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Hands On: Shooting for HDR

Okay. Welcome back. So we're back here in the alley, Aziz, you can see if you take a look at the sky. It's kind of not an ideal day for HDR today. We haven't got on extremely huge dynamic range. What we're gonna do over the next hour is I'm gonna work through one set shop. So kind of we all know kind of what we're doing in practice. We did it in the classroom. In there. What? We go through the sequence now and we'll go through all the steps on. Then I'll spend about 10 minutes with each of you. Hopefully, you've managed to find a shop. That's gonna be kind of interesting, but kind of. The purpose of this session is to just go through the sequence of steps to make sure you can understand the process. Some kind of self here. Um, it's hard to take a test shot here. We've got kind this very dark cart over here in the foreground. We've got some heavy shadow underneath this building here. An urgency from the exposure here. We kind of got some blown blown highlights at the top. Okay, so come ...

on, guys coming. Tell me what we need today. So that is the Stein shot. Let's bring in the history. So we haven't really gotten a clip. Shadows, But we haven't got a lot of data here because kind of folks in the subject. So I'm gonna wanna pull up this exposure, but we have got some blown highlights. Okay, so we're looking at what we're gonna need to do. Do not fall over backwards, Be a good start. So what I'm gonna do for this sequence, because I'm sure I'm gonna shoot. Manual sequence is my meeting exposure is 1/60 FX. Someone to switch to manual Onda, dial it in someone 1/60 at f eight. So if you shoot that again, um, there's my meeting exposure. So how much brighter than this do we need to get you think? Let's bring it up again. Kind of not much clipping when you're 100. How about how about we bring it up a couple of stops if we start? If we got 1/60 how about we start 15? Okay, stop here to eat. Not to evey difference. Women. Let's just shipments. Just take a look at that. So there's 1/15 of a second. Okay. Have we got room in this edge here? Let's bring it up again. Kind of a little bit. I'm gonna actually bring it up one more, because what I'm thinking about is this detail here and kind of detail under there. So if you go to an eighth, 15 3 nights again is a wannabe interval. So those night now we've got a clear a clear gap of this edges is very bright new, but we've got a full range of tones in the darkest area, so kind of get away with the night eso. One way of doing this is we just start with Nathan. Click through. What we'll do is we'll calculate the other explosions. Well, so the meat, it was 1/60. Um, what is it gonna need for? Yeah, Have a guess. It's a good idea to get because you get a feel for kind of different exposure values. It was kind of it was blinking, So I was trying up or I tried to stop. Will be to 50th. From there we go. No blinking highlights. So we've got a night to 2 50? Yes. So it's a good idea to start one into the other. I'll go back down to an eighth. So one three clicks. So I'm dialing through manually on the manual sequence. I'm using a remote released to make sure I don't touch the camera. And it's just confirmed that we've got the shots today. So there's 2/50. There's 1 to 5. That's kind of okay, back down to the eight. Second exposure on. We've got the full range of tens of shadows, so that's kind of it. Family exposed. We shoot eight on 8th 15 30th 61 to 5 to 56 explosions. Okay, Right. Who's up first? I am done down there. OK, David can ask you, Can I ask you a couple questions while you're getting set up? OK, so Nick really wants to know what this is. Okay? This is a spirit level, Um, quite cheap. Um, obviously can level the tripod on uneven ground. I use this a lot for landscape, for job of shooting low. It was just an easy way of sending horizon, so Yeah, kind of just a little spirit level. Great. And is your VR off? Uh, yeah, right. It doesn't have it, in fact, So it's definitely off. Okay, Sam Cox is wondering if you have any tripod words of wisdom. Um, it's try points about anything else. You kind of get what you pay for. But my tripod and head was the one thing I didn't tell my wife how much it cost when I bought it. Eso I got some get so come fiber legs. Onda Really right stuff head, which is expensive, but very, very nice. So if you shoot, actually are you do need something sturdy. So what I used to have was the man Fratto with the pistol grip, which is kind of fine, unless you nudge it and then it will sink and move about. So yet by what you can afford, I'm certain if you're serious matter. Actually, I got a very sturdy tripod. Right? Thank you. Okay. Right. So where are we? Okay. Okay. So you know, you see there. Uh, so I looked at this scene a little bit beforehand. Obviously we get blown out sky. Yeah, on the door is very white, so I usually start a