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Lesson Info

How to Shoot HDR

It's hard to shoot because there's quite slowly because there's kind of some misconceptions about shooting HDR that I want to make sure we're clear up. 1st 1 is use a tripod. You know, this is kind of obvious. Most HDL programs include some way of aligning images so you can handhold. So the shot I took off the canyon that will look at later was handheld simply because we're walking turned about eight hour walk. To get to the end of this canyon would intact tripods with us so you can hand hold. But sometimes the software is not entirely accurate in terms of lining things up, so we're all come using tractors. Electoral. What? You're fine. If you get into shooting HDR images is, you'll soon discover whether you're tripods. Reason a good one. If there's any movement, all particular if you having to on bracket manually, which will come into a little while, you will find kind of movement between shots and things like this, so use a tripod if you can't use a tripod jammy camera thing is the w...

all or on the floor on a wall or something like that. But try and keep still while shooting these images. I don't If people want to shoot, start online. People shoot stuff over lunch or something like that. But if they do, they'll have their own news to work on. Yet What's going up to them? So, yeah, what you're trying to do is keep the cameras still during Havelmann images. You need to shoot. Yeah, that's kind of self evident, but, you know, will include everything we need to do. How many exposures? This was a question earlier. So having exposures do we need a minimum of three? A minimum of two would do because we could merge, too. But it depends on the dynamic range. Shooting? Yes. Okay. Why? What is? I know I am ahead. What is it? What is it we need to capture when we shoot the next er You needed to capture what? You're free cameras. Sensor cannot get with one image. Right. Okay. You're missing Conley. We look down here right in spotting very dark corner. We've got some data. Yeah, right. And if you look in the very bright spits over here, we've got data. So yes, it depends on the dynamic range. So how did you calculate how many you need from us in a second. How do you get in? I guess you guess. I guess on the basis of what? I don't have a basis. I've taken photos specifically for this course, and I think I took nine just to be sure. Just sure. Okay. What about everybody else? I would take a few test shots and look a thumb and look at the history grams and try to tell from that. Okay, What would you be looking at specifically that if you're looking at history grams listening, Mr. If you look at Instagram that I have data going all the way across through. At least if I look at the first image that I took at one exposure and make sure that I have a balance Sister Graham? Yes, absolutely. So you kind of need We'll go through it again. But what you don't do is just shoot three. Sometimes you get away with three exposures. I'm kind of some of the introductions to find online to hdr photography. And I don't mean the good two tiles. I mean, kind of people randomly trying arms are This is what you need to do. Just you know, auto bracketing three exposures, minus two E v. Two plus two TV Is everyone familiar with the term e V by the way exposure value? Yeah, I'm just just in case people are online. Une V one TV is a stop. So it's the difference between, for example, of 30th of a second and 1/60 of a second or F 2.8 or F four. So one TV is either half assed much like twice as much lines, depending on which way you go. So, for example, if the meat of exposure here waas 1/100 of a second, what would minus to BB two stops under exposed from 1/100 of a second is what for 1 401 400 reminds to evey what would plus two e V on 16 No. One hundreds for to get minus two evil, you go hundreds two on 204 hundreds. How'd you get two plus two evey hundreds. I'm thinking of what's in my when I'm switching. On average, A priority isn't ago 80 to 60. That would be third stop increments. Okay, the 150th 25th. So it's kind of you have to double it or you have to have it going. Either way, this is what you get, though, if with that scene these air the exposures from minds to even plus two TV on the blue bits and the red bits kind of the warnings that you can bring up in camera raw that we talked about yesterday for exposure. So for the money is to evey we've kind of got most of the turn sky, but not in the very brightest area. We didn't capture that data for the plus two E V, which is kind of lightest exposure. We've got most of the shadow detail, but kind of down in this bottom right hand corner and some areas. The roof. We didn't get enough information. So fired a shot. The three shot standards minus two plus two bracket. I haven't got the data that I need. That makes sense. Yeah, did making sense to people in line. We okay so far? Excellent. They both got Kallithea. Got two correct answers right off the bat. Yeah, yeah, yeah, it's kind of undamaged. Used to thinking numbers when it comes to HDR, because it's easy to calculate in your head. If you can kind of double in half these things, it's not strictly necessary. Right? And just another creativelive shadow is head of as Zacarias Tot. No, your reciprocal Zell's Yes. Yeah, absolutely. Yeah, it's certainly worth memorizing numbers or not, but it's not difficult. Um, but yeah. Okay, Right. So how many exposures? As you've already mentioned, you need to cover the entire dining range. So for your lightest shots, this is the one that captures the shadow detail. So what sort? What's the hist aground been looked like for the lightest shot? Like contacts are all blown out. Yep. That's pushed all the way to the right clip. There's no clipping at the left hand edge. There's no shadow clipping. Yeah, so you kind of got instagrammers. It will come back to that. What kind of gap you have left and edge. It's kind of some detail on the doctors, a