[leekil]

In reality, the effect on exposure for film ISO is the same as for digital ISO. Both affect appropriate exposure choice, but neither affects how many photons make it to the focal plane. At a more basic level, inadequate exposure (too few photons) of any film (regardless of ISO rating) has similar results to inadequate exposure of a photo sensor. At some point, the threshold of molecular sensitivity is not met. (Both depend on light shifting electrons to a higher energy level.)

Well, yes, if you are talking specifically about the amount of exposure to light that the film or sensor gets. But usually when you are talking using the exposure triangle, you are going for the "proper exposure". In the film case, the ISO of the film and the development of the film (whether considered explicitly or implicitly) is part of that calculation, and on a digital camera, the ISO and any processing done to achieve that proper exposure - the "development" - is part of the calculation.

[ffking]

I know this is about the craft of photography rather that the philosophy of photography side of AA, but my favourite quote of his remains

"A great photograph is one that fully expresses what one feels, in the deepest sense, about what is being photographed."

And the concept of a photograph being made not taken is fundamental to great photography

[stevebrot]

But usually when you are talking using the exposure triangle, you are going for the "proper exposure". In the film case, the ISO of the film and the development of the film (whether considered explicitly or implicitly) is part of that calculation, and on a digital camera, the ISO and any processing done to achieve that proper exposure - the "development" - is part of the calculation.

Good and well thought out response. I get what you are saying and can only assume you have never read the book.

FWIW, many of us who still shoot film expose to EI (exposure index) rather than to box speed (ISO), keeping intended processing in mind. Given the nature of the ISO standards* and CIPA certification, EI might be the better term for digital capture as well. As for the development part of the process; that depends heavily on one's choice of RAW processor software.** Unless, of course, one shoots JPEG.

Question...keeping aperture and shutter speed constant, how does one force underexposure by dropping the ISO, intending to pull shadow detail in post (read in recent forum post)? Note that technique does not work if one decreases the amount of light (edit: by using aperture or shutter). Apparently the triangle is missing a leg.


Steve

(...the concept of the "exposure triangle" did not exist before Brian Peterson's book...)

* Yes, plural...manufacturers have a choice, one of which is to simply map meter settings to processor output for a given exposure based on what works for pleasing JPEG output. Pentax does not use that method. Also of interest is that the standards are for camera metering, not for sensitivity as with film.

** Adobe does some very interesting things with the bottom five or so stops of recorded dynamic range.

[Rondec]

I own his books The Camera and The Negative. I found them very useful. He had a clear way of teaching and helping you to understand his process of capturing images -- of course demonstrating with excellent photographs.

I was thinking about some the odd essays of his I've read lately,

"f64, is it the new f1.4?"
"I thought I was taking a photo of Half Dome and then I saw this...!"
"The mule versus the Subaru -- A Modern Gear Transportation Conundrum."

[stevebrot]

"f64, is it the new f1.4?"
"I thought I was taking a photo of Half Dome and then I saw this...!"
"The mule versus the Subaru -- A Modern Gear Transportation Conundrum."

These look like fun reads. Are they online?


Steve

[Rondec]

These look like fun reads. Are they online?


Steve

I think he is writing for Buzz Feed these days.

Oh, how the mighty are fallen...!

[stevebrot]

I think he is writing for Buzz Feed these days.

Oh, how the mighty are fallen...!

Automatic writing? D

Automatic writing - Wikipedia


Steve

[leekil]

Question...keeping aperture and shutter speed constant, how does one force underexposure by dropping the ISO, intending to pull shadow detail in post (read in recent forum post)? Note that technique does not work if one decreases the amount of light. Apparently the triangle is missing a leg.

In what sense do you mean? You can always have too little light for what you are exposing (film or sensor).

[stevebrot]

In what sense do you mean? You can always have too little light for what you are exposing (film or sensor).

I meant, by decreasing the amount of light using aperture or shutter...the other two legs to the "triangle". Sorry for the confusion.


Steve

[Michail_P]

The exposure triangle refers to situations that include ISO variations. In the analog era this was possible but only by a few stops. So no real triangle.

[hjoseph7]

Besides being a masterful and prolific photographer, Ansel Adams authored a number of seminal books and was a respected teacher.

[Unknown to many, he also wrote several obscure short essays -- the lost papers:

4: Equivalence Formulas with worked Examples
5: Making do with a rickety tripod
8: Large Format Travel Snapshots
9: My 50 Essential Lenses
12: Nine Parks in Nine Days: More is Better
13: Cropping with Scissors

Well, that was a light touch of humour, I hope. ]

In reality, Adams was a master of photography -- all aspects of it, including selection of subjects, composition, exposure, use of equipment, and printing. The superlative nature of Adams's craft is underscored by the iconic prints that are recognizable immediately and are synonymous with his name. His work is a testament to his methodical and deliberate approach at all stages between a subject and a finished photograph.

