Table Of ContentMICHAEL FREEMAN’S
PHOTO SCHOOL
EXPOSURE
EdITOR-IN-CHIEF MICHAEL FREEMAN
wITH JEFF wIgNALL
I L E X
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C o n t e n t s
First published in the UK in 2012 by
I L E X
210 High Street
Lewes
East Sussex BN7 2NS
www.ilex-press.com
Copyright © 2012 The Ilex Press Ltd 6 Foreword
8 Student Profiles
Publisher: Alastair Campbell 12 Introduction
Associate Publisher: Adam Juniper
Creative Director: James Hollywell
14 Fundamentals 60 Measuring the Light 116 Mastering Creative
Managing Editor: Natalia Price-Cabrera
Exposure
Specialist Editor: Frank Gallaugher
16 A Record of Tonalities 62 Histograms & Meters
Editor: Tara Gallagher
18 Right Versus 64 How Light Meters
Senior Designer: Kate Haynes 1 18 Low-Key Images
Wrong Exposure See the World
Designer: Lisa McCormick 120 Challenge: Shoot the Shadows
20 Underexposure 66 In Search of Middle Gray
Colour Origination: Ivy Press Reprographics with a Low-Key Shot
& Overexposure 68 Metering Modes
124 High-Key Images
22 Challenge: Creative Use 70 Challenge: Make the Most
Any copy of this book issued by the publisher 1 26 Challenge: Hug the Highlights
of Over- or Underexposure of Matrix Metering
is sold subject to the condition that it shall not with a High-Key Shot
26 ISO Speeds 74 Selective Metering Modes
by way of trade or otherwise be lent, resold, 130 Dark Subject,
28 Challenge: Get the Shot 76 Challenge: Limit Yourself
hired out or otherwise circulated without the Light Background
with a High ISO to Spot Metering
publisher’s prior consent in any form of binding 1 32 Light Subject,
32 Lens Apertures 80 Handheld Meters
or cover other than that in which it is published Dark Background
34 The Math Behind 84 Color Temperature
and without a similar condition including these 1 34 Challenge: Contrast your
the Numbers 86 White Balance Control
words being imposed on a subsequent purchaser. Subject against a Background
36 Challenge: Demonstrate 88 White Balance Presets
1 38 Photographing by
Depth-of-Field Control 90 C hallenge: Set a Creative
British Library Cataloguing-in-Publication Data Existing Light
40 Shutter Speed White Balance
A catalogue record for this book is available 140 Challenge: Expose for
42 Aperture & Shutter Speed:
from the British Library a Dimly Lit Interior Space
The Reciprocal Relationship
94 Adv anced Exposure 144 Exterior Night Shots
44 Capturing Motion
ISBN: 978-1-908150-27-1 146 Challenge: Capture the Light
Methods
46 Direction of Action
from a City at Night
48 Challenge: Freeze the Action
All rights reserved. No part of this publication 1 50 The Ultimate Contrast
with a Fast Shutter Speed 96 Handling Extreme Contrast
may be reproduced or used in any form, or by Solution: Silhouettes
52 Intentional Motion 98 Challenge: Adjust with
any means – graphic, electronic or mechanical, 1 52 Challenge: Show Off the
54 Challenge: Blur the Motion Exposure Compensation
including photocopying, recording or Shapes with a Silhouette
with a Slow Shutter Speed 102 Reflectors & Diffusers
information storage-and-retrieval systems –
58 Exposure Modes 104 Tackling the Shadows
without the prior permission of the publisher.
106 High Dynamic Range
156 Glossary
Imaging
Photo on page 4 © Mikhail Basov 158 Index
Photo on page 14 © Viktoria Makarova 1 08 Challenge: Combat the 1 60 Bibliography
Photo on page 94 © Nazmoo – Fotolia Contrast with an HDR Image
& Useful Addresses
All other photography © Michael Freeman 1 12 The Zone System
unless otherwise noted. in a Digital World
1 14 The Zone System
in Practice
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MICHAEL
FREEMAN’S
PHOTO
SCHOOL
FOREWORD
About This Series
Photography is what I do and have by a challenge to get out and shoot
done for most of my life, and like under a specific scenario, demonstrating
any professional, I work at it, trying and practicing the skills that were
to improve my skills and my ideas. covered in the preceding sections.
