Bryan petersons exposure solutions the most common photography problems and how to solve them bryan peterson

Acknowledgments
Thankyoutomyeditors,JulieMazurandJeffKent.
Wow,nothinggetspastyouguys!

ThisisanAmphotoEbookOriginal
Copyright©2012byBryanF.Peterson

Allrightsreserved.

PublishedintheUnitedStatesbyAmphotoBooks,animprintoftheCrownPublishingGroup,adivisionofRandom
House,Inc.,NewYork.

www.crownpublishing.com

www.amphotobooks.com

AMPHOTOBOOKSandtheAmphotoBookslogoaretrademarksofRandomHouse,Inc.

SomeofthephotographswithinthisbookoriginallyappearedinpreviousBryanPetersonpublications.

LibraryofCongressCataloging-in-PublicationData

Peterson,Bryan
BryanPeterson’sexposuresolutions:themostcommonphotographyproblemsandhowtosolvethem/BryanF.
PetersonwithJeffKent.
p.cm.
Includesbibliographicalreferences.
1.Photography–Exposure.I.Kent,Jeff.II.Title.III.Title:Exposuresolutions.

TR591.P4782012
770–dc23
2012008033

CoverphotographsbyBryanF.Peterson
CoverdesignbyJessicaMorphew


EbookdesignbyMeeganSpellmanandDanVecchito

eISBN:978-0-307-98513-2

v3.1



Tomymom:
Youaremissedbyusall!






CONTENTS


INTRODUCTION
1.MASTERINGCREATIVELYCORRECTEXPOSURES
HowtoMasterDeepDepth-of-FieldImages

HowtoGetMaximumDepthofFieldwithaTelephotoLens
HowtoMasterShallowDepth-of-FieldImages
HowtoUsetheDepth-of-FieldPreviewButton

2.CAPTURINGLANDSCAPESINANYCONDITIONS
HowtoExposeSpectacularSunsets(andOtherBacklitLandscapes)
HowtoCaptureStunningColorinLandscapesandCityscapes
HowtoReduceReflectedGlareonSunnyandCloudyDays
HowtoExposeHigh-ContrastScenes

3.PHOTOGRAPHINGMOTION
HowtoCaptureSuper-SharpActionShots
HowtoFreezeActioninLowLight
HowtoImplyMotionwithSlowShutterSpeeds
HowtoCaptureMovingTrafficinLowLight
HowtoCaptureMotionbyMovingtheCamerawiththeSubject

4.PHOTOGRAPHINGATNIGHT
HowtoPhotographaFullMoon
HowtoPhotographLightning
HowtoPhotographFireworks

5. USING FLASH AND REFLECTORS TO MODIFY AMBIENT
LIGHT
HowtoExposeaBacklitPortrait
HowtoUseFillFlashtoCaptureFlatteringPortraitsinMiddaySun
HowtoExposeaSubjectinShadeAgainstaBrightlyLitBackground
HowtoExposeaSubjectAgainstaSunsetorSunriseSky
HowtoIsolateaFlowerAgainstaBlackBackground

HowtoUseFillFlashtoIlluminateDarkBackgrounds
HowtoUseFlashtoCreateArtificialBacklight
HowtoIlluminateDarkForegroundObjectsWhenThere’saBrighterBackground

6.MAKINGARTISTICEXPOSURES
HowtoCapture“Ghosts”
HowtoPaintwithShutterSpeed
HowtoAddEnergywithSimpleZooming
HowtoPaintwithLight

AbouttheAuthor




AUDIOANDVIDEOCONTENTS


1.MASTERINGCREATIVELYCORRECTEXPOSURES
Video:UnderstandingtheDistanceScale
AudioTip:Usingf/32
Video:MasteringShallowDepthofField

2.CAPTURINGLANDSCAPESINANYCONDITIONS
Video:UsingaGraduatedNDFilter
AudioTip:TheSecretofMagicLight

3.PHOTOGRAPHINGMOTION
Video:FreezingAction

AudioTip:UsingFlashtoFreezeAction
Video:CapturingMotion
Video:CapturingMovingTrafficinLowLight
Video:CapturingMotionbyMovingtheCamerawiththeSubject

4.PHOTOGRAPHINGATNIGHT
AudioTip:There’sanAppforThat!
AudioTip:MaximizingYourOddsofaGreatShot
AudioTip:HaveaBlastwithFireworks

