Technology advances rapidly, and cameras are now very advanced. However, our thinking about photography and camera usage hasn’t changed much since the days when we used to buy film to put in our cameras. It’s time to exploit camera technology to our advantage and maybe challenge some of the concepts and thinking around how we use our cameras.

Exposure Triangle – Not very useful

I find the exposure triangle confusing and misleading. Despite its name, it doesn’t explain exposure or help us understand the relationship between aperture, shutter speed, and ISO.

Understanding Exposure

Exposure is primarily determined by light. Our camera determines an exposure setting based on the ISO setting in use and the brightness of the subject or scene. By combining these two values, the camera calculates an appropriate aperture and shutter speed combination to expose the scene without resulting in underexposed or overexposed images.

ISO is not directly part of the exposure triangle. However, it does influence the sensitivity of our camera sensor, thereby affecting the range of aperture and shutter speed combinations that can be effectively utilised. The aperture and shutter speed are the only factors that affect the amount of light entering the camera sensor.

Correct methods for obtaining exposure.

The correct method to achieve an exposure is to set the ISO, meter the subject or scene, and then use or choose a combination of aperture and shutter speed recommended by the camera.

Auto ISO & Manual mode

Manual mode and auto ISO have become the new auto mode for many, but they overlook the fact that only aperture and shutter speed control the amount of light reaching the camera sensor. No amount of ISO can compensate for an incorrect combination of aperture and shutter speed. Cameras employ advanced algorithms and consider various data sources, including ISO, lens data, subject matter, and scene brightness to determine the optimal aperture and shutter speed combinations. By disregarding these factors and setting any aperture and shutter speed combination at will, the ISO will try to make up for poor aperture, shutter speed combinations by using higher ISOs than necessary. This can lead to images with increased sensor noise and diminished dynamic range as insufficient light reaches the sensor, necessitating the ISO to compensate..

The Importance of Aperture & Shutter Speed

The aperture and shutter speed control the amount of light reaching the camera sensor.

Bright conditions typically necessitate the use of smaller apertures and faster shutter speeds to capture a scene. Conversely, in low light conditions, wider apertures and slower shutter speeds are employed to allow an increased amount of light to reach the camera sensor.

The relationship between aperture and shutter speed in terms of how much light reaches the sensor (aperture) and for how long (shutter speed) enables us to combine various apertures with shutter speeds to maintain a proper exposure. Typically, when one parameter is adjusted, the other must be adjusted as well. For instance, if the aperture is set at f8 and the shutter speed is 1/125s, and the aperture is then opened up to f4, the shutter speed will need to increase to 1/500 to compensate for the increased amount of light reaching the camera sensor. This allows us to use aperture and shutter speeds creatively.

Camera modes

Regardless of the camera mode selected, the same aperture and shutter speeds are available for a given ISO and scene brightness level. For instance, setting the ISO to 100 and if the scene’s brightness, as measured by the camera, is EV13, the following aperture and shutter speeds (depending on the lens) would be available in each camera mode, with the exception of full Auto-mode, where the camera will select the most appropriate aperture and shutter speed combination based on the ISO and brightness level of the scene.  

So, in a sense and in terms of exposure, it does not matter which mode is used.

Example using camera modes

If the camera is set to ISO 100 and the brightness of the scene is measured and an exposure value of EV13 is returned in,

Full Auto: The camera employs sophisticated algorithms and scene recognition technology to determine the optimal aperture and shutter speed combination for the photographer, ensuring optimal exposure in various lighting conditions.

Programmed Mode: The camera employs advanced algorithms and scene recognition technology to automatically determine an aperture and shutter speed combination. However, the photographer retains the option to override the suggested settings and select one of the predefined aperture-shutter speed combinations.

Aperture Priority Mode: The camera is already set to ISO 100. If we select f8 as the aperture, the exposure value is EV 13. Therefore, the only shutter speed that can be returned is 1/125s.

Shutter priority Mode: The camera is already set to ISO 100. If we select 1/125s as the shutter speed, the exposure value is EV 13. Therefore, the only aperture that can be returned is f8.

Manual Mode: When we set either the aperture to f/8 or the shutter speed to 1/125 seconds, our camera meter will indicate zero exposure when the combination of aperture and shutter speed is f/8 at 1/125 seconds.

Regardless of the camera mode, the same combination of aperture and shutter speeds will be available for a specific ISO and scene brightness level or EV.

Control or Constrain

The debate surrounding the optimal camera mode is somewhat flawed, as the same combination of aperture and shutter speeds is accessible regardless of the selected camera mode.

Terms such as “control your aperture,” “control your shutter speed,” or “use manual mode” to achieve complete control over your camera are misleading because, in reality, we are merely limiting the camera’s capabilities.

When we replace the term “control” with “constrain,” for instance, “constrain your aperture,” “constrain your shutter speed,” or we switch to manual mode, constraining ISO, shutter speed, and aperture, we are essentially preventing the camera from selecting certain settings for us.

How many modes

It is arguable that modern cameras only require three modes: Fully Auto, Programmed mode, and Manual mode. After all, aperture priority and shutter priority are essentially synonymous, representing two facets of the same concept. It is also arguable that precise control of aperture or shutter speeds is rarely necessary, and if essential, there are alternative methods to achieve the desired effect.