load of blown out highlights because this is the light of shop. What about the dunkers? Show the exact opposite. The exact opposite? Yeah. Yeah, kind of know. Blown highlights on lots of clip shadows. How do you So you've all been guessing or randomly kind of working in a part from you, you would be looking Instagrams. You will be looking instagram because there's different ways of doing. If you got spot meter and I have a spot me to never use it because it's just one extra thing to carry. Kind of. The easiest way to do this is with the history rams on. I shoot HDR with five D two, which will only auto bracket by three stops. So typically, I'm shooting a manual bracket, but I'll come back to that in a minute. So all you need to do is kind of shoot a range of shots to work out how many you need. So you kind of carry on stopping down until you've catched all the highlight detail. You can open up to the brightest one. Then what you need to do is shoot the gaps in between, and that's it. It's kind of not difficult if you're using Instagram's to the answer to the question home and you need Is it always dependence to the reason I say to is you need more than one to do a true engine er image, but it could be, too, or it might be 35. I think most I've ever needed to use was 13 on some scenes. Are there any scenes where you can't capture the full dynamic range? Can you envisage circumstances under which is not possible getting into the act, shooting with sun? Sometimes in a very bright day, a very bright, clear day, even something like F 22 8000. For the second, there will be a very bright spot in the middle. That's kind of blown. There's nothing you can do about that. But you get everything else so normally you can cover the entire dynamic range. A lot of the time. Three shots will be enough, but more often not. You are gonna need more shots on the best way if you it depends what camera you're shooting with. If you've got a nick on auto bracket by nine exposures with one TV increment, chances are you just rattled through that you got what you need. It is often easier to go through the steps to work it out, and then you know exactly what you've got. If you shoot too many frames, the worst happens is you just don't use them so kind of dull. Typical step through. If I end up with 10 on my 12 just to be safe cycle. Sometimes it's kind of difficult to see the instagram in the back of the camera just to make sure you shoot an extra couple of frames. But we'll go through when we go out shooting with Both will go through all this today. How do you think it might need out there? Not as many as a bright, sunny day. Yeah, Yeah. Unless it brightens up a little bit. Even if we find the darker shadow in the brightest highlight. You kind of being close to one frame anymore. I think, uh, unless the sun comes out, we're not gonna need more than a handful of shots, But we'll go through it all will make sure that sequences you shooting match circumstances outside. David, you mentioned you shot one with 12 frames yet with full stop increments that you were shooting over the fractional. I'm gonna come back to TV range in a second because this kind of some confusion there as well about what kind of what? What sort of gap you need? So we're kind of clear now about how many exposures. You guys are very quiet over there. Presumably else's kind of happy as well. Yeah. Excellent. Yeah. Yeah, right. So if we look at the sequence for this image, there's the darkest exposure. So this is F eight a 1000th of a second, so you can see why you're gonna get to the point quite quickly where shooting itself. It's gonna be difficult. So f eight How many more stocks would be from F 8002 F 22 at 1 8000? That's Doosan number crunching in our heads. Can you repeat those numbers again? Yeah. So how many Omni TV difference would it be to get from FAA things And to have 22 at 18 thousands on the eve E. Would that be enough to work in as well? Down the things. It's a shame. And when somebody says something online, we're gonna see it. Yeah. They can't do math faster than us. I bet. Yeah, I'm MTV. You think it is? We're gonna answer. Yeah, OK, we'll hold off. 8000. Teoh 20 to 8. Running Samson's. Yeah, we got clear. Chairman with singer Dan F seven Sam Cox, Yeah, pick 1000 to 2000 to 4000 to 8002 f 11 2 F to F 22. So it's only six. Stop difference and I'm right the limit of what camera will shoot. S a 100. So there's no selling that shot. So that's what I was saying. Sometimes you get the sun in the frame as well on you. Just you just run out of ways of shooting the scene. So that's the darkest exposure on you'll see from history. Ram on. Can't use the thing that right hand edge. I've got four undertones in the bright star of the image. There's no highlight clipping. Obviously, there's a massive amount off shadow clipping in the shot to the dark areas. Extremely dark. Yes, David. Yeah, Martos asks. Do you suggest Onley changing shutter speed and not changing F stops as to keep the focus consistent? I'm gonna come to that as well. Great. Yeah, Absolutely. Absolutely. For reasons I'll explain in a minute. Okay, so there's a doctor show. Here's exposure. Nine of 10 right? What's the history and tell us here? This is your highlight shot nearly. But yes. So what? What we got here. We've got lots of loan highlights. No blinds, no blacks. Very little in what kind of the line? The important thing here is that there is a line that goes right across the bottom towards the left hand edge. So there is some blacks in there, but not very many of them. You know, it's just kind of a single line, and it's kind of a little bit broken up. What I actually did on this occasion knows I shots, uh, it's going the right direction. There we go. I shot that one as well. So that's the 10th in the sequence. So how is that history? Um, different That, um Well, David, completely wrong. Me. Jump out a second. Ah, your ass. Right. So there's my ninth. Forgetting is an intravenous line. Sorry about that. There's 