I actually enjoy sharing all of this, Further, we feature the work of several
because I love photography and want real-life photography students as they
as many people as possible to do respond to these challenges themselves.
it—but do it well. This includes learning As they discuss and I review their work,
why good photographs work and where we hope to make the material all the
they fit in the history of the craft. more approachable and achievable.
This series of books is inspired by For you, the reader, this series
the structure of a college course, and provides, I hope, a thorough education
of the benefits of a collective learning in photography, not just allowing you to
environment. Here, we're setting out to shoot better pictures, but also to gain the
teach the fundamentals of photography same in-depth knowledge that degree
in a foundational course, before moving students and professionals do, and all
on to teach specialist areas—much as achieved through exercises that are at
a student would study a set first-year the same time fun and educational.
course before moving on to studying That is why we've also built a website
elective subjects of their own choosing. for this series, to which I encourage you
to post your responses to the shooting
The goal of these books is not only challenges for feedback from your
to instruct and educate, but also to peers. You'll find the website at
motivate and inspire. Toward that end, www.mfphotoschool.com
many of the topics will be punctuated
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8 EXPOSURE PROFILES 9
Student Profiles
Lukasz Kazimierz Palka Richard Gottardo
Lukasz is a Polish-born urban Richard is a creative modern wedding pharmaceuticals behind in order to that means "seeing with a good eye"
photographer based in Tokyo, Japan. and fine art photographer based out of begin a photography business. and being able to find beauty in
He is known for his street photography Toronto, Canada. Initially he began his everyday things. He has tried to keep
and exploration of the metropolitan career in the pharmaceutical industry Currently he is looking into opening a to this philosophy and photography
landscape and its natural environs. working in a polio lab. As photography studio in Toronto. He got his first real for him has become way to escape the
Lukasz established himself in Tokyo began to grow from more than just a taste of photography came while taking mundane and explore the beauty
in 2009, and began shooting out of passion and a hobby into something he a miksang photography course in present all around us. His work can be
a curiosity about the city and its could make a career out of, he left university. Miksang is a Tibetan word found at www.richardgottardo.com
people. He has been documenting
Tokyo for over two years, while also
making excursions to China,
Australia, and other nations in the
eastern hemisphere.
Lukasz's photographic style has yet
to crystallize, but can be described as
"cinematic." He is inspired by films
such as Blade Runner and sci-fi manga
such as Ghost in the Shell. Through his
work, he aims to show the world a
glimpse of what he sees, casting a light
on the moments that daily emerge and
fade in our cities. His inspiration comes
from one of the largest human
conglomerations on earth: Tokyo.
Currently, Lukasz is a hustling
freelancer, primarily a Photographer,
Graphic Designer, and Educator.
More of his work can viewed at
www.lkazphoto.com
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10 EXPOSURE PROFILES 11
Nick Depree Nathan Biehl
Born in Christchurch, New Zealand, Nathan was born in a small town nestled
Nick traveled a lot at a young age before in the north woods of Wisconsin, USA.
settling into University studies in After bouncing around the Midwest for
Auckland where he completed a most of his life, he now claims Iowa City,
Bachelors degree and eventually a Iowa as his home. His current day job is
Doctorate in Chemical and Materials as a graphic designer, and while his 9 to
Engineering. Nick got into photography 5 is devoted to design, his free time is
around 2006, quickly becoming consumed by photography.
comfortable with the technical aspects,
and has since been more interested in Nathan attended the University of
developing his artistic and aesthetic Northern Iowa where he received a
side, while also enjoying trying various BFA in Printmaking. Originally, his
types of modern and vintage, digital photography served as a reference
and analog cameras. point for his prints, but soon after
graduating it evolved into be his
Living in New Zealand provides primary creative focus.
great opportunities for landscape
photography, which was Nick’s early While his educational background was
interest, but he found his productivity in the arts, his only formal training in
and quality of output greatly photography was an introductory class
increased in the past two years with covering the basics of black-and-white
the opportunity for extensive travel photography. Nathan welcomes every
through his research work. Exploring chance to expand his photographic
new cities and countries has become knowledge by pouring over any book,
his passion, where he finds his best blog, or gallery he can find.
shots by walking the streets for long
periods, being observant of his To view more of his work, visit
surroundings and patient for the right www.biehl.me
light or scene to appear. He also very
much enjoys learning about the
history and culture of new places,
and photographing the details, foods,
and historical locations he finds.
