I've got a white card (which I think you recommended earlier) is this similar to using the gray card? I mostly use my ND filter when filming outside for correct exposure
It's similar, but not the same. For white balancing, it's best to use a white card. For proper exposure (the F/Stop/shutter speed), a grey card is best. You can white balance with it, but a white card is best.
Media Mentoring Program by Christina Nicholson: Information pdsp.us/mediamentoringprogram Order the Training: courses.mediamavenandmore.com/?affcode=59787_dskooana This a training course I'm affiliated with known as the Media Mentoring Program created by Christina Nicholson. She helps entrepreneurs reach tons of their ideal customers or clients through the power of media without spending big bucks on advertising. Some of the topics covered include building your personal brand by positioning you as an expert in your field, how to pitch the media, how to look and sound your best when your featured, how to create a one sheet, how to land paid speaking gigs, how to use social media to convert prospects, influencer marketing and more; Everything you need to get media exposure in the first two weeks. VIPs get even more personalized, one-on-one access with Christina and her team to accelerate your success. If you know how to take advantage of mainstream media, you can stand out from the competition because it’s not something everyone has access to. Best of all, unlike paid ads and sponsorships, you can gain lots of exposure and credibility to become the go to brand everyone talks about and wants to do business with without spending a fortune of advertising. Christina likes to say you can become your own media powerhouse. All you need to know is what to do and what not to do & before you know it, You’ll be getting more publicity than you can handle. When you’re featured on TV, radio, podcasts, websites and more, you're actually being endorsed by those media outlets. This, in turn, gives you and your business the attention of the public and that can set you on the road to financial freedom. You don’t need to hire a publicist or spend a fortune on advertising, you just need someone to show you what you need to do to get your name and your business out there. Best of all, Christina Nicholson's Media Mentoring Programs is more than your typical online course, it’s a mentorship to train you how to get exposure the right way. By getting the Media Mentoring Program, you’ll learn exactly what to do so you will learn publicity and become an authority in your industry that will land you more traffic and visibility. When you earn publicity, many people will know, like and trust you before they ever contact you. Boost your authority with the Media Mentoring Program now. ___________________________________________________ Love Editing? Want to get started using Adobe Premiere Pro CC but not certain how? I'm here to help. I've been a professional video producer and editor for over 3 decades & I've created a F-R-E-E shortcut guide for Premiere Pro listing hundreds of Keyboard, Panel & Application shortcuts. Click below to get your free copy! pdsp.us/adobepremiereprokeyboardshortcuts If you're ready to start editing in Adobe Premiere Pro CC, I have a quick start training course to get you up and running in a couple of hours. Get your video editing training course here: pdsp.us/adobepremiereprotrainingbyjimcostafilms Get your F-R-E-E DSLR & Mirrorless Camera Video Cheat Sheet here: pdsp.us/dslrvideocheatsheet Want to see more videos like this? Follow my TH-cam channel, Jim Costa Films, for more! Think what you saw was great? Like it! Have an opinion? Comment below! Know someone who could benefit from the info I provided? Share the video. Do you want to learn even more? Connect with Jim Costa Films on social media and online! ________________________________________________________ For more information on my video services, check out my website: jamesvcosta.com. Are you looking for help creating video for your business? Do you need a commercial for television, social media or radio? How about a corporate video for your web site or for training? I can help! I specialize in creating video and audio content for businesses and individuals! Contact Jim Costa Films for a consultation. Follow, Like, Subscribe & Connect for more video content, tips and tricks for using technology and the information you need to take your photos and videos and your business to the next level. Disclaimer: Some of the links above may be affiliate links from which I earn a small commission when you purchase from them.
The photoshop value varies depending on what color space you're working in. I did some research and found the following that might help. The Hue doesn't matter (put in any value you like) because the Saturation is zero. Mid-grey (18%) is generally around 0.5 in Lightness (L or B). So, in HSL that is (x, 0, 0.5), where x is any allowed value. In RGB that is (0.5, 0.5, 0.5). For a color-neutral matrix-based RGB color space (all working RGB spaces are that) this code depends on the gamma of the space. For gamma=1 spaces HSB code in Photoshop is (0,0,18), where brightness is B=18 because it is 18% grey that we want. Saturation S is obviously 0, hue H is irrelevant as soon as S=0 and can be H=0 or any other number, brightness. B ≈ ((18%/100%)^(1/gamma))*100% ≈ in the above is for the following reason: the stated gamma and the actual gamma in the profile may be slightly different because of how gamma is coded in the profile. For the stated gamma 2.2 the actual value in the profile is often 2 + 51/256, like it is in Adobe RGB RGB for 18% grey is computed in a similar manner, R = G = B ≈ ((18%/100%)^(1/gamma))*255 None of this depends on anything but color neutrality and gamma. White point and primaries are not a part of the calculation. Since gamma coding in profiles is not exact, and CIE rounding rules are complex, the best way to know is to test with your profile. To do so, you can open a new document in Photoshop, set the profile you want to test in the "Advanced" section of the "New" dialogue, click OK, click the foreground color box in the Photoshop tool palette and enter Lab values (50, 0, 0) - it will show rounded HSB and RGB codes. It is easy to see that for gamma = 1 color space 0.18*255 = 45.9, and if you enter (0, 0, 18) into Photoshop HSB for a gamma = 1 space the RGB readout is (46,46,46), while Lab is rounded to (50,0,0). Alternatively, for better accuracy, you can start with an RGB document in 32 bits (floating point), setting it to the profile you want to test as in previous and clicking OK. What we are using here is the following feature of floating point documents: they are linear, gamma = 1, because tone curve / gamma is discarded, but will be applied when converting the document to 8- or 16-bit representation. A hexidecimal setting of D6D6D6 for 18% grey is what I’ve used. I’ve used the grayscale ramp in PSCs and dragged the eye dropper across the strip until it read 18%K, then I reverted back to RGB mode and the info palette read: R:214 B:214 G:214. Different people use different #s & it depends on the Photoshop version you’re using. I’ve seen all 218 numbers, all 209s, etc. Somewhere in that range should work. 209 is logical because 255 corresponds with 100%, so 1% of that corresponds to a change of 2.55 meaning that 18% corresponds with a change of 45.9 (2.55 x 18 = 45.9). As grays start counting from white downwards, you have to subtract this change from 255, which gives 209.1 or 209 (255 - 45.9 = 209.1 or just 209).
