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No Such Thing as the Correct Exposure


Photography 101


Lesson Info

No Such Thing as the Correct Exposure

There's an artistic point that I want to talk about in this video and that's, that there is no such thing as the correct exposure. Well, let me phrase it a different way. There is such thing as an incorrect exposure and that's basically, when your exposure is not where you I want it to be it's, not your desired exposure. And this is why for this entire course I've been talking mostly at least when I talk about exposure, I try to always say that's, not we're the basically the desired exposure is if I have said, correct exposure than think of that basically meaning as that's, not my desired exposure. The reason that I want to bring this up is because a scene can be exposed any number of ways, and it just goes back to again the artistry, what you're going for in a specific scene, and I'm gonna show you exactly what I mean in this specific scene, because in this scene, we have several different ways of shooting and exposing the scene for different artistic effects. Let's, go ahead and talk...

about the scene real quick. So what we have here is we have our lovely model whitney she's dressed in a yellow dress, and we have yellow balloons and any of you guess why that is, if you guys said it's because a complimentary or it's because it's a commentary color scheme than you are absolutely right. So what I wanted is we're going for this scene. I knew that we'd be shooting over a blue backdrop, which is this lovely kind of, well background view of laguna beach. It looks absolutely incredible and because it's all blue in the background, what I wanted is a nice contrast. He look with our clothing, and so with the clothing with the balloon, we went with yellow because it's a commentary color to blue, so we're going to get this beautiful pop off the background kind of look now with the shot. What I want to do is go for a lot of negative space. We're going to shoot it low, we're going to cut off kind of whitney's right here at the caf, and we're going to shoot with mostly background and mostly, like kind of sky in the back, so we get this beautiful negative space kind of you. With this scene we could expose any number of ways now it's twelve something thirty so it's a terrible time to actually be shooting but we're still getting somewhat directional light at least the light we can place to our backs that means that we can still work with this type of a scene if the light is directly overhead. There's no way for us to really modify or place it against our backs and that's when it's difficult to shoot. All right, so I'm gonna have you in this scene right now and then we're going to expose that a whole bunch of number of ways. No, actually, what I want to do real quick on the post we're gonna go for a very whimsical kind of look on and the final shot that I want to get is going to be a really brighten area shot against you in this background. Okay, so we'll have you do is probably kick uh let's have you kick the back legs over the side. Sorry. That's not your back. Like your right leg, so I mean, go, yeah, yeah, we'll figure it out one way or the other. Ok, so I'm gonna kick that side, I'm gonna have you hold the dress with the left hand and we have to work a little bit with the wind because it is really, really windy right now, so we're gonna basically wait for the wind to die. And when it dies, we're gonna catch the balloons that air right up in the air. This kind of I wanted to be a little bit to the side. Now we're going to be shooting anything from basically our silhouettes overto brighton area shots and with the silhouettes in order for it to look good. What I don't want is whitney looking into the camera because what happens is when we shoot a silhouette, we want to see profile we want to see shape on the face, otherwise if you shoot a silhouette with me looking directly in the camera, well, you can't see any facial detail there's, no shape that is just kind of a block, so when you're going to actually be looking kind of towards the balloon side, there we go and we have the hair pulled over under this side that looks awesome, and they were just going to wait for the wind to come into place. So as faras camera settings go, because this camera and basic dslr, they're limited toe. One for thousands of a second, we do need to bring the after up, so I'm going to be shooting around five six I might drop it down to f for when we get to kind of a slower shatters and we're going to go from a very dark to a very bright look, and we're going to show you that artistically, any of these looks are fine. It just depends on what you're going for. The only incorrect exposure is the one that doesn't match what you're going for artistically otherwise well, it just depends on the look, and I think my favorite looking this way, I can already tell you my favorite look is going to be basically with this beautiful, bright blue sky behind her and it's going to have a really nice brighton area look, which would look awesome with, like, vintage toning. Okay, you're gonna get a shot, okay? We're gonna get the shot. One thing I do have to do is I'm on my thirty five millimeter on my d fifty two hundred that way I could get a little bit wider. I'm going to shoot lo the reason why I don't want to get any of the city backdrop in there, I just want ocean blue and cy blue in the backdrop. So it's gonna have an absolutely wonderful look to it. Very simple, very clean yellow on blue it's gonna look awesome, but getting low doesn't mean that we're going to have to play around a little bit. We might have to have whitney lean forward a tiny bit because we are shooting from a lower angle. I'm also going to crop at the calves, which I mentioned so let's, go ahead and start and I'm going to get into position. I said it on more ab workouts. Oh, my gosh! It's burning got it. Can a slot on the shutter again? Perfect gonna slow down again. So hopefully, this video helps you all in understanding that in any particular scene there is more than one artistically correct exposure. Sure, we can go for that correct or that perfect technical exposure, but really matters what we're going for in our overall composition. Now, for this particular scene, we shot everything from the silhouette to the bright light areas shot. Now, what was your favorite? Whitney? I showed you all of them. To be honest, I couldn't pick you couldn't pick you like them all. They're all equally awesome. I kind of preferred the brighton area look, but that's kind of what I was going for in this scene, but really, in any particular scene, the on ly right or the correct exposure is the one you're going for. If you don't get the correct exposure or that desired exposure, then you could say, ok, we need to look back on what we've done. Make sure we get the right exposure of the one that fits your overall vision. That's it for this video, you can head on to the next one now.