In the early 1980s, Adams authored a series of books: The Camera, The Negative, and The Print, which were based on his earlier Basic Photo Series and are available in recent printings by Little, Brown and Company. The books explain the key elements of photography in terms as simple as their titles, and his points are illustrated liberally and clearly by numerous images throughout.

Of the twenty-odd photography books on my shelves, I own and refer to The Camera and The Negative frequently. Several chapters have been particularly educational, and I review sections to be reminded of technical and artistic aspects of photography. For example, in The Camera, the chapters on Visualization, Lenses, and Basic Image Management serve ingredients that are fundamental to successful photography. His explanations of perspective, focus, and choice of lenses in different settings cover some of the most important elements of the craft.

The Negative covers light, exposure, film, filters, and darkroom processes. While Adams's Zone System has gained a following over the years, particularly by film shooters, it's not a universal practice -- other techniques in digital photography can work equally as well. The book explores natural and artificial lighting conditions for various subjects, including portraits. Regrettably, the chapters on darkroom equipment and procedures are largely lost on me, as I'm not a darkroom printer. Overall, I find the sections on lighting and exposure to be the most useful, but I complement this book with Peterson's Understanding Exposure and Michael Freeman's Perfect Exposure.

In his books, Adams is consistent in his philosophy of photography: "Do not lose sight of the essential importance of craft; every worthwhile human endeavor depends on the highest levels of concentration and mastery of basic tools." And, "The world does not need more books on equipment." (The Camera, Introduction, 1980)

I would highly recommend The Camera and The Negative to those who are starting in photography, or to experienced photographers who desire a useful reference.


- Craig

"In the early 1980s, Adams authored a series of books: The Camera, The Negative, and The Print, which were based on his earlier Basic Photo Series and are available in recent printings by Little, Brown and Company. The books explain the key elements of photography in terms as simple as their titles, and his points are illustrated liberally and clearly by numerous images throughout."

I have all 3 books, but have not gotten around to reading them all, maybe some rainy day I will ? Actually the book that surprised me the most and is not one of the famous 3 is: "Ansel Adams in Color" ! This book contains about 50 images that are similar to his B&W master pieces except they are in color ! Actually, this is the book that inspired me to start printing in color. Most if not all of the photographs in this book were produced using 8x10 Kodachrome sheet film, at a time when color photography was just opening up. If you need a 2021 wall calendar, see if you can find an Ansel Adams wall calendar in Color. They sell them online. if you haven't attended an Ansel Adams exhibit, please do whenever you get a chance, if possible. Its a viewing "experience" you will never forget, I guarantee it !

[Baxter]

Besides being a masterful and prolific photographer, Ansel Adams authored a number of seminal books and was a respected teacher.

[Unknown to many, he also wrote several obscure short essays -- the lost papers:

4: Equivalence Formulas with worked Examples
5: Making do with a rickety tripod
8: Large Format Travel Snapshots
9: My 50 Essential Lenses
12: Nine Parks in Nine Days: More is Better
13: Cropping with Scissors

Well, that was a light touch of humour, I hope. ]

In reality, Adams was a master of photography -- all aspects of it, including selection of subjects, composition, exposure, use of equipment, and printing. The superlative nature of Adams's craft is underscored by the iconic prints that are recognizable immediately and are synonymous with his name. His work is a testament to his methodical and deliberate approach at all stages between a subject and a finished photograph.

In the early 1980s, Adams authored a series of books: The Camera, The Negative, and The Print, which were based on his earlier Basic Photo Series and are available in recent printings by Little, Brown and Company. The books explain the key elements of photography in terms as simple as their titles, and his points are illustrated liberally and clearly by numerous images throughout.

Of the twenty-odd photography books on my shelves, I own and refer to The Camera and The Negative frequently. Several chapters have been particularly educational, and I review sections to be reminded of technical and artistic aspects of photography. For example, in The Camera, the chapters on Visualization, Lenses, and Basic Image Management serve ingredients that are fundamental to successful photography. His explanations of perspective, focus, and choice of lenses in different settings cover some of the most important elements of the craft.

The Negative covers light, exposure, film, filters, and darkroom processes. While Adams's Zone System has gained a following over the years, particularly by film shooters, it's not a universal practice -- other techniques in digital photography can work equally as well. The book explores natural and artificial lighting conditions for various subjects, including portraits. Regrettably, the chapters on darkroom equipment and procedures are largely lost on me, as I'm not a darkroom printer. Overall, I find the sections on lighting and exposure to be the most useful, but I complement this book with Peterson's Understanding Exposure and Michael Freeman's Perfect Exposure.

In his books, Adams is consistent in his philosophy of photography: "Do not lose sight of the essential importance of craft; every worthwhile human endeavor depends on the highest levels of concentration and mastery of basic tools." And, "The world does not need more books on equipment." (The Camera, Introduction, 1980)

I would highly recommend The Camera and The Negative to those who are starting in photography, or to experienced photographers who desire a useful reference.


- Craig

Thanks for the information on Ansel Adams and his book which I may track down and look at.