little. I was going to use auto bracketing this time, which I don't usually dio. So just in case the car is going by because I want to shoot really fast. How many shots were shooting eyes into five. Ok, um, I did a couple test shots starting on the darker side. You got nice pin Karnik. That's coming in, Mr. So my auto bracket 25 I started out of F eight n f eight. Yes. Um, Well, let's shoot him on. I would not want to check. Your history is going up on the screen, so we want to see this. Screams. You kind of check beforehand. I did, right. If you check them now, that's that's fine. If you've checked in beforehand on a kind of your lighters shop has got the details. Darkest areas with that little bit of space. The left hand edge. I hissed. A gram was very balanced once I got it. Had clipping on the right. Someone just started out really dark, so it looked pretty balanced. Okay, we got to show up there. So there's your line to shop so we can clearly see that we've got a full range of tones in the darkest areas talking through the snow. No, I got that. That certainly looks OK. So kind of issues. If you've tested forehands that my darkest is enough. Yes. Yeah, yeah. So if you've got the detail in the Bronx there the skies and that's it. You got to go. Then I should be able to get You can't review it. No, but have a look around. Get a few more shots. You got my image to work on. Lighter as well. It would be nice if you could kind of working miracles to be great. Thank you. Okay, So who's up next? Uh huh. And I want to go down that way. Okay, so we'll head back in the stretch. I can't tether that. So amusing. Okay. Oh, this is it. I'm sure that you share with money. It is my soul tested knicker. I've never cannon, so I'll toys. Okay, We need to raise the bar on my camera back again, I'm afraid. Okay, so where we're going, I was gonna shoot into that. Cool, Get some good shadows. All right, seceded. Move this Acosta, but can't move it, I'm sure mush. And then I I kind of can't go any further there, But what you've got is the sound that you kind of Yeah, have a look. A slow down. Um, this is the kind of mind golfer Justin. It expressive. We bring it down a little bit, have a shadow underneath. Um, would that okay? Okay. What you want to do? Where we are, bring the release ran for, so let me switch you back to actual priority first. So your F eight on this will bring up the meeting exposure. So it's fire for frame and have a look. Hopes to a kite. So we got some quite deep shadows here springing up again. No real clicked highlights, So we're not gonna need a huge number frames here. So again, we got 1/60 F eight. How what we're gonna need to do to bring up the send you think Maybe two stops. So what we're gonna need we're gonna need This is 1/ 1/30 1 15 Okay, so we set out for you. S So what do we have again on that exposure? 1 60? It was 1/ wasn't you need 1 15 f eight. Uh, so it's been restrained. That fights, they're involved. That's when that's not working. It's better, right? Here we go. So, 1/30 15th. Okay, let's find out. Have you got enough room in this century Way? Need a little bit more room? Yeah, I would agree. So we need to go to stop. So what would that be The 1st 1/ Double flint of time. 1 30 other way. One night. So W Mount Light. I should say half. Yeah, let's try that. Yeah, that looks OK. So now we've got clear space of the left image that Okay. Okay, so we know 18 is gonna be our brightest exposure on 1/60 was kind of okay for the darkest exposure, but let's go to 1 to 5. Just to make sure eight. 1/8 to 1 to 518 1/15 1 31 61 to 125th 5 exposures. So that trigger that one again on up to 15th on again, not to 30th 60th 4 to 5. Let's just check meant new. So, yeah, we've got some class based down The said said that no kept highlights quickly. Go back through the sequence to go down into our rights. Second exposure. So clear room here. This edge. One TV spacing up to kind of. We may get away with 1/60 but for safety, we shut the 125th as well. And we got clear room with Ryan and edge. Now we've got a set of shots that cover a full range of tens. Okay, Excellent. Thank you. OK, so who's who's up next? So what we'll do is we'll go around, everybody. We're going around quite quickly. Everybody's got the hang of this. What will do then is perhaps will have the opportunity for people to be a little bit more creative, find some different shots on go from the So we hand holding. I will be careful while I was in a jam. Just this man. So you're gonna shoot mind with your camera again today, right? Okay. So where we going? I'm actually gonna be shooting here. Yes. Let you sit up. Very. Thank you. So if you're kind of following along at home, when you want to shoot some shots to work on this afternoon, you can do that. I'm alternative. If you bought the course, there's the HDR image. Not constructed. My shot of the outside the resolution monuments. That's the view. Looking through