Any photographers in here?
- Thread starter ChopstickHero
- Start date
I dont have the Nikon and I dont know to much about them but on the canon you can just use AEB ( automatic exposure bracketing) so you can put it to burst and hit -1 0 and +1 exposure and then merge, or -2/3 0 + 2/3 whatever you want to setup
in photoshop there is a batch in there for HDR to bunch them together then
in photoshop there is a batch in there for HDR to bunch them together then
yeah i heard about bracketing before, but i don't have it. i was thinking of using either shutter priority or aperature priority and just rotating the adjustment thumbwheel. i'm just not sure that will produce the type of images to use for an HDR.
FunkyBuddha
Tuned by Slick Nick
- :
- 2003 Spicy Orange MSP
Use manual and adjust exposure in 1 stop increments...done
you always have great stuff man. makes me wanna macro lens. ima go out into town and take some shots now. hm.
Here are three pictures I took for the macro contest but did not use:
you mean F Stops?
wow dude, those pictures are amazing!
So, to summarize. Set your mode dial to A (aperture priority), place the camera on a tripod, and compose your image. Remember while composing you will be trying to include elements of bright and dark areas which normally would be outside your cameras dynamic range. This often includes outdoor shots where you want to see shadow detail and full-sun areas, too. So now your ready to shoot.
Take one shot at correct exposure +/-0.0EV. Then adjust your exposure using the exposure compensation [+/-] button next to the shutter release. Hold the button with your index finger while turning the command dial with your thumb. The LCD will indicate the compensated value in "stops" located at item 10 in the image below.
Note: This is an example of the "Graphic" display. if you use the "Classic" display the screen will look slightly different, but the exposure compensation values will be located in nearly the same place.
The amount of compensation will depend on the dynamic range of the scene. Generally, a 1-stop per image range is a good starting point and will result in a good number of images to combine. So continue to adjust exposure compensation until you have a set of images like this:
-3.0EV
-2.0EV
-1.0EV
0.0EV
+1.0EV
+2.0EV
+3.0EV
Then you can import then into your favorite HDR program and crank away...
Last edited:
ZoominMX-5
Member
- :
- Ex protege owner... Now 93 Civic of Doom
Loving the shot of the kiwi splashing into the glass. Are you using a homemade box? Was that dual remote flashes?
The set-up was very simple. 1 very old flash firing into a white umbrella 45* up and 45* right of the camera. It was placed as close to the subject as I could get it. The background is white foam core which I had to keep far enough back to not get wet, but close enough to get enough of the flash to look blown out. There was a bit of post processing to even the background exposure. You can see in the lower right its still a bit underexposed. Oh, and I hot-glued the glass to a cutting board to make sure it didn't move.
just a few i took from last night
here's a link to the rest:
http://www.flickr.com/photos/beavizzle/sets/72157603707490923/
my favorite:
Last edited:
Couple of my favs.
this redhead is hot. more (pics)
Couple of my favs.
James, I like this picture. The expression is interesting and not forced. I think the image could benefit from a little fill flash but I want to add a flash to every image...
The noise reduction may have been necessary depending on your ISO, but in a close portrait I try and maintain some details from the original even if it comes at the cost of a little noise. First, I usually only reduce luminance noise by 50%. This leaves a bit of grain which helps maintain a realistic look and keeps skin from looking plasticky. If that is still not enough detail then I'll duplicate the base layer and apply noise sharpening to the new layer. I'll add a mask and paint back detail from the base layer. Typically this is the eye area, under the nose, lips and strands of hair around the face. These areas are what you really look at in a portrait so a little detail in these areas really goes a long way. Dark hair is tricky since really dark areas don't show strand detail but do show a lot of noise. Use your judgment for each image.
Frankly, I ALWAYS use a duplicate layer for noise reduction since I often find myself wanting to bring back detail in a few areas.
Also, when you paint on the mask use a low opacity in the 15% to 25% range. You'll have to go over an area several time to get back the detail, but this will smooth the transition making both layers work together.
