Doug Kerr
Well-known member
I often say in discussions of exposure metering that an incident light exposure meter responds to the illuminance upon the subject (or upon the place where the subject will be for the shot).
In fact, that is imprecise. A more complete description would be that the meter responds to the illuminance upon the plane of the receptor of the meter. We'll shortly hear more about the significance of this. It involves those pesky cosines.
But that's not exactly so either, a further matter of those pesky cosines.
The illuminance upon a plane caused by an arriving "beam" of light of some luminous flux density (the measure of the ongoing potency of a "beam" at some place it reaches) is the product of the luminous flux density and the cosine of the angle that the direction of arrival of the beam makes with a line perpendicular to the plane at the point of interest (the angle of incidence).
For a flat subject surface that is "ideally diffusing" (that is, is a Lambertian reflector), its illuminance (what we can think of, somewhat imprecisely, as its brightness) is:
• Proportional to the product of the illuminance on the surface and its reflectance.
• The same for any angle of view.
• Not affected by the angle of arrival of the beam that produced the illuminance beyond the effect of angle of incidence we earlier mentioned. That is, if we had one beam that arrived at a zero angle of incidence (perpendicular to the surface), and another beam that arrived at a 45° angle and had 1.414 times the luminous flux density, then both would deposit the same illuminance, and we could not tell the difference between the two cases, for example by examination of the luminance of the surface as seen from different angles.
Now if in fact all our subjects had flat and Lambertian surfaces, for exposure planning, we would want to know the luminance upon that surface or upon a hypothetical plane with the same orientation.
And we could measure that with an exposure meter that in fact responded to true illuminance, by placing it at the point of interest with its receptor parallel to the plane of the surface.
In a meter that responds to true illuminance, every "component" of the arriving light is "weighted" by the cosine of its angle of arrival, so as to mimic the definition of illuminance.
Said another way, the angular sensitivity pattern of the meter follows a cosine pattern. If we plotted this, the polar plot would be a circle with a point on the circle at the origin ("at the meter") and its diameter extending out along the meter's "boresight".
But for most of our work, the subject is not a flat surface (in glamor photography, we certainly hope not). And the various surfaces of the subject may or may not be close to Lambertian in their reflective behavior. ("No, she said she was an Episcopalian".)
So this whole lovely theory falls apart in practice.
It's not just the theory that falls apart, but the actual photometrics. Suppose we consider a model, facing the camera, whose face is mostly illuminated by a beam from her right left. Its angle of incidence on the right side of her face is smaller than its angle of incidence on the front of her face, so we might expect a greater illuminance on the right side of her face than on the front. An thus we might thus expect a greater luminance of the right side of her face than the front.
And of course this i hardly a surprise to the studio photographer, who may have put that light source where it is to produce that exact effect. And the sophisticated studio photographer may in fact use an incident light exposure meter, of the type that measures true illuminance (we'll talk in a bit about what kind that is) to make separate illuminance measurements of the illuminant on both sides of her face and on its front, each principally coming from a separate source, to fully judge the effect to be gotten.
But in a less sophisticated situation, the photographer may want to just make one incident light measurement. Clearly, that can't tell us about the differences we will get in exposure on the different aspects of the face (which may not have the relationship we like from an aesthetics standpoint, but clearly we are not up to dealing with that precisely).
Various workers (and Don Norwood, the developer of the famous Norwood Director series of studio exposure meters is often credited as a key player in this) found that in many cases (an important phrase in all discussions of exposure metering) a good overall compromise exposure may be determined based on the observation of a meter whose receptor did not have a "cosine" directivity pattern but rather a one something like:
where A is the angle off the boresight direction. This polar plot is an epicycloid of one cusp, which some have very fancifully thought looks something like the iconic representation of a heart - this shape thus came to be called a "cardioid" ("heartlike") pattern. It is, however, as one author commented, actually much more like the cross section of an apple without its stem.
The "good exposure result in many cases" would come from uniformly orienting the axis of the meter toward the camera (as we would do with the other kind of meter to place its receptor in a plane facing the camera, as for the near side of the face. (Hey, if this is to be a "simple" procedure, lets keep it truly simple.)
How do we make a meter have such a directivity pattern? One technique (proposed and refined by Norwood) is to place a translucent hemispherical shell over the meter's basic flat receptor. (Of course, some further details need to be attended to.)
And in fact the iconic studio exposure meter, The Norwood Director, has as its hallmark a prominent hemispherical diffuser.
Norwood Director exposure meters.
Copyright John D.de Vries
Used without permission
Thanks, John.
Now, in many of the photographic exposure meters offering an incident-light mode, the hemispherical differ is part of the standard configuration for that mode, and so these partake by default of the "Norwood strategy".
Especially in the more sophisticated types (several of the Minolta machines, for example), there is an alternate "flat" diffuser (maybe needing to be separately purchased) that, mounted in place of the hemispherical diffuser, will give the meter very nearly the classical cosine pattern. Often the manuals will advocate the use of this when making separate measurements of the illuminance from multiple sources in a studio to plan "ratio lighting".
And thus the loop is closed to where I came in.