the windows, so you'll be able to use that to look work along with, hopefully solve my consents. It's no actually that difficult. It's kind of the key thing here is this exposure sequence. I'm just making sure your nail kind of the ends of the sequence. Once you've got that straight, you kind of get everything you need. So it's kind of quiet. We're gonna questions online. Everyone. I can't. Everyone's just with Christian. They were here. And somebody's job be. Garbo is If I go shoot outside now, when should we be back for the processing after after lunch yet? Okay. So what we got? I haven't He was doing sit ups. Let me just get do you need to drop it a bit more vertically? I think you do this. You get kind of tangle up in the legs here a little bit. Spending ran that will drop down square. There we go. Thank you for us. Just slightly different. Perfect. Well, let's look. Rotation of you got together. I am David. Have a quick question for you from Mark Wallace, who was one of our other instructors. And he says, How does David level his camera in the dark with a flashlight. Any nighttime bits of wisdom? Yeah. Kind of using this device again. If I can't level the tripods, I'm sick. Kind of a lot of time. I'm kind of shooting on the beach and things like that. So it doesn't make sense to level of trying because it may move with sound. I want to just use the level and and that one is good. Is that glow in the dark? It glows in the dark when you shine a light on it. Cool. Typically. Just use my phone. All right. Thank you. Kind of a phone is a handy flashlight. So be I would be using the phone. Right. So how we doing? A good thing. We're good. Okay, let's switch back to your priority for first. You're happy with that fake? I'm fairly happy with it. What would you be very happy with? Probably going up till 11. Okay, I have another question for you. Um so for the first shot is you Are you using every trick priority to get the basic exposure and then switching to manual? Have deciding where to? Kind of just trying to find typically the meeting exposure is going to be somewhere in the middle, so I'm gonna shoot in. That is gonna give me an idea of the tonal range of the scene. I'm gonna just accordance. I'm gonna be looking at the highest A gram on kind of trying to work out from their family stop so they don't go down to you. Could go Either way, you can do you darker shot first of your life shot first. Typically go to one extreme and then shoot through. But really, you're just checking Mr Grams to make sure you got the shots. So what about that moment with this? We've got We've got some shadow detail with a meeting exposure. Let's bring that up. Maybe one or two stops. Okay? Yeah, on look again starts down here. So 1 25th 11 We're gonna need to bring that down for darks exposure. Let's bring this up a bit. So let's try. What do you What is just the start? May go up so that we definitely wanted them go to one a bit more light in the shop. Don't you get some more more data at this end? How about trying to go from attendant so I switched to rectum in again. That switch to manual on. Let's get you to 15 10th. There we go on back to F 11. Okay. So you know, you can see the clear gap in the end here. Great. Yeah. So we're OK. That this Just check the other end before we go any further. So meted We're clipping the highlights on that waas. Um, let's go. That's one slip 2 40 three's de for finds that were 3/20. So if you ever look at that kind of brought that down Well, down that way got conclude the other end. So we want a tense 2 3/ Yes, guys, let's go back to start so I could go in the same order each time s There you go. One more, More, More. Here we go. 10th. 123 We're 80th. Yeah. 1/60. 3 20 Yeah. If you lose track part way through shooting sequence, it's normally better to start again. Are you going to kind of end up by You know, you've got two clicks. We should have gone three. So if you're any down Certainly something like this. It's not gonna run away. I kind of just start over and make sure you kind of nailed the shop. Okay. Makes sense. Makes sense. Six. Thank you. We're ready to neck. Which direction? The guy. Neither do I, but, uh, who's next? Right here. I'm not wired yet. Okay, so we're shooting tomorrow. I was going to show, even though it's not a super high contrast. Seen I was going to shoot just a row of decreasingly size garbage cans from the green dance of black. Actually, I think I've got a white angle on. I've got your actually my frame from the blue on blue right there. I'm trying your trick of framing the horizon straight to avoid converging lines. And then I'm gonna just crop out the bottom of the final friends have in mind looking through the viewfinder. Anything I suggest is you kind of tight on that red one. Okay, so you got you got apart the blue one. But it is only a very small gap. Um, I was actually also, um it was also paying attention to the to the window