HDR Tips

I have been doing a fair bit of HDR* lately and I have come across a few things that really helped make it easier. These apply specifically to my Canon 40D, but the same things will likely have equivalents on your camera as well - read the manual.

1. AEB, Auto-Exposure Bracketing. This is an option available in the menu. I typically have mine set to -2,0,+2 which means that when I press and hold the shutter button the camera will snap three images. One image at normal exposure, one two stops under and a third two stops over.
2. High-speed continuous mode. This ties in directly to what happens when one holds down the shutter. The camera takes continuous shoots until you release the button.
3. User defined preset. My camera has a C1, C2, and C3 mode on the mode dial. What are they for? What ever I want. I use C1 as my HDR preset and this is the biggest tip so far and is how I incorporate the previous two tips into my process.  Switching the above two settings on and off every time I want to make HDR sequence would be a big pain. Instead I have made those settings once and then recorded them C1. So I can shoot in my normal mode (Av) and then if I want an HDR, spin the dial to C1 and the camera turns on AEB and high speed continuous. Take my shot(s) and then spin the dial back.
4. This one might be kind of trivial, but I like it. By default my camera takes the normal exposure first and then under followed by over. I'd prefer the sequence to by under, normal, over. This would look more natural to me in the Lightroom grid. It also has the advantage of the normal shot be most likely the sharpest. Custom function 5 on my camera. See the manual for your setting.
5. This is my newest tip. I have used exposure compensation as part of an HDR when I want the camera to favour the darks or the brights, but I recently was told about an extension to that idea. Slide you EC to one extreme, take a sequence of three, slide the EC to the other end and take another set. For my camera the first set will be -4, -2, and 0. The send set will be 0, +2, and +4. discard one of the 0 and you have a set of 5. Note something I will do often, but there are time when that will be helpful and easier than using manual mode like I used to.
6. Use a tripod, especially for #5. Something I don't use very often.
7. My favorite program for post processing is NIk's HDR Efex Pro. I also own Photomatix, but I find that I like the look of the Nik program more and I find the presets to be a real time saver.

That is all for now. When I started typing I thought I only had three tips and ended up with seven. It is a good thing to write down ones ideas.

*For those picky about terms, I mean both HDR multi-exposure capture and tone mapping.

Heave Ho and Custom Functions

This image was made below deck on the Mayflower II, in Plymouth, Massachusetts.It was a three exposures which were later combined using Photomatix. This allows the detail on the left in the sunlit areas to retain detail and also the deep shadow areas on the right. The structure on the left, I believe is called a windlass and is used to raise and lower the anchors. It made work a lot easier for the sailors than hauling the anchor directly - if even possible. Using the machinery at hand can make work at lot easier and might even make something possible that might not otherwise be.

I discovered a way that has really made it easier to make HDR images. I can't take original credit for the fundamental idea, nor can I give credit since I don't remember the source. My camera (Canon 40D) has three custom function positions on the mode dial which I have never used - I spend 97% of my time on Av. But moving between normal Av and Auto-exposure-bracketing has always been a pain as it required going into the menus to turn it on and then off. Somebody in the blog-o-sphere or the pod-o-sphere reminded me that the C1, C2, and C3 settings are meant for the user to define. So that is what I did and I defined C1 as my HDR mode, the two main features are the exposure bracketing setting as well as a higher ISO, since I often am lazy and often do them handheld. But the nice thing about the custom mode settings, is that you can still change things from the stored settings.

So if you find yourself needing to fiddle with a lot of dials to get to a group of settings, use the custom function modes to get you there much more quickly. Why work hard when you can make your camera work for you.

Mayflower II, below deck, 16mm,  f/8.0 at 1.6s, 1/2s, and 1/10s with a Canon EF-S 10-22 mm and 40D.
Plymouth, Massachusetts.

Making your day Brighter (or Darker)

For many of us in the Northern Hemisphere, we are in the depths of winter. Some of us wood like to sit by the fire and toast our toes. But many of us would like to get outside and make images from the winter wonderland outside.

There is an important thing you should know how to control with your camera - exposure compensation. First let's cover how your camera decides on the exposure level to use and its shortcomings and then a few ways that you can compensate.

The human eye and visual systems of the brain are amazing at being able to adjust to a huge range of light levels without us even being aware of what is going on in our own skulls. Our cameras are not nearly as intelligent.

When you press the shutter button (or half-press it on some cameras) it takes a sample of the scene before it. But it doesn't know what is supposed to be a bright object in shadows or a dark object in a bright patch of sunlight. All it can see an average level of light. In fact, smart people have decided that, on average, the world is 18% gray, and camera manufactures have used that knowledge when build your camera. Your camera assumes that what ever it is seeing is 18% gray. Most of the time it is a pretty good assumption but there are circumstances when it is not.