I enjoy your short, clear, smart explanations. All grey cards are not coulour balanced. XRITE passport is fine but expensive. But I prefer my old sixtomat around my neck !
I appreciate you tuning in! I'm happy to hear that you founf the info use. If you have any questions, please let me know. I'm happy to answer them for you.
very interesting... Could you tell me what is the settings you are using in this video, lens - distance - aperture... It's really very nice and sharp, thanks
Yes, the company I was using closed so I switched to a new one and I must have missed this video when I was changing the descriptions. get it here: jimcostafilms.lpages.co/dslr-mirrorless-camera-video-cheat-sheet/
@@tonykeltsflorida There's a few tings you can do to fix that including manually setting the color temperature, using filters and shooting in RAW, but if Auto works for you, great.
Thanks for the video! So exposing for the 18% middle gray is intended to capture maximum of DR? Or to set the "ideal" exposure in terms of deep and strong contrast?
In photography, photographers use 18% gray cards to help their cameras expose light correctly and produce accurate colors, regardless of lighting conditions. 18% gray is the midpoint between black and white on a logarithmic or exponential curve, and it's the average brightness of a scene. 18% gray cards reflect the same amount of light they receive, and cameras are designed to produce proper exposure when exposed to this tone.
@@jimcostafilms alright. I get it if we place a card in a classic portrait scene. But what if we have a scene where the key light is short? Subject is lit from the side or back lit. Is there a difference in a gray card placement or reading? Should we care about fresnel reflections brightness impact? Is there any source to read? Thanks!
@@Мина-р3ф Here are some tips for using an 18% gray card with side key lighting: Lighting: Place the gray card in the same lighting conditions as your subject, such as having them hold it over their face (part in light & part in dark). You can also tilt the card towards the key light. This will give you an average reading of the average light. Metering: Use a spot meter to read the center of the card. If you can't fill the frame, use the center-weighted or spot meter setting. Adjust your settings until the arrow and meter are dead center, which is middle gray (again, for the average overall reading). Exposure: Put your camera into manual mode and adjust your exposure settings. You can also use a light meter reading taken from a subject of known reflectance. Higher F/Stops will make the near/dark side lighting darker. Conversley, lower F/Stops will add more detail to those areas. White balance: Take a picture of the gray card and then select the custom white balance option in your camera's menu. You can zoom in on the card to fill the frame, and you might need to take it out of autofocus mode. Taking a couple test shots between setting changes is always the best way to go to ensure you have the exposure/white balance you want.
@@jimcostafilms many thanks for your tips! Considering side exposure, I save the "pleasant" exposure incident readings and recall it as presets on set. It works more reliable for me. I can't get consistent and predictable exposure when tilting the card to some average. I find 1/3 to 2/3 of a stop exposure fluctuation is too much.
@@Мина-р3ф Well, 1/3 - 2/3 if a stop fluctuation for the exposure tolerance is that much of a problem, I would definitly take a test shot or two before the actual shot. I do have an idea that might speed the process. Let's say you have a side key or a far side key light with little to no fill light (similar to your original description). I recommend holding the 18% gray card 1/2 in the light and 1/2 in the dark and spot metering right in the middle (also 1/2 light & 1/2 dark). My guess is that this will give you a pretty close to correct reading.
great usual video. i have a question. I have a sekonic L558. If i spot meter a grey card in my given scene and get a reading for example f11.5 at 1/60th, does this mean my lighter is off by half a stop? i have noticed if i meter im not getting solid/whole reading. wonder if the grey card can be used to calibrate my light meter
You can check the meters reading in this work around: You’ll need a still camera with a histogram display feature. A histogram is a digital version of the zone system. The middle of a histogram is the same as zone 5, or “middle” gray. An 18% gray card is “middle” gray in value. The idea is to expose that middle gray card to render a middle gray spike in the middle of the histogram. If accomplished, then you have achieved a perfect exposure - a feat necessary for calibrating your meter accurately. Fill the frame with the gray card and set up your still camera to reflect a basic cinema situation with respect to the lighting. Then quickly take your test spot meter reading before there is any deviation in the available light, clouds, wisps, etc. If your meter is well calibrated, it should render a reading that’s correct. Compare this to the light meter reading you will take in the same lighting and if it’s the same, your reading on both will be correct. I don’t worry too much about a tenth or two over or under. That’s close enough. Anything more or less and you do have a problem with he meter.
@@jimcostafilms thanks for the work around. I tested ageing my digital camera and they both came with the same reading. I mostly shoot analog film and would get for example f8.4 at 60th when I set my sekonic to Apeture priority at f8. I just wondered if my light meter is 4/10th off.
