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DCJSENBURY SYSTEM OF ESTIMATING EXPOSURE ".4::
tions and subjects are each divided into four general groups. Memorize them! You then have the entire system at your finger-tips. The Dusenbery System Light Conditions Subject Classifications
1 — VERY DULL. Overcast sky 1 — HEAVY SHADE. Subjects un
with heavy black clouds. der trees, on porches, etc.
2. — DULL. Generally cloudy 2 — STREETS and buildings,
with no direct sun light. Subjects partly in the shade.
3 — BRIGHT. Sun shining thru 3 — Open Landscapes, White
thin clouds or light haze. Buildings, sports and scenes
4 — BRILLIANT. Strong clear without shade,
sun light. No clouds or haze. 4 — SEA, Sky, Snow and Beach
subjects reflecting strong light.
To estimate exposure under this system using the above classifications, simply multiply the number of the light condition by the number of the subject class. The result is the lens setting in the "F" system! In the event that there is no lens marking that corresponds to the result thus obtained, it will be satisfactory if the next nearest lens marking is used. For example, the exposure for an average street scene in brilliant light is obtained by multiplying 2 by 4. The result 8 indicates that stop F.8 should be used. In the case of an open landscape with dull light, multiply 3 by 2. The result is of course 6. The nearest standard lens marking to 6 is F.5.6. While this system must be used intelligently, the accuracy of the results are almost uncanny. All who have given this system of rapid estimation of exposure a trial have enthused over it and it is hoped that this method will help the movie maker to solve his exposure problems. It is not intended that this take the place of an exposure meter. It merely serves as a guide to those desiring to estimate exposure quickly when no meter is available.
No mention has been made in this discussion as to the use of color filters. Every filter is marked with a definite factor by its manufacturer. This factor is usually given for both ordinary film and panchromatic film. The deeper the tint of the filter, the more the exposure. Full directions usually accompany every filter. It is suggested that the subject of exposure without filters be mastered first and then no difficulty will be experienced when filters are used.
In no other phase of movie making is the old saying "practice makes perfect" true. Correct exposure is merely a matter of practice. Keep a record of the exposure given to your pictures and in a surprisingly short time you will find that you have mastered the subject of exposure.