Meterless exposure

I once read a story, probably apocryphal, about an interviewer who asked Henri Cartier-Bresson, the legendary street photographer, if it was true that he did not use a light meter to get his exposures. Cartier-Bresson said it was true and, to prove it, proceeded to give two exposures (shutter speed and aperture for a given ISO film speed), one for the left and one for the right side of the interviewer's face, which was lit from the side. Both exposures turned out to be correct.

The ultimate challenge when using vintage photographic cameras is that they usually predate the automatic exposure era. The problem of determining exposures has to be faced by the photographer alone, and this is one of the reasons why I love them. As I began photographing with the Retinette I thought about getting a light meter. At first I even took one of our dSLRs with me to measure, and then transferred shutter speed and aperture settings to the Retinette, but this was kind of using a can(n)on to kill a fly... ;) Then I came across Fred Parker's ultimate exposure computer, which was exactly what I was looking for: a (relatively) easy way to determine exposure without the need of a light meter, using nothing more than your eyes and your brain.

The main idea is to estimate the amount of light falling into a scene. This is the only input required: everything else is known or can be decided creatively. The amount of light is measured by a magnitude called exposure value (EV). Our eyes and our brains are indeed perfectly capable of estimating exposure value, one just needs a little practice and some reference points. For example, a typical scene in bright direct sunlight has an exposure value of EV15. A direct light in heavy overcast or an area in open shade with clear sunlight needs EV12. The light with a clear sky one hour after sunrise is EV9-11. A home interior in artificial light is EV5-7. And so on.


(Retinette IA, Fujicolor Superia Reala 100, ISO 100/21°) This one was shot at EV14, since the sun came from one side, on an ISO 100 film. I set 1/125 and went one step down the EV scale to an f/11 aperture.
Once the exposure value has been estimated, determining the aperture and shutter speed is quite easy if you use the sunny f/16 rule as an anchor point. This rule states that EV 15 (corresponding to bright direct sunlight) requires approximately the reciprocal of the ISO speed for the shutter at f/16. If you are using ISO 100, then 1/125 @f/16 is the nearest setting; for ISO 200 it would be 1/250 @f/16 and for ISO 400 it would be 1/500 @f/16.


(Flexaret VI, Kodak Tri-X 400, ISO 400/27°) This picture was shot at EV15 on an ISO 400 film. I set the shutter speed to 1/400 (maximum in the Flexaret) to freeze the movement as much as I could, since I was walking. The sunny f/16 rule required an aperture of f/16.
Both shutter speed and aperture (f-number) scales are calibrated for each stop to be exactly one EV point. This makes using the sunny f/16 rule very easy. Suppose we want to shoot a scene at EV12 and we have ISO 200. Now EV15 would mean 1/250 @f/16, but we want to go 3 stops down to EV12. Now we could go three units down in any dimension: keep shutter speed at 1/250 and set aperture to f/11 (-1EV), f/8 (-2EV) and finally f/5.6 (-3EV = EV12, our target), or you could keep aperture at f/16 and reduce shutter speed to 1/125 (-1EV), 1/60 (-2EV) and 1/30 (-3EV = EV12, again our target). A combination of both is of course possible: 1/125 @f/8 (-1EV in shutter speed and -2EV in aperture) and 1/60 @f/11 (-2EV in shutter speed and -1EV in aperture) would both expose correctly for EV12.

In this way, you can always decide an aperture first (for depth of field considerations) and then determine shutter speed and ISO for the scene. Or start with the shutter speed (to freeze a moving subject, for example) and determine aperture and ISO later. The ISO speed scale is calibrated in EV units as well. The step from one ISO speed to the next is exactly 1 EV. For film users like myself ISO speed is something that you cannot change easily from picture to picture, but it is no problem if you use a digital camera.


(Praktica BMS, Prakticar 50mm 1:1.8, Fuji Neopan 100 Acros, ISO 100/21°) The film was an ISO 100 and I estimated EV11 for this one. I set shutter speed at 1/125 to minimize camera shake and that left me with an f/4 aperture.
I find it very useful to learn the most usual ranges of aperture and shutter speed scales by heart ^(*), because cameras (especially the older ones) do not always stick to the standard EV stops, especially on technically challenging matters like maximum aperture or maximum shutter speed.