Full Auto Mode

Modern cameras use intelligent algorithms and scene recognition technologies, offering comprehensive automatic control over exposure, focus, ISO, white balance, picture control, and other settings. They intelligently adapt to various scene conditions and even identify subjects such as people to optimise images for seamless point-and-shoot usage or casual photography.

Programme mode

Flexible Programme mode, often labelled as “P” on your camera dial, creates a balance between automation and artistic freedom. the camera automatically selects the aperture and shutter speed based on its exposure algorithm and sometimes other data, like subject, scene or the focal length of the lens in use, if the chosen aperture and shutter speed does not meet your needs you can quickly “shift” the combination of aperture and shutter speed to a more fitting one. This ‘shift’ function lets you scroll through all available aperture and shutter speeds for a given ISO and scene brightness.

In Programme mode, the camera automatically adjusts the aperture and shutter speed to achieve a balanced exposure based on the lighting conditions and the ISO setting. This allows the photographer to focus on their subject, composition, and the timing of the shot without the need to adjust the camera settings.

Programme mode optimises aperture and shutter speed to provide a balanced exposure, eliminating the need for manual adjustments as in Aperture, Shutter or Manual modes. As an example, when shooting outdoors, Programme mode might advocate using F11 @ 1/125s. Suppose we then move indoors, without the photographer doing anything, Programme mode will optimise the aperture and shutter speed to, let’s say, F2.8 @ 1/30s. If we were in Aperture or Shutter Priority mode, we would need to change our aperture or shutter speed, guessing what the optimum values should be. Programme mode simply calculates this based on the exposure algorithm, setting both the aperture and shutter speed for us. If we do not like the recommended settings, we can then shift or bias the aperture-shutter speed combination ourselves, normally by rotating one of the command dials on our camera.

Programme mode, allows users gain access to various camera settings, including auto exposure lock, white balance, metering modes, exposure compensation, auto focus modes and other settings, making it a highly versatile mode of operation.

In my opinion, Programme mode is often misperceived and should be the default mode of operation for most situations.

Manual mode

Manual mode offers the least flexibility, limiting the camera’s ability to autonomously select the optimal aperture, shutter speed, white balance, and ISO settings. While Auto ISO (with the aforementioned caveat) and Auto white balance remain available, manual mode essentially restricts the camera’s functionality and hinders the full utilisation of the technology it incorporates. Manual mode is arguably the most practical mode of operation, particularly when employing flash photography, working in a studio setting, or utilising a handheld light meter.

Changing our mindset

Modern camera technology has evolved so much that shooting in manual mode is no longer a necessity. What is a necessity, though, is for photographers to learn how to exploit this technology to their advantage.

Intelligent autofocus systems, sophisticated metering, and powerful image processors enable cameras to analyse scenes instantly and adjust settings like shutter speed, aperture, ISO, and white balance with precision. Features like face and eye detection, real-time subject tracking, and advanced scene recognition allow cameras to adapt to changing light, movement, and composition faster than humans. Combined with higher dynamic range (HDR) capabilities, these innovations free up photographers to focus on creativity and composition rather than on technical adjustments. We must learn how to use our camera settings effectively to free up our focus on our subject.

The creative triangle

Instead of the exposure triangle, we should concentrate on what I am referring to as the “creative triangle¹,” which involves determining the optimal approach to capturing our subject. This triangle encompasses composition, lighting, and the timing of our photograph, considering the location, time, and precise moment to press the shutter button.

Subject – what you’re capturing, be it a person, landscape, or object
Composition -involves framing and drawing attention to your subject, telling a story.
Lighting – mood and exposure of your shot. Consider natural light, artificial light, shadows, and directionality to highlight your subject.
Timing – time of day, right time to press the shutter, right moment to capture your subject at its best

Alternative view of photography

This post presents an alternative perspective on photography and aims to prompt photographers to reconsider their camera usage. It also serves as a constructive critique of the prevailing notions on social media and other platforms, as well as the conventional methods of presenting and instructing camera usage.

1. Creative triangle Image and concept copyright SM Yates 2025 ︎

Picture controls

Camera manufacturers create proprietary software and picture controls to offer the best possible experience to their users. Picture controls allow manufacturers to give their images a distinctive look, helping to differentiate their brand from others. They provide users with easy access to professional-quality settings, reducing the need for extensive post-processing and fiddling with camera picture settings.

Using camera manufactures proprietary ensures all the features and functions of a camera are fully supported, The software is designed specifically to work with your camera’s hardware, ensuring optimal performance and full utilisation of all camera features.

By creating an ecosystem of products and software, manufacturers can build brand loyalty, encouraging users to stick with their products.

Benefits of using your cameras proprietary software

There are many advantages to using proprietary software such as;

Optimised Performance: The software is designed specifically to work with your camera’s hardware, ensuring optimal performance and full utilisation of all features.

Consistent Quality: Picture controls are tailored to your camera’s sensor and processing engine, providing consistent and high-quality results with minimal effort.

Ease of Use: Built-in profiles make it easy to achieve specific looks without needing extensive knowledge of post-processing techniques.

Efficient Workflow: Proprietary software often integrates seamlessly with the camera, streamlining your workflow from capture to editing.

Customisability: Many proprietary software packages allow you to create and save your own custom picture styles and save them as picture controls, giving you more creative options for your images.

