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photo - Ken Gilbert

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bright ideas<br />

Continued from page 55<br />

you’ll almost always need to add<br />

exposure. With the spoonbill, I<br />

went 1/3-stop over the reading;<br />

with the gannet, a full stop.<br />

Wait for Shade<br />

If the light is just too harsh for<br />

<strong>photo</strong>graphy—as it was in the<br />

scene on Galápagos of the swallow-tailed<br />

gull chick on page 55,<br />

try waiting for a cloud to diffuse<br />

the sunlight. In this case all it took<br />

was a very thin cloud to soften<br />

the light, and the evaluative meter<br />

reading proved perfect.<br />

No clouds? Another strategy<br />

is to find subjects in open shade,<br />

or wait for your subject to move<br />

into shade. Look for trees or other<br />

vegetation, a large rock, a hill, a<br />

mountain, or a building. With a<br />

subject in shade, try to include a<br />

sunlit background.<br />

124 popular <strong>photo</strong>graphy january 2010<br />

www.storemags.com & www.fantamag.com<br />

In most cases you will need<br />

to add exposure over the meter<br />

reading. Another option is to<br />

spotmeter the subject, adjust for<br />

its tonality (add exposure for light<br />

subjects, subtract exposure for<br />

dark subjects), and then set that<br />

exposure manually.<br />

Example: This northern gannet<br />

chick, above, that I found resting<br />

right next to a viewing shelter on<br />

Bonaventure Island, Québec. To<br />

avoid the white down coming out<br />

as medium gray, I added 1.3 stops<br />

to the evaluative meter reading.<br />

Make your own Shade<br />

I’ve often said that 90 percent<br />

of all flower images could be<br />

improved by shading the subject—<br />

with a diffuser, a large piece<br />

of cardboard, a shirt, or even a<br />

friend’s body. The same technique<br />

can work well with other small

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