5. USING FLASH AND REFLECTORS TO MODIFY AMBIENT
LIGHT
Video:UsingaGoldReflector
Video:UsingFillFlashinMiddaySun
Video:LightingaShadedForegroundAgainstaBrightlyLitBackground
Video:LightingaForegroundObjectAgainstaSunsetSky
Video:CreatingaHigh-ContrastFlowerPortrait
Video:UsingFlashtoCreateArtificialBacklight
Video:UsingFlashtoLightForegroundObjects

6.MAKINGARTISTICEXPOSURES
AudioTip:CreateaGhostlyImage


Video:UsingSlowShutterSpeedsforCreativeEffects
Video:AddingEnergywithSimpleZooming
Video:PaintingwithLight

INTRODUCTION


From my photographic beginnings, way back in 1970, I have been fascinated by the
subject of exposure. Despite the massive amount of technology that has influenced
photographyoverthepast40-plusyears,photographersstillstrugglewithexposure.For
many,exposurecontinuestobeallaboutlight—andthelackoflight.Butinmymind,itis
a much deeper topic. While yes, it is of paramount importance that photographers
understandthesimplemathinvolvedinf-stops,shutterspeeds,andISO,it’salsocritical
thattheyunderstandthedifferencebetweenacorrectexposureandacreativelyandthus
deliberatelycorrectexposure.
Inthis,mylatestbookonexposure,Ipresentacondensedguidetoconqueringthemost
common exposure problems. These are the confusing situations that my students and
readers have complained about for years—all clearly explained with easy-to-understand
solutionssothatyoucanimposeyourcreativewillonanyphotographicscenario.Asin
many of my other books, I’ve offered numerous before-and-after images that show the
correctexposurecomparedtotheincorrectexposure.Whatsetsthisebookapartfrommy
previous books, however, is a series of embedded video tutorials. These online videos
show me discussing the problems and demonstrating the solutions. You can witness the
correctexposuresolutionsunfoldingrightbeforeyoureyes!
I hope you find this book both useful and entertaining. Remember, photography is fun!
Youshouldn’tbeintimidatedawayfrompursuingyourcreativeinspirationjustbecausean
exposuresituationisalittletricky.Hopefully,withthehelpofthisbook,youcanreclaim
yourartisticvisionandbecomethephotographeryou’vealwayswantedtobe,regardless
oftheexposuresituationthrownatyou.



70–200mmlens,f/11for4seconds

16–35mmlens,f/22for1/15sec.








ONEOFTHEMOSTCONFUSINGCONCEPTSforphotoenthusiastsisthe
difference between a quantitatively correct exposure and a creatively correct exposure.
Youmightthinkthataslongasyourlightmeterindicatesacorrectexposureatacertain
exposure setting, then you’re in good shape. And on one level, you’d be correct. Your
light meter tells you the correct quantitative value for a properly exposed image.
Technically,acorrectexposureisnothingmorethanthequantitativevalueofanaperture
andshutterspeedworkingtogetherwithintheconfinesofaspecificISO.Thisisthecase
whetheryou’reinProgrammode,ShutterPrioritymode,AperturePrioritymode,oreven
manualmode.However,ifyoublindlyfollowyourlightmeter’sadvice,you’regivingup
creative control over your image. Maybe you want to emphasize a certain part of the
compositionandblurouttherest.Maybeyouwanttoexpressasenseofmotion.Maybe
youwanttocaptureafunlightingeffect.Maybeyouwanttoexpandyourdepthoffield
foradramaticsenseofplace.Theoptionsarenearlyendlessifyouconsiderthecreatively
correctexposure.
Acreativelycorrectexposureistheidealcombinationofapertureandshutterspeedforthe
artistic effect you want to produce. Most picture-taking situations have at least six
combinations of f-stops and shutter speeds that will yield a quantitatively correct

exposure.Buttypically,onlyoneortwoofthesecombinationswillgiveyouacreatively
correct exposure. This entire book is about choosing the creatively correct exposure for
different shooting scenarios. In this opening section, we’ll start with the two most basic
approaches to setting up a composition: storytelling exposures (deep depth of field) and
single-themeexposures(shallowdepthoffield).Youcanapplymanyoftheprinciplesof
thesetwoexposuretypestoalloftheotherspecialeffectsyou’lllearnlaterinthebook.