1/9. There's the 10th. What's the difference? But no darks at all right now why? You can have to think back to one of the tables we discussed on day one. So you remember when we were talking about why you would expose to the right? So I have ah, someone charming in online Bruce efforts saying this is the shadow detail shot this? Yeah. So the light is shot Is the one where you bring up the shadow detail? So why is it better to do that? Do that. Remember the table we used to discuss how tonal variation within a frame was distributed across five broad increments? Or is that too many weeks ago? It seems like a long time. Remember, you had the amount of data for each five? Yeah. What did it dropped? Game two in the Shadow. What we were concentrating on the number doesn't matter. But we would concentrate on the fact that kind of if you've got 4000 levels of daesh in 12 it roll file 2000 top stop. 1000 in the next 500 in the next 200. Something the next on 100 or whatever is 16. I can't quite remember for that. Bottom stop. So, what do HDR images do with shadow detail? Do you end up? You reference that one if you want. It's kind of quiet Dark in that comment. What's it doing? It's bringing up this detail, isn't it? Right? So why is it better toe have that than that? Why would I deliberately overexpose again even though this friend does catch the deeds because there's less data in those dark areas. So absolutely have. Yeah, so we've got We've got the detail here and kind of that that bomb line is the deepest detail. But because of the way the sensor records the data, you don't have a lot of detail. You've not got many levels to play with. So he's trying to brighten the up, have many levels. It was in the courtroom. Exactly. It's not many. What you tending to do is pull apart this data and you get stepping. You get you increased the noise. And so, by going to that, what you do is you get a lot more data in the darkest area. So this is the darker shot or you need to do is make sure you don't clip into the highlights, but the lighter shot it. Sometimes we're, I think, overexposing by at least one more stop to make sure you get this extra data. This is the best way of preventing noise in an HDR image. Typically, it's under exposing your lighter shot that will cause noise because noise is kind of compounded when you've got very small amounts of data to work with, Does that make sense? That makes sense. Several online as well? Yes. So far so good. Excellent. Yeah. So to minimize the amount of noise. And you're actually army is often a good idea to leave some clear space on the left. Most edge of the instagram off your lightest explosion. So why did you stop with that one? Why wouldn't you even take it further where you can carry on on the kind of dark bits here? I'm gonna kind of leaves and dark Any right? It depends what you're trying to do. If you're gonna go for the real salt. Surreal, grungy, over the top stuff. You're bringing your shadows up to match the midterms to match the highlights. And you got this crunchy data everywhere. So if you if you're absolutely setting out to produce that sort of image, then yes, it might be worshipping another two on. All I wanted to do, though, is show the shadow detail. I'm not particularly wanting to make it as brightens everything else. So, yes, you could go a bit further, but providing you do this if you're aiming for kind of photo realism than kind of this extra stop or maybe next to stops is enough again. If you shoot more on you got a problem with noise, you know? So you start with, I use 10 here, so it turns out Look, with noisy on you shot some or being more exposure, you don't have to use them all for every XDR image. Yeah. What kind of it Since Yeah, definitely. Excellent. OK, so a question from Kobo in the chat room. Does it make any difference if you shoot in 1/3 or 1/ stops rather than in one? Be right. I'm gonna come. I'm gonna come tonight if you come to new. There we go. There isn't. There's no rule about exposure, spacing while the only rule. I would say that whatever. Whatever increments you use, keep it consistent. So you don't want to go One stop. Three stops, One stop after stop. You know, whatever you pick go all the way through. Typically again, you'll see the people who recommend you do the minus 22 plus two. Obviously, they're shooting with a to e V increment or to stop increment. I'm from experience. I found that the best you get the best results with a one TV increments, you get images with less noise. I'm not entirely sure why. Because to evey they certainly overlap each other. Um, you think about the done and what's the dynamic range of the camera sensor? We're talking TV. So what's the range of your camera sensor? And even maybe 44 stops of late? Multiple six giving. Is he right? I'm gonna blame him. Probably it varies. We got in someone's Suzanne says. Eight stops. Vision 68. Yeah, it kind of varies with camera, but it's round about 60. Way to nine. Um, it kind of depends on the quality of the cameras. Well, so the cheap of the sense of your little point and shoots is gonna be less five D mark two on high end. Nickens is supposed to be higher if you switch up shooting something like a 16 bit digital back, it's going behind. Still some the red cameras kind of up to 16 TV. Typically, if you think of the dynamic range in a sense or something like 69 then you kind of kind of safe with that Sumption. Kind of. My reason for mentioning that is if you got let's assume it's nine. If you're spacing by to evey this huge amount of overlap between 90 v range because you just stepping through it at least two or three times. Um, but going with a one E V interval does produce images with less noise. The must be a technical reason for this. I don't know what it is on. The difference isn't huge, but it is noticeable. So my recommendation would be shoot with the one TV increments. You kind of doubling up the number of friends you shoot there, but it will produce a cleaner image. Can you think