Digital exposure for high contrast images

[grahamfitter]

I took some pictures during a kayak trip through the Grand Canyon a couple of weeks ago. One of the problems I found was we were usually in a part of the canyon in the shade and the rest of the view was in the sun.

Since I'm not a real photographer I normally just put the camera on the landscape setting and push the make-it-so button. The foreground is OK but the background is washed out.

The camera (D70s) conveniently flashes the saturated highlight areas which will just turn out white. So I grumble a bit and twist the dial to one of the manual settings and under expose by enough so there's no flashing highlights. In the Grand Canyon this was usually two full stops. Now the background is OK but the foreground is really dark.

View attachment 11427View attachment 11428

My intention is to load the darker image into Photoshop Elements and adjust the levels to coax detail from the shadows. (I need to upgrade my iMac before I do this because the display is really dim and I'll end up over cooking everything.)

If it makes any difference, I did shoot Nikon NEF raw images but converted them all to JPEG because my older iPhoto version can't handle NEF. I'm told iPhoto on the new iMac handles NEF OK.

My big questions are:

• Could I have made my life easier by doing something different when I took the photo?
  
• What's the quickest, easiest way to fix the image so it still looks real?

If you're interested, there are more Grand Canyon pictures here: http://picasaweb.google.com/grahamfitter/

Cheers,
Graham

 

[bigreen505]

http://www.luminous-landscape.com/tutorials/blended_exposures.shtml

You can also do some of that in camera raw.

 

[Photog]

There are usually a few settings in the menus of the camera, that will change the contrast of the images. Or the presets (you said you use "Landscape") will also change the contrast settings. Portrait settings tend to have a bit less contrast; but usually a bit less saturation also. Ultimately, these can be done in the computer, with an adjustment to "curves".

To really control that level of contrast in the field, you need to learn how to use a split-neutral-density filter. This can be used to bring down the brightness of the bright portion of the photo, and make it easier for the sensor to capture the image you see.

 

[paulj]

For post processing purposes, it is better to err on the dark side. Bright areas that are clipped have no detail. Dark areas can be enhanced. A couple of years ago I played with an addon called Lightmachine. It is a powerful tool for selecting and enhancing the shadows.

If your camera can take filters, a polarizing one helps darken the sky, improving contrast between sky and foreground. You have to experiment to find out where it helps, and where it doesn't.

Another advanced post processing trick is to take two images, with different exposures, and merge the best parts of each.

In a bright desert setting, I like to lower the contrast setting of the camera, and raise the saturation.

paulj

 

[DaveInDenver]

To really control that level of contrast in the field, you need to learn how to use a split-neutral-density filter.

And since you brought it up, here's a pretty good starter package.

http://www.2filter.com/prices/htpackages.html

I would go with a 2-stop (the 0.6) soft line to start. The Hitech transition is very gradual and so it's easy to work with at first. Understanding and using a split ND is absolutely key IMO to landscapes.

 

[Photog]

:iagree: :iagree: :iagree: :iagree:
Landscape shooters must learn how to use split filtering.
Excellent link Dave.

I also agree with PaulJ. Digital is like slide film. The highlights are unforgiving. If you loose the highlights, you have nothing. You can usually bring out details in the darker areas.

Think of it this way. If the difference between the brightest and darkest areas of an image are more than 5 stops, the digital sensor can not capture it. Many canyonscapes have direct sun and dark shadows in the same image. This can create contrast up to 10 stops; but usually more like 5-7 stops. That is why a 2-stop split filter is such a big help. It brings the total range of the exposuer to somewhere between 3 & 5 stops.

 

[grahamfitter]

Thanks, all

Carrying around a tripod and taking two identical images with different exposures sounds like a great idea but realistically one I'd never have the patience for. Or space in a kayak - its hard enough squeezing in the camera!

The split filter looks more workable but how would I set it when there's a V-shaped highlight, like in the photos I posted, rather than a more uniform horizon line?

Also I've been playing around with iPhoto and there is an overwhelming array of sliders to modify black/mid/white color levels, exposure, contrast, highlights, shadows, saturation, etc. Is there any rule of thumb for making changes or should I just suck it and see?