there. Right. Okay. Yeah, help you. It wasn't me. Okay, so we got the edge of the wall, OK? Yeah. It might be worse. Is coming back a little bit. Just give yourself more clear room. Very time. That warning? Very tight on the red. Yeah, that works better. Yep. Cold and so would have done historically some reckoning and one TV. And what this camera does is if I put it in a two second delay. It actually does. All three shots in row avoids moving the camera. So I started. Plus one, take my three shots moving down to my one. That was the other alternative saying earlier. Yeah. Typical. And manual bracket. But this minimizes the handling of the camera. You start trying parts fairly steady. No problems there, but yeah, that's the alternative would be discussing. Okay, so let's have a look. I had pre focused on me, and now I'm in manual focus. Yep. I'm in cloudy. Why balance? I'm levels. Just click the button and take three shots. Then again, I come down, take another three shots. Given this is not really high contrast, I feel fairly confident that those five stops probably covered the range. And of course, I've looked at it before, but we can look at the so this one is mid range. Dark enough. You wouldn't need that. Yeah, that's fine then. Only we have not. Maybe I can get more. I would suggest, you know, what you've done is you've shifted the whole sequence down towards being dark, so I'd be tempted to go up a little bit. Yeah, so we'll get another set of threes and I'll have too many, but you just discard them. So here's yes. That's kind of a lot better. Now you can see now we've got this gap in the end with you with your Bryant is shop. Previously, we did have the data, but we didn't have kind of that gap. So what you're doing here is Well, is this kind of a lot of dark areas where you are going to bring one to bring up the texture. So with this shot now, you got more dates to work with. A little bit less noise and final shot. Absolutely excellent. Karen plane. Thank you, David. Who were left? Who's left? Name? I'm kind of losing track. Here we are. Yeah, I don't Here. Great. Great. I want to shoot the scene right here. I've got my 17. 40 on, and it's coming down right in your cleaning that chimney. And it's going over to get side of this fence over here with the crane in the background. And I'd actually like to use Nicolas if he's available. Yeah, I mean, him climb up on that. I don't know what it is. Electrical box. And let's hold it right there. Like he's climbing over the fence for him. Hold still possible. Okay, My middle exposure. 63 at 1 3/20 So Nicolas isn't going to be totally different from the rest of scene. Right? Let's make sure we knew all the secrets first, okay? And then I'm gonna have them. Then we can nail into the wall so doesn't move. Perfect. Absolutely. For her nails. Right. Okay. So what was your meeting? Explosion. 6313 20. Okay. Why? What, you gonna 63? Because I started it for Oh, and I just wanted to get a little bit more deaths. A few, right. Right. Yes. So this this angle, you gonna get reason that field I don't buy that attempted to bump it up to a fight, doesn't make used five now. Okay, I guess we just got a little just a little bit more. Get you kind of get the front to back Christmas. A little bit better. That's 1 200 So actually meet it, Right? Right. Yeah. Sorry. What? I s o when a guy fun. I'm so turned off. Um, artifacts. Yes, yes, yes, it's on quality. Excellent. Okay, Right. So we're gonna meet it on again. Case of a close to getting the shadow detail here. Let's 1 200 if we go to stops overexposed from there. What's that gonna bay overexposed? 1/50. Absolutely. So it's tribal 50th here. We've got the shadow detail. Yeah, Yeah, it's clear. Get to the bottom of a good day to their so right. Callous. Calculate what we need for docks expression. So we got 1/50. The meat would want to hundreds of for 800. Try ice under. Yet you might get away with 400 with this, but OK, certainly gonna get away with hundreds. Oh, yeah. Yet So everything got away before, so right? Okay. What? Shooting from them. 50th to night. Hundreds do 50th. 102 104 105. Okay. Right. So where's our prop? Was he run off to Nicolas? There is What? He's getting ready when you spend a little about your criminal. Yeah, easy. What I was suggests as well is that you shoot this more than once, Okay? Because where you don't want this move, right, so it kind of is not gonna hang there forever. Right? Watch out for the barbed wire. Don't be grabbing up to that shooting at least twice. Okay. Better chance things. Staying still and you can use thesis elective de ghosting through the movie, right? We could try that with semantics. Pregnant looking, shifty business. Yeah. Okay. You ready? Yeah. All right. That was Yeah, I'm good. Okay, let's try it one more time. Go through again. Okay. Already, this is where we need Teoh, so I can't Canon gear and by Nichols have a nine shots and my only getting four shots. I didn't 800. I must be getting it again because there's any dams. Didn't do it again. Ball shots. You must get one in the middle. Okay, Okay. I'll count this 1500. 