I was a photo lab tech at National Geographic back in the 1970s when the film speed rating system for film was changed from American Standard (ASA) to International Standard (ISO). It was my understanding at the time that while 18% was used as the calibration point under the ASA system - meaning what every tone you “spot” metered would in theory be reproduced as 18% reflectance on the print-that ISO had used 12.8% for its calibration point and thus anything you metered should in theory be reproduced as 12.8%. The practical implication of that today with digital cameras where highlight detail needs to be preserved is that if one fills the entire frame with a Kodak 18% Gray Card and set camera exposure manually based on centering the spike from the card on the camera histogram at 128 on the scale of 0 -255 the highlights in the image will be blown. This was actually addressed in the instruction sheet for the last Kodak 18% card I purchased back in the early 2000s saying exposure settings based on meter readings made off the Kodak card would need to be adjusted by about 1/3 stop to obtain correct exposure in the highlights. According to accounts I read about this in the 1990s in early Internet photography forums posted by people who worked at Kodak when it switched from ASA to ISO for listing film speed that it’s plan to change the reflectance of the Kodak card to conform with the 12.8% reflectance ISO speed point was thwarted by Ansel Adams whose Zone System was based around Zone V = 18% being the perceptual center of the tonal scale and Kodak execs. acquiesced because Adam’s Zone System was what created the continued demand for sheet film. Photography books I read back then said the 18% speed calibration point used by ASA was based on the average reading of a cross-lit landscape on a clear “Sunny 16” day which meant shadows on the negative would record detail on the negative at shutter = 1/ASA speed of film @ f/16. But a quality of negative film / print for B&W and color film was that the straight line part of the DlogE curve was so much longer than than of the print one could over expose a negative by two f/stops or more and still make a full range print from it. I had started using the Zone System back in 1971, which was a reason NGS hired me to work in its lab, and the first test one did with the Zone System was changing the ASA setting on the meter until you actually got Zone 1 (first hint of shapes in shadow) densities on the negatives which put Zone 0 black voids on the clear film base and and Zones 1 and 2 down on the toe of the curve where the density didn’t increase as much with changes in exposure, but of you filed your negative carriers large the Zone 0 black on the print would put a nice black border around the frame proving to the world you hadn’t cropped the image and control exposure of the shadow according to the gospel of St. Ansel. Over the years I’d used Weston IV, LunaPro, Honeywell-Pentax 1° spot meter. Because I had the spot meter when learning Adams Zone system I realized that instead of metering the 18% gray card to determine actual film speed at Zone V I could instead just point the spot directly on the Zone 1 area of the scene I was photographing and just adjust indicated ASA speed on the meter by 3-4 stops until the corresponding shutter / aperture reading gave me Zone 1 detail on the negative and print. I just was shifting the meter’s calibration point and the film speed from 18% and Zone V to Zone 1 and whatever % light it reflected. Then it was just matter of metering a Zone 9 non-specular highlight to determine the Zone 1 - 9 EV range and from that know how long to develop the film to fit #2 paper - the gospel according to to St. Ansel was based around adjusted film development based on scene contrast to always print on #2 paper ignoring the fact Kodak also made grades 1, 3 and 4 🤷🏼♂️ The same approach of ‘hacking’ the film speed setting on the spot meter worked in reverse for slides. You meter on a Zone 9 non-specular highlight to determine and adjust the meter’s ASA setting changing the speed until it was correctly exposed in a bracket test. Once you got the highlight exposure ‘nailed’ that way it was just a matter of reading all the darker tones in the scene to determine in advance when detail would be lost in the darker midtones and shadows (seen by eye) due to its short range. For my studio lights I used a Sekonic L-358 flash meter but found its incident exposure readings never exposed the highlights correctly with my Canon digital camera bodies when both were set for the nominal ISO speed of 100. What I had to do to get correctly exposed highlights was to enter a compensation factor of -0.3 stops into the meter. What I was using to judge correct highlight exposure was test shots of a white terry towel draped on a stand and test shots. Then it dawned on me I could just toss the meter in the drawer and just use a few test shots and the clipping warning to set exposure in the highlights optimally with Zone 9 solid whites at around 245-250 and only Zone 10 specular reflections clipping at 255. I just raised power until triggering the clipping warning on the towel and backed off 1/3 stop. Then I realized that by also using a black towel I could easily set my lighting ratio for fill range of detail without shadow noise: 1) set aperture for desired DOF 2) place FILL FLASH centered behind and over camera to cast it’s shadow down out of sight and raise power until detail and texture seen in the black towel draped on stand next to white one that would be recorded as gray due to the limited DR of the camera. 3) turn on the KEY FLASH and then raise it until white towel is 1/3 stop under clipping warning. It’s expose for the shadow detail with FILL, expose for the highlights with overlapping KEY with the centered nearly shadowless fill as the foundation. The result is natural detail everywhere as seen by eye. For lighter softer shadow in midtones like faces just start with more fill, making the black towel Zone a lighter gray, burning in darker shadows in post processing or adjusting via curves. For greater contrast in midtones like faces you wouldn’t want to start with less fill because that would result in no signal and just noise in the shadows. Instead fill for a full range detail in darkest shadows when exposing then adjust darker with curves in post processing. If you start by setting FILL level before turning on and adjusting the KEY light for the highlights there isn’t any penalty for erring on the side of over-filling the shadows because the lighter they are recorded - to be pulled back down in post processing - the less noise they will have after being adjusted. All easily judged with a couple towels or other white/black textured fabric which can be draped in 3D shapes 😊 but when I got a pair of Canon 580ex flashes which used coded flash pulses for control signally I couldn’t use the flash meter but discovered a simpler m
The short answer is yes to both. The long answer is a bit more complicated. Regarding a white sheet of paper for the white balance: If your goal is to get the white balance pretty close to spot on in most situations, then, yes, it’s fine to use a white sheet of paper. However, some say that white paper isn't a very good reference because standard printer paper contains bleaching agents that can affect the color balance. For example, most bright white office papers contain OBAs, which makes them unsuitable for white balance targets when exposed to UV light, like outdoors. Just remember, white paper reflects its environment. Thus holding paper near a red curtain will give a red cast. Regarding a grey card: This is always the best choice to use in either situation. A gray card is 18% gray, and the camera's meter perceives the light reflected from this as “normal” exposure. This can help you get good exposure in almost any situation, especially for portraits and products. It will give a near perfect exposure in almost any situation.
@@jimcostafilms ah I see. So basically use grey card for both, but a white paper if you have to for white balance. By the way, I understand that you can use grey card for exposure on a subject, but what about if I'm doing landscape shot when it's sunset or dusk time, do I still need to consult the grey card for exposure and white balance?
@@smann7236 Golden Hour: Yes, you can use a grey card to white balance during golden hour, which is when the sun is near the horizon and has a warm 4000 Kelvin range. You can use the grey card as a reference image to correct your colors in image editing. For example, you can use the Lastolite 12'' Grey Card to isolate the sky color temperature from the sun color temperature. It can be a bit tricky to get proper white balance during golden hour but will work provided the card is lit by the same light as the subject. For easy reference: During golden hour, you can manually adjust your white balance to 6000-6500K, which is within the Cloudy or Shade mode of your camera. This setting enhances the reds and oranges, creating a cozy, inviting atmosphere in your images. You can tweak the white balance up or down to bring out the warm, rich colors of the landscape while making sure your images reflect real life. Blue Hour: When taking photos during blue hour, you can set your white balance between 3400K and 5000K to boost the blues. Some recommend setting your white balance to capture the temperature of light as your eyes see it, which is more blue. Others recommend setting your white balance between 6500K to 7500K to keep things cooler, or 9,000K to 10,000K to render the light more neutral. You can then add warmth to the image in post. I like 4000K - 5000K, personally. Don’t use auto WB for Blue hour as you’ll loos the rich blue hues.n If your camera doesn’t allow for setting the WB in degrees Kelvin, try using the fluorescent light preset instead, I did a couple videos on Golden Hour and Blue Hour shooting: th-cam.com/video/sYnae_Zb7qI/w-d-xo.html
So where does skin tone come into play when using an 18% gray card or light meter? Since the IRE values are different with different skin tones, how can 18% middle gray be used universally on different skin tones?
