Exposing Snow
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Photographing Snow
Come winter, nothing frustrates photographers morethan poor exposures due to extensive amounts of snow in the scene. Here are someways of dealing with this problem.
Snow Clad Tress ‹ Nevada, 2001
Brightly lit snow is about 1.5 - 2 stops brighter than 18% (medium) gray —which is what your hand-held or built in camera meter expects to see. Therefore,when metering a scene with large expanses of snow the meter (which doesn‘tknow the difference between water, grass or snow) — simply exposesit as medium gray. Ruined shot.
While we‘ve all grown accustomed to the very effective matrix andmulti-segment metering in contemporary cameras, not even the best of them candeal with large expanses of bright snow.
The solutions are simple.
Use a hand-held incident light meter
The translucent round ball reads the light falling upon it as if it werean 18% (average) gray subject. Just place the ball in the same light as yoursubject and the exposure will be spot on.
Adjust your ISO dial
If you set your meter‘s or camera‘s film speed dial to a 1.5 - 2 stoplower setting the camera will expose properly. (Use ISO 32 instead of100, for example).
Use your Exposure Compensation Dial
If your camera has one, adjust the setting to about 1.5 - 2 stops ofoverexposure.
Of course not all snow scenes are created equal so bracketing is a mustfor critical work. Also in many scenes such as the one above youwant the snow to be a bit darker than normal, to show texture, so keep thecompensation to not more than 1 or 1.5 stops.
Sand-Moon-Bush ‹ White Sands
Pentax 67II and 55~100mm f/4.5 zoom.Provia 100F.
There are situations similar to snow where this technique is also needed. Forexample, the sand dunes atWhite Sands NationalMonument are so white and bright that the same exposure compensation isneeded there as is needed when shooting snow .
Come winter, nothing frustrates photographers morethan poor exposures due to extensive amounts of snow in the scene. Here are someways of dealing with this problem.
Snow Clad Tress ‹ Nevada, 2001
Brightly lit snow is about 1.5 - 2 stops brighter than 18% (medium) gray —which is what your hand-held or built in camera meter expects to see. Therefore,when metering a scene with large expanses of snow the meter (which doesn‘tknow the difference between water, grass or snow) — simply exposesit as medium gray. Ruined shot.
While we‘ve all grown accustomed to the very effective matrix andmulti-segment metering in contemporary cameras, not even the best of them candeal with large expanses of bright snow.
The solutions are simple.
Use a hand-held incident light meter
The translucent round ball reads the light falling upon it as if it werean 18% (average) gray subject. Just place the ball in the same light as yoursubject and the exposure will be spot on.
Adjust your ISO dial
If you set your meter‘s or camera‘s film speed dial to a 1.5 - 2 stoplower setting the camera will expose properly. (Use ISO 32 instead of100, for example).
Use your Exposure Compensation Dial
If your camera has one, adjust the setting to about 1.5 - 2 stops ofoverexposure.
Of course not all snow scenes are created equal so bracketing is a mustfor critical work. Also in many scenes such as the one above youwant the snow to be a bit darker than normal, to show texture, so keep thecompensation to not more than 1 or 1.5 stops.
Sand-Moon-Bush ‹ White Sands
Pentax 67II and 55~100mm f/4.5 zoom.Provia 100F.
There are situations similar to snow where this technique is also needed. Forexample, the sand dunes atWhite Sands NationalMonument are so white and bright that the same exposure compensation isneeded there as is needed when shooting snow .
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