200 for tonight. Just definitely five shot, right? Right. Maybe I skipped the 400. All right. Ready? Be still. Okay. Excellent. Got it. Thanks. Thankless. Put you on a wanted poster now. Okay. So did any that seem complicated? No. No, it's not different, is it? No. The key thing is kind of just There's all the usual creative stuff going on, You know? You have no idea. For short, you get it set up. You got the depth of field, everything else. The only key thing is this Secrets of shots at this stage, right? Making sure you've got that detail in the darkest areas on making sure you don't like getting a shadow in the highlight of getting everything we got sold out today. So five shots is more than enough on a very bright David. I have a tent, but it's exactly the same sequence of steps every time. So not really easy is really easy. Yeah, part. And then hopefully the later Yeah, well, the software be slightly slightly trickier, but kind of the shoot inside of its. OK, so hopefully that's making sense for everybody. All right. Uh, so let's see. Let's see that. Um, So Shasha Mylan has asked. So what is the ideal hissed a gram at each end of it at each end. When you got your lighter shot, the ideal hissed. A gram is one that has a space at the left hand edge. Yep, just make sure I'm saying the right. Let's go with the right bit because what you want, there's You want this gap. So you've got some good detail in the shadows for your darkest exposure. You need a gap at the right hand edge, so that kind of indicates, then you've got no clipped highlight detail, said those of the only important ones. All you need to do with the rest is kind of have them equally spaced through the sequence, so we kind of all be shooting the one TV sequence. But that's kind of the key is looking Instagram's. Make sure the space either end of the sequence. Okay, cool, Duke is asking, Wouldn't you shoot Siri's again without Nicolas to minimize ghosting when we just It was certainly minimize ghosting because there'd be no Nicholas in the shots. But if you want Nicolas in the shop, then it has to be there. So I think I might be misunderstanding the question of it there. You could kind of try and drop him in afterwards with masking. But that wouldn't be HDR. So if he wants to clarify life, have misunderstood, then come back to us. Okay? And this might be something you've already talked about. What a tomato is asking. Does David do much creative post work to his HDR images Photoshopped, Or usually just process them in photo Matics and use them straight? It would be very rare for me to take a shot. Stratfor automatics, probably happy with it, is normally something he's tweaking in terms of color. One of the things we're talking about later is hey, lowing, which is kind of one of the telltale nasties, will actually our prices and you kind of get the light goes wrong around the edges of things to Sometimes you can minimize that info automatics, but off you need to doing some extra work in fact show. So I died just private. I like fashion. Do you? I do. Yes. Quite keen on it. Good thing we have your teacher about it. MGM to has said can you ask about the time to shutter release, please? So he asked earlier using a time minus the time shots released. Be shooting manual. Trigger it manually. You could. It depends how you're changing exposure If you shoot an auto bracketing the only president wants. Anyway, if you have a manual changed exposure, you don't want it timed, because then you're kind of trying to change everything before it automatically triggers. Um, I wouldn't be using the time or in conjunction with this. I wouldn't like that would complicate things. Okay, Uh, let's see. Richard T. W. W. Is asking if a long exposure if a long exposure would David used the eye piece cover. I kind of like should you should do my advice. My advice here would be, yes, use it because it's kind of gonna there is a risk of like in affecting exposure. Bots is kind of not as crucial. The big reason for use in eyepiece cover is because it can affect the exposure value. So your exposure is wrong when you're shooting in HD out sequence. You're deciding what explosion sequences anyway, so you don't need to worry about it drifting because you've already determined that his grams of fine so you can shoot it if you meet it experiences off. It doesn't really matter. He could but is not central. And so more questions about the shutter release Jabba Garbo was asking using the time shutter release. Can you use the high speed frame rate or with that introduced shape? The only way you can use high speed frame rate is if you if your auto bracketing, you can't do in your manual bracketing. So I'm kind of stuck with the five d two with the three frames. I