"No, it won't make *my* photography any better -- I concede that it may make yours better. When I'm shooting, I don't have time to think about that stuff, because I'm thinking about too many other things. If all the engineers and Michael get together and decide Michael's article wasn't accurate, I'd be extremely interested in knowing that. What I then want from them is a recipe, or a prescription, or rules-of-thumb, for what is roughly, probably, maybe, the best practice under a set of given conditions, in and out of trees and hot sunlight, into heavily shaded doorways, through windows into the street, and from the street through windows to the inside. I don't expect the rules to give me perfect exposures, or even the best possible under the conditions, I just want them to be very good. I use automatic settings and autofocus a lot, because sometimes that's the best I can do with a reasonable chance of success. That's about the most I can work with. I really don't have time for analysis or calculation, or even a lot of rules. Five rules would be about as many as I can handle; any more than that, and they'd slow me down too much. JC "
My edited cut from John’s post, above, really sums up the practicalities of photography as a thing you do, and not as some esoteric process that, unless you work in a studio on still life or/and with standardised lighting, generally happens more quickly than you think – in Ferris Beulers’s words: you could miss it.
My simple solution – with Nikon – is Matrix. Trust it.
In the case of something like a very narrow slice of the frame, say an outside scene shot from well within a darkish room, you can even apply the emergency film 'sunny sixteen' maxim of using the ISO speed as shutter setting and setting the aperture at around 11/16, but, of course, you use whatever combination of that value suits the image. If I can find it, here’s an example. It was easy with film transparencies – you used the incident light meter or, short of access to the same lighting source as on the subject, you could spot meter a white face and open up a stop-and-a-half. Done.