These emails come with the intent of helping you be a better photographer. 

And if you want more photography stuff to read, there's a place on the interwebs where past emails I wrote are stored. You'll find 'em in the "Newsletter Hub." 

Remember, I'd like to know what you want to know about photography. So, If you have any questions, ask by sending an email to me at sam@samdamico.com. And for what it's worth. When you send me an email, unless someone's lookin' over my shoulder, I'm the only one that sees it.

Hello ,

Today, during the second Introduction to Photography class meeting, we worked completely using manual exposure mode.

Specifically, we began practicing metering specific light intensities and achieving a standard tonality for them by metering to a standard/average exposure by increasing or decreasing our exposure and ISO settings to get our exposure indicator to the center. 

To be precise and intentional, we worked in spot metering and metered the light intensity of the one thing we wanted to control tonality for. 

What was observed reinforced what was observed by doing last week's assigned homework. 

It was observed that achieving a standard tonality/exposure usually doesn't visually represent the light intensity we observe as an accurately represented tonality.

Or the tone we get as a standard exposure isn't the tone we want. 

Remember, the standard tonality we achieve when metering light intensity to a standard/average mid-exposure gives us a mid-tone or mid-value, also known as an 18% gray. 

In other words, a bright light intensity will be recorded as a mid-tonality, and a dark light intensity will also be a mid-tonality. 

For example, our camera is made to meter and give us a standard exposure that'll record snow as grey and a black cat as gray. 

And, of course, a mid-light intensity will record as a mid-tone.

As much as the snow and cat scenarios seem like some significant camera malfunction, it's not. 

It's a good thing. 

Because knowing this helps us visualize the composition's tonality before we make a picture.

This strengthens our visual awareness when observing the characteristics of light and helps with camera operation decisions and composition.

The camera doesn't know what we're metering, and it certainly doesn't know what we want regarding our compositional intent.

But we do. 

And when we know and understand what the camera does, we can operate the camera effectively and create the best compositions given the circumstances.

The next series of the Introduction to Photography class starts in February.

And there are other scheduled group classes below. 

Smaller classes mean better learning, so no more than five participants and me are in each class. 

But smaller classes also mean spots fill up quicker. 

And remember, we learn and improve by doing, so practice making at least one picture daily. 

That's all for now; thanks for reading! 
Sam

I'll help you be a better photographer—study and practice photography with me. 

And what if the timing doesn't work for you in any of my scheduled group classes? If that's the case, let's schedule a one-time lesson or a series of in-person or online private instruction that covers the same things as my group classes. 

Ways to work with me are listed below.