of circumstances under which you wouldn't want a one TV spacing? Why, why would it complicated? Sometimes something we haven't talked about yet. See if you jump ahead with Well, the more shots, the more likely it is that something in yourself on your subject will move and you'll have ghosting issue. Yeah, yeah, kind of. It would be a balance with If you've got anything, it's moving. The more times you are the Mawr movement, you have kind of sometimes the harder it will be to remove to. Sometimes less shots might be better, but generally as a rule of thumb, um, one TV spacing. Make sure you capture a full range of tones and make sure it's in space. Left most edge of the history, Graham, for your lightest exposure. Is that kind of fitting with people in line? Yeah. We have clouds all over the place. Yeah. Have young clouds and water. Yeah. Clouds and water. Yeah, absolutely. Okay, it's making sense. Safer? Yeah. Definitely. Yeah. So you're going to do random shooting anymore? No, no. I'm regretting the shots they took this summer. It'll have You got the full dynamic range jokes. You've got your shots there, you know? I don't think so. I think I've only got it three v. I did. I did it. All right. 1/3 stop. But it was Davis got some shots that he took in Japan earlier in the Yeah, that summer. Yeah, because he was kind of hoping to do some fact realistic stuff. So have a look. We'll have a look lighter on. We'll see how far off you are. You might be okay. I think I might. The rangers that high that Yeah, you may be OK, so that's explosion. A question from Jeremy Oh, is I assume you can change the e V between each each shot taken, But can you set up your camera to change the TV stops at a red in a rapid fire sequence? How you shoot, we're going to come onto how you shoot the sequence. You shouldn't things to bits. The question I'm assuming it doesn't mean this. What you shouldn't do is change the spacing during a sequence. That's kind of what I started with. So you don't shoot three frames at one TV and then jumped to evey gap? Keep the gap consistent. Not least because most on HDR programs expect unequal increment between shots. If you don't, it thinks these things missing and it will prompt you to identify what shots of which and it just it just confuses everything. On what was the second part? The question Do you? He stopped. If you're shooting, Didn't it was Can you set up your camera to change that? You ve stops in rapid fire sequence If you're shooting, if you means Nauta bracketed sequence Most cameras again. It depends on camera model. So my five d mark two will allow me to. It's either to stop or three Stop Gap. What kind of car? Remember, there's three. Stop. Is it just too? Yeah, probably just 233 frames. My one DS mark two will allow me to shoot up to seven frames with three stopgap. Most Nick on cameras are a lot of nick and cameras relationship. Nine frames but no bigger than the one TV gap to kind of set up differently. There's a device. If you really get serious about age, don't have a picture of this is a device called a promo control. You can kind of plug into your camera on program it on, press the go button on. You could shoot 180 shots at 1/3 e v spacing, and it would just go through. Or you could say, I want 10 at one and third stops or I want 10 Stop on his Press the button and it goes. It really does depend on the camera, so I can't answer a specific question about specific makes because I don't know. But what I can do is make sure you kind of got the principles so you can adjust it camera accordingly. So that's kind of exposure. Spacing? Which brings us on to auto bracketing. You're familiar with alter bracketing. So what? Cameras? Every shooting with again remind me. So yours. Do you know what? Your school bracket? Um, it doesn't I can't auto bracket. So you can always told with your No. OK, Right. OK, uh, what you said nine. You know that one? Yeah. So you kind of covered in most situations. You kind of being one off for that shot. That one? Yeah. Yeah, by the march is so I used to stops all three week in space, and I think it's too well lit. Well, look like, yeah, we should know we have these cameras. Redaction. No, I'm talking about is at least it's 2 to 1 more thing. You could change it. But up to are, you vary anywhere between 1/3 and two on. I'm not sure and go higher than two with fighting. It's a kind of autumn anyway. Wise auto bracketing a good idea. Why would we want to alter bracket if we can? So you don't get any movement when you on the camera? Yeah, we're kind of not having to fiddle about with a camera. We can just press the button and it will route through the sequence so we can use remote release to trigger the sequence. How many of you have got remote release? I do. Yeah, Yeah, that kind of handy for hdr Because what, you really don't jiggling the camera? Bam! Um, if you got a sturdy tripod is not shooting manual isn't too bad. But it's when you get down to the slow shutter speeds. So you get down to kind of half 2nd 2nd 2 seconds. You don't want to be touching the camera because there will be some movement, no matter how hard you try, put it If you're touching it, there is a move. Um, yeah, I would say if you have a VR Lindsay also turn off the are. Yeah, I'll come to that. I think I might have filed to mention that, but yes, you're absolutely right. And do you also lock up your mirror? You can do again. It kind of depends on the speed of the sequence. Now, sturdy tripod is if you got it is more of an issue. If you kind of got flimsy tripod because it will introduce and vibrations the camera, which will then be translated into a tripod. Um, tell you you could do You can even shoot the secrets of life you as well. And that kind of flips out away from the start kind of auto bracketing what I tend to end up doing with five details manual bracketing simply because it hasn't got the range. Well, it's cut this kind of two options you can mess about with exposure compensation on auto bracketing. How