I discuss this in the video, but for a brief summation, try this as a starting point: You can expose using skin tone as reference, correcting with a personal scale inherited from your experience. Something like: If the talent has typical Caucasian or Asian tone, expose at middle gray. If the subject is hispanic, expose 1/2 to 1 stop under middle gray. If the subject is African American with darker, but leaning to more brown skin tones, expose 1 stop to 1 1/2 stops under middle gray. If the subject has very dark skin tone, expose two stops under middle gray. If the subject is particularly pale skinned with red hair, expose one stop above middle gray. That is very similar to using a gray card. It is less reproducible, but it still works if you do not have a gray card. It's always best to expose a test shot first using a gray card to see where the skin tone exposure falls and then adjust your F/Stop from there.
@@jimcostafilms Thanks! I was looking to replace using false color with the El Zone system so I wanted to make sure I had a firm grasp on the middle gray card.
@@jamesreed7278 The EL zone on the SmallHD smart series monitor work off more accurate readings (F stops) off your light meter, as opposed to IRE values which is VERY outdated tech, but somehow we as DOP's still use false colour to this day. 😅
It is quite easy to use a grey card. Simply place it in the area where you plan to shoot your subject, facing the direction of where you plan to place the camera. If you are using artificial light, you will want to make sure you light the grey card the same way you plan to light your subject I use a grey card to set custom white balance for every shoot. Your camera manual should explain the basics of how to set a custom white balance. 1) Setup your studio flash lights and meter them to your liking. 2) Setup/connect your camera in Manual mode with aperture/shutter speed appropriate to using studio flash. 3) Have your model hold the grey card aimed towards the camera. 4) Fill the viewfinder of the camera with the grey card and press the appropriate WB button/shutter release on the camera to set a new custom white balance. Store the new setting in the camera. 5) Use this WB setting for the shoot.
Great video Jim. Question regarding the first part of the video - getting proper exposure using the gray card. Are you assuming auto WB at this point? Or, would you say get a custom WB set first, then use the card again to get proper exposure? (Understanding of course if the subject is moved and/or light changes - the exposure and WB would change).
Go manual and then fill the frame with the grey card under the lighting you wish to use for your subject and adjust the camera’s exposure settings until the meter zeroes out.
@@jimcostafilms I have a7iii and a7riii. I use the gray card to set custom WB currently. So, I am thinking I could simplify workflow by just setting exposure off the gray card as you suggested in the first part of the video. Not sure auto WB would cure any color cast though.
@@jimpenn7628 Many would say that if you shoot in RAW then the White Balance setting is irrelevant because your processing software would just fix it. You would have to use a developer, like Lightroom or Photoshop and there you set the color to your liking. Many use a grey card to adjust WB for JPEG files only. I would just do it for both personally. I believe that doing things right the first time is the simplest way to avoid problems later. To answer your specific question: To stop the Sony choosing a AWB setting you need to set the WB manually, yes, using a grey card or not. Never loose sight of the important fact that both the exposure meter and that average white balance “think“ in monochrome. The exposure meter is looking for mid tone gray in a presented scene and adjusts settings that will capture that gray in the best contrast available. That implies the blacks will be black and the whites will be white but the blacks and whites will contain detail. The white balance, as already mentioned, also looks for mid tone gray and when it gets that right or wrong it sets ta color cast you might see, usually yellow or blue. So remember, green grass, skin tones, tarmac all are mid tone gray and if they dominate an image they will be the colors that, if correctly exposed, will look right and sometimes others can be off a bit. That is why all editing software has means to correct white balance either in JPEG or RAW. You might consider the PRIORITY SET IN AWB" option. It’s usually pretty good on that camera. One thing to keep in mind: Have you done a master reset? I have heard that Sony cameras occasionally went "off” in AWB after changing the settings in picture profiles, and despite returning them back to the default, WB was off and images had a blue cast. The reset fixed that, but be warned, all your button customization, function menus and memories get reset as well. I haven’t experienced this, but people I know have so bee on the look out.
@@jimcostafilms The situation is truly unclear. It appears that the 18% gray value comes from the print world. Light meters are calibrated at the factory using ANSI standards. The standard has always been for a luminance value that is roughly equivalent to the reflectance of 12% gray. Moreover, Sekonic's web page mentions 14% and claims Minolta uses a higher setting, while Minolta's English pages claim yet a different value. So, the truth is out there...
@@ХЕЙТЕРЫ-ы2б See if this helps: www.greatphotography.com/blog/2016/6/14/18-gray-the-middle-value#:~:text=18%25%20gray%20cards%20have%20been,of%20light%20that%20they%20receive.
![[LIVE] : ONE ลุมพินี 89 | คู่เอก "ยอดไอคิว vs คิริลล์"](http://i.ytimg.com/vi/Z3vYkHJ_5Ig/mqdefault.jpg)
I've got a white card (which I think you recommended earlier) is this similar to using the gray card? I mostly use my ND filter when filming outside for correct exposure
It's similar, but not the same. For white balancing, it's best to use a white card. For proper exposure (the F/Stop/shutter speed), a grey card is best. You can white balance with it, but a white card is best.
@@jimcostafilms thx Jim
@@Drostvideo I'm happy to answer any questions you have.
Thank you for speaking in such an easily digestible way!
I'm glad you were able to learn something. I do try to make complex topics easy to understand.
This was so useful! Didn't know you could even buy cards that help you set your white balance, so this is great!
I happy you found the info useful.