Cheers,
Graham

 

[Photog]

V shaped highlights are difficult. Try not to shoot them, unless you can use a tripod and take two shots. Or, reduce the contrast in the camera. And make sure not to blow out the highlights.

Too much contrast has always caused problems.

 

[TeriAnn]

:
Landscape shooters must learn how to use split filtering.

I've never liked split density masks because the density splits in a straight line and I seldom encounter straight shadow lines in nature. It is real easy to see the filter boundary line where it crosses the image's light and dark spaces.

When the exposure range is a few stops beyond what the film can handle I shot for shadow detail and create a neutral density film mask then print with the mask over the original film to lower the overall density of the washed out area. The neutral density mask (way over exposed B&W contact exposure of the original transparency) is a variable contrast filter used after the exposure that exactly matches the original scene.

A lot of time when the contrast is too high you have to make the decision to just walk away without making the exposure or get out a book and wait for the lighting to change.

A picture is a painting created from light. Sunight looks different at different parts of the day. It can wash out colours or impart rich warm golden hues. Reflected light takes on colour from the reflected surface and often picks up cooler bluish hues.

If you are doing art photography, think of your self as a painter, light is your paint, the scene as your pallet where the light is mixed and blended and your camera lens is the canvas upon which you paint. If your paints are not right for the the image you have in your mind, you might as well walk away or wait for a better mix of light.

Of course if you are just recording something, most any light that will get you a recognizable subject will do.

 

[DaveInDenver]

I've never liked split density masks because the density splits in a straight line and I seldom encounter straight shadow lines in nature. It is real easy to see the filter boundary line where it crosses the image's light and dark spaces.

'Tis true that most split ND filters are a straight edge. But most things in nature do tend to be rather geometric, i.e horizons where ocean, land and sky meet. None-the-less, they are a very useful tool for the landscape photographer simply because the magic light happens at low incident angles and thus can leave you with very wide range of light intensity. Tripping the shutter at those times can yield very pleasing results and retaining shadow or highlight detail gives you more flexibility in the darkroom or in Photoshop. There is no need to use them all the time, but they are quite useful and to deny yourself them I think does a true disservice to your creativity. Besides, I figure, good enough for Rowell, good enough for me. ;-)

 

[Photog]

TeriAnn,
Your darkroom masking approach, is something we do in the computer now. It works out very well, when done properly.

Shoot the image in RAW format, as if it were slide film (expose for the highlights).

Open the file in the RAW converter of your favorite software.

If the highlights look good, save the file as a PSD or TIFF.

Open the RAW file again, and adjust the settings to make the shadows look good.

Save that file that same as the previouse one (PSD or TIFF), with a different file name.

Open both of the new files in the photo editing software, and combine the best of both, using an exposure mask, just like the dark room.

Save your combined file as your final image.


As for the split filters: I have seen many photos that didn't look good, because the split filter was used poorly. I have seen many photos ruined by using or not using a polarizer. Mis-using white balance, exposure, ISO, etc. This does not mean there is anything wrong with these tools; just learn how to use them properly. The split filters are one of the more difficult tools to use, I agree; but when used properly, they can really make good photos into great photos.

There is not a single split filter that will work for all situations needing split filtering. It depends on the range of exposure in the image, and the shape of the area to be darkened. If there is a nice straight line between light & dark, use a sharp edge transition. If the line between light & dark is not so straight, use a soft edge transition. Move the filter up/down & rotate, to find the position that hides the edge of the transition. Modify the composition, such that the line between light & dark will seem more straight. Etc. Etc. Blah, blah, blah.....

Or, don't use split filters, and continue creating landscape images that could be better.

The very best landscape photographers use split filtering.

Don't put it off, embrace it, get to know it, let it ruin a few shots, you took more than one photo anyway.:wavey:

Dude, this is really DEEP.

 

[paulj]

I passed your brighter picture through Shadow Illuminator online demo
http://www.shadowilluminator.org/
your original is in the middle, the modified on the left.
on the right is output from Lightmachine (demo version) - with moderate shadow enhancement.

The other plugin that I've played with (with Irfanview) is Lightmachine
http://www.thepluginsite.com/products/photowiz/lightmachine/index.htm