How would that help if I'm trying to shoot in HD are sequence of images. How could I combine exposure bracketing, um, with exposure, compensation? What would that entail? You could, um so if you congrats it our cameras bracket three photos. And if we shoot and, uh, time value, no riverine shutter speed. Yeah. Yeah. So then you condone Under exposed by two stops? Yep. And then bracket that and then should it correctly exposed bracket that and then go to stops over? Yeah, absolutely. You end up with a couple of extra frames. And did you follow that? Yeah. Yeah, it is kind of you can use exposure conversation to shift the three shots two under exposure than to correct exposure and then to overexposure is what you get. Then you gotta six stop range doing that. We just Sometimes enough you still triggering three sets of exposures, which can be a bit annoying, but it's better than triggering six manual bracketing. This comes back to the question we're scared. About What? What is it? You varying. So why is it we're varying the shutter speed and not the aperture or we're trying to change them out of lights. Why isn't shutter speed? We don't want the depth of field to change over the quality of the image by changing the ice. Oh, yeah? What happens? He changed the depth of field. Change the aperture. So the depth of field changes just get your focus will shift. Yeah, so you kind of focus will shift in the content or change. So if I'm kind of focused on this at F 2.8, you're gonna be you're gonna be blurred, I'm sure. From here f 22 you're gonna be a lot more in focus, so you can't stack up a sequence of images where you varied the Apertura I'm in the same fry. So although to a lesser extent as you increase your answer, you increase the amount of noise and image. So again, on a kind of fine scale level, what you're doing is you're changing the content of the image by varying the I S O That kind of makes sense. Yeah. The other thing with Apertura is you have got much arrange with that picture you got fast lens you're not covering money stops. So 2.8 to to 56 to 8 to 11 16 22. It's kind of only a six stop range. Anyway, we've got a much bigger range. We shut the speed to 8004 to 1 502 150th 1 to 5 60 30 15 and so on. You can cover a massive range with shutter speed. So if you manual bracketing kind of you just clicking through the dial on making sure you keep the interval constant. So have you got your camera set up half evey intervals or 1 30 The intervals 1/3 1 side off their rights. If you got 1/3 Hamlet family clicks do you need of the dial to change toe one evening. 332 You need no half. You need to you. So you could just gonna be consistent. If you're doing a manual bracket, you just gotta count. Just just can't off threes in your head and you're going through, okay? Don't make sense. Yeah, Go other settings. I did mention No, I didn't mention image stabilization. So that's mentioned that first because it's not on the list. Disable your image stabilizer when you are shooting HDR sequences. Why? Because they're the service built within the lens itself. Adds additional noise and shift potentially with him because it kind of moves the image. You know, even if your camera doesn't move, the I s can move the content of the frame because it is trying to correct. And if you lock down on a tripod, it doesn't make a difference. Anyway, Other things. Why would you want a disciple all time factors? You don't need it. We're gonna focus you. You certainly don't need it. But what would be what with the risk if you leave it on, would would shift mean potentially shift the focus? Yeah, there's a risk that if certainly if you've got, um, focused. Locked to your shutter button kind of on my camera are sometimes this is why it's on the slide now. I've got focused on the back button on my camera. Focus. Can't change it. The shutter button. If you got the two linked, any mild change camera hunts around or it loses the focal point again. You're gonna change the content of the shop because you can have a different focal point. So turn off autofocus turned off VR, and sometimes it's worth selecting a specific white balance from the outset. Now, if you're going to take your images into camera raw before you take them into folks shop, this doesn't matter quite so much because you can set them all. But why would White balance be an issue across a range of exposures? Wouldn't be that you won't have a consistent white melon brother. Absolutely. But why? Why might it vary if you don't? If you if you stay with an automatic white balance, why might it very during an exposure sequence, because the the color temperature in the shadows is gonna be different from absolutely so it kind of just jumped back. Teoh waken do it looking at least two here. When we get up to on our overexposed images, there's no color data from the brightest areas. What we've got is kind of dated. That's in the shade, so the color temperature is gonna be slightly different. It's gonna be cooler in the shade, and it is in the sunlight. By the same token, when we're shooting the darker exposure, the automatic white balance is using the data in the sky to set the white balance. So it's particularly when you've got huge dynamic range or a large dynamic range. The automatic white balance will use different settings because it has to. You know, it's got no color data in the brightest area. Kind of those photos sites. It is completely flooded with data, so it's using what it's got so it can vary the color temperature as it goes through, and it will set a different white balance. So it's worth just clicking to it Doesn't matter which one obviously relevant one would be more useful. So today, maybe clarity when the shooting sequence Yeah, okay. What about meter ring to be using matrix where it doesn't matter if you got a spot meter and you were back then to How do we determine the exposure sequence? I've got a spot. Me to need. Brightest. You target the brightest bit dark spit you can. Then where