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Some of the topics covered include building your personal brand by positioning you as an expert in your field, how to pitch the media, how to look and sound your best when your featured, how to create a one sheet, how to land paid speaking gigs, how to use social media to convert prospects, influencer marketing and more; Everything you need to get media exposure in the first two weeks.
VIPs get even more personalized, one-on-one access with Christina and her team to accelerate your success.
If you know how to take advantage of mainstream media, you can stand out from the competition because it’s not something everyone has access to. Best of all, unlike paid ads and sponsorships, you can gain lots of exposure and credibility to become the go to brand everyone talks about and wants to do business with without spending a fortune of advertising. Christina likes to say you can become your own media powerhouse. All you need to know is what to do and what not to do & before you know it, You’ll be getting more publicity than you can handle.
When you’re featured on TV, radio, podcasts, websites and more, you're actually being endorsed by those media outlets. This, in turn, gives you and your business the attention of the public and that can set you on the road to financial freedom.
You don’t need to hire a publicist or spend a fortune on advertising, you just need someone to show you what you need to do to get your name and your business out there. Best of all, Christina Nicholson's Media Mentoring Programs is more than your typical online course, it’s a mentorship to train you how to get exposure the right way.
By getting the Media Mentoring Program, you’ll learn exactly what to do so you will learn publicity and become an authority in your industry that will land you more traffic and visibility.
When you earn publicity, many people will know, like and trust you before they ever contact you. Boost your authority with the Media Mentoring Program now.
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Jim,
Thanks for your help.
I'm happy to answer any questions you have.
I've been learning so, so much from all of your videos! Thanks so much for sharing your expertise! :)
I appreciate your continued support. Let me know what questions you have about improving your videos or photos. I'm happy to answer them.
Wow! Fascinating! So knowledgeable!
I appreciate you tuning in.
You are truly incredible! Thanks so much for sharing your knowledge 😊
I appreciate your continued support. Let me know what questions you have about improving your videos or photos. I'm happy to answer them.
Very good video. More information than other videos.
Very kind of you to say, thank you. I appreciate you tuning in!
Thank you for your video! If I read the grey card in photoshop should the number be 127
The photoshop value varies depending on what color space you're working in. I did some research and found the following that might help.
The Hue doesn't matter (put in any value you like) because the Saturation is zero. Mid-grey (18%) is generally around 0.5 in Lightness (L or B).
So, in HSL that is (x, 0, 0.5), where x is any allowed value.
In RGB that is (0.5, 0.5, 0.5).
For a color-neutral matrix-based RGB color space (all working RGB spaces are that) this code depends on the gamma of the space. For gamma=1 spaces HSB code in Photoshop is (0,0,18), where brightness is B=18 because it is 18% grey that we want.
Saturation S is obviously 0, hue H is irrelevant as soon as S=0 and can be H=0 or any other number, brightness.
B ≈ ((18%/100%)^(1/gamma))*100% ≈ in the above is for the following reason: the stated gamma and the actual gamma in the profile may be slightly different because of how gamma is coded in the profile. For the stated gamma 2.2 the actual value in the profile is often 2 + 51/256, like it is in Adobe RGB RGB for 18% grey is computed in a similar manner,
R = G = B ≈ ((18%/100%)^(1/gamma))*255
None of this depends on anything but color neutrality and gamma. White point and primaries are not a part of the calculation.
Since gamma coding in profiles is not exact, and CIE rounding rules are complex, the best way to know is to test with your profile.
To do so, you can open a new document in Photoshop, set the profile you want to test in the "Advanced" section of the "New" dialogue, click OK, click the foreground color box in the Photoshop tool palette and enter Lab values (50, 0, 0) - it will show rounded HSB and RGB codes.
It is easy to see that for gamma = 1 color space 0.18*255 = 45.9, and if you enter (0, 0, 18) into Photoshop HSB for a gamma = 1 space the RGB readout is (46,46,46), while Lab is rounded to (50,0,0).
Alternatively, for better accuracy, you can start with an RGB document in 32 bits (floating point), setting it to the profile you want to test as in previous and clicking OK. What we are using here is the following feature of floating point documents: they are linear, gamma = 1, because tone curve / gamma is discarded, but will be applied when converting the document to 8- or 16-bit representation.
A hexidecimal setting of D6D6D6 for 18% grey is what I’ve used.
I’ve used the grayscale ramp in PSCs and dragged the eye dropper across the strip until it read 18%K, then I reverted back to RGB mode and the info palette read:
R:214 B:214 G:214.
Different people use different #s & it depends on the Photoshop version you’re using. I’ve seen all 218 numbers, all 209s, etc. Somewhere in that range should work.
209 is logical because 255 corresponds with 100%, so 1% of that corresponds to a change of 2.55 meaning that 18% corresponds with a change of 45.9 (2.55 x 18 = 45.9).
As grays start counting from white downwards, you have to subtract this change from 255, which gives 209.1 or 209 (255 - 45.9 = 209.1 or just 209).
Great video on 18% grey card!
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Thank you, you provide useful material
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I enjoy your short, clear, smart explanations. All grey cards are not coulour balanced. XRITE passport is fine but expensive.
But I prefer my old sixtomat around my neck !
That's very nice of you to say. You're correct. While you can white balance to middle gray, it's not recommended.
Great video, thank you for this!
I appreciate you tuning in! I'm happy to hear that you founf the info use. If you have any questions, please let me know. I'm happy to answer them for you.
very interesting... Could you tell me what is the settings you are using in this video, lens - distance - aperture... It's really very nice and sharp, thanks
Thanks for tuning in. Nikon 24-70 at around 60mm or so, F/8, 12'
Very useful information .keep it up
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is it the tips and tricks sheets still availavable ? can't find that in the description
Yes, the company I was using closed so I switched to a new one and I must have missed this video when I was changing the descriptions. get it here: jimcostafilms.lpages.co/dslr-mirrorless-camera-video-cheat-sheet/
Thanks for the video
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Love this ❤️ excellent video
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I mostly shoot in natural light outdoors. Auto White Balance works for me.
it's hard to mess that up. Your issues will come in in mixed lighting scenes.
It's Florida. Everyday is mixed light.