16–35mmlens,f/22for1/250sec.,NikonSB-900flash





HOWTOMASTERDEEPDEPTH-OF-FIELDIMAGES



THECHALLENGE

In my other books, I’ve discussed what I call “storytelling exposures.” Storytelling
exposures are, quite simply, images that tell a story. Like all good stories, these images
haveabeginning(theforegroundsubject),amiddle(themiddle-groundsubject),andan
end(thebackgroundsubject).Tobringalltheseelementsintoyourcomposition,youwant
themaximumpossibledepthoffieldsothateverythinginyourframeisinsharpfocus.
Storytellingexposuresarebasicbuildingblocksofgoodnarrativephotography,butthey
confoundmanypeoplewhoareunsurewheretoplaceemphasiswithinthecomposition.
Youmightalsowonderwheretoplaceyourfocustoachievethiseffect.

THESOLUTION

When using a digital camera with a full-frame sensor, most experienced photographers
choose wide-angle zoom lenses (14–24mm, 16–35mm, 17–35mm) to shoot storytelling
compositions. If using a digital camera with a partial-frame sensor, try the 11–17mm
range.Wide-anglezoomsarepopularbecausetheytypicallyincludethefullrangeoffocal
lengths you’ll need for a storytelling image. Occasionally, you might want to try a
moderate telephoto (75–120mm) or one of the “normal” focal lengths (45–60mm),
dependingonwhatyouwanttofeatureinyourimage.Butregardlessofthelenschoice,
there is one constant when making a storytelling composition: a very small aperture of
f/22,orevenf/32.
Now,theremaybenaysayersouttherewhowillinsistthatusingasmallapertureisabad
idea. They believe that shooting at these small apertures costs you sharpness, contrast,
evencolor.However,I’mjoinedbyanarmyofexperiencedphotographersurgingyouto
turn a deaf ear to these protests. If you do, you will create some of the most intimate
landscapes and cityscapes you can imagine. You’ll also experience the joy of sharpness
fromtheup-close-and-personaldistanceof14inchesallthewaytoinfinity!
When you insist on not using small apertures yet still attempt to record intimate
landscapes, your storytelling composition will lose the vital “beginning” of your story
thanks to a lack of sharpness in your foreground. It’s like a story without an opening
paragraph.Youwillneverrecordadepthoffieldfrom14inchestoinfinityatf/8orf/11
whenusinga12–16mmcropfactorwide-anglelens,orifusingafocallengthfrom17to
24mmwithafull-framecamera.Letmerepeatthat:Youwillneveraccomplishadepthof
fieldfrom14inchestoinfinityatf/8orf/11withanyDSLR!
The next important question is, where the heck do you focus? Let’s say you are
photographing a pastoral scene of a barn in a wheat field. If you focus on the stalks of
wheat in the foreground, the barn (middle ground) and sky (background) will be out of
focus.Ifyoufocusonthebarnandsky,thewheatstalkswillbeoutoffocus.Thesolution
issimple:don’tfocusonanythinginyourcomposition.That’sright:don’tfocus.Instead,
presetthefocusviathedepth-of-fieldscaleordistancesettingsonyourlens(seebelowfor

explanationsoftheselenssettings).Now,whenIsay“don’tfocus,”whatImeanis,don’t
composeyoursceneandthenfocusonapointwithinthecomposition.Forastorytelling
exposurewithmaximumdepthoffield,youwanttosetyouraperturefirst,thenreference
thecorrespondingdistanceindicatedbyyourdepth-of-fieldscaleordistancesetting.With
asmallaperture(bigf-stopnumber)likef/22,yourareaofsharpfocuswillextendfroma
near point to infinity, so there’s no need to focus on anything else in your composition.
You just need to set your focus for that near point, and it will extend indefinitely. Then
simplyrecomposewithyourpresetfocalrange,andshoot!
Sohowdoyouuseadepth-of-fieldscale,ordistancesettings?Single-focal-lengthlenses
have a depth-of-field scale that makes it easy to preset your focus for a given scene. A
depth-of-fieldscalehasyourlensaperturesonthebottomandaseriesofdistances,given
infeetandmeters,onthetop,includingasymbolforinfinity.Simplyselectanaperture,
thenlookatthecorrespondingdistancemarksonthescale.Therearetwomarksforevery