keep thinking about getting a primate control because that's kind of this one external device where you program the whole thing on you just press the button and you don't but manually No, you can't. You couldn't use in conjunction with high speed. Okay, Another question. ISS kind of stuff. You guys, while you're not shooting stuff, you all stops. Are you listening? Okay, right. Yeah, OK. Read law seven wants to know what brand of glasses were really cool. These are Gant GMT Look, so I don't know, but yes, again. Okay, um, that's my fashion tip for today. For long exposure is a question from SF Photo David's recommendation using HDR or blending exposures for a long, long exposures it would depend on. You can try. HDR doesn't work. You try blending. There's no different defenses that question. All right. Okay. That question. You gonna questions me? Yeah, I have the internet question. Absolutely good. Okay. So, guys, I'm not talking now. So you can kind of plan one. Who? What? Yeah. Okay. So, yeah, we haven't done you every Nicolas No. Sorry. We're gonna miss you. And where are we? Never got rear. We're here. So I wanted to shoot here because this has been just a dark stairwell yet. Uh, kind of varies difference from the rest of the ambient light. Yeah. Yeah, absolutely. So you got the tilt shift lens on that? We're doing anything creative with this. Yeah, I have it. Uh, filtered, tilted. Just, uh, see what we could do with creative, like focus. Okay, So where's Reggie? Focal Parking bay. Right on the concrete. So that it's nice and this is gonna drift off, folks, right. Don't explain to people. Maybe not Everybody knows kind of what you do with the lens here. What tilt shift lens doesn't have you're using in this instance? So in this instance, normally you would use it lends like this to correct converging lines when you're shooting buildings or you can use it like this and tilt the lens so that you're changing the the plane of the focal that front element and then, uh, changing your way. The focus looks like I said, explaining context of this shot. Even though the camera's pretty much points instruct the wall because the lenses tilted this way. What that does it shifts the plane of focus. So kind of this end of the walls in focus on this kind of just saying so we're kind of parallel with the wall, but we're gonna shift the focus that kind of gets soft. Is that your model? Okay, right. So expression were, um so I'm shooting at kind of, Ah, I'm shooting. I like I want to show you have to wait. But I think that's too wide open to get all the exposures that we need. Um, because at after it correctly exposed, it's at 1500. So, you know, you know you should buy cakes that will give a stomach comes to stop, so that would give us 3006 times. So what I suggest, though, is kind of the same as yesterday. About depth of field in the objects is doing it to a plea offer. Do it for because it's gonna look going on here. But you kind of get it into fracture later off automatics. And you think Well, actually a bit more than to feel my work better. Okay, so if I try to 8456 even you're playing around with corrective focus here, right? Case in God's Dwight, what you say? Because if we're 15 on, you see, we haven't got a massive exposure ranges. So kind off. If we go to I'm pretty sure we go to six and we're gonna be fine, but to over expose this by two stocks with exposure, we need to go to, like 3 25th to be 3 23 I guess so. Right. So So, actually, this time, given that we're probably talking about five shops sequence, you could do an exposure compensation. Okay, so if you roll your exposure compensation dial so at the back, you're not gonna need to switch to manual. Stephen, that's going back. What? We're looking from the, uh this so do like that? No, no, no, no. The explosion. Yeah, yeah, yeah. So just do it. Stand a shop, dial it down to minus two. Okay, Shoots, then get to minus one. Yeah. Yeah. Uh, I'll start over. Yeah. Comes here in half Stop increments when you're right, we need to do is the instagram. So this is your lighter shot? Isn't light enough. It could be later, huh? Um not sure that's the 5/100. Okay, Want on. Right, Right. We've gone wrong. Okay? Because we ended up with nicknames and for some reason, Okay, So what is it? We should have started? Well, from the light got brighter. That could well be it. Yes. So right. So we don't need to be the night. Samson. Uh, let's switch to manual instead. Then if it's gonna gonna mess around with the light. So let's let's start again, just to make sure we get it right. So just checking four things and first to out, because that should be more than fast enough. The highlights. New I should against the shadows now as well, Which is quite nice. That's a look, Right? So that's fine. So what we need to do now is say if we're still gonna go with five. So 4000 to 1 500 to right? Yeah. Yeah. Okay, let's try that. That's bright enough. Now we're