can what You need the easiest way. I was using Instagram so kind of you don't really need to know what the values are. You don't really You don't need any of that. You don't need to specific evey value from a spot meter because you can check in history, Graham. And you can see whether you've got the data that you need. Yeah. So the mitri is kind of irrelevant for for hdr. Okay, Were you question from from Duke is in raw. Isn't my balance a tag versus an actual change in sensor? It is absolutely not something we discussed when we looked at a C I yesterday. Remember when we talked about white balance and hair with raw files? Not there. It's not an issue if you take your raw files into camera raw and then you normalize the white balance between them. But if you take them straight from your camera into Fota Matics Pro, you can't do that. It will assume a white balance then. So if there's drift in the way it's being tagged, fota Matics will read the tag. So it's not hard coded, but it will read it. So sometimes it doesn't make a great most the time. It doesn't make a great deal of difference. It's kind of just one thing you can lock down and have control over rather than just cross your fingers. No work saying Yeah. Um, again, they're asking about sticking toe one, uh, as we must. We stick the one I s o level throughout the shots to ensure the same level of noise. Yes, absolutely. Yeah. That's kind of what we want. One of things were just saying his name. You don't again with ice. So you couldn't You couldn't really very the I so much. Anyway, so 102 104 8 32 64 So, you know, by the time you've gone from to 6400 even on the high end Nichols, there's noise and 6400. My five to would look terrible. It 6400. So you're changing the content of the image. You're losing fine scale detail. No, you're not changed in IOS. So, typically, I would like the I. So for this kind of shot, I would lock it 100 because I wanted to maximize the quality of each frame sequence on. If you run into very long exposures that have been shooting this at night, maybe I might go up to 200 maybe 400. Just icky exposure time. Dancer not stood there forever, but typically keep the eye so low. I'm certainly don't Very drink sequence. Yeah, kind of makes sense. Excellent. Okay, so 10 o'clock doing well, Other settings. So turn off your destabilisation of VR, disable auto focus on select a specific white bones. Yeah. Okay. You know, this is difficult sacrifices. Kind of sequence of steps to go through. I'm shoot quickly. Why would you want to shoot quickly without reading else screen? But he said before to prevent things from moving within the image. Yeah. Yeah. You kind of don't want things changing. I'm for scenes like this. It's a very still day. It didn't really matter. You know, I could protect half an hour over shooting sequence, and nothing much would have changed. But typically things will shift a little bit. You got claims in the sky. They are moving. Even if they're moving slowly, The Net claims never sit completely. Still, you don't want the lighting to change, so you don't want someone suddenly to disappear behind the cloud. So you shoot and quickly you minimize the chances of anything changing between shots. Um, if the scene does contain rapidly moving components, you can't record these at least not rely. But we'll at least know all the time. We look at an example in a minute. Votomatics Pro now has kind of an advanced de ghosting tour, which is considerably better that used to be ghosting used to one huge problems with HDR images. Eso you kind of spend a lot of time to drop in some of the original frames to repair the ghosting. But as you see, Fota Matics is a lot cleverer than it used to be. But anyway, the fast issued the better because while you can remove some ghosting is better not having in the first place. So it kind of goes quickly. You can, but make sure you're going through all these other steps first, so rushing it knocking camera over halfway through is bad. But taking off an hour every shot is equally bad. Is kind of a compromise thing here. So a lot of this is just common sense. It's No, it's not rocket science. It's just kind of a sequence of common sense. Steps to go through writes a handy process than we're going to start looking this we have a break at, uh what time? Run? About 10. 10. 30. Okay, so about half an hour to start thinking about post production. Okay, before we do that questions, just gonna say before we do that way, ask you some questions. Deja vu. All right? Absolutely. Yeah. So right. That's kind of the whole shoot inside of it. Okay. Woods on a few others have asked about shooting HDR at night. Yes. Can we do? It is if you recommend it, not recommend it. You can kind of shoot, actually. Are under any circumstances. I'm clearly if you're shooting at night, you're running. You're probably running into some quite long exposures. Um, and you're also running into this issue of having very bright bits versus very dark. It's it kind of depends what you're aiming for If you're shooting at night and you wanted to bring up very, very dark shadows, then you're gonna end up with a very, very long exposures. Um, if you wanted to do that and get, you know, kind of shooting cityscape and you've got a little twinkly lights as well. If you wanna expose for them, you can end up with really huge exposure sequences to sometimes you have to say, right, these little bright pinpoints. I'm gonna overexpose those. That's not it's not gonna matter. Um, yes, you can shoot at night in the morning whenever question in the audience is going to make a comment. One of things that I struggled with in the beginning is not knowing. When I came back with all the images, which ones they were. So just the simple tip was I take a shot with my and and and then at the end, Yes, yeah, yeah, that's kind of procedural thing for when you turn, identify which role files go with which sticking handing from the lens before sequence or anything is kind of a good idea