Originally posted by Tony Belding . . . leave it on P . . .
Back in "the daz" each roll of film came with a chart that was a verbal expression of 'P-mode' . . . call it Sunny Sixteen if you like.
If you study the graphic chart description of 'P-mode' (regardless of how the camera manual labeled it) you'll see that it's an attempt to provide the perfect exposure for a nominally perfect (18% gray card?) lighting condition using median aperture and shutter speed settings. That's followed by a suggestion that those settings might be swapped for reciprocal settings to achieve specific goals or adjusted for aesthetic effects.
I can't find a better description of the
intent of P-mode, or the purpose of Scene and Filter modes. Auto-mode simply takes away all the situational options. The old Hyper Modes simply biased the nominal P-mode exposure line to favor either DOF or shutter speed and perhaps a few other settings as well (the P5/50 body is an early example of this).
Once you understand the intent of the P-mode program line, the Scene modes make a lot of sense. Right out of Basic Photography 101 lectures.
Those of us that learned to "change the program line" manually
* on our Spotties likely find it more comfortable to follow the old habits than to try to remember all the new labels, options and buttons on modern bodies; not to mention that I can't read all those squiggles on the LCD screen or finger-fumble through the tiny dials and buttons.
* Probably best defined by that older population that memorized the multiplication tables in school . . . and can make change with our shoes on?
A good 'mid-term' test for today's PH 101 class would be to describe the conditions associated with each Scene Mode and correctly explain why and what changes are made to the nominal exposure and/or filter settings. It's also a fine review for those of us that swear we only use Manual Mode too. Grade your own paper to avoid embarrassment.