Induction in
EXPOSURE
The Methods
Incident Metering
Measures the amount of light falling on the subject using an integrating sphere (usual-
ly, a translucent hemispherical plastic dome) placed on top of the light sensor. Because
the incident-light reading is independent of the subject’s reflectance, it is less likely to
lead to incorrect exposures for subjects with unusual average reflectance. Taking an
incident-light reading requires placing the meter at the subject’s po-
sition and pointing it in the general direction of the camera, some-
thing not always achievable in practice, e.g., in landscape photogra-
phy where the subject distance approaches infinity.
Reflective Metering
Reflected-light meters measure the light reflected by the scene to be photographed.
All in-camera meters are reflected-light meters. Reflected-light meters are calibrated
to show the appropriate exposure for “average” scenes. An unusual scene with specu-
lar highlights would have a higher reflectance; a reflected-light meter taking a reading
would incorrectly compensate for the difference in reflectance and lead to underexpo-
sure. Badly underexposed sunset photos are common exactly because of this effect: the
brightness of setting sun fools the camera’s light meter and, unless the in-camera logic
or the photographer take care to compensate, the picture will be grossly underexposed
and dull.
Spotmeting
Another way to avoid under- or over-exposure for subjects with unusual reflectance is
to use a spot meter: a reflected-light meter that measures light in a very tight cone, typi-
cally with a one degree angle. An experienced photographer can take multiple readings
over the shadows, midrange and highlights of the scene to determine optimal expo-
sure, using systems like the Zone System. Many modern cameras include sophisticated
multi-segment metering systems that measure the luminance of different parts of the
scene to determine the optimal exposure. When using a film
whose spectral sensitivity is not a good match to that of the
light meter, for example orthochromatic black-and-white or
infrared film, the meter may require special filters and re-cali-
bration to match the sensitivity of the film.
The Zone System
Everything is Grey
The Camera built in light sensors assume you are taking a picture of an average. Bright
skye, green grass, dark shadows... And it compensate for all of this by making every-
thing grey. As a photographer you wil have to make adjustments for this lack on intel-
ligence.
Remember that you are working in negative.
If you photograph something black, less light will be reflected, leaving the negative
translucent so more light can fall on to your positive paper thus turning it black.
If you photograph something white, more light falls on the negative thus turning black
and this will stop the light of your enlarger falling on the paper and leaving this white
Example
Imagine you are photographing a black painting on a white gallery wall. When aiming it
at the black painting, your lightreading will give you a long exposure. When aiming at
the white wall, more lights reflects and the reader will give you a short exposure.
1/125
f8 1/4
This is where your lightmeter turns stupid. We know to have black we want less light,
so the negative stays translucent. And for white we want more light, so the negative
becomes blacker. But our lightmeter is teling us the complete opposite.
This is where the Zone system will be used to get the correct exposure.
Applying The Zone System
WARNING: COMPENSATION HAS TO BE DONE ONLY WHEN USING A REFLECTIVE MEA-
SUREMENT. DO NOT USE THIS WHEN WORKING WITH AN INCIDENT METER.
The Zone System is a photographic technique for determining optimal film exposure
and development, formulated by Ansel Adams and Fred Archer in 1941. Although it
originated with black and white sheet film, the Zone System is also applicable to roll
film, both black and white and color, negative and reversal, and to digital photogra-
phy.
In the Zone System, measurements are made of individual scene elements, and expo-
sure is adjusted based on the photographer’s knowledge of what is being metered:
a photographer knows the difference between freshly fallen snow and a black horse,
while a meter does not.
The Zone System assigns numbers from 0 through 10 to different brightness values,
with 0 representing black, 5 middle gray, and 10 pure white.
These values are known as zones
A one-zone change is equal to one stop, corresponding to standard aperture and shut-
ter controls on a camera.
Stops
-5
-4
-3
-2
-1
+1
+2
+3
+4
+5
The 2 Methods
Even there are 10 zones, the range of film and digital cameras are 6 zones.
From zone II to VIII.
Placing in the correct Zone
From the table we know what each zone is.
When standing in front of your subject ex: a portrait of a caucasian person. We know
that the skin needs to be placed in zone 6. We meausre the light coming from the per-
sons skin and overexpose +1 stop.
Using a grey card.
A grey card is Zone V. When you meausure the light bouncing off a grey card it will be
the correct reading because the lightmeter is calibrated for Zone V. This method does
not get used a lot because it is time consuming and you need to be with two persons.
An advantage of working digital is that you can also use the grey card to white balance
your images.
Applying The Zone System
We now know that our lightmeter places everything in Zone V. What is the adjustment
we have to male for getting the correct exposure for our black square example?
Now apply this when you are correcting for the white wall.
