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Travel Photo Tips: What is metering, and how does it affect my pictures?
When you think about exposure in general, you think about how brightly lit or how dark an image is. We've all seen the wedding rehearsal pictures that were so underexposed that everyone looks like a silhouette, and we've all seen the sunrise shot from the beach where everything looks white -- a telltale sign of overexposure. In this guide, we'll provide you with the knowledge you need to know in order to grasp metering and how it affects the exposure (darkness / brightness) of your travel shots. And we'll also refrain from drowning you in technical knowledge that you have no time to ingest. Read on to get one step closer to mastering metering.
Be aware that these only automatically adjust when using the camera in a mode other than 'Manual.' If shooting in manual mode, you'll have full control over the metering prior to shooting each shot, so you'll need to make adjustments based on what your camera says; in other modes, the camera will determine the metering for you based on which of the below selections you have made.

- Use spot metering if your subject is brightly backlit, and you have no real concern for the background being "blown out," or appearing white, so long as your subject is exposed properly.
- In macro shots, spot metering can be useful to get the exact exposure on the objects in the center of the frame.
- If you're attempting to photograph the moon, spot metering accurately disregards the expanse of black around the moon itself.
- If you have a landscape shot with lots of shadows, you can adjust the spot so the camera exposes for a non-shadow.
- Don't use spot metering if you have any concern at all about the entire image being exposed properly.
- For portraits -- maybe a couple on a beach, or a family at dinner -- this option works well.
- If your subject is brightly lit, but you do care about the background (a cityscape behind them, for example), give this option a whirl.
- If you find that your Matrix metering option isn't providing accurate suggestions or giving you enough control over what is focused on, this weighted option might be the ticket.

Matrix Metering takes the entire image into consideration and exposes accordingly.
- The rule of thumb is to always use Matrix mode unless you can think of a specific reason why you'd need Center Weighted Average or Spot Metering modes.
- Even if you think Spot or Center Weighted modes would be useful, we'd recommend shooting first in Matrix. Today's DSLRs are surprisingly good at judging exposure based on calculated matrixes.
Let's recap:
- Metering is important because it determines the exposure of your shot, or how brightly / dimly lit it will be.
- Use Matrix Mode on your DSLR unless you have a very specific shot or reason to use another option.
- Spot Metering is useful only in niche circumstances, such as brightly backlit sporting events, shooting the moon or certain macro shots.
- Center Weighted Average Metering is best reserved for portraits.
- Even when metering, you can (likely) adjust your exposure up to two full stops in either direction; since Matrix is the least predictable, be willing to tweak things a little brighter or darker depending on preference.
- If you're overly concerned about metering, but have little time to adjust things on the fly, shoot in RAW -- metering can largely be adjusted after the fact with no real deterioration of quality if you do so. With JPEG, you will notice a decrease in quality when dramatically changing the exposure in post-processing.
Filed under: Learning, Photos, Through the Gadling Lens













Reader Comments (Page 1 of 1)
Fiznatty Jan 21st 2011 2:22PM
It should be noted WHY exposure changes when you meter off of different areas or items in the frame. When it meters, the camera is trying to determine what a neutral tone is (which allows it to set the appropriate shutter speed/aperture in automated settings).
The snowy scene is a perfect example of how the spot meter is underexposing everything when it's reading the snow. It decides the snow is a neutral gray tone, when in reality we know it's white. So if the camera is rendering white snow (the brightest tone in the scene) as a medium gray, that means everything else is going to be that much darker as well.
I'd go on, but I have a feeling some stuff related to this is going to be covered in the next article. I will mention that it's always good to look for a nice medium tone in your scene (greens are great... e.g., pine trees) to spot meter off of in order to set an exposure.
Max
PS - Don't worry, I won't tell you about my book.
Dana Murph Jan 21st 2011 8:58PM
Great, great stuff! Thanks for the input!
Grant Martin Jan 23rd 2011 12:52PM
You have a book?
KC Jan 21st 2011 4:08PM
Thanks Dana, I look forward to your more in-depth articles but these basic ones are useful too =)
Dana Murph Jan 21st 2011 8:56PM
Thanks, KC! Glad to hear it!
Deb Feb 3rd 2011 10:32PM
Great explanation--I'm going to try using Matrix Mode. Thanks for the explanation.
LB Jan 23rd 2011 11:30AM
I've been reading your articles. I have to photograph someone's wedding. They weren't able to afford a good photographer at this time and I said I would do it for free. I have a DSLR and I'm very comfortable with outdoor shots. But her wedding is indoors in a church. I was wondernig do you use these aperture/shutter/iso settings when you do church weddings or you use an external flash. I hate using flash in general cause I feel like it loses some of the feel of the picture unless you bounce or diffuse. But I'm scared if I don't use a flash it'll be a blurry when she's walking down the aisle. It's a once in a life time thing and I'm scared to death I'm going to mess it up!! Basically wondering what you do for low light church weddings.
Dana Murph Jan 25th 2011 8:57PM
Indoor church weddings are definitely tough. There's a very long answer, but the short recommendations are this:
Use an external flash if possible, and bounce it off of the ceiling. You can't risk missing that one fateful shot, or taking it without a flash and having it blur.
If you have a full-frame, pro-level camera with a pro lens that'll stop down to f/2.8 or below, you may be able to get enough light with a shutter speed of 1/125 or faster. If you go any slower, there's a good chance the bride will be moving too fast and it'll introduce blur.
If you're not using a flash, bump the ISO as high as you can without introducing a great amount of noise -- that varies with each camera, of course. Best of luck!
Fiznatty Jan 23rd 2011 12:28PM
LB, I'm not exactly an amateur and I'm scared to death about doing weddings too. In fact, my main regret when it comes to photography is not apprenticing as a wedding shooter years ago, since I've subsequently missed out on tens of thousands of bucks shooting friends' weddings in the past several years after refusing to "ruin their big day." ;)
If you're inside a church, the light is likely gonna suck. Without flash you'll need to crank the ISO (800-3200), and but you really shouldn't go higher than 800 or maybe 1600 unless you have a newer camera body that handles high ISOs well. A Canon Mark IV, 5D Mark II or 7D, or Nikon D3, D3s, or D700 would be the current bodies out there that could comfortably handle ISOs higher than 800 or 1600 IMO. And it goes without saying that you'll probably need to open your f/stop as wide as possible to let in more light.
If you want to use flash, keep in mind that your in-camera shutter speed will not be able to exceed 1/200th or 1/250th of a second (depending on your body). However, the flash basically provides a faster shutter speed for you, so you can realistically drop your ISO to 400 or perhaps less and get away with it.
Though you mention you hate it, I think you may have to play around with bouncing or using a diffuser. If it's a large church bouncing may not work well anyway.
Best advice is to show up early (or on another day prior to the wedding) with a date/guinea pig and have them pose for you as you run the camera/flash through its paces to familiarize yourself with the settings that will and won't work.
Max