Bracketed Shots for HDR


HDR in Photoshop


Lesson Info

Bracketed Shots for HDR

Okay, so let's do some hdr right now I'm going to grab my camera but I shall tell you what I'm going to sit down first what I'm gonna do is I'm going toe talk aboutthe settings on the camera show you the sittings and then I'll just go here so I don't make everybody seasick and then we're going to go up here and we're going to shoot the scene and we're gonna put it together and actually our house itself so we're going to do a practical hdr so right now here's the settings on the camera I know my camera and I shoot with my camera and I know the settings on my camera your sittings may very on dh I don't know what they are but you can look in your manual you can find out where these options are because they probably very from camera to camera, but the first thing I'm going to do is I've got the cannon five d mark three by the way and and they should have been use a little different than it was in the mark too there's a few more options and stuff on here, which is really nice so what I'm go...

ing to do is I'm just hitting my little q and I'm jumping between them so the first thing I want to do is decide okay, how many bracketed shots am I going to shoot so we can get down here and I've got options, and this is one of the big reasons I actually upgraded to the mark three and also for the video stuff, but even the video stuff wasn't compelling enough for me. What really got me was this and and a better focusing, but previously we could only do three shots of bracketing on, so this mean you didn't even exist on the under fives mark too, but with the mark three we can do up to seven shots on dh, I think, than icons khun do, they can definitely do more than three, maybe they conduct too. Symon was, well, maybe more. I don't know, I don't see an icon, so I don't know, but we just select if I want to do seven shots that's what I'm going to get, I'm going to get seven shot breaking just like that, the stuff I showed you, the bradbury building that was done on the march to side manually change the exposed between each shot, so I just waited for three clicks because I have this sit two thirds stop of increments and notice I can change it here, I can change it to third stop or half stuff increments, so I haven't set the third stop, which is just more standard and so I want to change the start menu I just get click click click and you know and I hear three clicks and I know I've changed one whole stop or I can actually just look at the numbers so what we can do to a beautiful thing that I love here's a bracketing sequence this is not new this is being on this camera for a while in the mark too when you see zero minus and plus then what that enables you to do is zero is your exposure this is what you would if you were shooting one shot this would be your average exposed then it's going to shoot the minus next which is going to be the two stops under and then after that it's going to show shoot the two stops over so you consider to do whichever way you want to do it there so I can under expose overexpose or you know is you can see you've got other options so I like to sit in on zero and the reason I shouldn't on zero is because for example the scene you might remember a while back I should do the shot of the girl sitting in front of the car now the room light never think wass courtesy of you know the car manufacturers to the lights would give creating the room light but on the girl itself it was ambient light that also I was using a sameera soft box I had a talk about the bank it's kind like a portable beauty dishes, so I think they call the octo beauty, and I had a speed light sitting on there, and I was actually using scott robert lens tiny triggers, so just shooting it manually and I just sit that just toe pop up that flash once because I wanted to eliminate her face and properly exposed her against the car on my regular exposed so it's just like bombs. So I shot that with the flash, which is something else you can do with hd heart. But then the other two, I didn't use the flash because I wanted to, over and under expos I didn't want to flash contaminate the rest of my scene because otherwise, if I'm shooting a flash in every shot it's pointless bracketing, because that flash is going to override the ambient light because I'm in a parking garage is very little ambient light there. So long story short. So I said that his ears, if you're gonna use a speed light along with that, set it on their bomb, pop it once, then turn has be let off don't to see the speed light on the underexposed because it's just going toe just gonna brighten it up. All right, so having said that let's go back here so I'm going to say it the amount of bracket so typically I'm just going to choose three shots, which is what I'm doing right now then I'm just going to hit my little men you can't I'm gonna go back here and going to the second option here and you'll see exposure, compensation, water exposure bracketing call it whatever you want, we're gonna pop it open here and so if I turn this button here notice it splits it and you can see we're changing it there and those little numbers represent a stop, so if I get it the second big one that's, two stops and if I get that one has three stops, you can