I use Exposure Compensation often, usually with sports. I often use a +1 for ice hockey, for example, because of the near white background. For football, especially in late afternoon backlit situations, I will use Highlight Tone Priority, which is a kind of Exposure Compensation. For shooting events, I will often set a +1/3 or +2/3 Exposure Compensation along with a flash exposure. The object here is to acquire the best Raw file possible. You want files from any event to be as nearly alike as possible so as to limit the time necessary for good Lightroom or ACR processing. If your exposures are all over the lot, you will need to spend a long time making them look consistent. If you are shooting Jpegs, you are in even more trouble. At least with Canon, I have found the most consistent flash exposures are those in which the flash contributes at least 1/3 stop more exposure than the available light. I almost always bounce the light off the ceiling and try to achieve an exposure in which the flash exposure, even if is the dominant light source, appears completely non-existent. I try to make it look as if the available light is the only light and it is a very flattering light (no raccoon eyes, etc). This is actually seldom the case, but properly balancing the flash exposure with the available light can make a silk purse out of the usual sow's ear of available light. A combination of Flash Exposure Compensation and Exposure Compensation plus gelling the flash is often necessary.
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