Best regards,
Doug
In fact, that is imprecise. A more complete description would be that the meter responds to the illuminance upon the plane of the receptor of the meter. We'll shortly hear more about the significance of this. It involves those pesky cosines.
But that's not exactly so either, a further matter of those pesky cosines.
The illuminance upon a plane caused by an arriving "beam" of light of some luminous flux density (the measure of the ongoing potency of a "beam" at some place it reaches) is the product of the luminous flux density and the cosine of the angle that the direction of arrival of the beam makes with a line perpendicular to the plane at the point of interest (the angle of incidence).
For a flat subject surface that is "ideally diffusing" (that is, is a Lambertian reflector), its illuminance (what we can think of, somewhat imprecisely, as its brightness) is:
• Proportional to the product of the illuminance on the surface and its reflectance.
• The same for any angle of view.
• Not affected by the angle of arrival of the beam that produced the illuminance beyond the effect of angle of incidence we earlier mentioned. That is, if we had one beam that arrived at a zero angle of incidence (perpendicular to the surface), and another beam that arrived at a 45° angle and had 1.414 times the luminous flux density, then both would deposit the same illuminance, and we could not tell the difference between the two cases, for example by examination of the luminance of the surface as seen from different angles.
Now if in fact all our subjects had flat and Lambertian surfaces, for exposure planning, we would want to know the luminance upon that surface or upon a hypothetical plane with the same orientation.
And we could measure that with an exposure meter that in fact responded to true illuminance, by placing it at the point of interest with its receptor parallel to the plane of the surface.
In a meter that responds to true illuminance, every "component" of the arriving light is "weighted" by the cosine of its angle of arrival, so as to mimic the definition of illuminance.
Said another way, the angular sensitivity pattern of the meter follows a cosine pattern. If we plotted this, the polar plot would be a circle with a point on the circle at the origin ("at the meter") and its diameter extending out along the meter's "boresight".
But for most of our work, the subject is not a flat surface (in glamor photography, we certainly hope not). And the various surfaces of the subject may or may not be close to Lambertian in their reflective behavior. ("No, she said she was an Episcopalian".)
So this whole lovely theory falls apart in practice.
It's not just the theory that falls apart, but the actual photometrics. Suppose we consider a model, facing the camera, whose face is mostly illuminated by a beam from her right left. Its angle of incidence on the right side of her face is smaller than its angle of incidence on the front of her face, so we might expect a greater illuminance on the right side of her face than on the front. An thus we might thus expect a greater luminance of the right side of her face than the front.
And of course this i hardly a surprise to the studio photographer, who may have put that light source where it is to produce that exact effect. And the sophisticated studio photographer may in fact use an incident light exposure meter, of the type that measures true illuminance (we'll talk in a bit about what kind that is) to make separate illuminance measurements of the illuminant on both sides of her face and on its front, each principally coming from a separate source, to fully judge the effect to be gotten.
But in a less sophisticated situation, the photographer may want to just make one incident light measurement. Clearly, that can't tell us about the differences we will get in exposure on the different aspects of the face (which may not have the relationship we like from an aesthetics standpoint, but clearly we are not up to dealing with that precisely).
Various workers (and Don Norwood, the developer of the famous Norwood Director series of studio exposure meters is often credited as a key player in this) found that in many cases (an important phrase in all discussions of exposure metering) a good overall compromise exposure may be determined based on the observation of a meter whose receptor did not have a "cosine" directivity pattern but rather a one something like:
(1+cosine A)/2
where A is the angle off the boresight direction. This polar plot is an epicycloid of one cusp, which some have very fancifully thought looks something like the iconic representation of a heart - this shape thus came to be called a "cardioid" ("heartlike") pattern. It is, however, as one author commented, actually much more like the cross section of an apple without its stem.
The "good exposure result in many cases" would come from uniformly orienting the axis of the meter toward the camera (as we would do with the other kind of meter to place its receptor in a plane facing the camera, as for the near side of the face. (Hey, if this is to be a "simple" procedure, lets keep it truly simple.)
Note that there is no rigorous "theoretical" basis for the cardioid pattern, although a conceptual one (I'm still examining its credibility) is put forth by Norwood in his patent (US 2,224,283).
How do we make a meter have such a directivity pattern? One technique (proposed and refined by Norwood) is to place a translucent hemispherical shell over the meter's basic flat receptor. (Of course, some further details need to be attended to.)
And in fact the iconic studio exposure meter, The Norwood Director, has as its hallmark a prominent hemispherical diffuser.
Norwood Director exposure meters.
Copyright John D.de Vries
Used without permission
Thanks, John.
Now, in many of the photographic exposure meters offering an incident-light mode, the hemispherical differ is part of the standard configuration for that mode, and so these partake by default of the "Norwood strategy".
Especially in the more sophisticated types (several of the Minolta machines, for example), there is an alternate "flat" diffuser (maybe needing to be separately purchased) that, mounted in place of the hemispherical diffuser, will give the meter very nearly the classical cosine pattern. Often the manuals will advocate the use of this when making separate measurements of the illuminance from multiple sources in a studio to plan "ratio lighting".
And thus the loop is closed to where I came in.
Best regards,
Doug