These laws also have a highlight and a low light warning setting which can also be used after you've taken the shot. Now, not all DSLRs have low light, the 70 that I'm using today doesn't have a low light setting, but they all have a highlight and we call that the Blinky LEDs, which is what you could see flashing away in the shop. And what that said was that saying to it is Warning Warning Warning. You're clipping the whites. In other words, you're overexposed in the whites, you're losing detail in the whites, this is too bright for me. So let's go and have a look at the Blinky is now in conjunction with the histogram.

A sci fi can help us adjust our exposure. So we come back to the shot we last took. And we can see that blinking now that Blinky is telling us that histogram has ramped up on the right hand side. Now the good thing about Blinky is it tells you really Really, really quickly. So the histogram you're looking at with a Blinky straightaway, we know we've got a highlight here we've got a hotspot. Now, obviously, the dynamic range of this camera is going to struggle, he won't do complete whites and it won't do complete blacks.

But what we could decide here is yes, we want to expose to the right but maybe let's just take it off a little bit. To do that. We go back to our meter already or two thirds, furred under, so we're just going to go to one stop, and we're going to take that picture. Now. The blacks start to push up against the left hand side, but the Blinky is getting smaller. And we could also see on the histogram now that's coming across, let's just take it down a little bit more.

Taking a sharp now the blinkers are telling us we're no longer losing the highlights. So in the highlights were pretty much absolutely spot on. Problem is We've now lost the blacks. So what would I do in this situation, I would shoot to the right, I would allow the highlights to blow a little bit. Because it's such a thin band of light that if I lose detail that is pure white anyways, there's not going to matter. So let's just take it back.

So now we're in the center again, let's take a picture. And yes, my highlight is completely all the way up to the top. But as you look across the histogram, you will see those bands, see those bands. Right next to the black one. There's another little line, there's another. what you've got is you've got blacks in the first band.

You've got dark Gray's in the second band, you've got mid Gray's in the middle band. You've got whites, or light Gray's in the band, second from the right, and then the last one, you've got highlights. So when we look at this image now yes We've got Blinky keys. But that is actually pure white. So we don't need to worry too much we're going to expose to the right. We've only got that thin band, we're going to be fine.

Where do we create a problem is if we really overexposed, so let's have a look at that. So what we're going to do now, we're going to take it up, and we're going to go to plus free, really overexposing the shot. Now, when we look at the curve on the right hand side, we can see the in the white section or the highlights, what have we got, we've got this mountain climbing up the side of the highlights that it's seriously exposed. And we can see now we're starting to lose the detail in the highlights. Much more the scene is now pure white. So we that is too much.

But if we just have that fin strip, let's just go back to how it was before. I remember I'm just using the shutter speed has that leave and we'll explain to that a little bit more later. How to adjust and stop Like, we just took that down from free to zero. So that's free stops of light down. And as you can see, yes, we've got blink keys, but it's such a thin part of highlight, I'd rather keep the blacks on the left. And that is how we would get close to our exposure.

Now to show you how this works, I'm going to do I'm actually going to move the object because we haven't changed anything. I'm going to move the object over. Okay, so now the tonal value in the shot has completely changed. So I'm going to bring it back up. Okay, completely different shot now, different tonal values, lots more black. This is where the camera is telling me the exposure is.

I'm using all free tools. Now I'm using the light meter, the histogram and the blinkers. So I've got on the right hand side. I've got that highlight on the histogram go The blink is a screaming at me saying white overexposed, waist overexposed. But when I actually look on the right hand side, I can see as it's not that bad, but I am going a little mountain climbing up on the right hand side. So although I've said it in the middle, this is actually overexposed for the light meter is not doing well it's posted.

So let me just take it down one full stop, I'm going to use the shutter speed, take it down to minus one, take that sharp. Still got blink ease, we still got a mountain on the right, let's take it down some more. So you can have a sharp Aha. So now we can see that that lien up on the right hand side has gone down a lot more but the black is starting to move to the left. Let's take another shot, it's minus three go down another stop using the shutter speed as a lever, and we're about there. So on the right side, you can see a little bit of a curve Going up to the really highlighted part.

But on the blacks we can see was there or there abouts is starting to push up. We don't want to go anymore. But let's just reflect on that for a moment. Look what the light meter was telling us. Because we've got all that black in the shop, the light meter was telling us the wrong tonal value for the middle. In fact, it was free stopped out.

So by using the light meter, that gives us a place to start. But then by using the histogram, and the blink is when we taken the sharp we can now bring the exposure to the right place. So the right place for this is minus free on the light meter, which is really, really interesting. And all that's happened is the camera has taken the average come to a gray and said that's the average cost That for therefore that's the middle of the exposure. And this is why this is why when we learn how to take an exposure, we do not trust the camera because it cannot think it cannot compare the light meter and the histogram it It hasn't got the histogram information. So we have to do that for the camera.

That's the advantage of menu mode. Now we can take the correct exposure, we can pull those leavers to move up and down one, but the light meter plus the histogram plus the blankies are going to help us find our exposure