Brand-Specific Features: Manufacturers sometimes include unique features or tools in their software that are not available in third-party applications.

Shooting RAW the secret sauce

If you are only shooting JPEG or have heard that picture controls only work with JPEG images, then that is wrong. Picture controls are designed for RAW files and post-processing

I shoot Nikon, Nikon’s proprietary software is called NX Studio, and it takes full advantage of picture controls when post processing, allowing me to refine my camera settings when post processing my images. With NX Studio I can, adjust the camera settings for colour, contrast, saturation, sharpness and more to achieve specific looks, note, this is not the same as doing it with 3rd party software such as Lightroom or On1 RAW for example. NX Studio has been engineered to replicate the exact settings and colours used in Nikon cameras. That means any adjustments made can be exported and then imported into the camera as a custom Picture control. Common profiles include Standard, Landscape, Portrait, and Monochrome, with more creative options like Dramatic and Melancholic on newer models.

Why do photographers ignore the proprietary software

Photographers might choose to ignore camera manufacturers’ proprietary software for several reasons:

Preference for Familiar Tools: Many photographers have already invested time in learning popular third-party editing software like Adobe Lightroom or Photoshop. These tools are industry standards and offer robust features that they are comfortable with.

Advanced Features: Third-party software often provides more advanced or specialised features that might not be available in the camera manufacturers’ software.

Workflow Integration: Some photographers have workflows that seamlessly integrate with third-party software, making it more convenient to use than switching to the proprietary options.

Customisation and Plugins: Software like Lightroom and Photoshop support various plugins and customisations, allowing photographers to tailor their editing process to their specific needs.

Cross-Brand Use: Photographers who use multiple brands of cameras might prefer a universal software solution rather than learning different proprietary software for each brand.

Marketing: Strong marketing from 3rd party vendors and social media has a big influence on photographers meaning that they may not realise the potential of using proprietary camera software which is often free to install and use.

Benefits of of shooting RAW and using Picture controls

Using picture controls with RAW files is important because it provides a starting point for your post-processing. Here are a few key benefits:

Visual Reference: When you apply a picture profile to a RAW file, it gives you a visual reference of what the final image could look like, helping guide your editing decisions.

Efficiency in Workflow: Starting with a picture profile can speed up your editing process, as it applies a base look that you can further refine, rather than starting from scratch.

Consistency: Applying a specific picture profile helps maintain consistency across a series of photos, which is especially useful in professional settings like weddings or events.

Creative Inspiration: Different profiles can inspire creative editing by showing you new ways to interpret your images, sparking ideas you might not have considered otherwise.

Easy Comparison: With picture profiles, you can easily compare different styles and choose the one that best fits your vision, all while retaining the original RAW file’s flexibility.

These benefits make using picture profiles with RAW files a practical and creative choice for photographers at any level.

Unlocking the Potential of Proprietary Camera Software

What Photographers Are Missing: In today’s fast-paced digital world, the power of marketing from third-party vendors and social media influence can’t be underestimated. Photographers, caught up in this whirlwind, often overlook the incredible potential of proprietary camera software. Many don’t realise that this software, often free to install and use, can significantly enhance their photography experience.

Resources & Links

Nikon USA Picture Contols

3rd Party picture control editor

Nikon School Picture controls
NX Studio for Nikon RAW files

Whether you’re shooting landscapes, portraits, or action shots, the metering mode you select can make a significant difference in your final image.

Let’s dive into why this is important and how you can choose the perfect metering mode to elevate your photography skills and why when shooting manual mode spot metering should be the preferred metering mode!

Camera meters

A camera meter measures a scene or subject to determine the correct exposure by evaluating the light levels and calculating the appropriate settings for aperture, shutter speed, and ISO. Here’s a step-by-step explanation:

Light Detection: The camera’s light meter detects the amount of light reflecting off the scene or subject. This involves sensors within the camera that can read the intensity of light.

Metering Modes: Depending on the selected metering mode (matrix, center-weighted, or spot metering), the camera evaluates different parts of the scene:

Matrix Metering: Measures light across the entire frame, taking multiple readings and averaging them.

Center-Weighted Metering: Prioritises the centre of the frame while still considering the surrounding areas.

Spot Metering: Focuses on a very small area (around 1-5% of the frame) for precise measurements, typically the area around the active focus point.

18% Mid Grey: In photography, 18% grey is used as a standard reference for determining exposure. It’s based on the premise that the average scene reflects 18% of the light that hits it. In photography, 18% grey is used as a standard reference for determining exposure. It’s based on the premise that the average scene reflects 18% of the light that hits it.

Exposure Calculation: Based on the light readings and the selected metering mode, the camera calculates the appropriate exposure settings to achieve a balanced image. It adjusts:

Aperture (f-stop): to control the amount of light entering the lens.

Shutter Speed: to determine how long the camera’s sensor is exposed to light.

Strictly speaking ISO does not adjust exposure it simply adjusts the sensitivity of the camera sensor to light.

Dynamics range of the scene: When using matrix or Evaluative metering, the camera takes into account the overall dynamic range of the scene, and tries to ensure that highlights aren’t overexposed and shadows aren’t underexposed. 

