Setting the exposure is more than a technical necessity - it's a creative

decision�that controls the mood, quality and feel of the photograph.�Correct

exposure means the film or sensor is exposed tojust the right amount of
light�to�record the intensity ofcolour and details in the scene that attracted you
to take�the photo�in the first place. It's achieved through a combination ofthe
film or sensor's ISO�rating and�the selection ofthe aperture and shutter speed.
SHUTTER SPEED�The shutter speed is the amount of time that the camera's shutter
remains open to�allow�light onto the film or sensor. Shutter speeds are measured
in seconds and fractions�of�seconds and run in a standard sequence: one second,
and 1/2, 1/4, 1/8, 1/15, 1/30,�1/60,�1/125, 1/250, 1/500, 1/1000, 1/2000 and
1/4000 of a second. The higher the number,�the faster the shutter speed and the
less light allowed in. Many modern cameras allow�intermediate settings such as a
1/90 of a second in automatic modes, but with manual�cameras you can't set shutter
speeds between these standard settings.�APERTURE�Fhe aperture is�variable in size
and is measured in f-stops. The most familiar f-stop sequence, from�the�widest
aperture to the smallest, is f1.4, f2, f2.8, f4, f5.6, f8, fn, f16 and f22.�As you
go up the�scale to f22 you are 'stopping down', and with each stop you halve the
amount of�light�that will reach the film. As you go down the scale to f1.4 each
stop doubles the�amount�of light that will reach the film, and you are 'opening
up' the lens until it's 'wide�open' at�its maximum aperture.�MEASURING LIGHT�Most
modern cameras have built-in exposure meters that measure the amount of
light�reflected from the subject. All meters work on the principle that the
subject is�mid-tone;�ie, not too light or too dark. In practice, most subjects are
a mix of tones, but�when the�meter averages out the reflected light, a mid-tone
reading results in a properly�exposed�image. When very light or very dark subjects
dominate scenes, exposure compensation�is required (see p92).�
Centre-Weighted Meters These meters read the light reflected from the entire
scene�and provide an�average exposure setting biased towards the centre section of
the viewfinder. Generally,�readings ar-s�
accurate unless there are very large light or dark areas in the scene.�Multi-Zone
Meters Now common in new mid-r;�Multi-Zone Meters Now common in new mid-range
SLRs, these sophisticated meters divide�the sc"i�into zones. They read the light
in each zone and send the information to the camera's�computer, which�recognises
the extreme tones and gives a reading based on what it evaluates as the�most
important par�

of the scene. These are also called matrix, evaluative, multi-segment, multi-
pattern�and honeycombpattern meters.�Spot Meters These meters take a reading from
a small defined area and are ideal for�taking a reading of�your main subject when
it's part of an unevenly lit scene (backlit or spotlit).�1 used the camera's
spot�metering facility to take a�reading from the building,�choosing to retain
the�detail in the highlights, and�
the composition to go black.�The result is a much stronger�image with natural
vignetting�that takes the viewer's eye to�the main subject.�EXPOSURE MODES_�Once
the exposure meter has read the light, it recommends appropriate settings.
Depending�on your camera, you can prioritise the settings by�selecting manual,
semiautomatic or�fully automatic exposure modes.�Manual Mode You set both the
shutter speed and the aperture manually. Adjust either�ofthe controls�until the
meter indicates correct exposure.�Shutter-Priority Auto Mode In this semiautomatic
mode you select the shutter speed�and the camera�automatically selects an
appropriate aperture.�Aperture-Priority Auto IVIode In this semiautomatic mode you
select the aperture�and the camera�Aperture-Priority Auto Mode In this
semiautomatic mode you sele'�Program Auto Mode In this fully automatic mode the
camera selects both the shutter�speed and the�aperture.�Subject Program Exposure
Modes In these fully automatic modes you select a program�mode to suit�the subject
(usually portrait, landscape, close-up, sport or night scene). The camera�sets the
appropriate�shutter speed and aperture combination.�DETERMINING EXPOSURE�One of
the easiest and best methods of determining exposure is to expose for�the main
component of the image. In many cases the main component dominates the�frame and
exposure is straightforward. Difficulties arise when a scene contains
large�area?�that are very light or dark, when shooting into the sun, when light
sources are included�ir�the frame, or when the subject is black or white. Try the
following techniques when�<�lighting is difficult:�settings using the exposure-
compensation dial that allows over or underexposure ofthe�film by�third or half
stops up to two or three stops. Turn the dial to +1 and you'll increase�the amount
of�
light reaching the film or sensor by one stop. Turn it to -1 and you'll
decrease�the amount of light�by one stop. After ajusting the exposure-compensation
dial remember to reset it.�* Manually adjust the film's 150 rating to trick the
meter into allowing more or�less light i-n�Ifthe subject is black or white, the
meter will average out the scene to a mid-tone.�Yci.�black or white subject will
be rendered as a mid-grey ifyou don't compensate or overrid�the meter's
recommended settings. For white subjects take a reading offthe
subject�and�overexpose by one or two stops. For black subjects underexpose by one
or two stops.�Film speed or image-sensor sensitivity, shutter speed and aperture
are all closely�ir�iely interrelated.�> The film or sensor's 150 rating is the
foundation on which the variable sel�settings�of shutter speed and aperture are
based.�DEPTH OF FIELD�Aperture is also a key component in controlling the depth
offield in a photograph.�Depth of�field isoneofthe least understood
aspectsofphotography, butoneofthe most important�creative controls available to
the photographer.�> Depth of field refers to the area of a photograph that is
considered to be�acceptably sharp.�The smaller the aoerture, the greater the depth
offield, and vice versa. An aperture�of�f16 will give maximum depth offield, while
f2 will give minimum depth offield. For�general�photographyusef8orfn
asyourstandard aperture setting.These apertureswill generally�allow you to use a
shutter speed of 1/125, give enough depth offield for most shots�and�allow you to
use a snuner ^peeu ui i/ ^j, y..^ ^,,^�y,. ^,^^1.11 ui neia Tor mi�ielect an
element ofyour composition that appears out of focus and watch it�come into focus
as you stop down from f4 to f5.6 to f8. With each stop the viewfinder�will�get
darker, but as you practice this technique the usefulness of controlling depth�of
field�will soon become apparent.�Two other variables affect depth offield: the
focal length ofthe lens and the distance�between the camera and the subject. At
the same f-stop, shorter focal length lenses,�such�as 24mm or 35mm, will give
greater depth offield than telephoto lenses, such as 135mm�or�200mm. The further
away your subject is, the greater the depth of field. Move in�close and�you will
reduce depth of field. So, maximum depth of field can be achieved by focussing�on
a subject over 50m away and using a wide-angle lens at an aperture off16.
Depth�of�field will be minimised by focussing on a subject under 5m away and using
a telephoto�lens at an aperture off2.�BRACKETING�Ifthe shot really matters, then
bracketing is the best way to guarantee that the�image�you see is the image you
get.�Bracketing is an important technique used to ensure that the best possible
exposure�is�achieved. A standard brackel