You can find his work at
www.ndepree.com
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12 EXPOSURE INTRODUCTION 13
Introduction
With all the measurement and Yet, there is a significant drawback people can view the same scene and And that will be the purpose of
processing advantages of digital to this trend toward automation. choose to represent it in entirely this book: to give you a thorough
photography, exposure has been made More and more, exposure is rigidly different ways—and we should be understanding of the exposure tools
easy to take for granted. The automatic understood as something that is either thankful for this, or else there would available, so that when the moment
exposure functions on today's cameras right or wrong—a problem to be solved. be little room left for innovation and calls for it, you can not only determine
are impressive pieces of technology, and There is an element of truth in this, expression. How you choose to capture the optimal settings for the best
indeed they are quite capable of insofar as there is, in the end, just one a scene depends on your receptiveness exposure, but also what that "best"
producing excellent images all on their dosage of light, manipulated by shutter to the subtle interplays of light and exposure is, and what other options and
own (hence the Auto setting on virtually speed, aperture, and ISO (or film speed), shadow, what you consider significant interpretations potentially exist. As part
every single modern camera). There is just as it has been for over a century. versus peripheral, the mood you want of this, we will also be emphasizing the
something to be said for this, as it makes For all that we wax philosophical about to impart to the viewer, and so on. Over moment of capture over any post-
photography considerably more inviting how to interpret exposure, the final time, these exposure decisions will production workflows, with the goal
and approachable, and is in no small decision is a straightforward form your personal aesthetic style. being to capture optimal data in-camera.
part responsible for the democratization combination of just three simple Some like it bright, some like it dark. For one, doing so will give you the most
of photography that we've been enjoying factors. The problem is that viewing Some need everything tack-sharp, leeway during post-production if you
for several decades (aided by autofocus, exposure in such a clinical way robs others don't mind soft edges and a bit do go on to edit your files; but more
always-with-you cell-phone cameras, you, as a creative artist, of a significant of blur. Photography is big enough to importantly, this approach will reinforce
advanced post-production tools, and the and, frankly, enjoyable component of accommodate all these approaches, the significance of your exposure
ease of sharing and displaying digital your art. There is another open-ended, and exposure is the means by which decisions each step of the way, so you
images online). highly subjective side to exposure. Two you can achieve them. can work knowledgeably and effectively.
OHow and when to shoot OA coherent decision
Even the timing of your shot is Exposure is an inseparable
an exposure decision—do you part of every photographic
wait for the sun to reemerge decision. For instance, as
from behind a cloud, or (in this this shot of a market is
case) for the fog to pass? Or being composed, design
do you embrace the current choices as to where to line up
conditions? Such questions various elements within the
require confidence equally in frame invariably impact the
both your aesthetic sensibilities placement of shadows and
and technical prowess. highlights, which must be
considered simultaneously
and on-the-fly.
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Fundamentals
Creating a good exposure is the essence of any successful photograph. Even
the best creative ideas and the most dramatic of situations will fall flat if
careful attention is not given to how the tonalities of a particular scene are
recorded. And conversely, even rather mundane subjects can be transformed
into exciting photographs when creatively seen and recorded using well-
considered manipulation of exposure controls.
It's easy to think that with today’s sophisticated metering and exposure
systems and the ability to record images in the Raw format (where changes
can be made to exposure after the fact) that good exposure is “automatic” or
that the camera (and software) will do the work for you. But good exposure is
more than merely recording the tonalities within a given scene correctly; it’s
also largely a matter of personal perception and the result of many choices—
both artistic and technical. No technology can replace the inspired work of an
active imagination, though it can certainly help you to capture that vision.
