Welcome to this week's vlog. Now why am I
stood in a muddy field in the middle of
the French countryside? Well what I
thought I'd do this week is, it's become
apparent that on the usual day that I'd do
my vlog I'm not actually going to have
that much time at all to be able to
create the vlog that I want. So I thought
that what I would do this week is create
a tutorial for those people that have
always struggled with neutral density
graduated filters and try to give them
an understanding of how it is you
actually choose the correct neutral
density ND grad filter when you're doing
landscape photography. Now why yet
another tutorial on using grads? There's
already quite a number of them on
YouTube already. Well I'll tell you. I've
looked at some of those particular
vlog entries and tutorials on YouTube
over the last few days and I found them
a little lacking in information in
actually telling you the correct
information you need to be able to
choose your correct grad when you're
looking at a scene like the one behind
me. Now I've chosen this afternoon
specifically because of the gorgeous
cloud that is up there and also the different
tones and tonalities that are
in the scene to be able to correctly
demonstrate what it is that you need to
be able to do to choose those grads. So
let's get going and let's show you how
the first of three methods that I use
to be able to choose graduated filters in the
field. As I said there's three different
methods that I use in the field to be
able to choose ND grads. Now the first is
incredibly simple. Here is a Canon 6D and
what I do is I just turn on the live
view. I look at the exposure of the
foreground. Look at the exposure of the
sky. Calculate the difference between the
two and that's my ND grad. What I'm
going to do now is I'm going to switch
between the camera here and I'm going to
switch between the live view on here to
give you an idea of what it is that I'm
doing to be
how to choose that particular graduated
filter. This is the first and easiest
methodology to choosing an ND grad
filter. Now what I've done is I've just
all I've done is I've just turned on the
live view on my canon 6D and i'm
currently looking at an ISO of 100
and F stop of f 11 at one 50th of a
second on the shutter speed. Now that's
giving me a pretty good exposure on the
foreground. Now i am going to say right
now you're probably thinking "well it's a
bit dark isn't it?" Well the sun has just
gone behind a huge bank of cloud up in
the sky but obviously just for
demonstration purposes I'm sure you'll...
by the end of this understand the
difference and how you choose these grads.
At the moment as I said f11. 1/50th
of a second and ISO 100. So how do we
determine the exposure for the sky? Well
on Canon the live view makes it
incredibly easy. You just need to see how
many stops difference there is by
changing the shutter speed and then
you'll see the difference between the
foreground light and the light up in the
sky with the blue sky and the white cloud.
So let's just change the exposure. That's
one stop. Two stops. There's roughly a two
stop difference between the foreground
light and the light up in the sky. All
I do is I take a two stop ND grad. I place
it in the filter holder, if I can get it in
there, and you will see as I slide it
down the difference between the
unfiltered sky and the filtered sky.
I'm just going to change the
foreground exposure just a little bit to
1/40 of a second as it's gone actually
quite dark now and just going to take a
shot and see what it looks like. So I've taken a
shot and doesn't look too bad. Probably a
little couple of little blown the
highlights in there as there is some
white cloud. Now as you can see the sun
is coming back into shot again. If I
just change the exposure down again,
you'll see
it's still pretty much a 2 stop grad. That
is the first and simplest way to choose
a grad.
This is method number two. This uses the
multi-segment mode metering inside the
camera. What that does when you look
at the metering mode of your camera will
see a square bracket on the top square
bracket on the bottom and then a dot in
the middle. That's multi-segment metering
mode. There's a few other names for it
but that's one of the ones that I know.
What does that do? When you point your
camera at a scene it tries to take readings from
all over the scene and then it averages
them out and then it gives you the
reading that it thinks is the one you're
going to need to take the ideal picture.
Now of course we know that doesn't
always happen and sometimes you end up
with like a silhouette or things like
this. But let's demystify a little bit of
that. What I'm going to do is I'm
going to take the camera off the tripod.