(The objects in this scene reflect light with tonal values around 18% grey, while the white clouds and boat have lighter or darker tones than 18% grey, midtone)

Matrix or Evaluative metering aims to retain details in both bright and dark areas, this works well if the dynamic range of the scene does not exceed the dynamic range the camera, it cannot tell which elements of your scene will turn out to be midtones, bright tones or dark tones.

In the scene with the schooner, the clouds were spot metered and the exposure was increased by 2.5 stops. This made the clouds appear white without being overexposed, and other elements, like the black hull of the schooner, fell into the right tonal ranges. Due to the high dynamic range, using matrix metering would average the whole scene, likely resulting in overexposed clouds and a deep black hull (underexposed) with no detail, .

That is why using your camera in manual mode combined with spot metering is so powerful, you can;

Assess the tonal range of your scene based on the most important shadow and highlights.

Measure the dynamic range of a scene in terms of stops.

Take a reading from your subject and set an appropriate exposure.

Easily adjust your exposure to place your subject in the correct tonal value.

Based on your chosen exposure settings, you can then meter other parts of the scene to see where they fall tonally and whether or not they will be exposed correctly.

Matrix metering and spot metering compared

Matrix metering is like using a thermometer to measure the overall temperature of a room. You get a general idea of whether the room is warm, cool, or just right, by considering the average temperature from all the different corners and surfaces within that room but you don’t know how warm or cold a specific part of the room is.

Spot metering, however, is like using an infrared thermometer to measure the temperature of a single specific spot, like a particular section of the wall or a specific object in the room. You’re focusing on a precise area to get detailed information about its temperature, regardless of the rest of the room. So if you need a corner of the room or an object to be a certain temperature, then you need to isolate that corner or object and spot measure it.

Both spot metering and matrix metering methods provide useful insights, but one gives you a broad picture, while the other offers specific details about your intended subject and how it will be exposed.

Using your camera in manual mode allows you to use your built-in light meter and spot meter to precisely measure different parts of a subject or scene just like the infrared thermometer.

When shooting manually, spot metering stands out as the best choice among the different metering modes, evaluative, centre weighted and partial metering. This mode hones in on a small area, typically around 1% or 2% of your frame, allowing for precise exposure readings of your subject. Pairing spot metering with manual mode offers you unparalleled control over exposure, ensuring that your chosen subject is perfectly captured.

Depending on your style of photography, post processing may or may not be relevant to you! Even with the most sophisticated post processing editing software, there is still an argument for getting things right in camera and doing the minimum amount of post processing that you can. This is where your cameras proprietary software can become an important tool.

Designed to work with your camera

Camera makers proprietary software may not have all of the functionality of a third-party photo editing package but it has one big advantage! It has been designed to work specifically with your camera, insuring optimal compatibility and performance with all of your cameras features and functions.

Each camera manufacturer engineer their cameras to produce a particular look

Each camera manufacturer engineer their cameras to produce a particular look by using in camera settings called picture profiles or styles. These offer a seamless integration with the proprietary software in terms of camera effects, picture styles and other settings. This means that when you shoot RAW and use your camera manufactures software your get instant results that match the colour, contrast and other settings applied by your camera, rendering your RAW files as your camera manufacture intended! And, as a bonus, if you want to adjust settings applied by your camera afterwards, you can!

Get the very best from your RAW files

Camera manufacturers proprietary software has been developed and engineered to get the very best from your RAW files based on each camera manufactures specifications. As a bonus, all your camera settings and focus points used can be viewed and used as an aid to help you improve on your picture taking.

True RAW file processor

Remember camera manufacturers proprietary software is a true RAW file processor, you can always export processed images as TIFF files for further editing and apply any creative techniques that you want to use afterwards knowing the you have got the very best from your RAW file.

if you are not using the proprietary software from your camera manufacturer then you may not be getting the very best out of your RAW files and camera.

Links to Camera manufacturers proprietary software.

Nikon NX Studio

Canon Digital Photo Professional

SONY

FUJI

Happy shooting!

Key buying considerations

Choosing a photo editing program can be a confusing task as there are many to choose from, each having its own strengths and weaknesses, features and functions that you may or may not use. Here are some things to consider when selecting a photo editing program:

Before choosing a photo editing program you need to consider your own workflow needs and how your photo editing needs might evolve as you develop your photography skills.

• Software hardware requirements
  • Make sure the software can run on your computer, check the vendors operating system requirements and system specs, you don’t want to invest in a piece of software if your system does not have the right specifications to run the software.
• Purchasing options
  • Most photo editing software vendors have a range of purchasing options, consider your needs carefully and remember that many camera manufacturers have proprietary software specific to their camera models and these are often free.
• Features and tools
  • Photo editing applications can have many features but they may not be of benefit to you. List out what tools and features you need. For example, cropping, resizing, retouching, HDR, and layers. Don’t get caught up in the marketing hype!
  • RAW processor, if you shoot RAW then you need to make sure that your chosen software can process RAW files, most do but not all!
• Difference between processing, editing and creating images
  • Processing and editing files is all about trying to get the best out of your image file. Creating images may mean that you add, remove, or create effects and compositions that were not in the original photo, often this means building up your image using layers. Be clear about your current and future workflow needs and your creative or artistic needs.
  • Read the reviews on the software you are considering and watch YouTube videos to inform your purchasing decision.
• Free trials
  • Make sure you download any free trials or demos to get a feel for the software and to see whether or not it meets your workflow needs.
• Licensing
  • You may want to use your chosen software on more than one device. Read carefully the licensing terms and contract, especially if you are committing to longer term monthly contracts.

