For a lot of photographers, exposure’s a frustrating hit-or-miss game.
 

Have you ever wondered why?

It’s because most of us start with automatic modes, and think the camera’s gonna do our thinking and camera operation for us.

But the truth is, a camera in automatic exposure mode doesn’t know what exposure we want.

That’s because the camera is an unthinking, unknowing machine that, in terms of exposure and tonality, only gives us a standard baseline exposure based on the light that’s affecting the meter.

On one hand, that’s exactly what it’s supposed to do, but on the other hand, that’s why we end up with exposures we’re not thrilled with.
 

One of the biggest issues of the photographers I work with is getting the exposures they want.

The missing part is efficient and effective metering techniques.
 

A lot of photographers don’t even know what metering is, and if they do, they just don’t know how to do it efficiently and effectively.
 

Their usual approach to exposure is, “If it looks bright enough on the LCD screen while reviewing a picture, it’s good enough.”

But the LCD isn’t the best way to judge the quality of our picture, because ambient light conditions usually prevent the screen from being seen as well as it could be.
 

When we start using the meter in manual exposure mode, we get good, solid objective information about light.
 

That helps the tonality that results from exposure make much more sense, and, as a result, our compositions get stronger.

Don’t ever think manual exposure mode is just for professionals or more advanced photographers.
 

It’s a repeatable, reliable technique that any photographer could use regardless of how long they’ve been doing photography.

Although you’d be better off getting guidance from me in person in one of my group classes or private lessons, there are some things you might want to try.
 

Meter a stationary subject for three frames, adjust only the shutter speed, and watch how the picture changes.
 

Getting involved in light, camera operation, and composition is the best way to study and practice, because we become better photographers by being intentional.

And don’t think exposure is just a technical thing.
 

It’s compositional.

Our tonality directs the viewer's eye.
 

Try intentionally overexposing and underexposing the same scene by one stop—you’ll see how tonality influences how the picture feels and what it communicates.

And that’s just one of the important things we’ll study and practice in the Photography Basics/Introduction to Photography classes starting soon, or we could talk about it during a series of Private Lessons.

However you choose to study and practice with me, I’ll help you become the best photographer you can be.

And if you’re not sure which class fits your needs, just ask—I’m always happy to help.

About Sam

Sam D'Amico, a professional photographer and photography instructor, helps anyone who wants to be a better photographer. 

He'll work with his students to increase their understanding of camera operation, composition, light, and lighting. 

Sam started working as a professional photographer in the mid-1980s.

Most notably, from 1992 to 1997, while working as a freelance photographer, he photographed over 500 assignments for the New York Times.

Additionally, Sam received awards for his work while exhibiting his photographs in shows. 

Sam began teaching photography professionally in 1998 through the Highland Park, N.J. recreation department. 

In 2002 Sam moved to Washington, D.C., and began teaching at the accredited Washington School of Photography in Bethesda, Md.

It was in 2003 that Sam developed his curriculum and started teaching classes in Washington, D.C. 

In 2018 and 2022, the Sam D'Amico Photography Classes were voted the "Best of DC" art class by the readers of the Washington City Paper. 

Many photography teachers spend a lot of time teaching about DSLRs and rules of composition that create homogenized, rigid photographs.

On the other hand, Sam teaches about camera operation, thought process, and the individual photographer's visual communication intent. 

This approach to teaching allows his students to use ANY camera (yes, even the camera on their phone) and break free of the rules of composition.

Approaching the creative process this way allows for fluid and spontaneous photographs unique to the photographer creating them.

Sam encourages his students to find their ways as photographers. 

He instills the skills in his students that result in creative, engaging, and unique compositions that reflect the photographer's intended one-of-a-kind visual expression.