First, let’s remind ourselves of the journey light makes: photons are emitted from a source, they strike a surface which absorbs some and reflects others - creating the impressions of colour and shade; then if the reflected light reaches an eye or camera lens it forms an image. We’ll look at the various ways of measuring light in the order the measurements occur along this light path, which is also roughly the order in which these measurements are typically used by a director of photography.
1. Photometrics data
You can use data supplied by the lamp manufacturer to calculate the exposure it will provide, which is very useful in preproduction when deciding what size of lamps you need to hire. There are apps for this, such as the Arri Photometrics App, which allows you to choose one of their fixtures, specify its spot/flood setting and distance from the subject, and then tells you the resulting light level in lux or foot-candles. An exposure table or exposure calculation app will translate that number into a T-stop at any given ISO and shutter interval.
2. Incident meter
Some believe that light meters are unnecessary in today’s digital landscape, but I disagree. Most of the methods listed below require the camera, but the camera may not always be handy - on a location recce, for example. Or during production. It would be inconvenient to interrupt the ACs while they’re rigging the camera onto a crane or Steadicam. This is when having a light meter on your belt becomes very useful.
An incident meter is designed to measure the amount of light reaching the subject. It is recognisable by its white dome, which diffuses and averages the light striking its sensor. Typically it is used to measure the key, fill and backlight levels falling on the talent. Once you have input your ISO and shutter interval, you hold the incident meter next to the actor’s face (or ask them to step aside!) and point it at each source in turn, shading the dome from the other sources with your free hand. You can then decide if you’re happy with the contrast ratios between the sources, and set your lens to the T-stop indicated by the key-light reading, to ensure correct exposure of the subject’s face.
3. Spot meter (a.k.a. reflectance meter)
Now we move along the light path and consider light after it has been reflected off the subject. This is what a spot meter measures. It has a viewfinder with which you target the area you want to read, and it is capable of metering things that would be impractical or impossible to measure with an incident meter. If you had a bright hillside in the background of your shot, you would need to drive over to that hill and climb it to measure the incident light; with a spot meter you would simply stand at the camera position and point it in the right direction. A spot meter can also be used to measure light sources themselves: the sky, a practical lamp, a flame and so on.
But there are disadvantages too. If you spot meter a Caucasian face, you will get a stop that results in underexposure, because a Caucasian face reflects quite a lot of light. Conversely, if you spot meter an African face, you will get a stop that results in overexposure, because an African face reflects relatively little light. For this reason a spot meter is most commonly used to check whether areas of the frame other than the subject - a patch of sunlight in the background, for example - will blow out.
Your smartphone can be turned into a spot meter with a suitable app, such as Cine Meter II, though you will need to configure it using a traditional meter and a grey card. With the addition of a Luxiball attachment for your phone’s camera, it can also become an incident meter.
In the second part of this article we’ll look at exposure tools which measure the light actually hitting the sensor of the camera you’re shooting with.
Image courtesy of Shutterstock.