actually go further, but you can't see it on it so I could go one stop to stop, so typically I do this you can see those of the three shots that are going to be taken you going to see zero in the middle is going to be the first shot, then it's going to shoot the two hundred two over. Now if I use the other sitting here like this, you think I have to go into the camera, you know, once I've got it and I can actually move the whole thing over that whole thing back so I can actually bracket the entire sequence instead of just one shot. So if I shoot a sequence and I'm like, you know, this looks to bride or this looks too dark, I don't have to go through and change, I could just break in entire sequence. So that's that's the basic settings that you want to do in here and now, if you are have this option of having the custom menu, which I happen to do, I've got my options right here. I put into my custom and you said I didn't have to dig around looking for them so I could just go here a number of bracketed shots. Aiken, just choose it here. Exposures, compensation beckoning here I'm going to go to stops that their boom. Now it's ed to do the two mirror lockup, I can turn it on and off, but I'm going to be doing handheld, so I'm not gonna lock up the marriage. You really need to be on a tripod to do that. Andi, you know, you might want to see your s o settings, etcetera. So what I'm going to do now? Because I'm going to get into the actual sittings up here, so I'm just gonna I'm gonna take this little tripod thing off because I'm not going to use it now. When I say that, you know, if you can use a tripod, use a tripod, but for the scene, I'm going to shoot it's not really going to be very practical, you can see my exposes going all over the place because I'm on manual exposure right now, so you see it's just going to pick up whatever I've got, so if I want to put this into aperture priority, you can see how you, um so what I'm going to do is a fact we can hear notice how aiken under or over expose the whole bark it if I want, but I'm just going to say that in the middle because I'm going to go from my regular exposure, so I've got my eyes set to four hundred typically I would drop the I s o to one hundred the reason I've got it said it's a iot, so four hundred right now is because I'm gonna be handheld and I'm gonna be shooting indoors and the scene I'm going to be shooting is going to be, you know, just a little bit a little bit doctor than what I'm comfortable handheld in at one hundred so typically hand holding hand held ng that's a new word so that we could put that on a tripod and and I would sit and I wouldn't worry about it I guess so but in the case of here when you're shooting indoors your handheld then your eyes so this is when you're going to use your s o because you know you know the rule of you know shooting whatever your focal length is one over the focal length for your shutter speed let me just get a drink of water here is what you can comfortably handhold without getting camera shake all right, so thie other thing I didn't mention too is once you get your focus and you're going to switch this into manual focus because you don't want to keep the order focusing on especially not answer via modem and you could do one shot I guess but ten that off because you don't want that exposure changing because you know you're taking a shot at cargos and front you exposure shifts focus shifts you don't want that definitely not not desirable okay, so we've got this sit now the other thing we mentioned before is if I hit on here I'm changing my drive mode on here all of you can sit on it that's cool so here's my high speed see these air the continuous shooting there and as the silent mode there so I'm going to choose my silent mode if you don't have that just shoot one of one of these are high speed although it doesn't matter I definitely want to be doing continuous shooting because if you have that set toe one, then you're gonna hold your set it down and you're gonna get one shot and then you have to press the shutter again, and then you have to push the shit or if they had time to get the three exposures, which still works. So I think we've got pretty much the camera settings that we need. I don't think I've forgotten anything now what I want to do is we're going to talk about me during this scene now typically, you know, you can use a hand held meter if you want, you know? Uh oh, though, for reflective metering, the cameras actually pretty good. Can I use this iconic meter that I use for mostly for incident? You know what? I'm working with strobes or whatever, or even in the studio, I want to get the incident meter, so take a little bull about now light, because that's not what you're getting from the camera, the incident is what the light is coming into the meter reflective meeting is when you do you like the spot later or whatever and in what you're actually meeting is the light coming back? So the camera actually is doing the same thing cameras doing that same meet metering, so let me bring this up here. On going to goto proto shop here and he is their chart okay, so what I've done here is I've just created this and I'm being conservative by the way if the eight the eight stops and I'm staying here I'm being conservative because as I said your dslr