Learning to create not only competent but visually arresting exposures then
is a matter of two things: learning to see the potential for dramatic exposures
in familiar situations, and then knowing how to achieve them with the right
combination of shutter speed, aperture, and ISO setting. The trick, of course,
is to learn to master both of these skills so that you can apply them
instinctively, consistently, and effortlessly.
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16 FUNDAMENTALS A RECORD OF TONALITIES 17
A Record of Tonalities
Human Versus Digital
pupils close down instantly to control The challenge of a good exposure is to
Dynamic Range
the burst of light. Given time to adjust work within the fixed limitations of a
to the changing conditions, your eyes camera’s technology while at the same
Unfortunately (or perhaps fortunately, can see across a dynamic range that time exploiting the maximum
depending on your point of view), the is equal to more than 24 “stops” in emotional content from your subjects.
way that your camera sees the world camera terms. And that is essentially what this entire
and the way that it appears to your eyes book is about.
and brain are two radically different Your camera, on the other hand, is
things. For one, your eyes have an limited to capturing the finite dynamic
Controlling Exposure
astounding and extremely rapid ability range of its sensor—with contemporary
to see an extraordinary contrast range. sensors a range of 10–14 stops of light,
It’s nothing for your eyes to see detail in depending on the particular camera Given the creative range that exposure
the darkest shadow of a rock at midday model. If you exceed that range at can produce in a photograph, it’s
W Filling the photosites and then, in a flicker, find detail in the either end by trying to include too interesting that exposure is entirely a
Once the camera’s shutter opens, the photosites white petals of a sunlit flower. Your broad a range of darks and lights, product of just three camera controls:
(pixels) on the sensor’s surface begin to fill with eyes and brain together are constantly something has to give: You will lose one ISO setting, lens aperture, and shutter
light. The more light, the fuller the well and the
and relentlessly adjusting to the end of the dynamic range or the other. speed. Every exposure, every creative
lighter the tone will be. But when completely
brightness range or “dynamic range” of There are methods, such as high- effect, and every manipulation or
full, the result is featureless white.
your surroundings. Focus on a shadow dynamic-range imaging, for extending exaggeration of the light is created by
and your pupils open to accept more that range and we’ll discuss those later the careful and clever combination of
O Simple settings, complex solutions light. Glance into a sunlight patch, your in this book. those three settings.
Understanding how basic camera settings
control the amount and duration of light that
ISO numbers are a relatively recent
reaches your camera’s sensor is at the root of OUT Tough decisions
invention, but throughout the history
all exposures. Master this knowledge and no While your eye has no trouble
subject is beyond your control. seeing details in both the of photography, the sensitivity of
© Stephen VanHorn shadow areas at the edge of emulsions has been a factor, and these
At its most basic, exposure is about one just that. In fact, it was designed largely As you start out in photography, this frame, and the bright three controls haven’t changed
thing: getting the ideal amount of light with that singular goal in mind: to knowing how to carefully combine the highlights in the center, your fundamentally since the earliest days.
camera often needs to choose
to the camera’s digital sensor so that record the tonalities of a scene so that settings of those exposure controls is We can calculate exposure times in
either one or the other, which
the scene is captured as closely as they will appear as recognizably as an essential skill to master in order to thousandths of seconds or use
can result in an underexposure
possible to the way that it looked to you possible in the final photograph. create a good technical exposure. And (below, left), or an overexposure standardized apertures and ISOs, but
at the time. Record too much light and as with any new skill, learning these (below, right). the basic concepts remain the same.
the image is overexposed and the Technically then, your goal (and the fundamentals is at the core of creative
image is too bright—shadows are bland camera’s function) is to record the growth. Great jazz musicians can’t fly
and highlights are completely without values in a scene in a way that looks off into an inspired improvisation, can’t
detail. Capture too little light and your similar to what your eyes saw. In a twist and explore and return to a
image is underexposed—shadows are winter landscape, for instance, you melody until they have mastered the
cast into dark blobs void of detail, and want the snow to look white, the dark basic skills of playing that melody first.