Back to our snowy days out side. Snow is supposed to be white. (Bonus tip: Don't eat yellow snow).  But your camera doesn't know that, so when you snap the picture of a snowy white scene, your camera sets the exposure based on the assumption that what it is seeing is 18% gray, but it is wrong. It is much closer to 100% white. So your beautiful white snowscapes turn out a dull gray. If you have some of those already you can help rescue them by boosting the photo's exposure level on your computer, but that can only fix so much. The best way to fix it is before you push the shutter button.

There are several ways to approach this, and you will need your manual to figure out how to do it on your camera.

Method 1: Some cameras have a special scene mode for snow, or maybe 'sun and sand', these modes are essentially giving your camera a hint that it needs to use a different set of assumptions about what you are taking pictures of and should give better results than the default mode - if they assumptions a better.


Method 2: Exposure Compensation. This control allows you to tell the camera that the subject you are interested in is brighter or darker than default behaviour would assume. It usually works by speeding up or slowing down the shutter speed. For snow, one to one and a half stops would be in the right range.

Method 3: Go manual, if your camera offers a manual mode and for snow set your shutter speed to a slower level than you camera meter advises.

Today's Assignment: Grab your manual and read up on the special scene modes. Is there one that applies to snow scenes? Figure out how to use it. Go outside and give it a try.

Advanced Assignment: Figure out how to use exposure compensation and go outside and experiment.

P.S. Don't forget to return your camera to default settings after the assignment.

Shootout at High Noon

If you are out shooting at high noon, you might get better results using your Colt 45, than your camera. The midday sun is very harsh and makes for uncomplimentary portraits; It makes for harsh, unflattering shadows, squinting and poor exposures. If you aren't careful you might need your Colt after all. But if you can't choose the time of day, what can you do to save the day?

The first objective would be to get them out of the direct sun. There are two main ways to do this. Either you move them or shade them. In both cases you are trying to soften the light, not eliminate it.

Where do we move them to? How about under a tree, or an overhang, or around the corner of a building. These are places where you can find open shade and more even light, and it makes for better images.

If you are going to shade them where they already are, you are likely to need an assistant. Unless you have a full support team, this likely only works well for small groups. You could use a regular umbrella, but that is likely to cast an unnatural colour on your subject. The cameras white balance might compensate, or if you shoot RAW, you might fix it later, but the correct colour of both the subject and the background might be a challenge. A white bed sheet, drop sheet or shower curtain would work; even a large piece of thin white paper. The thicker the material the less the colour will matter. If you want to make an investment you could go and buy tools meant specifically for the job.

Now that you have successfully eliminated the too much light problem, you might need to add some back in with a flash or a reflector. I'll cover that another day.


Today's assignment: Practice. Convince a victim^h^h^h^h^h^h model to go outside during the midday and make some pictures in the direct sun and then again in some shade without flash and once more with the flash on. Study the results. Repeat the process until you are comfortable and like the resutls.

Advanced assignment: After doing the above assignment, try blocking the sun with something.

We are all the same height when our chin is on the ground!

Lets now think about something most casual photographers don't think about - their own height. Most people shot standing up, at eye level. Boring. It is boring because of exactly that is where most people take pictures from! Images which are more interesting are from perspectives we don't normally see. So if you are out at the park and you want to take a picture of the kids or the dog, get down on your knees, or lie right down on the ground. This works the other way around too. Climb the stairs, climb a ladder, climb a hill, or the monkey bars. You will end up someplace most people aren't and it will show up as a better image.

Today's assignment: Go out and take 10 pictures from below knee level and 10 from a height greater than 1m above people heads.
Advanced user assignment: As above but all unique and all of the same subject.

Here is an example of a tourist snapshot, but done from overhead.

1/50 f/1.4 ISO 500 EF50mm f/1.4 USM @ 50 mm Canon EOS 40D
Royal Ontario Museum,Toronto,Ontario

Can't see the person for the tree

If you have any time to think about it at all, look at what is behind your subject. Do they have a tree growing out of their head? Or some other kind of distraction? If so then maybe you could shift yourself or them to fix the problem. You want to have your backgrounds compliment your subject and not distract from them.

Today's assignment: Grab your camera and pick to objects - you don't need a real person. Put your self and the two object all in a line. Now look though the view finder (or the screen) and then try moving around a bit to the left, a bit to the right. The objective is to get a feel for how much movement it takes to make a better compostion.

Advanced user assignment: Do the same as above, but also try to use the rule of thirds.

Zoom Zooom

Yesterday I suggested using your feet to fine tune your position. Well you can also use your feet to change your location completely. The pros often advise "Zoom with your feet". Not that you should never use a zoom lens, but rather don't rely upon that exclusively. Working at longer focal lengths makes your images more susceptible to camera shake, so by walking closer, you reduce that problem. Also moving around means that you may end up exploring perspective you would not otherwise see.

When photographing people you get a completely different type of image when you 'sniper' them from 50 metres, versus 1 metre. At 50 they don't even know you are there, but at 1 metre you are in there personal sphere and your presence is influencing them (hopefully towards a better image). So, don't be afraid to walk up close to your subjects so you can actaully fill the frame with them.

