Landscape photography has no weather that can transform ordinary scenery into another world as quickly as a heavy snow. But for photographers, this brings some trouble. No matter what camera you use - ordinary digital camera or SLR camera, there is an unavoidable problem - exposure. Snow is white. The design principle of the camera photometer is to treat everything as neutral gray. Due to theoretical problems, bright scenes such as snow can be reduced to dirty snow accumulated in cloudy days for several months.
The best way to solve this problem is to measure the light of snow and then compensate the exposure according to the following techniques:
Bright, clean, sunny snow, based on photometry + 3EV.
Snow in cloudy weather, +2EV.
Snow in the shadows of the day, or grey snow in cloudy days, +1EV.
Dirty, grey snow (or you want to photograph it like this) without exposure compensation.
These settings are a good start for general shooting. Your actual photometry may be different. Try to surround the exposure and find the best way for you.
Here are some additional suggestions:
No light measurement? Find a place where snow can fill the entire viewfinder, write down the photometric readings (or lock them in with the photometric), and then add appropriate compensation.
Use an ordinary digital camera. If you have exposure compensation or backlight compensation, use it. No exposure compensation? Try to measure light in the darkest part of the scene, lock in the light, then reconstruct and shoot.
Film Photographer, Overexposure! Overexposure! The above exposure suggestions are a good start, but also remember that color films have a high tolerance for overexposure, so if you're not sure, use the "first-order principle of overexposure".
Snow also reflects ultraviolet light, which means that the film will show more blue in the shadows. UV mirrors can play some roles, but according to our experience, a magenta sky mirror (1A) works better. You might even want to try 81A filters. When using filters, don't forget to take into account the effect of filters on exposure.
Many photographers divide the sensitivity by three and then surround the exposure on that basis.