Take your time, research and try different software packages before deciding what to buy.

Budget verses best of breed

Best of breed

Photo editing applications tend to be a mix of features and functions from software that in principle, allows you to create a workflow for processing RAW files through to outputting your images in the desired size and format. Programmes like Affinity Photo, Adobe Photoshop and On1 are examples of creative editing software that use a layered approach to photo editing. DxO Photolab is primarily a RAW file processor and could be called ‘best of breed’. In other words, there is no better way to process and prepare your RAW files for further editing. However, if you want be more creative and composite photos then this software would need to be complimented by another software package.

Budget

Best of breed mean that you use more than one software package in your workflow capitalising on the strengths of each software package, if your budget allows this it can be a good approach to processing your images. However, if your budget is limited, then you must choose your software carefully and consider your workflow needs from start to finish! If you are only going to buy one software package then make sure it covers all your needs from processing RAW images through to working with layers etc…

Finding the optimum exposure for your subject requires balancing technical considerations and creative intent to arrive at an exposure that best portrays your subject. Here is what you need to know.

Exposure can be tricky as it has technical considerations and is also subjective depending on the photographer’s intentions when portraying a subject. Camera meters look to balance out the brightness range of a scene from the darkest element to the brightest. As photographers, we need to expose the scene based on the lighting and our photographic intent.

• Understanding the Exposure triangle: The exposure triangle relates to the relationship between aperture, shutter-speed and ISO.
  • Aperture: Pertains to the amount of light coming through the lens. Small apertures (large F-stops) let less light in, Large apertures (small F-stops) let more light in.
  • Shutter-speed: Shutter-speed regulates how long a camera sensor or analogue film is expsoed to the light coming through the lens.
  • ISO: ISO sets the relative sensitivity of the camera’s image sensor to light, with analogue film photography, film has a ‘given ISO’ that cannot be changed. Lower ISO settings provide cleaner images and in digital photography low ISO settings also help render more detail from the shadows to the highlights (dynamic range). Higher ISO settings are used in low-light environments to boost shutter speed and aperture settings. Higher ISO settings can also be helpful when you need to use fast shutter speeds for action photography.
• Metering: The brightness of a scene is measured by the camera’s built-in lightmeter and the camera sets a base exposure according to the camera mode in use.
• Histogram: Camera Histograms show the distribution of tones in an image and help you assess exposure, darker tones are to the left, brighter tones to the right and mid-tones are in the middle of the histogram. Histograms can help warn of over or underexposure or when the brightness range of a scene exceeds the dynamic range of a camera sensor.
• Exposure compensation: When using full auto or semi-auto modes, exposure compensation allows you to adjust your exposure by decreasing or increasing the exposure value suggested by the camera’s meter. This is useful in tricky lighting situations or when the recommended exposure value does not work for your subject.
• Bracketing: In difficult lighting conditions or when the brightness range of the scene is beyond the dynamic range of your camera (you can check this by referring to your histogram) bracket your exposures, you can choose the best image later or combine images into an HDR shot.
• Manual mode: Manual mode gives you complete control over the aperture, shutter speed and ISO to control exposure. A built-in light meter or an external light meter is needed to meter the subject and lighting and then you set the ISO, aperture and shutter speed

Below is a before and after image, this is image was shot in manual mode and under exposed to retain detail in the brightest parts of the scene, it was saved as a RAW file for post processing.

Finding the optimum exposure for your subject requires balancing technical considerations and creative intent to arrive at an exposure that best portrays your subject!

As photographers, we are presented with many different lighting situations and must learn to expose our scene based on our interpretation of the subject, lighting and the look we are trying to achieve. To help us, cameras have three metering modes.

• Evaluative / Matrix metering.
• Centre-weighted metering.
• Spot-metering.

But did you know that you can combine Evaluative/Matrix metering (E/M)with spot-metering (SPm) to help ensure that the most critical parts of your scene or subject are exposed correctly? You also need to switch to manual mode so that you can access your camera’s inbuilt light meter.

Before getting into the detail here is the basic process.

1. Switch your camera to manual mode.
2. If your camera has a live histogram turn it on.
3. set a base exposure by zeroing your camera meter.
4. Using your histogram check the light distribution.
5. Switch to spot metering to check the luminance levels of the key parts of your scene or subject.
6. Adjust exposure as necessary.

Manual mode

You need to be in manual mode to see your camera’s light meter and control the aperture, shutter speed and ISO. With practice and experience, you will find that working in manual mode is actually very easy and gives you precise control over your exposure. My basic way of working is to choose my working ISO, set my preferred aperture and then control my exposure by adjusting my shutter speed. As you have already decided on your ISO and aperture settings all you need to work with is adjusting your shutter speed to obtain the optimum exposure for your subject or scene.

Histogram / Spot meter

Once you have zeroed out your meter use your histogram as a visual reference to see the distribution of light and whether or not you have any highlights or shadows clipped. Now switch your camera to spot-metering mode.

