[intro music] Male announcer: You’re watching Adorama TV. Mark Wallace: Hey everybody, welcome to this
week’s Adorama TV. We’re going to be talking this week about light meters, specifically
Sekonic light meters. I’ve been using these guys for years. I really love them, and I
want to tell you why I love them so much. So we’re going to be talking about two light
meters, and you’ve seen these in tons of videos that I’ve made. This is the Sekonic L-358, and this is the
Sekonic L-758DR, and I’m sure if you’ve watched any of the videos in the past you’ve seen
both of these guys over and over. Well, let me tell you what I love about them. They both
do some things and have a lot of things in common, so I’m going to start talking about
those first. The first thing is they share a bunch of modes
in common. So, they both have ambient-light metering so you can meter ambient light, for
your scenic photographers and non-strobe people. And then both of them have two different studio
metering modes built in by their default. One allows you to shoot without a sync cable.
You can push your metering button and it will wait up to 90 seconds for the flash to fire.
The other one is to actually plug in the sync cable to your light meter, and that way you
can trigger your studio strobes. Now, there is an optional little module that
you can plug in here, and this is a Sekonic module 32, and what it does is it allows you
to trigger PocketWizard radios from right within your light meter. And when you plug
this in to your light meter, what that allows you to do then is it gives you another mode,
and that is wireless triggering mode. So then when you push your metering button, it triggers
your PocketWizard radios and fires your strobes. And so, that’s a really nice module to get,
and I highly recommend it because you can get it for less money when you buy it at the
same time as you buy your meter, than if you buy it later on and add it on to your light
meter. So, the other thing that these guys have in
common is their ability to have two different ISO settings. And so you can set ISO one to
something like 200, ISO two to something like 800, and so if you’re shooting with two different
cameras or two different film stocks, you’re able to easily go between those without having
to re-meter every time. So you can just meter once, and look and say, “Well, what is this
for camera one and camera two?” So, two different ISO values. They also both allow you to do some exposure
compensation, and that allows you to make sure that your meter is matched to your camera.
So if you’re consistently seeing something is overexposed a little bit, well, you can
go in here and you can change your exposure compensation in tenth-stop increments to make
sure that your meter matches your camera exactly. Now, there’s a better way to do it with the
758, but we’ll get to that in a second. So they also have an EV scale and aperture
value scale at the bottom that allows you to sort of look and see exactly where you
are. There’s some memory modes, so you can do some averaging; you can tell the difference
between two lights using a delta EV mode. And look at Digital Photography One on One.
We’re making some videos to show you some of these advanced features of these light
meters. But it allows you to do light ratios and things very, very quickly just by using
the built-in calculations on your light meter. Now let’s talk about — and by the way, this
guy is the 358. It’s about just over $300 for this meter. This meter here, the 758,
is about $570, so this one’s a little bit more expensive, but let me tell you what this
one does that sets it apart from all other light meters that I’ve seen. The big advantage is this light meter allows
you to use some software on your computer to do camera profiling, and not just camera
profiling, but camera system profiling, meaning your camera body and a lens. So, a 24 to 70
lens is going to behave differently than a 70 to 200 or a 300-millimeter lens or a wide-angle
lens. The exposure is going to vary a little bit, and you can dial that in on this light
meter using this guy. This is the Exposure Profile Target II, that
you have to purchase separately, but I highly recommend doing that, because what it allows
you to do is take your camera and lens and take a few pictures of this guy, and then
you import that into some software on your computer, and then it’ll tell you exactly
what the capabilities of your camera and lens are as far as dynamic range and exposure. Then, this has a USB port on the side of the
light meter. You plug this into your computer, and it imports all of that data. And so you
can have different camera profiles, and you can access up to three at a time inside your
meter, so if you’re using different cameras, again, you can have different profiles to
make sure that the metering matches your camera and lens exactly. And you can store as many
of those profiles as you want on your computer, but you can only load three at a time on your
camera. Now, the thing it does is it puts a — there’s
a little bar at the bottom of this. You probably can’t see it, but there’s a tiny little bar,
and that is the dynamic range of your camera. So then you can use this meter to meter different
elements in your scene to see where they fall inside the dynamic range of your camera. You
can add those to memory to see how they stack up, so you can see where your darks are, your
mid-tones, your lights. And using this meter, you can actually execute
the Zone System perfectly and know exactly what your scene’s going to look like before
you ever take a picture. Now, that takes some time to do that, but you can do that with
no problem. Now, this guy has an EV scale and an aperture
value scale, and you can zip between those really easily by hitting Mode and Aperture.
So that will zap you back and forth between those modes there. And if you forget how to do anything, by the
way, there’s a cheat sheet on the back of your meter that tells you all of that stuff.
So, it’ll tell you how to get between the different settings, exposure compensation,
camera profiling, mode changes. You can lock the jog wheel. There’s all kinds of things
that you can do with this guy. Not only that, but this also has not only
incident metering, which is what you get with this lumisphere, but it has reflective metering.
So just by turning this, now I can look through this — and it has a little targeting reticle
— and I can do some metering, and use reflective metering if I’m a scenic photographer, or
if I’m using the Zone System and I want to really quickly look through my scene and get
my darks and mid-tones and brights, and then I can lock those in, set the midpoint for
my middle gray, and I’ll look at that on my scale. And because I’ve metered and calibrated
my system, I can see how those are falling and if it’s going to work exactly right. It’s
a really, really powerful tool. Now, this also allows you to program it. There’s
some custom functions. You can find those — there’s a little cheat sheet that’s inside
here. And there are about nine different custom functions that you can set, and those are
things like the different exposure compensation settings, the half, full stops, third stops,
EV scale, where the mid-tones are — how that’s set. You can flip back and forth the Measure and
Memory button, so some people like to use this button for Measure and this for Memory,
unless they go from incident metering to reflective metering; then they want this to measure and
this to go into memory, and so that works really, really good. So remember, this all has cheat sheets on
the back, and so if you forget how to do any of this stuff, it’s built right in. So there you have it. This is the flash meter
L-358. This is really terrific for people that are in the studio most of the time and
aren’t doing fine-art photography or scenic photography. If you’re doing more advanced
metering, then really go with the 758DR, because it’s got a lot of features that professionals
really need to lock in. Again, this one’s about $570. This is just over $300, so both
are exceptional values, and I recommend both of them. I use both of them in the studio
every single day. Well, thanks for joining us this week. Remember,
if you have questions about photography or photography-related gear, you can send those
to me at [email protected] Thanks for joining us this week, and I’ll see you next week. [outro music begins] Female announcer: This episode is brought
to you by Adorama TV. Visit the Adorama Learning Center, where you’ll find photography tips
and techniques, links to the gear used in this episode, and related videos. For all
the latest photography, video, and computer gear, visit adorama.com. And the next time
you’re in New York City, visit our store, located on 18th Street between 5th and 6th

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