@@tonykeltsflorida There's a few tings you can do to fix that including manually setting the color temperature, using filters and shooting in RAW, but if Auto works for you, great.
This is very interesting info! Thank you for sharing this!
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Thanks so much for sharing this!
I appreciate you tuning in. If you have any questions on improving the videos on your channel, let me know. I'm happy to answer them.
@@jimcostafilms thank you
Thanks for the video! So exposing for the 18% middle gray is intended to capture maximum of DR? Or to set the "ideal" exposure in terms of deep and strong contrast?
In photography, photographers use 18% gray cards to help their cameras expose light correctly and produce accurate colors, regardless of lighting conditions. 18% gray is the midpoint between black and white on a logarithmic or exponential curve, and it's the average brightness of a scene. 18% gray cards reflect the same amount of light they receive, and cameras are designed to produce proper exposure when exposed to this tone.
@@jimcostafilms alright. I get it if we place a card in a classic portrait scene. But what if we have a scene where the key light is short? Subject is lit from the side or back lit. Is there a difference in a gray card placement or reading? Should we care about fresnel reflections brightness impact? Is there any source to read? Thanks!
@@Мина-р3ф Here are some tips for using an 18% gray card with side key lighting:
Lighting:
Place the gray card in the same lighting conditions as your subject, such as having them hold it over their face (part in light & part in dark). You can also tilt the card towards the key light. This will give you an average reading of the average light.
Metering:
Use a spot meter to read the center of the card. If you can't fill the frame, use the center-weighted or spot meter setting. Adjust your settings until the arrow and meter are dead center, which is middle gray (again, for the average overall reading).
Exposure:
Put your camera into manual mode and adjust your exposure settings. You can also use a light meter reading taken from a subject of known reflectance. Higher F/Stops will make the near/dark side lighting darker. Conversley, lower F/Stops will add more detail to those areas.
White balance:
Take a picture of the gray card and then select the custom white balance option in your camera's menu. You can zoom in on the card to fill the frame, and you might need to take it out of autofocus mode.
Taking a couple test shots between setting changes is always the best way to go to ensure you have the exposure/white balance you want.
@@jimcostafilms many thanks for your tips!
Considering side exposure, I save the "pleasant" exposure incident readings and recall it as presets on set. It works more reliable for me. I can't get consistent and predictable exposure when tilting the card to some average. I find 1/3 to 2/3 of a stop exposure fluctuation is too much.
@@Мина-р3ф Well, 1/3 - 2/3 if a stop fluctuation for the exposure tolerance is that much of a problem, I would definitly take a test shot or two before the actual shot. I do have an idea that might speed the process. Let's say you have a side key or a far side key light with little to no fill light (similar to your original description). I recommend holding the 18% gray card 1/2 in the light and 1/2 in the dark and spot metering right in the middle (also 1/2 light & 1/2 dark). My guess is that this will give you a pretty close to correct reading.
Your video help me alot, thank You
I'm happy that you found the info useful. I'm also happy to answer any questions you may have. Thanks for tuning in!
great usual video. i have a question. I have a sekonic L558. If i spot meter a grey card in my given scene and get a reading for example f11.5 at 1/60th, does this mean my lighter is off by half a stop? i have noticed if i meter im not getting solid/whole reading. wonder if the grey card can be used to calibrate my light meter
You can check the meters reading in this work around:
You’ll need a still camera with a histogram display feature. A histogram is a digital version of the zone system. The middle of a histogram is the same as zone 5, or “middle” gray. An 18% gray card is “middle” gray in value.
The idea is to expose that middle gray card to render a middle gray spike in the middle of the histogram. If accomplished, then you have achieved a perfect exposure - a feat necessary for calibrating your meter accurately.
Fill the frame with the gray card and set up your still camera to reflect a basic cinema situation with respect to the lighting.
Then quickly take your test spot meter reading before there is any deviation in the available light, clouds, wisps, etc. If your meter is well calibrated, it should render a reading that’s correct.
Compare this to the light meter reading you will take in the same lighting and if it’s the same, your reading on both will be correct.
I don’t worry too much about a tenth or two over or under. That’s close enough. Anything more or less and you do have a problem with he meter.
@@jimcostafilms thanks for the work around. I tested ageing my digital camera and they both came with the same reading. I mostly shoot analog film and would get for example f8.4 at 60th when I set my sekonic to Apeture priority at f8. I just wondered if my light meter is 4/10th off.
@@soulstart89 If the readings were the same then it's fine.
I was a photo lab tech at National Geographic back in the 1970s when the film speed rating system for film was changed from American Standard (ASA) to International Standard (ISO). It was my understanding at the time that while 18% was used as the calibration point under the ASA system - meaning what every tone you “spot” metered would in theory be reproduced as 18% reflectance on the print-that ISO had used 12.8% for its calibration point and thus anything you metered should in theory be reproduced as 12.8%.
The practical implication of that today with digital cameras where highlight detail needs to be preserved is that if one fills the entire frame with a Kodak 18% Gray Card and set camera exposure manually based on centering the spike from the card on the camera histogram at 128 on the scale of 0 -255 the highlights in the image will be blown. This was actually addressed in the instruction sheet for the last Kodak 18% card I purchased back in the early 2000s saying exposure settings based on meter readings made off the Kodak card would need to be adjusted by about 1/3 stop to obtain correct exposure in the highlights.
According to accounts I read about this in the 1990s in early Internet photography forums posted by people who worked at Kodak when it switched from ASA to ISO for listing film speed that it’s plan to change the reflectance of the Kodak card to conform with the 12.8% reflectance ISO speed point was thwarted by Ansel Adams whose Zone System was based around Zone V = 18% being the perceptual center of the tonal scale and Kodak execs. acquiesced because Adam’s Zone System was what created the continued demand for sheet film.
Photography books I read back then said the 18% speed calibration point used by ASA was based on the average reading of a cross-lit landscape on a clear “Sunny 16” day which meant shadows on the negative would record detail on the negative at shutter = 1/ASA speed of film @ f/16. But a quality of negative film / print for B&W and color film was that the straight line part of the DlogE curve was so much longer than than of the print one could over expose a negative by two f/stops or more and still make a full range print from it.