Spot metering Midtone, Highlights & Shadows

With your camera set to spot metering mode, you can now meter the most important parts of your scene and check how bright or dark things will look or if your subject is going to render as a midtone. as an example, the image below was captured with natural window light, it is a contrasty image with not many midtones and made up of mostly dark tones, our histogram shows us this. Knowing that my scene was prominently made up of dark tones I reduced my exposure until my histogram was pushed to the left but not touching the left side of the histogram. However, my histogram does not show me how the most important elements in my image will render! In other words, will I be able to see the detail in the dog’s black coat or will it be purely black? And what about the part of the dog’s coat that is white, will detail be retained there and will it come out looking brighter than a midtone? I cannot know this unless I take spot readings based on my exposure to see the difference in stops between my base exposure and the most important highlight and shadow detail in my image, in this example, the dogs’ hair. When I did this, I could see that the most important shadows were -2 stops and the most important highlight +2 stops.

With this information, I now know my most important subject the dog will be exposed correctly. If the spot meter reading for the dog’s black hair had been more than -2 stops it would have rendered black with little or no detail in the hair and the inverse for the white hair more than +2 stops and I would have little or no detail in the white hair of the dog’s coat.

Exposure compensation based on combined readings

Now that we know how to set a base exposure using evaluative metering and how to check our subject’s most important highlight, shadow and midtone areas, we can make some informed decisions on how best to optimise our exposure!

Once you have your base exposure and you have checked how your most important tones will render, you can use adjust your exposure to favour the most important part of your subject. As an example, if after setting my base exposure the dog’s white hair had been +3stops, I could have increased my shutter speed from 1/125s to 1/250s to ensure that the dog’s hair would render properly. Naturally, when you do this the other tones shift too. However, the idea is to optimise your exposure for your subject.

By working this way you have full control over exposure and how your subject will render.

DxO Press Release

DxO PhotoLab 6, the RAW photo editing software, redefines industry standards for denoising with groundbreaking AI technology.

In addition to its brand-new DeepPRIME XD denoising technology, this major new version introduces advanced color management featuring a vast working color space, powerful new retouching tools, and refinements to its elegant library system.

DxO Labs, the company which kick-started modern RAW processing and lens correction, today announces the immediate availability of DxO PhotoLab 6, its flagship RAW image editing and workflow software. The latest version features DxO DeepPRIME XD, an AI-powered RAW conversion technology that pushes the boundaries for noise reduction and detail enhancement; a new color management system with an extended working color space; new retouching tools that redefine what photographers should expect from their software; and an upgraded library system that allows easy organization and quick access to images.

DxO DeepPRIME technology gets even better

Experts have long rated DxO’s DeepPRIME technology as the world’s most effective denoising and detail enhancement tool. Now, DxO PhotoLab 6 introduces the new DeepPRIME XD (eXtreme Details) mode which adds further quality to photographers’ RAW files. Ideal for high-ISO images, it removes noise, retrieves previously unseen details, and restores vibrant, natural color.

DeepPRIME XD uses a neural network trained using billions of image samples and routinely gives photographers improvements of more than 2.5 stops. For example, an image shot at 4000 ISO will more closely resemble an image captured at 500 ISO in terms of noise, color, and clarity. And because it is fundamental to the RAW conversion process,

DeepPRIME XD can even increase dynamic range, providing photographers with greater flexibility when shooting in low-light situations. The original DeepPRIME mode is also still on board for faster enhancements or for images that simply need less adjustment.
“We were thrilled by the response to DeepPRIME in DxO PhotoLab 5, but we knew we could do more” explains DxO’s VP of Marketing and Product Strategy, Jean-Marc Alexia. “The new DeepPRIME XD has been a year in development and the AI has literally been teaching itself how to do its job better. The results speak for themselves.”

More accurate color for better images

DxO PhotoLab 6 introduces re-engineered color processing algorithms that push the boundaries of color management, and a new, extended working color space. These are complemented by a Soft Proofing mode to ensure accuracy throughout the entire workflow, allowing photographers to make adjustments according to how their photographs will be reproduced for display, whether it’s on a high-definition screen or as a fine-art print.
The upgrades allow authentic reproduction for even the most saturated colors, and ensure that photographers can harness the full potential of the latest monitors and printers.

New tools for more powerful retouching

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Recently, I was told I should expose to the right (ETTR) when using a micro four-thirds camera (M43). The idea behind ETTR is to overexpose your image so that you open up the shadows without blowing out your highlights (wherever achievable) to give you as much data as possible to work with when processing your RAW files (ETTR is not recommended when shooting JPEG).

Below is the image where it was suggested that I use ETTR.

We see the world in colour but every object in our scene has a brightness value ranging from pure black to pure white.

If you look at the black and white image of the cat and the histogram you can see that there are no bright or white tones except for the specular highlights in the cat’s eyes.

Rather than exposing to the right (ETTR) as suggested, I based my exposure on the left side of the cat’s face and checking the histogram I could see that my shadows were not blocked out and that there were no highlights to worry about (bright areas in my scene), the histogram shows me that I have plenty of data to work with when post-processing my image.

My point is that before you press your shutter button you need to assess the tonality of the scene or subject you are shooting and make intelligent decisions on how to expose your image, relying on ETTR is not suitable for all situations and should not be overused, it is just one way of capturing a scene.

Let’s talk about metering

When you look at a scene or subject it has an overall brightness and a contrast range depending on the quality of light and the reflective properties of the elements within your scene.