(Hapo 66-E, Kodak Tri-X 400, EI 800/30°) I was shooting this film at an exposure index of 800 (like an ISO 800). My exposure value estimation was EV7. I set the aperture to the maximum the Hapo can go, f/3.5, for which I needed 1/50 on the shutter speed.
I admit that it might look difficult at first, but it is true that with a little practice you will be estimating exposures in no time. This way you can avoid having to rely on light meters, which have many problems and pitfalls of their own. Of course there is the danger of estimating EV wrong in the first place, but with time and practice one gets better and better ^(**). I often discover myself thinking about the EV of scenes that I see around me in the bus, in the street, in a restaurant, ... and even though I do not take a picture, determining which ISO, shutter and aperture would I use.


(Flexaret VI, Fujichrome Velvia 50, ISO 50/18°) I shot this one at EV12 since the sky was covered with clouds. Since the film was an ISO 50 (not really the best choice for that day, by the way!), I needed to go up to f/3.5 to achieve a relatively shake-free 1/100 shutter speed.
I am convinced that meterless exposure is a very healthy exercise to train your eye for the light which is, indeed, what every photographer should aspire to.

^(*) These are the agreed standards for shutter speed and aperture/f-number. Each step to the left represents +1 EV and each step to the right represents -1 EV.

shutter speed	1s	1/2	1/4	1/8	1/15	1/30	1/60	1/125	1/250	1/500
f-number	1.4	2	2.8	4	5.6	8	11	16	22	32

^(**) the exposure latitude of the different types of film or sensors that you use, that means how "forgiving" it is, can also help when you make such mistakes. Color slide film is the least tolerant one, exposure has to be estimated quite precisely (maximum 1-2 EV error).

From the hip

As I started with the 99 strangers challenge, one of the techniques that I wanted to try was photographing from the hip. You take your camera in your hand, leave your arm hanging along your body, so that the camera is somewhere at your hip level, and take pictures from there. There is of course no looking through the viewfinder.

FTH photography^(*) is a very challenging exercise, because there is a lot of randomness going on, and can be quite frustrating as well: be prepared to shoot more than 250 pictures and end up, with luck, getting 5 or 6 usable pictures. But, although luck is random in nature, it tends to be on the side of those that go looking for it and are prepared to embrace it.

I have made two FTH photo walks and I would like to share my experience and my thoughts with you. All pictures in this post have been taken from the hip.


(EOS 40D, EF 24mm f/2.8, 1/125, f/11, ISO 400)

Holding your camera

• wrap the neck strap around your wrist in a way you feel comfortable letting go of your camera so that it hangs safely; you may need to roll the neck strap up to three times around your wrist (at least that worked for me!)
• the camera feels more natural in a portrait (vertical) orientation, that's why most of the pictures in these sessions have portrait orientation
• press the shutter very slightly, looking for the minimum pressure that would fire; this helps minimizing camera shake
• try to keep your arm as still as possible when shooting, do not swing it too much when walking

(EOS 40D, EF 24mm f/2.8, 1/250, f/11, ISO 400)

Exposure

• I prefer using aperture priority mode with a fairly high f-number, to ensure enough depth of field
• use a moderately high ISO (400 or more, depending on lighting conditions) to ensure fast enough shutter speeds not to blur the shots: we want to achieve 1/250 or faster, to be on the safe side

(EOS 350D, EF 24mm f/2.8, 1/2000, f/11, ISO 400)

Focal length

• I used a wide angle lens (24mm, meaning 38mm on my cropped sensors) because the angle of view allows shooting from a closer distance and gives a better chance of not missing your intended targets
• wide angle lenses also tend to have huge depths of field, which is good for the next point

(EOS 350D, EF 24mm f/2.8, 1/400, f/11, ISO 400)

Focus

• I used hyperfocal distance with a deep depth of field
• I would not use autofocus, it is too risky: set your lens on manual focus and be aware of the limits of your depth of field and try to shoot only when you are sure that your subjects are within this range

(EOS 40D, EF 24mm f/2.8, 1/800, f/11, ISO 400)

Composition/Framing

• this is the most difficult and frustrating point!
• do some test shots first, to get the feeling of the slight wrist movements you can do and its effect on the direction your camera is pointing to
• get close to your subjects, but be aware of your depth of field limits, or your hyperfocal distance!
• in order to photograph walking subjects it is better to outwalk them and walk in front of them, as this leaves your hand in a relatively comfortable and natural-looking position and can provide an interesting frontal low-angle point of view