Class Description

Learn how to create, edit, and share stunning digital images.

To a photography beginner, the gleaming complexity of a new camera seems to demand an arsenal of expensive equipment and a long legacy of training. This is a common misconception – beautiful, professional-grade shots are within reach to any with a mastery of the basic mechanics of photography.

Join Pye Jirsa of SLR Lounge for a thorough, practical exploration of the fundamentals. Photography 101 teaches you how to use standard, inexpensive equipment to:

  • Explore the inner mechanical workings of your camera
  • Learn how to recognize good light and modify it to your needs
  • Make the elements of manual mode - aperture, shutter speed and ISO - work for you
Take advantage of the flexibility and control offered by your camera’s manual mode by shadowing Pye on 5 days of shooting at 8 different locations. You’ll learn how to capture both crisp action shots of moving subjects and classic portraiture with posed models. You’ll also gain a sense of what makes a great photograph, and how to mix professional staging with candid, humanizing moments.

You will walk away from Photography 101 with SLR Lounge's Pye Jirsa as a better photographer, and you’ll have the creative and practical skills to create, edit, and share stunning digital images; all with no more gear than you started with. 


2The Camera is Simply a Tool
3How Does a Camera Work?
4How to Adjust Shutter Speed, Aperture, ISO
5Exposure Triangle
6What is a Stop of Light
7Reading Exposure Via the Histogram
8Blown Highlights or Clipped Details
9White Balance & Color Temperature
10No Such Thing as the Correct Exposure
11How To Measure or Meter Light
128 Key Points to Understanding ISO and Image Quality
13Understanding the 3 Primary Metering Methods
14How to Get Perfect Exposures in One Shot
15Equivalent Exposure but Different Images
16Compensating for Light and Dark Scenes
17Starting with Automated Modes
18Auto Mode and Flash-Off Mode
19Portrait Mode on a Fashion Shoot
20Landscape Mode on the Beach
21Sports or Action Mode
22Macro Mode with Food Photography
23Creative Effects Mode - Floral Photography
24In-Camera Processing
25A Glimpse into RAW Processing
2615 Tips When You’re Having Trouble Focusing
273 Primary Types of Autofocus
28Single Shot with Portrait Session
29Single Shot with Action Shots
30AI Servo with Action Shots
31Focus Recomposing vs. AF Point Selection
32Shutter Speed and the Reciprocal Rule
33How to Hold a Camera and Panning Tutorial
34What Makes a Great Photograph?
35How to Capture Candid Moments
36How to Find the Right Light Direction
375 Basic Compositional Theories
38The Power of Cropping
39Color Schemes
40Diving into the Narrative
41If It’s Not Working With, It’s Probably Working Against
42More About Your Camera and Lenses
43Understanding Megapixels
44Crop vs. Full Frame Cameras
45Crop vs. Full Frame Cameras Demonstration
46Prime vs. Zoom Lens
47How the Lens Affects Composition
48Dynamic Range and RAW vs. JPEG
495 Tips on Memory Cards
5010 Tips on Buying Gear
52The Good Karma Jar
53Posing and Action Shots with Female Model
54Posing and Lighting with Female Model
55Posing and Lighting Couples Portraits