There are basically two methods for taking light (metering) readings, incident light metering or reflective light metering.

Essential point: If you photograph a black vase and a white vase together under the same lighting conditions then they should both need the same exposure!

• If you use an incident light meter and measure the light falling on the two vases you will get an exposure based on the intensity of the light illuminating your subject, and the exposure will be correct for both the black and white vases.
• If you take a reflected light reading from the black vase it will come out lighter in your final image (not black more grey) and the white vase will be overexposed! if you take a reflected light reading from the white vase it will come out darker (not white more grey) in the final image and the black vase will be underexpsoed, why? Because reflected light meters measure the intensity of the light rebounding from the subject and the intensity of this light varies depending on the reflective properties of your subject, taking a light reading from the white vase or the black vase means that your exposure will render the vases as a mid-tone (grey) and your vases will not look as they should.

Why does this happen? All light meters whether an incident or reflective light meter render your subject as a mid-tone or middle grey. Understanding the concept of mid-tone or middle grey is important in obtaining the correct exposure for your subject. It is commonly referred to as 18% grey or zone V.

All scenes or subjects are generally made up of a number of light or dark tones. Compare the two images below. Because we see the world in colour, it is not always to imagine what a scene looks like in various shades from black to white. But this is exactly what we need to do when analysing a subject or scene.

The concept of the zone system helps us out here. Compare the black and white image and the grey-scale values opposite, you can see that our image is made up of a number of values from the greyscale, ranging from zone 2/3 all the way to zone 8/9.

When we photograph a subject or scene we want to be sure that our tones fall into the right place to render our subject correctly. Every time we use our camera meter or a handheld reflected light meter to meter a scene or subject it is always rendered as a midtone, it is up to us as photographers to decide whether the resulting exposure is correct for our subject.

If our subject is a mid-tone (middle grey/zone V) then it will be exposed correctly, if it is not, then we have to ask ourselves how much lighter or darker than the mid-tone is our subject and bias our exposure accordingly.

The zone system was developed for film use, it can still help digital photographers ensure that they get the correct exposure for their subject, each zone is equal to 1 stop. In the example of the white and black vase, if we take a reflected light reading from the white vase we know that it is not a mid-tone, its much brighter than that, which means we would have to apply at least two stops of exposure compensation to render it white (open up two stops). The opposite is true if we meter from the black vase, we need to stop down two stops for it to render correctly.

You don’t need to remember the zone system or learn too much about it, you just have to realise that if your subject is not a mid-tone you will need to apply some exposure compensation.

I simply ask myself when shooting, is my main subject bright, brighter or brightest? Or if its a dark subject, is it dark, darker or darkest and then set my exposure accordingly

Applying the principles above to your photography

To use the above you would need to work with a spot meter and use your camera in manual mode. I prefer using a handheld meter but you can use your camera’s spot meter if you have one. The key thing about working this way is that you are controlling how light or dark your main subject is by placing your subject in the appropriate zone. Setting your exposure based on the brightness of your main subject also influences how bright or dark other objects in your scene render.

More on metering

We have said that there are two main types of metering, incident and reflective.

Hand-held meters

Incident light metering

Incident light meters read the intensity of light falling on your subject, in other words, they ignore the reflective properties of your subject, providing very accurate exposures. All of the issues about how light or dark a subject is go away when using incident light metering. An incident light reading is the most accurate way to meter your subject.

Check out light meters at Wex Photo

Spot meters

Spot meters are expensive and are very precise, they allow you to take single or multiple spot readings, average out your readings and normally allow you to apply exposure compensation too. They are ideal for determining the overall contrast of your scene and for placing your subject in the appropriate zone.

Camera meters reflected light metering

Most modern digital cameras have three metering modes

• Matrix or Evaluative metering.
• Centre-weighted metering.
• Spot-metering.

Let’s explore each of these in turn,

Matrix/Evaluative metering

Matrix/Evaluative metering simply means that your camera is taking multiple readings at the same time from the different parts of your scene or subject, measuring the brightness of the scene and then averaging out the readings to give you an exposure value. It is considered to be a fairly accurate way to meter a scene but if your scene or subject is made up of mostly light or dark tones, in other words, there is not a range of tones in your scene from black to white, evaluative metering may not give you the correct exposure. It is not suitable for applying the concepts of the zone system.

Centre-weighted metering

Simply measures whatever is in the centre of your viewfinder, giving less priority to the edges of your scene. Again, it is not suitable for measuring and placing your subject in the correct zone.

Spot-metering

Camera spot meters are not as precise as handheld spot meters but can still be used to make accurate exposures. When I do not have my handheld meter with me I tend to use my camera’s spot meter and switch to manual mode.

Spot metering and Manual mode.

Most cameras have an internal light meter. However, you cannot access it unless you switch to manual mode. It will look something like the image below.

By shooting in manual mode and using spot metering you can begin to measure the different parts of your scene and see where your subject falls in terms of tonality,

Remember, light meters are calibrated to provide you with a midtone reading of your subject, which means that they always return an exposure value equivalent to 18% grey (zone 5 midtone)!