(EOS 40D, EF 24mm f/2.8, 1/250, f/11, ISO 400)

Attitude

• maintain a surreptitious attitude, you don't want to be noticed
• do not make eye contact with your subjects, especially as you are taking the picture
• do not look at your camera after shooting, never ever check the display on your camera just after you took a picture, this will draw attention to your camera and will give yourself away as a photographer, and this is exactly what you do not want
• act as a lost tourist
• stand still at a busy corner, as if you were waiting to meet someone
• ignore your camera at all times; act as if you were carrying a briefcase, not a camera
• better go alone: you are going to be acting a little weird, stopping, walking faster, suddenly changing directions, and you want to blend into the background

(EOS 40D, EF 24mm f/2.8, 1/320, f/11, ISO 400)
FTH photography is not easy, but it can be very rewarding, and with patience and practice, you are going to get more and more good shots and you will definitely grow as a photographer. The technique should just be a means of achieving an artistic expression. FTH photography is quite challenging because of the technique, but do never forget about the art! :)

^(*) from-the-hip photography :)

Low-angle shots for La Vuelta al Mundo

In April La Vuelta al Mundo proposed pointing our cameras up. The topic for April has been “low-angle: looking up”.


(Flexaret VI, Kodak Ektachrome E100G, EI 100/21°)


(Hapo 66-E, Fujichrome Provia 400X, EI 400/27°)
The low angle is one of my favorite points of view: in fact, most of my pictures have been taken with a slight upwards slant of the camera. I find that the low angle, combined with a point of view close to the floor, convey a kind of majesty to the subject that I like very much. I guess this is one of the reasons why I like photographing with a TLR so much, because the camera remains at waist-level as the picture is taken.


(Diana Mini, Kodacolor 200, EI 200/22°)


(Flexaret VI, Kodak Ektachrome E100G, EI 100/21°)
For this assignment in La Vuelta al Mundo, though, I have been experimenting with the most extreme version of a low-angle shot: the nadir view, or inverse bird's eye view, which has the camera pointing upwards perpendicular to the floor.


(Flexaret VI, Kodak Ektachrome E100G, EI 100/21°)
The most difficult one was this nadir self portrait, because the framing, the composition and, in some way, the focusing, had to be almost random.

Hyperfocal shots

Photography requires dealing with four variables at the same time. The amount of light (or exposure) is controlled by how long do we let light into the camera (shutter speed) and how wide is the hole used to do it (aperture or f-number). ISO speed (or film speed) controls how sensitive does the photosensitive element (sensor or film) respond to light. Focus (and its cousin depth of field) decide which parts of the picture are rendered sharp and which are not.


(Kodak Retinette IA, Fuji Neopan 400, EI 400/27°)
The photographer lives in this four-dimensional space and must find a point (that means, set values for each one of these variables) in order to make a photograph. Throughout the development of photographic cameras, clever systems have been devised to take care of these decisions automatically: shutter priority, aperture priority or full automatic exposure programs, automatic ISO setting, autofocus, ...

Nevertheless, focus remains a crucial aspect of photography because the photographer still has to decide what distance to focus to. Autofocus systems are only able to turn the focus ring very precisely real fast ^(*).

One way to forget about focus at once is to take advantage of an optical trick. For a given aperture, set focus to a distance that lets the far end of the depth of field on the infinity ^(**). This is the hyperfocal distance H corresponding to that aperture. Everything from H/2 to the infinity is in focus now.


(Kodak Retinette IA, Fuji Neopan 400, EI 400/27°)
The hyperfocal distance is very useful when I do street photography or when I take photographs from the chest, with the camera hanging from its neck strap, because I just need to mind about the near end of my depth of field. I try to estimate the distance to my subjects so that I take their picture when they are farther away.

Letting the hyperfocal trick take care of focus gives the photographer the ability to shoot really quickly, or the freedom to concentrate about other photographic aspects.


(EOS 40D, EF 24mm f/2.8, 1/400, f/11)
(for this shot I knew that everything between 0.8m and infinity was going to be sharp, so I was able to worry exclusively about the composition...)

^(*) At least it should be this way. I know that modern cameras can decide which one of the autofocus points to set focus on as well, but... what decision remains for the photographer, then? :-/

^(**) A depth of field scale on the lens comes in handy for this setting.