highlights and middle tones are tree trunks to be nearly black and most Photography is very similar: You must
muddled. In most (not all) cases, the of the rest of the scene to fall between know how a camera captures and
ideal exposure lies somewhere between the two. Using just a light meter and records light and before you can alter
those two extremes. few exposure controls, capturing such that response.
an exposure can be reduced to a very
NE
In purely technical terms, your camera predictable process. A lot of clever GI
A
provides a nearly perfect vehicle for engineering has gone into making the —IM
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18 FUNDAMENTALS
Right Versus
Wrong Exposure
One of the concepts that it’s important grossly underexposing that scene to Were the entire world and all its
to eliminate, or at least try to suppress artificially over-saturate the colors. Nor scenery colored a consistent middle-
a bit as you begin to experiment with is there anything wrong with providing toned gray, there would be no need for
exposure, is that for every single too much exposure and creating a more this book, as your camera would never
possible photo, there is necessarily lyrical high key interpretation (see page struggle to determine its exposure.
such a thing as a right or wrong 124 for more on high-key exposures). Quite fortunately, the world is a bit
exposure. While you certainly want Most great strides in art, in fact, have more varied than that. Subjects present
to understand how to capture the been achieved by those brave souls that themselves in every color of the
tonalities in a scene so that you aren’t have pierced through the realm of rainbow, illuminated by a wide variety
sacrificing essential detail in the conventional barriers and expanded of lighting conditions (which
highlights or shadows, for instance, you the territory of what is correct. Picasso, themselves have their own subtle
don’t need to adhere to anyone else’s Van Gogh, Monet—all took the norms colors—as we’ll discuss on page 84),
definition of what a correct exposure of art and tossed them in the trash. struck at angles that reveal contours
should look like. Exposure is no more (Though you can be certain that all and textures that can be highlighted © Emin Ozkan © Elenathewise
about right or wrong than is the knew the standard techniques well or hidden at your discretion. That discretion and creative choice W Countless possibilities
amount of milk you put in tea, before shattering them.) over how you choose to capture and There are countless ways to capture this
wave—a high shutter speed to freeze each
or the temperature of your beer. represent any given scene is your most
U Underexposed for drama U Overexposed for vibrancy powerful tool. Your camera, even with drop, or a slower one for a more painterly effect;
One man's underexposure is another's idyllic This shot required a creative override of the cold white balance to keep the blues
While most of us see a colorful sunset sunset. As you become comfortable with the camera's metering system, which typically its highly advanced, built-in metering of the water intact, or warm to infuse the
as a cheerful and brilliant sky event, for nuances of exposure, its technically accuracy fights against letting massive areas of the system, is only a computer, with no image with a golden hue.
example, there is nothing wrong with will take on a more subjective outlook. frame blow out to pure white. sense for the creative potential before
it. It is entirely up to you to take control area of the scene off of which you want
and learn when to override your to base your exposure. There is never
camera’s decisions and assert your own a place in this photographic journey
vision for your photography. in which you should not be asserting
yourself as the ultimate decider of
Some of that creative vision will be a proper, ideal, or “right” exposure.
matter of deviating from your camera’s
suggested exposure measurements— With that framework in mind, when
recognizing that, in fact, you prefer this the terms “good” or “bad” exposure are
scene with heavy, blocked-up shadows used in this book, we are only talking in
and a resulting sense of brooding and the strictest technical sense. In terms
dread, or another scene with so much of aesthetics, you are the only arbiter
pure bright white that you can just of right or wrong, good or bad, creative
barely make out your subject emerging or imaginative.
from an ethereal cloud. Other times,
you will depend entirely on a precise W Not always shooting for a catalog
If the goal was to accurately represent the shape
exposure reading from your camera,
of an apple, this photo would be a failure. But
but you will still need to carefully the apple itself isn't what was important; rather,
ensure that it is reading of the specific it was the interplay of light and shadow.
© Iakov Kalinin
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