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true functionality of metering modes?

iphonemaster93
Rising Star

Hey guys,

 

  I got a 6DMKII to rent for the weekend (I'm currently a Sony shooter but used to shoot with a 6D) and i've got a question about the metering modes. I shoot cars, and have been told cameras nowadays are pretty good with correct exposure as far as shooting in evaluative, but some people do shoot in center weighted average metering mode. My question is, when does the camera actually expose? I've read a few sources (even one on here) and I'd take my time but I only have this camera until Monday next week so I need quick answers. Say if I'm shooting in CWA, expose for my subject in the center of the frame, with the focus points in the dead center of the frame, and then recompose while shutter is held halfway down, does the camera re-expose for the center of the frame after I recompose, or is the camera still exposing for the subject I originally put the focus on? Even with the Sony it's difficult because [the earlier] Sony bodies don't have CWA and the focus points are so much larger in comparison with Canon and Nikon's focus points. TIA! 

1 ACCEPTED SOLUTION

Personally, I would think pushing all of the color saturation levels to maximum out of rote is something you should abandon.  It is pretty obvious, at least to me, that your issue is more post processing than capturing images.  

 

You are way over thinking this whole thing, too.  I agree with you, that photographing super shiny cars in bright sunlight presents some unique challenges.  But, I look at it this way.  If my eyes say the reflection off the car is harsh and glaring when I look at it, then I tend to ignore those harsh, over exposed spots and points of light in post. 

 

You really should try holding down the ALT key when you make certain adjustments, like Whites and Blacks, and Highlights and Shadows.  In fact, the behavior of many control sliders change when you hold down the ALT key.  I guarantee you that you willl have an OMG moment.

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"The right mouse button is your friend."

View solution in original post

16 REPLIES 16

wq9nsc
Authority

This is the perfect situation for using the AE lock (auto exposure lock) button.  Focus on the part that is critical to you, press the AE lock button which now locks that exposure, then recompose as you wish.

 

Without AE lock engaged watch the exposure "triangle" parmeters change in the viewfinder display as you recompose and this will provide you with valuable information about how much the camera thinks that the parameters needed to achieve a standard exposure will change as you recompose.

 

Rodger

EOS 1DX M3, 1DX M2, 1DX, 5DS R, M6 Mark II, 1D M2, EOS 650 (film), many lenses, XF400 video

I actually thought of it and just tried that, however it takes a huge contrast for the camera's metering system to really do anything even evaluative; CWA didn't do much. Then I switched over to Spot Metering which showed the biggest difference. I'm trying to balance out the exposure of the vehicle no matter which angle and I'm a naturally light shooter (unless one side has really harsh, unrecoverable shadows). 

  M
@iphonemaster93 wrote:

I actually thought of it and just tried that, however it takes a huge contrast for the camera's metering system to really do anything even evaluative; CWA didn't do much. Then I switched over to Spot Metering which showed the biggest difference. I'm trying to balance out the exposure of the vehicle no matter which angle and I'm a naturally light shooter (unless one side has really harsh, unrecoverable shadows). 


When you say photographing cars, do you mean car shows?  

 

I have found getting the correct exposure on super shiny cars at outdoor shows to be a unique challenge.  The cars always seem to have areas that will want to overexpose.  Meanwhile, the paint jobs seem to absorb light to the extent where the overall image seems overexposed.  I use Evualitive Metering for most all handheld shots.

 

21875256-F9FF-4ED4-8378-37D509491D10.jpeg

 

I get the best results at outdoor car shows by dialing in [negative] exposure compensation, up to -1 Ev.  I bring up the shadows in post, and wind up with what seems to be an overall decent exposure.  I am still experimenting with it, because the color of the car seems to make a difference, too.  Pure shades of red seem to get saturated.  This has been a complaint on some Cinema bodies, too. [My M3 also wants to oversaturate purer shades of red, too.]

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"The right mouse button is your friend."

Just recently I started ETTR (exposing to the right) to retain all the information I can in the shadows while using the different metering modes but i'm wondering with what I read today so far makes any real difference (exposing with shutter half held vs exposing when photo is taken after recomp). I'm big on retrieving as much color as I can in the shadows so I never go over -2/+2 EV for full tonal range. DSC02952-Edit-1.jpg

DSC02999-Edit-1.jpg

I mostly do car events and shows, yes. Two of many samples I have in regards to red. I actually forgot to desaturate the yellow in the front end photo and I also play around with selective coloring in PS. 

I dialed back Red on the old Chrysler.  Here is a shot of red over saturation, without any adjustment.

[The old Chrysler was also shot with -1 Ev compensation, while this is one my first shots, shot without any AEC.]

 

2C9BD76B-5C95-4FA1-AF69-D02245C6F0F4.jpeg

 

Reds are way too hot with the 6D2 on some shots, mostly those with a LOT of light.  This was processed in LR, not DPP.  I plan to go through the whole shoot with DPP this weekend for comparison.

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"The right mouse button is your friend."


@iphonemaster93 wrote:

Just recently I started ETTR (exposing to the right) to retain all the information I can in the shadows while using the different metering modes but i'm wondering with what I read today so far makes any real difference (exposing with shutter half held vs exposing when photo is taken after recomp). I'm big on retrieving as much color as I can in the shadows so I never go over -2/+2 EV for full tonal range. DSC02952-Edit-1.jpg

DSC02999-Edit-1.jpg

I mostly do car events and shows, yes. Two of many samples I have in regards to red. I actually forgot to desaturate the yellow in the front end photo and I also play around with selective coloring in PS. 


I feel these shots need a WB correction, not saturation on yellows.

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"The right mouse button is your friend."

I actually set the WB myself, and those were shot with my Sony A7ii. I have everything on my camera set at -2 and color grade everything myself, including the saturation, so the camera body I use really doesn't matter to me. What matters more to me is the dynamic range and while pushing shadows and increasing contrast on red colored objects in photos, for some reason, turns it magenta


@iphonemaster93 wrote:

I actually set the WB myself, and those were shot with my Sony A7ii. I have everything on my camera set at -2 and color grade everything myself, including the saturation, so the camera body I use really doesn't matter to me. What matters more to me is the dynamic range and while pushing shadows and increasing contrast on red colored objects in photos, for some reason, turns it magenta


When you are shooting RAW, it really doesn’t matter what body you use.  But, somehow this conversation has morphed from a Canon body to a Sony body.

I suspected something was amiss with the WB, and you seem to have confirmed it.  If your reds are “turning into magentas”, then the reds were never really red.   Your WB is more than likely set incorrectly.  Color saturation seems a bit high for my taste.

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"The right mouse button is your friend."

Or you are saturating the red channel, that is easy to do with ETTR since we focus on green and blue.

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