aperture,whichlineupwithtwodistancesonthetopofthescale—anearpointandafar
point. These near and far points are your range of focus, or depth of field. Everything
betweenthesedistanceswillbeinsharpfocus.Everythingoutsidethemwillbeblurry.For
example,anapertureoff/22mightlineupwith3feet(1meter)ononesideandinfinityon
theother,meaningyourdepthoffieldwillreachfrom3feetonthecloseendtoinfinityon
thefarend.There’snoneedtofocusonanythingwithinthisrangebecauseitwillallbe
sharp.Thisdepthoffieldisidealforastorytellingimage.
These days, however, most photographers skip the single-focal-length lenses in favor of
wide-anglezoomlenses.Zoomsoffergreatqualityandabiggerbangforyourbuck,but
thereisatrade-off:theydon’thavedepth-of-fieldscales.Theydo,however,havedistance
settings, which, similar to depth-of-field scales, allow you to preset the depth of field
beforetakingyourshot.Sincestorytellingcompositionsrelyonmaximumdepthoffield,
setyouraperturetof/22andthenalignaspecificdistance—3feet(1meter)or6feet(2
meters),dependingonthefocallengthyouareusing.You’llfindthesenumbersabovethe
distance-settingmarkonyourlens.Atthisaperture,ifyousetyourfocustothenearpoint

(either 3 feet or 6 feet, as mentioned above), your depth of field will extend from that
point all the way to infinity. So, again, there’s no need to focus on anything in your
composition. Everything between your near point (3 or 6 feet) and infinity will be tack
sharp.
With all of this in mind, here is my foolproof formula for setting up storytelling
compositions with a wide-angle zoom lens when you want as much front-to-back
sharpnessaspossible.
Yourfirststep:Turnoffautofocus!
Ifyou’reusingacamerawitha“cropfactor”andalenswitha75-degreeangleofview
(18mm on a digital 18–55mm zoom lens), set the aperture to f/22 and then focus on
something approximately 6 feet (2 meters) from the lens. Resist the temptation to focus
toward infinity and leave your focus set to that 3- or 6-foot mark recommended above.
Trustme,everythingwithinthisfocusrangewillbesharp.
Next, if you’re in manual exposure mode, adjust your shutter speed until a correct
exposureisindicated.Thenshoot.Ifyou’reinAperturePrioritymode,simplyshoot,since
the camera will set the shutter speed for you. Your resulting depth of field will extend
fromabout3feet(1meter)toinfinity.Nowyou’rereadytoshoot!
If you’re using a 12–24mm digital wide-angle zoom lens and a focal length between
12mm and 16mm, set the lens to f/22, focus on something 3 feet (1 meter) away, and
repeatthefinalstepmentionedabove.Yourresultingdepthoffieldwillbeapproximately
14inchestoinfinity.
For those of you shooting with full-frame digital sensors and a focal length between 14
and24mm,simplyfocusonsomething3feet(1meter)away,setyouraperturetof/22,and
proceedasabove.Theresultingdepthoffieldwillagainbe14inchestoinfinity.
Ifyou’reshootingwithafocallengthof25mmto28mmonafull-framecamera,youmust
setthefocusdistanceto6feet(2meters).Thiswillyieldadepthoffieldfrom3feetto
infinity.

VIDEO:UNDERSTANDINGTHEDISTANCESCALE


“Thereisvideocontentatthislocationthatisnotcurrentlysupportedforyour
eReadingdevice.Thecaptionforthiscontentisdisplayedbelow.”

TakealookasIshowyouhowtosetyourdistanceusingthedistancescale.(0:38)


Thesethreeimageswereallshotwiththesamelens,fromthesamepointofview,andat
thesameexposureintermsofquantitativevalue,butwithdifferentaperturesandfocusing
distances.
In the first image, I focused closely on the starfish and used an aperture of f/11. This
exposure does not render a sharp background; the lighthouse and rocky bluff are out of
focus. In the second image, I kept the aperture at f/11 but focused on the lighthouse,
causingtheforegroundstarfishtobeoutoffocus.Onlythethirdimagerendersboththe
starfishandthelighthousecompletelysharpbecauseIshotatf/22withthefocuspresetto
3feet(1meter).Andthereinliesthekeytoeffectivestorytellingcompositions!



Herethebackgroundisoutoffocus.
17–35mmlensat20mm,f/11for1/125sec.,focusedat2feet