today, we're gonna talk about the perfect exposure. Um, did you have an idea of what the perfect exposure actually looks like? No, that's because there is no way to define the perfect exposure, except that that it is what it looks like, or it is what you want it to look like. The question is not how do you? Because I get a lot of students who say, Well, what is the history Graham supposed to look like, or how much black should I have? And how much white should I have in a photograph? And that all depends on what is supposed to be in the photograph, right? So that's a really lame way of saying there's no rule, right? There's no there's no answer to the question of what is the perfect exposure. There's Onley, an understanding of how you use the tools and what the tools air doing. And then you have to determine what the perfect exposure is going to be for any given circumstance now, in my case, because I am very technical and I very much want to have all of my whites and my blacks have de...
tail in them, because I grew up in the dark room. I grew up on film. It was very much a make sure that every piece of film, like there's not too much silver blocked up so you can't burn through it in order to get a nice white. And there's no clear film like you want a detail in all your highlights and all your shadows. So I grew up in that kind of zone 10 zone system. Do Ansel Adams like That's how I grew up. And so I'm very much a stickler for quality and for exactness when it comes to your exposure. Things shifted a little bit when it came to digital because everything reversed itself. And I'll explain that in a minute. Um, but to me, the most important thing that I can have at the capture and that's where exposure comes in, we're gonna talk about light room a little bit and stuff. But really, we're talking about this whole session about the perfect exposure in capture because once you have the perfect exposure, once you have the perfect capture, you can do anything you want with it, because now you have all the data. But if you under exposed or over expose your image. You're done. You can't do what you want to do with either. It's too noisy or there's no information in it. And that's the problem. That, especially beginning photographers have is that they go out and they turn it into, like, a aperture priority or shutter priority motor even program mode. And they take a picture and they think, Oh, that's pretty good. And then they get into the darker or the light room. And when they get into the light room, they realize the hair is blown out. So there's no detail in the person's hair or in my case or your case, people often times don't take into account that this thing glares right. And it's just like Boom. And so then if you have the little blink, ease on and you're my whole head is glowing. It's like burnt Brandt Brandt, right? So blonde to your blonde. Half of the time people take pictures of you, your hair is gone, right? Ari? Do you live here in Seattle? Oh, you're OK. So you're in Portland? Yes. Okay. Well, at least with cloud cover, you don't have much as much a problem, but if you were in Phoenix, 90% of the photos that are taken of you would have like these glaring blowouts on your hair. So it's much easier to photograph someone with a really dark hair that's much nicer, right? But the Balde's on the the blondes generally blowout. So what we want to do is teach you how to number one, understand the hissed a gram. But then, once you understand the hissed a gram, how do you work with all of the exposure situations you run into and understand how to push your exposure one way or the other to make sure you have the best possible capture that you can before you ever get to the computer?