getting sunlight. Might change things together with wider. So I do the sequence or No, no, no. Let's check it first. So let's try 125th. So we built. That's fine. Okay. Okay. So where you can do now is go through 125th 2 5500 1000 2000 Checking 4000 just against the sun comes out. Start with that one, and then go up. They're one lost count there. Six. Yeah. Okay, guys, that's fine. Okay, that's fine. Yet next yet? I don't have a play around city and find some more shots. You might want to carry on now, because none of the lights. Nice way. We've got some shadows. We got some kind of reflections of things. We started out and it looks like he's gonna bucket down with right. Okay, Yeah. I was kind of shooting over here simply because some nice, dark details to start with, but there's no there's no light there. Come on, guys. Find some to shoot. Right? Done. I have a couple questions for you. Okay. All right. Uh, Mark Wallace is asking if you ever use and D filters. I'm not fresh. They are working, Okay? And Suzanne is asking, I always use the exposure compensation dialled. But is there a time when that's not appropriate? You can only use it Will only allow you to exposure Compensate to a certain extent on five D to go from minus to plus two with exposure compensation, doll, which is fine. If that's enough, If it's not, then that's when I switch to manual. I'm some kind of nail with Sonny that wouldn't work. Minus two. Plus two is not gonna be enough. Kind of would be free to shop that wall on both kind of shooting shadows and sky and everything else and it wouldn't work. What I try and do now is get in position where I can kind of shoot the sudden coming over the top of the building and we'll get some flair on the top and see how that works. Where did my who's got my camera? Neck hair is okay. How much further up can we get? Make a little bit further. I found it right there. Kind uh, this might work. There's a month. Okay. Thanks. Do is get a shot Where I got the sun. Kind of coming over the top of the building and kind of reflection on this window up here on the right, it's a kind of much harsher, like, Okay, your settings are Yeah. Yeah, I'm just trying. I'm just trying to work out with me shooting that what I'm gonna do with the shot it switched to s 16. Because what I want is kind of flare from the sun as it comes over. So if you get down to a small actually f 16 f 22 you kind of get the starburst effect eso shot We looked at yesterday in the telegraph pole in light. One of my infamous pink shots. Kind of the flare there, two f 16. So it's come up a little bit. Kind of what I've got now is a very bright sky on very deep shadows at F 16 and 1 3/ So I'm gonna stop by working out the lighter shot, which I think is probably going about 25th. Uh, not quite enough. So try tent to kind of 1/10 of a second is going to give me plenty of detail in the darkest areas of the shots. So let's work out the other extreme. 10 2040 81 26 6 40 if I got a tiny little bit of blinking light just above the building, so I'm actually going to go to 12 Alaska is asking, How do you choose your focus point in a scene like the one you're shooting now? What kind of I'm shooting F 16 on Nothing's immediate in front of camera, Some kind of, um, focused at close to infinity because I've got quite large steps that feel the F Nothing's near So what I've got effectively, Everything is in focus now anyway. So what we're gonna be doing is to one thing. 1 1250th from 20th. Let's go back to 20th the woman to three for six seven. Just really site side, right? So that was eight exposures there because we've now got this brighter, dynamic range. We kind of got some people over the top on. We're getting harsher on deeper shadows on this side. So we'll see what that looks like later. How we doing for time? Okay, let me ask you a couple more questions. C. J. Smith Photography. It would like to know why is it important to know your shutter speeds? I don't mind. Down until the lowest A gram looks right and then dial it up three clicks at a time until I have all the highlight detail. Never once do I think about any numbers. Is that a bad idea? No, it's not a bad idea. I'm kind of just use thinking about the numbers. What I'd rather do is know the extent of the sequence. I'm gonna shoot first. If you kind of need to check on your way through. You kind of have to pause and look at the history. Graham. If I kind of nailed the darkest in the lightest, I know how many shots you need to take. I don't need to check each one to kind of slows you down a little bit if you have to look at the history goes that right enough. I'm not quite there. Just a minor pause there. She working out first? It's just this marginal quicker. It's a perfect voted. We're doing it. But my ways just probably slightly faster. OK? And we talked about this before, but Disney toy is asking input a shop Should we be using s RGB adobe RGB Pro photo RGB color