to go. All right. Okay, let's start sequence what I find as well. If you're doing three shop deputy, you can change the order in which the shot so normally cameras are set up to shoot the meted, then the under than the over. It's a kind of know in sequence. If you're browsing through, you can change it to do under meat of exposure and then over. So when you're browsing through your files, you know, kind of stepping in sequence, and it's kind of easier to follow, which go with which. Typically, if you're anything like me, you'll find you shoot in just slight variants of the same scene. Anyway. You change in the composition, so you do need to be able to identify which shots of which. Good. Yeah, great, thank you. A question from Teamster W on Twitter. If you shoot home interiors, do you still keep the white balance the same where you have interior and exterior lights that are different? Um, that says, this is kind of a difficult question on this comes back to post production. I can't remember the guy's name. You reminded me of somebody who shoots how interiors. But what he doesn't do is do hdr. What he does is he doesn't manual blending for precisely that reason that if you shoot the HDR, you can end up with quite weird, particularly issue in tungsten. Inside, on daylight outside you can end up with some very weird effects. If you're doing that as a career, you know you can't cheat and just switch it to black and white. That's the easy answer. If you do it creatively, go to hell with it. You know, I'm not gonna worry about this. I go to black and white, and that fixes the problem. Um, what I might be tempted to do in no circumstances is one option would be to produce to actually are images, but you need to take the raw files into folks. Shot first on Do them all is tungsten white balance. Then do them all again as sunny white balance and then merged to information. Lighter white balance is one of the huge problems with HDR because it is bringing out. Typically, scenes have different white months in different areas, so interiors are a good example is it's not easy to get in looking right, particularly when you're trying to look through the windows as well. Cantor had a question earlier about just the difference between HDR and exposure. Blending, Um, one is a tactical difference that with HDR, you're ending up with this 32 bit file, which is something different, which you then tone mapping exposure. Blending is kind of. I'll show you an example in a minute, which is a shot I did off the same inside this building where I'm manually blended leads. There's no HDR I needed. And 10 I think, 11 shots for that one. There's no on HDR image because there was no 32 bit fire in the middle. Eso We'll look at exposure blending when we get to mathematics pro, but it's no HDR. It's kind of using aspects of different frames within the sequence to stack up to produce an image. It all comes back to compressing this tonal range. You starting out with something that's here. It needs to be here, so it's kind of different ways of getting there. The HDR route is the one that constructs this 32 bit find in the middle kind of sense. Okay, question from the chat room is where do we focus for landscape hdr where we focus focus. It was back when we're talking about the aperture changing. Um, again, it depends on what you're trying to achieve. A lot of HDR images people tend to shoot with quite small. I picture because it's a technique that brings out all the detail. So what you've got in that shot is front to back focus with shot off the skyline that was dead easy that, you know, it's kind of front to back folks anyway. It's all hundreds of meters away on shot the railway tracks. I was kind of shooting at small apertures and very low to the ground, and I want to get the detail kind of running through the tracks. That's a creative decision. Low. If you want to shoot in HDR image that are shallow depth of field, you can. So Brian Matich it was in the other dad. And if you said everything is actually our work, look up. Brian Matich is HDR images. His shoots a lot with a 17 military shift, so it's kind of shifting on a lot of the images, not focus, so there's no difference with actually are than any other type of photograph the decision or palm where you focus on what actually use is a purely creative one. It's a technique that lends itself to big depths of field because you do get along this really nice detail, but that doesn't mean you have to. You can shoot HDR signals that f 2.8. It's fine. You know, we could do in hdr this cop and everything else out focused. So, yeah, what about using a circular polarizer? I kind of bright, sunny day and you wanted to actually work on some other colors and so forth? You can, um, typically, I've given up trying to combine filters with XPR because it's not really necessary because what you're getting with the HDR sequence when you're shooting skies is you can rely on this detail anyway, um, so it kind of confuses things. Sometimes if you're sticking filters on the front, particularly Phil, particularly time you get through to shoot the dark detail. You're just increasing exposure. But nothing's too polarizing. That has no effect. You kind of polarizing light. For some Brits, them is not for others. So typically, I would advise against adding in graduated filters or polarizes did. It doesn't seem to help much. Leslie Lee photo would like to know if you recommend prime lenses for HDR or whether it makes a difference again. What difference The prime lenses. Mike, Generally speaking sharper. Yep, yep. So again. If you're thinking about really maximizing the detail in the shop, and chances are you'll be better off with prime than you would with Zoom. Um, but again, it doesn't make a difference. Obviously, the only thing you need to watch out for if you're using a zoom is you don't inadvertently change the focal length during the shop as well, so you can't shoot one of 24 million next 1 35 And so I'm. But again, that's a general