I had started using the Zone System back in 1971, which was a reason NGS hired me to work in its lab, and the first test one did with the Zone System was changing the ASA setting on the meter until you actually got Zone 1 (first hint of shapes in shadow) densities on the negatives which put Zone 0 black voids on the clear film base and and Zones 1 and 2 down on the toe of the curve where the density didn’t increase as much with changes in exposure, but of you filed your negative carriers large the Zone 0 black on the print would put a nice black border around the frame proving to the world you hadn’t cropped the image and control exposure of the shadow according to the gospel of St. Ansel.
Over the years I’d used Weston IV, LunaPro, Honeywell-Pentax 1° spot meter. Because I had the spot meter when learning Adams Zone system I realized that instead of metering the 18% gray card to determine actual film speed at Zone V I could instead just point the spot directly on the Zone 1 area of the scene I was photographing and just adjust indicated ASA speed on the meter by 3-4 stops until the corresponding shutter / aperture reading gave me Zone 1 detail on the negative and print. I just was shifting the meter’s calibration point and the film speed from 18% and Zone V to Zone 1 and whatever % light it reflected. Then it was just matter of metering a Zone 9 non-specular highlight to determine the Zone 1 - 9 EV range and from that know how long to develop the film to fit #2 paper - the gospel according to to St. Ansel was based around adjusted film development based on scene contrast to always print on #2 paper ignoring the fact Kodak also made grades 1, 3 and 4 🤷🏼♂️
The same approach of ‘hacking’ the film speed setting on the spot meter worked in reverse for slides. You meter on a Zone 9 non-specular highlight to determine and adjust the meter’s ASA setting changing the speed until it was correctly exposed in a bracket test. Once you got the highlight exposure ‘nailed’ that way it was just a matter of reading all the darker tones in the scene to determine in advance when detail would be lost in the darker midtones and shadows (seen by eye) due to its short range.
For my studio lights I used a Sekonic L-358 flash meter but found its incident exposure readings never exposed the highlights correctly with my Canon digital camera bodies when both were set for the nominal ISO speed of 100. What I had to do to get correctly exposed highlights was to enter a compensation factor of -0.3 stops into the meter. What I was using to judge correct highlight exposure was test shots of a white terry towel draped on a stand and test shots. Then it dawned on me I could just toss the meter in the drawer and just use a few test shots and the clipping warning to set exposure in the highlights optimally with Zone 9 solid whites at around 245-250 and only Zone 10 specular reflections clipping at 255. I just raised power until triggering the clipping warning on the towel and backed off 1/3 stop.
Then I realized that by also using a black towel I could easily set my lighting ratio for fill range of detail without shadow noise:
1) set aperture for desired DOF
2) place FILL FLASH centered behind and over camera to cast it’s shadow down out of sight and raise power until detail and texture seen in the black towel draped on stand next to white one that would be recorded as gray due to the limited DR of the camera.
3) turn on the KEY FLASH and then raise it until white towel is 1/3 stop under clipping warning.
It’s expose for the shadow detail with FILL, expose for the highlights with overlapping KEY with the centered nearly shadowless fill as the foundation. The result is natural detail everywhere as seen by eye. For lighter softer shadow in midtones like faces just start with more fill, making the black towel Zone a lighter gray, burning in darker shadows in post processing or adjusting via curves. For greater contrast in midtones like faces you wouldn’t want to start with less fill because that would result in no signal and just noise in the shadows. Instead fill for a full range detail in darkest shadows when exposing then adjust darker with curves in post processing.
If you start by setting FILL level before turning on and adjusting the KEY light for the highlights there isn’t any penalty for erring on the side of over-filling the shadows because the lighter they are recorded - to be pulled back down in post processing - the less noise they will have after being adjusted. All easily judged with a couple towels or other white/black textured fabric which can be draped in 3D shapes 😊
but when I got a pair of Canon 580ex flashes which used coded flash pulses for control signally I couldn’t use the flash meter but discovered a simpler m
Jim, quick question can I use white paper for white balance and use grey card for correct exposure?
The short answer is yes to both.
The long answer is a bit more complicated.
Regarding a white sheet of paper for the white balance: If your goal is to get the white balance pretty close to spot on in most situations, then, yes, it’s fine to use a white sheet of paper. However, some say that white paper isn't a very good reference because standard printer paper contains bleaching agents that can affect the color balance. For example, most bright white office papers contain OBAs, which makes them unsuitable for white balance targets when exposed to UV light, like outdoors. Just remember, white paper reflects its environment. Thus holding paper near a red curtain will give a red cast.
Regarding a grey card: This is always the best choice to use in either situation. A gray card is 18% gray, and the camera's meter perceives the light reflected from this as “normal” exposure. This can help you get good exposure in almost any situation, especially for portraits and products. It will give a near perfect exposure in almost any situation.
@@jimcostafilms ah I see. So basically use grey card for both, but a white paper if you have to for white balance. By the way, I understand that you can use grey card for exposure on a subject, but what about if I'm doing landscape shot when it's sunset or dusk time, do I still need to consult the grey card for exposure and white balance?
@@smann7236 Golden Hour:
Yes, you can use a grey card to white balance during golden hour, which is when the sun is near the horizon and has a warm 4000 Kelvin range. You can use the grey card as a reference image to correct your colors in image editing. For example, you can use the Lastolite 12'' Grey Card to isolate the sky color temperature from the sun color temperature.
It can be a bit tricky to get proper white balance during golden hour but will work provided the card is lit by the same light as the subject.
For easy reference:
During golden hour, you can manually adjust your white balance to 6000-6500K, which is within the Cloudy or Shade mode of your camera. This setting enhances the reds and oranges, creating a cozy, inviting atmosphere in your images. You can tweak the white balance up or down to bring out the warm, rich colors of the landscape while making sure your images reflect real life.
Blue Hour:
When taking photos during blue hour, you can set your white balance between 3400K and 5000K to boost the blues. Some recommend setting your white balance to capture the temperature of light as your eyes see it, which is more blue. Others recommend setting your white balance between 6500K to 7500K to keep things cooler, or 9,000K to 10,000K to render the light more neutral. You can then add warmth to the image in post.