I'm going to take a meter reading from
the ground and I'm going to include various tones
on the ground so there's all the grass here,
the earth and a few bits of dead
grass and stuff.So there's some light tones as
well. I'm going to include that. Get
a meter reading from the ground. Then
I'm going to look up at the sky. Then I'm
going to take a meter reading from the
sky. Now when I say a meter reading, when
I look through the viewfinder of the
camera you'll see, well on this Canon...
the Canon 6D, what you'll see is minus
three minus two minus one then there's
the middle then it's + 1 + 2 + 3. I'm
going to put the meter reading in the
middle between the minus 1 and the plus
one so basically zero. Look at the ground
and then i'm going to do the same with
the sky. I'm going to take the meter
reading from the sky, the meter reading
from the ground the difference between
the two will then give me the meter
reading that i need to determine how
many stops of graduation that i need to
be able to filter the sky correctly so
let's do that. I've set my aperture to
f11 and my ISO to 100. Now I need to
determine the shutter speed so to
determine the...the foreground exposure
what I'm going to do is I've taken the
camera off of the tripod and then
I'm going to point it down the ground and then meter
for the ground. According to this, it
says it's 1/8 and
that's basically putting the meter in
the middle between minus one and plus one...0.
If I do the same for the sky.
It says it's 1/60.
Now when I've metered the sky, I'm looking
at there's the blue sky there; there's
some white cloud and there's also some
grey degradation in that cloud as well.
I've got plenty of tones for the
multimeter segment of the camera to
try and determine what it is. If i go
back to my base exposure again of 1/8. Now let's count down
so 1/8...it goes to 1/15...1/30...1/60...
that's three stops. So it's
basically saying I need three stops of
neutral density graduate filter to
determine...to have an evenly balanced
image between the foreground light and
the light up in the sky.
This is the third and
methodology that I want to show you as
to how i would choose a neutral density
graduate filter. This is the methodology
that you'll see printed in a lot of
the photography magazines and they'll
be saying to you "if you need to meter for
your mid-tone in the foreground, you meter
for your mid-tone in the sky. Between
the two you should be able to get your
neutral density graduate filter." The
problem is, where's the mid-tone? Now
what I'm going to demonstrate now is how
you choose those mid-tones, certainly in
the foreground but not in the sky, and
that will help us to achieve the correct
exposure for the foreground and then
I'll demonstrate how to then get the sky
and then we can balance the two
exposures with a neutral density
graduate filter and then we should
achieve a balanced exposure in our
cameras. When it comes to metering the
mid-tones in the foreground there's a
couple of options that you can use to
attain your mid-tone reading. Now here
I'm stood in the field. There's green
grass around me. Well-lit green grass
will give you a good idea of a mid-tone
in your foreground. Another one is well
worn tarmac. That should give you a good
idea of a mid-tone in the foreground but
since I've got the grass here and let's
just try and see what happens. If I
point the camera down at the grass
here and take a meter reading it says
it's at f11 iso50 it's 1/60.
So let's just take a shot.
Now I can see from the back of the camera that
the foreground is correctly exposed but
the sky is certainly overexposed and it
needs sorting out. Now what happens if
you don't have well-lit green grass
around you? I'll explain. Now if you don't
happen to be in stood in a field and
you've got all this lovely well-lit
green grass mid-tone around you, what can
you do? Well now I'm not sponsored by Lee
Filters in any way but I do use Lee
Filters for their neutral density
graduate filters. Now they do a 10 filter
pouch which is
and inside there's this black felt. What
I'm going to do is I'm going to take a
spot meter reading from the black felt
and then if it's zero it says to me it's
a one-fifteenth of a second something
like that if I then adjust the exposure
quicken it by two stops two or two and a
half stops it should give me a good
balanced exposure for the foreground
because that's when you're putting your
camera on zero it's trying to render
everything is grey. So when you're doing
snow things like this you put it in the
middle it puts that white snow as grey
because it's under exposed. What I'm
going to do is just put this down on the
ground I don't take a spot meter reading
from this see what it gives me; check the
exposure; adjust it by two stops and then
take another picture just to prove that
point. OK so...
So at the moment is says
at f11 ISO50 it's around one eighth of a
second so if i just said by say two to
three stops...1/15...one stop. Two stops...
