{"id":19643,"date":"2017-10-27T05:30:12","date_gmt":"2017-10-27T09:30:12","guid":{"rendered":"http:\/\/briansolomon.com\/trackingthelight\/?p=19643"},"modified":"2017-10-27T10:09:54","modified_gmt":"2017-10-27T14:09:54","slug":"new-england-central-611-two-exposures","status":"publish","type":"post","link":"http:\/\/briansolomon.com\/trackingthelight\/new-england-central-611-two-exposures\/","title":{"rendered":"New England Central 611\u2014Two Exposures."},"content":{"rendered":"

Picking the best exposure is an important part of photography.<\/p>\n

Today with modern metering, computer guided exposure aids (program modes) and automatic lenses, most photographers don\u2019t spend a lot of time worrying about exposure details.<\/p>\n

It might surprise some Tracking the Light readers that in most instances I set my exposures manually, and I only use camera metering in an advisory capacity (In other words I look at the camera meter but don\u2019t necessarily accept its advice).<\/p>\n

While I often use my Lumix LX7 in \u2018A\u2019 mode, I routinely over-ride the camera\u2019s exposure advice using manual controls. With my FujiFilm XT1 and Canon digital cameras (and film cameras), I almost always set my exposure manually.<\/p>\n

Last week, working with my FujiFilm XT1 I made these views of New England Central freight 611 working south of Brattleboro, Vermont. The stunning scenic setting of the Connecticut River backwater combined with dramatic morning cross-lighting and a dark background makes for an excellent illustration of a difficult lighting situation.<\/p>\n

Here, many camera automatic modes might grossly overexpose the scene in a misguided attempt to compensate for the dark background.<\/p>\n

I\u2019ve metered manually and gauged exposure using the camera\u2019s histogram (set up to show the distribution of pixels in regards to exposure.) I\u2019ve offered two variations here, exposed 1 full stop apart.<\/p>\n

A ‘stop’ is a standard increment of exposure. The amount of light reaching the sensor or film doubles\/halves with each change of one stop. So going from an aperture setting of f4 to f5.6 (one stop) cuts the light by half. Likewise, a shutter speed change from 1\/250 to 1\/500 will also cut the amount of light by half.<\/p>\n

The darker image was exposed at f5.6 at 1\/400th<\/sup> of a second at ISO 400; while the lighter image was exposed at f4 at 1\/400th<\/sup> of a second at ISO 400. (In other words the only the aperture setting was changed.)<\/p>\n

\"\"
FujiFilm XT-1 with 90mm lens set at: f5.6 at 1\/400th of a second at ISO 400<\/figcaption><\/figure>\n
\"\"
FujiFilm XT-1 with 90mm lens set at: f4 at 1\/400th of a second at ISO 400<\/figcaption><\/figure>\n

Both exposures are acceptable, but you may have a preference for one versus the other. The photos here have not been altered for density, color balance or color temperature \u00a0in post processing; both are scaled versions of the camera produced JPGs.<\/p>\n

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Picking the best exposure is an important part of photography. Today with modern metering, computer guided exposure aids (program modes) and automatic lenses, most photographers don\u2019t spend a lot of time worrying about exposure details. It might surprise some Tracking the Light readers that in most instances I set my exposures manually, and I only … Continue reading New England Central 611\u2014Two Exposures.<\/span> →<\/span><\/a><\/p>\n","protected":false},"author":1,"featured_media":19641,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_s2mail":"","jetpack_post_was_ever_published":false,"_jetpack_newsletter_access":"","_jetpack_dont_email_post_to_subs":false,"_jetpack_newsletter_tier_id":0,"_jetpack_memberships_contains_paywalled_content":false,"footnotes":"","_jetpack_memberships_contains_paid_content":false,"jetpack_publicize_message":"","jetpack_publicize_feature_enabled":true,"jetpack_social_post_already_shared":true,"jetpack_social_options":{"image_generator_settings":{"template":"highway","enabled":false}}},"categories":[10],"tags":[4407,4406,3629,212,81],"jetpack_publicize_connections":[],"jetpack_featured_media_url":"https:\/\/i0.wp.com\/briansolomon.com\/trackingthelight\/wp-content\/uploads\/2017\/10\/NECR_611_at_Brattleboro_looking_across_backwater_DSCF0200.jpg?fit=1732%2C1155","jetpack_shortlink":"https:\/\/wp.me\/p2BVuC-56P","jetpack_sharing_enabled":true,"jetpack_likes_enabled":true,"jetpack-related-posts":[],"_links":{"self":[{"href":"http:\/\/briansolomon.com\/trackingthelight\/wp-json\/wp\/v2\/posts\/19643"}],"collection":[{"href":"http:\/\/briansolomon.com\/trackingthelight\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"http:\/\/briansolomon.com\/trackingthelight\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"http:\/\/briansolomon.com\/trackingthelight\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"http:\/\/briansolomon.com\/trackingthelight\/wp-json\/wp\/v2\/comments?post=19643"}],"version-history":[{"count":2,"href":"http:\/\/briansolomon.com\/trackingthelight\/wp-json\/wp\/v2\/posts\/19643\/revisions"}],"predecessor-version":[{"id":19653,"href":"http:\/\/briansolomon.com\/trackingthelight\/wp-json\/wp\/v2\/posts\/19643\/revisions\/19653"}],"wp:featuredmedia":[{"embeddable":true,"href":"http:\/\/briansolomon.com\/trackingthelight\/wp-json\/wp\/v2\/media\/19641"}],"wp:attachment":[{"href":"http:\/\/briansolomon.com\/trackingthelight\/wp-json\/wp\/v2\/media?parent=19643"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"http:\/\/briansolomon.com\/trackingthelight\/wp-json\/wp\/v2\/categories?post=19643"},{"taxonomy":"post_tag","embeddable":true,"href":"http:\/\/briansolomon.com\/trackingthelight\/wp-json\/wp\/v2\/tags?post=19643"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}