space in info shop itself. That's kind of a different question. I use profile of RGB on It's a larger color space. Then maybe I can be. And maybe I'd be a larger color space. The white color spaces work if you're not sure what they are. It's kind of how much colored fitting kind off one loose where thinking about it so typically your cameras. Color space is very similar to Adobe RGB. So one of the risks of work in this RGB is that when you bring images in, you can clip some of the colors on lose some of the fine scale detail and colors by sufficient rest. I'm kind of the downside is when you put things on the Web, you need to be SRG, so there's a conversion process at the end. So, typically for setting up photo shop, I see adobe RGB. Your profile thank you, and pre athm is asking, Can you please go over quickly? How to determine the range of exposures required? Forgiven. Seen a guy suggest her again? What you need to make sure you do is capture the brightest details on good data for the darkest details. So your light a shot is the one that captures the details in the shadows. That's the one where we need to lease the space. Left most of the history, Graham. To make sure we got some good data for working on for the HDR image. It's a Nazi brighter shot. So when you looking on the screen nearly all of its overexposed while depending on the nature of the sea. But everything is quite bright and there's no certainly no deep blacks on clip shutters. Where you then doing is working through to your darker shots, and all your darker shot has to do is not have any overexposed highlights kind of shoes. It's very bright in the room in the building. I'm just dialing it down so that bright spot is within. It's not clipped, so there's a slight bedroom on the right hand edge of this to go with practice. It's easy. It's kind of just those two end hissed a grams, and you need to know you're going to see if it's wrong on Just keep pranks. There is no it is not difficult. Well, uh, read law seven says it's kind of weird feeling about how this is all live right now. Weaken type something, and David can instantly respond. So that is the beauty of creativelive. Um, OK, one more question. Rad Ram. Yad photo. How many exposures would you need to capture the detail that the human eye can see? Um, okay, right now, do you know this in terms of E v Range we talked about the cameras could do something like between six and nine way. We're talking about the red camera. In the break on. That will be up to maybe 11 or 13 or something like that. The human eye is capable off 20 I think. Roundabout 23 e v range. If you take into account the fact that the I will adapt dark so dark adapted eye through to normal vision is 23. And did you know that the human eye is the only organ in the body? Detect events? A quantum level? No I did not know the retina were a dark adapted eye the retina or respond to a single photo. So photons kind of quantum level of energy Cameras certainly weren't responsible, folks. But then I will. 23 v is kind of massive in comparison to the camera. So yet we can see a lot that the camera can't say. Cool. 2121 23. Somewhere in that. Okay, uh, question is from will p 19 how would you handle a despot that shows up in all of the images? Um, are clean sensor afterwards when it happened again? Kind of probably the easiest way. Just click cleaning after you create the HDL. But you will You will find whether you're sensors, dirty or not, when you should actually really just shut the day. I know mine's not entirely clean and Kev Row wants to know what monitored is. David processes. Photos on is at 100% adobe covered. It's mine. Mac Book Pro. I do have an external on after monsters Well on, but that's in Blackpool. So a couple of times a year, I use that most the time. I just I just use my laptop screen. Cool. So the answer is maybe knows. Uh, Martin B is asking. So tell us again. What do you take with you when you're shooting HDR like they're basically in your kids? What kind of that's the basic you could dispense with? You could dispense with the level. We'll just leave the level often. Pretend we dispense with the level tripod camera remote trigger. You can kind of get away without the remote triggers. Well, providing you careful. But tripod is kind of the key bit kit, Um, and you can handhold, but it's really not a good idea. It's OK, your auto bracketing and you kind of stand still or shoot. But if you're trying to adjust the exposure and it's 10 stops and forget, it's not gonna work right. We know my asked. What about using an SLR camera modified for infrared? Exactly the same applies infrared exposures to because the cameras being modified, they're going to be similar to normal exposures. You've kind of got different shadows and different highlights because infrared is kind of reflected different from objects, but it's exactly the same sequence of steps never tried it, but they would be good