1/30. Three to render it correctly as
black. Click an exposure. I can see if I
just turn on the histogram on my camera
that I've definitely got a good exposure
for the foreground. So that's how we can
get the good meter reading, a spot meter
spot meter reading for the foreground
exposure. You can get it pretty much
every time instead of concentrating on a
mid-tone find a dark tone and adjust
your exposure by two stops. Put on 0 in
the middle, the meter reading adjusted by
two stops, quicken the exposure and then
you should get a good foreground
exposure for your landscape in front of
you. Now let's deal with the sky.
When it comes to finding a mid tone in the sky
this is always the tricky part because
we have blue sky there's some white...
some nice white cloud up there. There's no
real grayish cloud to get a sort of
mid-tone reading so what do you do? The
easiest thing to do is to tell people to
actually head for the
white cloud and then adjust the exposure
accordingly but that doesn't always work.
But let's just see what happens when I
do take a meter reading from the cloud
and adjust the exposure accordingly.
So if i take my camera off. If i look at the
white cloud it says it f11 at ISO50 it's
1/500 of a second so if i take
an exposure as it's on zero. It is of
course hopelessly underexposed because
the camera is trying to render that
white cloud as grey. So if I was to look
at the image on the back it is indeed
grey so what I need to do is the reverse
of what i did with the filter pouch
where i shortened the exposure I now need
to lengthen the exposure to get the
white cloud. So if I add in two stops so
that brings me to f/11 ISO50 1/125th of a
second. If I now take the exposure then
the sky is there but the problem is the
foreground is dark. What do we do? I'll
explain.
OK, so we have various different
exposures in our heads at the moment.
We've got a base exposure. We're using
grass and all sorts of things. How do we
choose that ND grad to be able to
correctly expose the foreground and the
sky? Well this is what you do. You find
your correct foreground exposure so we
know from what I metered the filter
pouch and made it black it was one
sixtieth of a second but then I took a
meter reading from the sky it's 1/500
of a second but then I
adjusted that and then it made it one
125th and there's still one stop
difference there which made the
foreground still dark but the sky was
correctly exposed. So how do we then
interpret all of these? This is what you
do. Get your base exposure so one
sixtieth of a second. Meter from the sky,
so I had 1/500 of a second
and and if you count back that's three
stops of light. However it's not a
three-stop grad you choose it's actually a
one-stop grad. Now why? Because basically
you need to leave two stops of exposure
above your base exposure to be able to
bring in that white and have it looking
nicely without the scene being over
filtered so I'm just going to put in a
one-stop grad and then you'll see what
happens when I put the base exposure at
1/60 of a second; introduce a
one-stop grad and you'll see that
everything is perfectly exposed. We've
got a perfect exposed image in our
cameras using neutral density grads. Just
watch. What I've got here is a Lee Filters
0.3, that's a one-stop
neutral density graduate filter, it's a
hard grad because it's pretty much a
flat horizon back there. What I'm
going to do is, trying to see when you
use the depth of field preview button to
see where the line of the grad is going
down over the sky isn't always easy
with a one-stop but, I'm going to put on
live view just to be able to see the
degradation go down a lot easier and
then what you should see is once I put
the grad down and then I take my shot
What's happened is at f/11 ISO50 1/60
of a second I've ended up, I look
at the histogram, a well-balanced
exposure using neutral density graduate
filters. An exposure that's done in camera
it means that when i get back to the
digital workstation that there's going
to be hardly any work to do. Maybe a bit
of spot cleaning here and there. But
outside of that a well exposed image in
camera. That's how you choose neutral
density graduate filters. Now if you are
getting to the end of this and you're
thinking "I still don't understand this
or that" please do message me on YouTube
and i'll try to explain in the best way
that I can to help you fully understand
how you choose those neutral density
graduate filters. I don't know why but
there's a lot of people that want to
make it out to be a huge mystery as to
how you choose these things or as I've
had in the past people have said "you
just use them creatively" but that teaches
you nothing. I'm hoping that what I've
done with this particular tutorial is
helped you choose which grad you use in a
particular situation using three
different methods. An easy method. One
that's a little bit harder and then harder
again using spot metering which is the
one, as I said, they try to explain in
the magazines and they never quite get
it right and people always have the
question is "where do I place the tones?
How do I do it?" Hopefully the tutorial
has explained. As I said, any questions do
let me know I'll be happy to help. Thanks!







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