I like 4000K - 5000K, personally. Don’t use auto WB for Blue hour as you’ll loos the rich blue hues.n If your camera doesn’t allow for setting the WB in degrees Kelvin, try using the fluorescent light preset instead,
I did a couple videos on Golden Hour and Blue Hour shooting:
th-cam.com/video/sYnae_Zb7qI/w-d-xo.html
@@jimcostafilms thank you so much for details! I always love shooting low light magic hour and dusk..I will try it out. ♥
@@smann7236 Let me know how it goes.
So where does skin tone come into play when using an 18% gray card or light meter? Since the IRE values are different with different skin tones, how can 18% middle gray be used universally on different skin tones?
I discuss this in the video, but for a brief summation, try this as a starting point: You can expose using skin tone as reference, correcting with a personal scale inherited from your experience. Something like: If the talent has typical Caucasian or Asian tone, expose at middle gray. If the subject is hispanic, expose 1/2 to 1 stop under middle gray. If the subject is African American with darker, but leaning to more brown skin tones, expose 1 stop to 1 1/2 stops under middle gray. If the subject has very dark skin tone, expose two stops under middle gray. If the subject is particularly pale skinned with red hair, expose one stop above middle gray. That is very similar to using a gray card. It is less reproducible, but it still works if you do not have a gray card. It's always best to expose a test shot first using a gray card to see where the skin tone exposure falls and then adjust your F/Stop from there.
@@jimcostafilms Thanks! I was looking to replace using false color with the El Zone system so I wanted to make sure I had a firm grasp on the middle gray card.
@@jamesreed7278 I'm happy to have been able to help.
@@jamesreed7278 The EL zone on the SmallHD smart series monitor work off more accurate readings (F stops) off your light meter, as opposed to IRE values which is VERY outdated tech, but somehow we as DOP's still use false colour to this day. 😅
How to use the grey card with strobe lights
Since it's not a continuous light as the sun
Should I go with Zebra lines technique or what
It is quite easy to use a grey card. Simply place it in the area where you plan to shoot your subject, facing the direction of where you plan to place the camera. If you are using artificial light, you will want to make sure you light the grey card the same way you plan to light your subject
I use a grey card to set custom white balance for every shoot. Your camera manual should explain the basics of how to set a custom white balance.
1) Setup your studio flash lights and meter them to your liking.
2) Setup/connect your camera in Manual mode with aperture/shutter speed appropriate to using studio flash.
3) Have your model hold the grey card aimed towards the camera.
4) Fill the viewfinder of the camera with the grey card and press the appropriate WB button/shutter release on the camera to set a new custom white balance. Store the new setting in the camera.
5) Use this WB setting for the shoot.
@@jimcostafilms thanks a lot for your fast answer
Much appreciated
@@ahmedyadam7240 I'm happy to help. Feel free to ask any questions you have in the furure.
Great video Jim. Question regarding the first part of the video - getting proper exposure using the gray card. Are you assuming auto WB at this point? Or, would you say get a custom WB set first, then use the card again to get proper exposure? (Understanding of course if the subject is moved and/or light changes - the exposure and WB would change).
Go manual and then fill the frame with the grey card under the lighting you wish to use for your subject and adjust the camera’s exposure settings until the meter zeroes out.
@@jimcostafilms Irrespective of WB? Keep in auto WB?
@@jimpenn7628 What's the make/model of your camera?
@@jimcostafilms I have a7iii and a7riii. I use the gray card to set custom WB currently. So, I am thinking I could simplify workflow by just setting exposure off the gray card as you suggested in the first part of the video. Not sure auto WB would cure any color cast though.
@@jimpenn7628 Many would say that if you shoot in RAW then the White Balance setting is irrelevant because your processing software would just fix it. You would have to use a developer, like Lightroom or Photoshop and there you set the color to your liking. Many use a grey card to adjust WB for JPEG files only. I would just do it for both personally. I believe that doing things right the first time is the simplest way to avoid problems later.
To answer your specific question: To stop the Sony choosing a AWB setting you need to set the WB manually, yes, using a grey card or not.
Never loose sight of the important fact that both the exposure meter and that average white balance “think“ in monochrome.
The exposure meter is looking for mid tone gray in a presented scene and adjusts settings that will capture that gray in the best contrast available. That implies the blacks will be black and the whites will be white but the blacks and whites will contain detail.
The white balance, as already mentioned, also looks for mid tone gray and when it gets that right or wrong it sets ta color cast you might see, usually yellow or blue.
So remember, green grass, skin tones, tarmac all are mid tone gray and if they dominate an image they will be the colors that, if correctly exposed, will look right and sometimes others can be off a bit. That is why all editing software has means to correct white balance either in JPEG or RAW.
You might consider the PRIORITY SET IN AWB" option. It’s usually pretty good on that camera.
One thing to keep in mind: Have you done a master reset? I have heard that Sony cameras occasionally went "off” in AWB after changing the settings in picture profiles, and despite returning them back to the default, WB was off and images had a blue cast.
The reset fixed that, but be warned, all your button customization, function menus and memories get reset as well.
I haven’t experienced this, but people I know have so bee on the look out.
Not all grey cards are the same. Many of the cheap ones have a slight colour cast.
You do have a point. It's always best to use a higher quality card to assure the most accurate colors.
2:30
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no, it's a mistake
you need 1/2 stop downcompensation after exposuring for 18%
You are free to expose however you would like once you get the exposure correct for middle grey.
@@jimcostafilms that's right. But 18% is not a standard for middle gray exposure
@@ХЕЙТЕРЫ-ы2б That I disagree with. Middle gray is the very center tone between absolute back and absolute white which is 18% grey.
@@jimcostafilms The situation is truly unclear. It appears that the 18% gray value comes from the print world. Light meters are calibrated at the factory using ANSI standards. The standard has always been for a luminance value that is roughly equivalent to the reflectance of 12% gray.
Moreover, Sekonic's web page mentions 14% and claims Minolta uses a higher setting, while Minolta's English pages claim yet a different value.
So, the truth is out there...
@@ХЕЙТЕРЫ-ы2б See if this helps: www.greatphotography.com/blog/2016/6/14/18-gray-the-middle-value#:~:text=18%25%20gray%20cards%20have%20been,of%20light%20that%20they%20receive.