Getting the right exposure isn't always straightforward, especially when your scene has extreme contrasts. Knowing how to manage these situations can significantly boost your image quality by minimizing unwanted noise.
Coming to you from Jason Row Photography, this informative video revisits the technique of "shooting to the right" (ETTR), testing whether it's still useful with today’s sensors. Row starts by clearly breaking down what ETTR is—deliberately overexposing your images slightly so the exposure histogram shifts toward the right side. The point of doing this, he explains, is to maximize the sensor’s dynamic range and reduce noise, especially in shadow areas. He demonstrates this principle using some compelling older images shot in Antarctica with a Nikon D3, showing how an initially overexposed photo can yield a richer, cleaner final image after processing. Seeing this in practice makes it clear why the technique gained popularity among experienced shooters a decade ago.
The core of Row’s test involves applying this technique today, using the Sony a7R V camera to photograph the Herd Groyne Lighthouse under tricky lighting conditions. He methodically shoots a series of images, deliberately overexposing by increments up to two full stops beyond the camera's recommended exposure. He emphasizes the importance of understanding your camera’s histogram, noting it's based on JPEG data, so raw images often retain more detail in the highlights than you might initially think. Back in Lightroom, Row demonstrates exactly how he recovers the detail from these intentionally overexposed shots, meticulously adjusting exposure, shadows, highlights, and whites. The detailed step-by-step explanation in Lightroom shows clearly how much latitude modern sensors truly have.
What makes this video especially valuable is Row’s direct side-by-side comparison of an image shot at the "correct" exposure and one shot using the ETTR method at two stops overexposed. Surprisingly, the intentionally overexposed image recovers far more shadow detail with dramatically less noise when adjusted in post-production. He zooms in closely, highlighting the stark difference in shadow noise between the two exposures. This practical comparison isn’t theoretical—it's a real-world demonstration that can change the way you approach challenging lighting situations. Row admits he was initially skeptical, expecting the advances in camera technology to diminish the need for ETTR, but the results clearly show the opposite.
Row expands further by exploring why ETTR might be even more valuable today, given the higher pixel density of modern cameras. Increased resolution can sometimes amplify noise when recovering shadows, making precise exposure techniques even more important. He makes clear that this method isn't about blindly overexposing—it's about carefully balancing your exposure to retain maximum image quality and flexibility in post-production. Check out the video above for the full rundown from Row.
