts. In fact, the more that one comes to love photography, the less they are liable to use automatic settings. And, there is little point in reading this blog if one intends to ignore the lighting conditions, and use their series 1 camera in full auto mode!
Focus the 1 lens manually to be absolutely sure during your careful tripod work. Press the multi selector down, and select manual focus. Press the central OK button, and then spin the multi selector to your desired focus point. You can zoom in with the flippy switch during manual focusing of 1 lenses. But, you rely on normal magnification and the focus ring when you are using the cheap adapter and fully manual lenses. In either case, you can attach an HDMI monitor to the display port on the camera, and focus using that.
So, we have a focus point and an aperture setting chosen. Now we need to determine the shutter speeds needed. In the room example, [if I have a 1 lens attached] i might navigate the spot meter of the camera to a bright window, and again to the darkest corner of the room to find my extremes. Say, the window is 1/250 second, and the dark corner is 1/30 second. We will get exposures at 1/500, 1/250, 1/125, 1/60, 1/30, and 1/15. It is easy to snap an extra exposure that we do not need, and [sometimes] hard to get back to the location and reshoot. If any of the exposures are long [in this case 1/15 and 1/30] we will use the remote release for every exposure. If we do not have that, we will use 5 or 10 second time delay to provide time for the tripod to quit swaying after the shutter is pressed.
We may wish to pivot the camera on the tripod so that 2/3 of the frame is full of new area, and to go through this process several more times. The final composition should not leave the viewers eye wandering near the edge of the image. As with the exposure bracketing, we will shoot at least one position on either side of the area that we certainly want to include. We may decide to add more image coverage [side to side,or up and down] years later! Ideally, all of these raw images will be stored on 2 different hard drives. When one of them quits, we quickly make another copy so that our collection of digital memories can march onward through the year to meet our grandchildren.
There will be a section about panoramic photography, to help you stick these photos together, and another to deal with the inclusion of human beings in images.
No comments:
Post a Comment