Your feet are also useful when you can't get any 'closer' with your zoom - or 'further away'. Use your feet to get the right balance between subject, foreground and background. If I want to take a picture of a freind at the far side of the room and I do it from too far away, I am likely going to get a lot of the wall behind him and a little of the person. We want it the other way around, because people are much more interesting than walls. Mostly. Some walls are very interesting, and may call for a different approach. So if you are at the Great Wall of China, take some pictures of the wall too!

Today's assignment: Learn how to use your cameras zoom feature (consult the manual if need be). Make a series of images at different combinations of 'zoom with feet' and 'zoom with camera'. Try these four combinations:

1. Up close and zoomed in (long)
2. Up close and zoomed out (wide)
3. Far away and zoomed in (long)
4. Far away and zoomed out (wide)

Of course the point of doing so is to study the results.

Advanced user assignment: Repeat the above four combinations, once with your largest aperture, and once with a small aperture (eight in total). Say f/3.5 and f/16. Your lens may not allow the widest aperture when at your longer focal lengths. If your lens will allow you to go larger than f/3.5 than do so. Magic can happen at f/2.0 or f/1.4.

P.S. Digital versus optical zoom. If your camera allows digitial zoom, be cautious with it's usage. Some say never use digital zoom, only optical. You can 'zoom digitally' on your computer after the fact - it is called cropping when done then.

You got to know how to hold 'em

(Apologies to Kenny Rogers)

Holding your camera correctly is key to making good pictures. The goal is to be able to hold it steady and comfortably - without shaking. Film camera users had an advantage here - because they have little choice but to use the viewfinder. Digital cameras have these lovely large screens on the back and it is very tempting - especially for people with older eyes - to hold them at arms length. This is a recipe for blurry pictures. Hold your camera close and firm, but relaxed. And if you have a view finder use it. If light levels are particularly low, use a tripod or some other way to hold the camera steady; rest it on a table, lean against a wall. Be creative.

Don't forget to use your feet to fine tune your position. If you need to move closer or further away , take a step - don't lean in or lean back. Keep your weight over the center of your feet. Also it is good to split your feet to improve your balance.

Today's assignment: Experiment with different ways of holding your camera and consider you steady you are.
Advanced user assignment: (SLR owners) Try the Joe McNally stance "Da Grip", shoot sideways and rest your longer lenses on your own shoulder.

Flash Dance

One thing to look for in the manual early-on is how to turn the flash on or force it off. These little flashes are only good for a short distance maybe 3 or 4 metres at most.

Whether at the Air Canada Centre or your kid's school concert, turn off the flash. If you don't, the heads in front of you will be very bright and what you are really interested in will be underexposed. Although cameras are getting much smarter about this sort of decision, they do better if they get some advice from you.

On the other hand, when taking a family picture at the beach with the sun to their backs, turn on the flash (if you are close enough). It will usually help bright up their faces and remove some of the under the eye shadows. There are many situations when it might be 'bright' enough to take a picture without the flash, but using it will help turn a snapshot into a great shot. (In a couple of days I'll have a tip about bright sun images, so stay tuned for that one too.)

Once you get the basics figured out, and practiced you are your flash will get along like Fred and Ginger.

Today's assignment: Figure out how to force your flash off and force it on.
Advanced user assignment: Figure out how to use your flash without it being attached to your camera.

The Manual

Your camera is a tool, and like any tool you need to know how to use it. One of the best sources for learning the 'how' is the manual that came with the camera. Many of them are very good on the basics and best of all they are tailored to your camera. Read through it a few times, until you are familiar with  what every button and dial does.

Even if it doesn't all sink in at first, repetition and practice will help. I know of professional photographers who regularly read through their manual. So don't feel bad it you need a refresher. Planning a big event or a vacation? Read the manual before you go!

Today's assignment: Find your manual and read it once.

Advanced user assignment: Find your manuals and read them twice.

Has the Silience Been Deafening?

Apologies to those who regularly look for updates and haven't found any. I was busy over the holidays, and then my main photo computer died (and has yet to be resurrected), so I lost easy access to my images. The images are safe, just not easily accessible.

One of the things that has kept me busy was the preparation of a speech for Toastmasters, which i joined last year. I needed to focus on that for a bit. My topic will be of interest to some of my readers, so I will use that material for the next series of posts. The title of my speech was "Improving Your Image: Tips for Using your Pocket Camera". It doesn't matter much what kind of camera you have, these tips a pretty universal.

As you read through these tips, or any others you find, there are two things you can do to make better use of them.

1. Practice making images.  Use the things you have read about about and try to incorporate them into your images. Find out what works for you and what doesn't. One thing about photography, like many other arts, is that rules are meant to be broken. But that often works best if you also learn the rule and how to apply first, and then learn how and when to break it.
   
2. Study other peoples images. These images can be from friends, books, magazines, museums, or online websites like flickr or professional photo galleries. Ask yourself what you like and don't like about the image; and then incorporate what you learn into your own images. As you learn more things you will also be equipped to look for more things within the image. To start with study the light and shadows.

Today's assignment: Study three pictures today and ask yourself why you like about it.