Taking a spot reading using your camera spot meter

When you set your camera to manual mode and point your spot meter at your subject you will get a meter reading, if you change the aperture and shutter speed until you zero out your meter (as above) you will have set your exposure to provide a midtone reading or an average reading. If your subject is a midtone or close to midetone the exposure for your subject will be correct. If your subject is not a midetone then you need to adjust your exposure to match your subject.

Changing exposure to match your subject

subjects darker or lighter than a midtone

For subjects that are darker than a midtone we need to reduce exposure (stop down) and for subjects that are brighter, we need to increase exposure (open up).

I simply ask myself, how much brighter or darker is my subject than a midtone and then adjust my exposure accordingly.

• Zone 2 Darkest – just a hint of detail, almost pure black (hardly any details)
• Zone 3 Darker – deepest shadows with some detail, dark fur (think very darkest colours)
• Zone 4 Dark – shadows (think darker colours)
• Zone 5 Midtone – very few subjects fall here but many subjects will be more or less a midtone. (primary / average colours)
• Zone 6 Bright – lighter subjects (think pastel colours)
• Zone 7 Brighter – clouds, white fur
• Zone 8 Brightest – bright snow in sunlight, almost pure white

Rather than zeroing out your meter reading, you need to decide how much lighter or darken your subject needs to be and then adjust your exposure until your meter reading shows that you are under or over-exposed by the correct number of stops.

Learning to assess the dynamic range of a scene and base your exposure on the brightness of your subject will provide you with accurately exposed images and you will spend less time post processing your files.

There are two camera functions I constantly make use of, exposure compensation and my camera histogram. If you never use exposure compensation or check your camera histogram, then you are leaving getting the optimum exposure for a scene to chance!

We use our camera’s meter to evaluate the brightness of a scene and set our exposure for the scene. The camera histogram provides us with a visual representation of the overall brightness of the scene we are photographing. The histogram can also show when our images are under or overexposed, or when the contrast of a scene is too great for us to get an exposure that maintains the highlights as well as the shadow detail.

Evaluative Light Metering

I use a Lumix G9, which has a 1,728-zone multi-pattern sensing system for multiple/evaluative metering. It analyses my image by scrutinising the whole image, looking for the brightest, darkest and midtone parts of my image, it then averages out all of the readings to provide me with an exposure based on my shooting mode and ISO setting.

Here you can see that for this scene the camera was set to multiple metering (1,728-zone multi-pattern) and Aperture Priority. At ISO 200 and an aperture of F8, the camera metered the scene and set 1/80s as the recommended shutter speed. comparing the histogram and the scene together, I am happy that my exposure is optimal for my purpose and that no part of the scene is under or over exposed.

Camera Histogram

Using evaluative or multiple metering is a good way to get an overall exposure for the scene or subject you are photographing. However, on its own it is not enough, you must also consider your own creative or artistic intent and make use of your camera histogram. You use your camera histogram to assess the overall brightness and contrast of a scene and to decide whether or not you need to add some exposure compensation or not.

Here the brightness of the sky has led to this photo looking dark. Looking at the histogram we can see that it has more dark tones than light tones, it needs some exposure compensation. The histogram is pushed to the left and we have lots of dark tones (the under-exposed buildings), very few mid-tones and some bright tones, the sky, but the sky is looking more like a mid-tone as our image is underexposed.

Because this image was a RAW file, I have been able to apply exposure compensation whilst post-processing the file, it actually needed two stops of exposure compensation. Ideally, the exposure compensation would have been applied at the time of capture. Many photographers shoot RAW so that they can adjust exposure while post-processing. I think it is always better to try and get your exposure correct whilst shooting though!

Compare the two histograms, in this shot, we have now evened out our exposure and our histogram is more balanced.

Exposing your Subject or Scene

When it comes to exposing your subject or scene, you have to be able to judge two things for yourself,

• The contrast range of a scene or subject
  • Is the contrast range of the scene beyond the dynamic range the camera sensor? This is where the histogram comes in, learn to use it to evaluate the overall contrast range of the scene.
  • If the contrast range of the scene means that you will lose hightlight and shadow details you will have to decide how to expose the scene
    • Expose for the highlights (add some minus compensation – less exposure)
    • Expose for the shadows (add some plus compensation – more exposure)
    • Shoot HDR
    • take two images 1) exposed for the highlights 2) exposed for the shadows and then blend the two images when post editing your files.
    • Keep the suggested exposure, knowing that the brightest parts of your image will be pure white and the darkest parts of your image totally black.
    • If possible come back when the lightighting conditions are less contrasty.
• The overall brightness of a scene or subject
  • This is where exposure compensation comes in to play.
    • Do you need your scene or subjet to be
      • darker? Add some minus exposure compensation.
      • Lighter? Add some plus exposure compensation.

Exposure Compensation

When you meter a scene your camera will suggest an exposure setting based on the overall brightness of your scene or subject. It is up to you, the photographer to decide whether or not the suggested exposure is optimal for your needs. If not, then you need to apply some exposure compensation or think about how best to capture the scene.

When things are happing fast we do not always have time to evaluate our subject or scene. If we are shooting JPEG and our exposure is off, then it’s hard to correct this in post-processing, so learning to always check your histogram is a must. If you shoot RAW, you can always apply some exposure compensation when post-processing but it is good practice to get your exposure right in camera and be a ‘Thinking Photographer’.

I hope this helps you get better exposures from your camera, always check your histogram and apply exposure compensation as necessary.