Thanks for describing an excellent method for adjusting exposure so the subject is properly lit, and explaining the rationale behind it. Sort of by accident I found another method, that is built in to my Lumix FZ1000. Namely, through twiddling one dial, I can adjust the amount of exposure compensation, and see the result immediately in the viewfinder or LCD monitor, so that I can very rapidly find the exposure I like best. This works in Intelligent Auto Plus mode and most other modes. On the FZ1000 there is a wheel on the back of the camera on the top right hand corner. Press the wheel (instead of turning it) several times until one sees a little icon that looks like a plus and a minus separated by a slash (+/-). Then turning the wheel will change the exposure value and change how your subject is lit. And you get immediate feedback on what exposure value best reflects your intentions.
Ok. Great video (as always). Here is an aspect of the issue that you did not cover in your RUclips video: I have a large black dog. Once upon a time, when all I had was a simple Point-and-Shoot camera, the dog was always severely underexposed any time I tried to photograph her. So let's see if I have this straight. Now with my wonderful and flexible new FZ300, I can think of three ways to approach the problem: 1. If I set the exposure for either "pinpoint" or "center" rather than "whole frame", the dog should expose properly (assuming that the exposure cursor is on the dog), regardless as to what happens to the background, correct? 2. Alternatively could I lock the exposure on the lawn (assuming there is one) and then compose the shot and fire the shutter? 3. Yet a third option would be to expand the exposure style to "full frame" and dial up the Exposure compensation, correct? Would you expand on the pros and cons of each method? Thanks, Graham
Good video. I think the video scene could use more camera dynamic range, or, better use a reflector to provide a fill for your shadows and slightly lower the exposure, to avoid the hotspots on your face and bench. Or sit in a shadowy place. Teaching about exposure while being slightly over exposed :) In regard to video, one has to be much more careful because the video codec is destroys details in the shadows, and messes up colours in over bright areas. Flatter camera profiles help to keep most of the dynamic range in the luminosity range that the codec records best. Panasonics' I-dynamic can help to lift the shadows too. In general, because of the silicon sensor characteristics, it is wise to ETTR, expose to the right so the histogram has no flat part at the bright/right side, ensuring you capture the widest range of the scene. For photo I highy recommend shooting in RAW. or RAW+fine JPEG. Raw files have a lot more detail, so when you compensate for a bad exposure in software, the image can tolerate much more then a JPEG compressed foto, or video.
Hi Graham, Thanks for the video. This area a photography is always frustrating for me. Example ...I'm casually taking pictures of buildings and street scenes and getting good results ...then I try to get a church steeple or a statue where there is considerable grey sky in the background and my results are usually less than acceptable. Could you walk us through such a scenario. I'm generally working with the camera in "A" mode and then when I look skyward I can't get a good capture because of the above 'new' variable, ie. lots of grey sky in the scene. (not so much of a problem if skies are blue)
Yes this is the typical scenario when you need to be ready to dial in +EV units of may be +1 or +2. If the buildings are stone then a quick trip into the Qmenu and set to spot metering and position the cyan cross on the stonework should achieve better results. I'll try to remember to include this in the photo walk and tutorial as I know there is a great church which would be ideal for this.
Sekonic L308 "Fairly inexpensive" -at £420?!! I can buy a Panasonic FZ82 Bridge Camera or (currently )an M43 GX80 body and 12-32 lens for that and still have some change!! Buy an old analogue light meter -they are available second hand on the internet auction sites like eBay and elsewhere, and experiment with that. If it has no instructions, look on the internet for the model instructions or a forum. I have a Leningrad 4 light meter from my old film days-it cost me nothing -and it is pretty accurate!
Thanks for describing an excellent method for adjusting exposure so the subject is properly lit, and explaining the rationale behind it.
Sort of by accident I found another method, that is built in to my Lumix FZ1000. Namely, through twiddling one dial, I can adjust the amount of exposure compensation, and see the result immediately in the viewfinder or LCD monitor, so that I can very rapidly find the exposure I like best. This works in Intelligent Auto Plus mode and most other modes. On the FZ1000 there is a wheel on the back of the camera on the top right hand corner. Press the wheel (instead of turning it) several times until one sees a little icon that looks like a plus and a minus separated by a slash (+/-). Then turning the wheel will change the exposure value and change how your subject is lit. And you get immediate feedback on what exposure value best reflects your intentions.
Ok. Great video (as always). Here is an aspect of the issue that you did not cover in your RUclips video: I have a large black dog. Once upon a time, when all I had was a simple Point-and-Shoot camera, the dog was always severely underexposed any time I tried to photograph her. So let's see if I have this straight. Now with my wonderful and flexible new FZ300, I can think of three ways to approach the problem: 1. If I set the exposure for either "pinpoint" or "center" rather than "whole frame", the dog should expose properly (assuming that the exposure cursor is on the dog), regardless as to what happens to the background, correct? 2. Alternatively could I lock the exposure on the lawn (assuming there is one) and then compose the shot and fire the shutter? 3. Yet a third option would be to expand the exposure style to "full frame" and dial up the Exposure compensation, correct? Would you expand on the pros and cons of each method? Thanks, Graham
Good video.
I think the video scene could use more camera dynamic range, or, better use a reflector to provide a fill for your shadows and slightly lower the exposure, to avoid the hotspots on your face and bench. Or sit in a shadowy place. Teaching about exposure while being slightly over exposed :)
In regard to video, one has to be much more careful because the video codec is destroys details in the shadows, and messes up colours in over bright areas. Flatter camera profiles help to keep most of the dynamic range in the luminosity range that the codec records best. Panasonics' I-dynamic can help to lift the shadows too. In general, because of the silicon sensor characteristics, it is wise to ETTR, expose to the right so the histogram has no flat part at the bright/right side, ensuring you capture the widest range of the scene.
For photo I highy recommend shooting in RAW. or RAW+fine JPEG. Raw files have a lot more detail, so when you compensate for a bad exposure in software, the image can tolerate much more then a JPEG compressed foto, or video.
Hi Graham, Thanks for the video. This area a photography is always frustrating for me. Example ...I'm casually taking pictures of buildings and street scenes and getting good results ...then I try to get a church steeple or a statue where there is considerable grey sky in the background and my results are usually less than acceptable. Could you walk us through such a scenario. I'm generally working with the camera in "A" mode and then when I look skyward I can't get a good capture because of the above 'new' variable, ie. lots of grey sky in the scene. (not so much of a problem if skies are blue)
Yes this is the typical scenario when you need to be ready to dial in +EV units of may be +1 or +2. If the buildings are stone then a quick trip into the Qmenu and set to spot metering and position the cyan cross on the stonework should achieve better results. I'll try to remember to include this in the photo walk and tutorial as I know there is a great church which would be ideal for this.
Thanks Graham. I need to learn to make these adjustments on the go.
that opener wasnt in chorley..lol
Sekonic L308 "Fairly inexpensive" -at £420?!! I can buy a Panasonic FZ82 Bridge Camera or (currently )an M43 GX80 body and 12-32 lens for that and still have some change!! Buy an old analogue light meter -they are available second hand on the internet auction sites like eBay and elsewhere, and experiment with that. If it has no instructions, look on the internet for the model instructions or a forum. I have a Leningrad 4 light meter from my old film days-it cost me nothing -and it is pretty accurate!
that's the 308S version, the 308X is half the price. The analogue meters are no good for flash metering where the 308 are.
I just saw there is a FZ 2000 being released. est price $1200. I was just going to buy the FZ 300..aaaaaaaaagggghhhhhh