photographic question. Typically, yes, I would recommend a prime lens rather zoom lens, but simply because it's optically better. It doesn't really make any difference for HDR. Okay, question from patter J T. Was, which hissed a grams. Should we use on the camera while shooting bracketed shots for H G. R was back a little bit ago, but in terms of the luminess fever again used, the RGB hissed a gram rather than luminosity instagram because sometimes the luminosity instagram can be a little bit misleading. So you could have seen with lots of reds in it. For example, on the luminosity, Instagram tells you the exposures Bang on. You've got the brightest detail. You may have some clipping in the Red Channel again. For every photographic situation you get mawr information from the RGB instagram, but kind of the three channels s. I can't have a good reason not to use it. Martin showing Bauer would like to ask you mentioned earlier that you could use a fly for HDR. Could you explain a little bit how you would do that? It's not something. It's not something I tried, but it may help. For instance, if you've kind of got very dark hairs oven image. The kind of the problem, though, is if you're if you're firing flashlight into the image than how would you balance that across different different sequences of shots So clearly when you're shooting the darkest detail in here and you've got a very long exposure, what difference with the flash make? It would kind of maybe changed the balance a little bit inside. It's not something I don't I don't really want to advise anybody about using flash relation. They are Typically, the whole purpose of HDR is to avoid needing artificial lights, but you could creatively combine flashlight with HDR to shift the balance off light in a particular area. So what we've got into here is uniformed light under the roof because that's simply it's in shade. It is uniform lighting. If you wanted a bride to spot at one end and you find the flesh for each of the shots, then you could do that. Your problem would be when you get your faster shots that once you grab your sink speed if you flash, then you run into problems. So if you're shooting anything faster than the 2/50 off 400 fuse and high speed sink or whatever your flash, is it gonna sink for those shots? I'm so swings and roundabouts experience it. I recommend people experiment with any technique I haven't combined flash relationship sharks. It's kind of complicated enough, but it's certainly worth playing around with. But do bear in mind sync speed on? Yeah, kind of. We had a couple of several people asking about in decay in particular. Any tips for doing HDR portrait? It's, and some of the earlier had also asked about a single. It's itchy, our image, right? There's no such thing as a single HDR image because you need a 32 bit filed. That is Theo HDR image. You can create pseudo HDR images so you can put a single raw file into fota Matics Pro and you can tone map. It's now kind. Is the problem with how many of you tried that? We tried it in a single file. Yeah. How did it turn a like it can be a great way to enhance texture in your shot. Of course you can get carried away and increased veracity. Yeah, Yeah, kind of. The problem is, if you don't have good shadow detail because then it would become very noisy. So if you're doing portray its if you can't reliably shoot a 10 bracket sequence of somebody stood in front of you because they are gonna move to an extent, even if it's only a tiny bit. But you can do single roll far process in which remind me to talk about that later. We'll look at that as an alternative. Okay, play. Um, Dale asked, Do you ever shoot tethered? I'm not fresh tr I really shoot tethered anyway, Some kind of an Obama. It wouldn't make any difference. They actually are. Process. It may be easier to kind of check your history rams and make sure you've got reason to focus and everything else. But again, it's kind of a general photographic sing. Rather anything that was specifically useful. Fresh. They are kind of makes sense. Yeah. Okay, you guys all good? One question. One question have from yesterday was with HR. You will talk about doing some masking between HDR is possibly focusing towards the foreground versus the sky and so forth. Would you be actually shooting two different? Would you be focusing it differently, or would you be shooting with a different bracketing for the former manual bracketing? Right. So this is the example we looked at with appear. You mean right? No, you again. You wouldn't be changing focal point tonight. Something called focus stacking, which would be different again. Which is kind of attending your product photography, where you would step the focal point back through the image on. It's a technical. He's one of my night shots recently, but typically, if you're blending different images, you kind of want to lock everything down in the same way, so they're gonna blend them manually. Are you gonna blend them in hdr? You don't want to be changing things on this Sterile it unless you do an intentional for focus stacking. I'm focused Aktobe useful if you want to. The macro shock say the phone So even f 22 If you kind of down here, you've got limited depth of field. So what you would do is you incrementally work the focal point backwards. And then you can either manually blend them, which doesn't work very well. Or you can use something like Pelican Focus, which would take the museum will focus stack. So it's not exposure stacking its focus snacking kind of a different technique But you could confine, actually combine focus stacking relationship But it would end up quite complicated, but you could do it. Okay, good, You guys good If you think about it screams e I was dreaming about them last night. Yeah, like I had a weird dream, but I can't quite what it was. Nobody was something to do with post production. It's kind of time for chilling out and doing something else. Tomorrow I feel it's not dreaming about post production