camera I can shoot up here this is about the amount I think I got like about a living stops in there and I'm saying eight stops effective so you know just where it's pristine so basically if we're looking at our exposure chat here he is our f stops and this is increasing one stop a time here's our exposure value and the exposure value is sit is the people that do the esso have sit exposure value which is an e v zero is one second at f one so as we uh closed on sugar or the aperture were notices going increase one at a time and these are the stops that we use and same with the shutter speed it's either going to decrease or increase depending whether we speed up or slow down the shutter speed now this is sited I s o one hundred so for the purpose of this that's all I want to do is just count the amount of stops of dynamic range that's in the scene so I don't even worry about s o right now whatever you've got your associate too just look at these numbers here or these numbers here so we said our appetite to sit value then we're just going to get him we want to count how many stops of light we have here between the darkest and the lightest exposure and that's going to shows how many stuffs we've got an out scene so for example if I was to sit in here right now and I'm going to change the meeting mode of my camera too uh let me just change that to spot meter so if I was going to change my meeting mode here and uh don't get out of live you we just take my camera back on not used to being stuck up like that they would get back to normality okay? So if I'm going to shoot here and I'm looking at you right now I s a four hundred and five six we're somewhere around at five six right now I'm looking the dark and you is around about three four surround about one fourth of a second on your dark sweater there or the back of the chair so that at quarter second and and if I look in the back door up there and just looking at the white wall that's about fifty so if we look at that we got one, two, three, four five it's just just over five stops of dynamic range so the question is if that's all I've got what I need to bracket no so they also today when I look on here is no hd are required I couldn't get exactly the same amount of detail in that shot from one exposure so not everything needs to be aged yard so if I got here and I shouldn't look at that kino flo like it's a thirty two hundred so we're looking at now one two, three, four five six seven eight nine ten eleven, twelve stops a dynamic range in that seed so now yeah I do have to I do have to brackett says that kind of makes sense so so sometimes I just meet her like that to see if it's even needed on by using this chart here you can just count you don't even have to think about their steps I mean, a lot of people have memorized this on if you have well done good for you so what I'm going to do now is we're going to move up and we're going to shoot this guy this little scene up here so we don't have to worry about plugging the camera in because I showed you the settings on the back, which is what I really just wanted to show you what the thing plugged in so we're gonna move up here and we're gonna look at this scene here right now now when I'm shooting I'm not necessarily going to be using this spot meter I'm gonna be using a valued of meter what I'm shooting, but I'm using the spot meter just to figure out the scene here what's happening because it just spot me to just take a very small area and takes the focus off where's evaluative leader well, look at the entire scene an average it out and tell me what what the average exposure is, so I'm more interested in the explosion soon areas here, which is what I'm trying to figure out right now, so if I'm looking at this scene right now and I do man and I look at those flowers at five six, I'm looking somewhere between two thousand and twenty, five hundred and then when I get to the docking area of mr qi, we were somewhere between eight and fifteen with ten, so it just kind of varies a little bit depending exactly where I am, so if I'm looking on here where it ate and I said, two thousand two, three, four, five, six, seven, eight, nine stops of dynamic range looking at this party if I go into a sweater it's going to be even darker mean, we're looking at one for thief s oh that's gonna be you know, that part is going to be one fifteen now. I don't know if I could hand hold it that slow but the good news is I don't need to because that's an extreme fire end of it so that's the darkest pixel there isn't one fifteen and the brightest pixel is going to be one to thousands so what I want to do is figure out okay if we're going to do that what should we sit the computer I mean the computer the camera for so we're at two thousand here and we're at down here you know want one fifty four even slower like maybe one night so we got one two three four five six seven eight nine stops so what we're going to do is if we want to catch that we're just going to go somewhere in the middle so if we go in the middle between that we count up I think we're looking at about one one twenty fifth of the second is gonna be the middle so if we just say you know we're shooting at five six we can look here we don't you know way don't really care about what these explosion values are this doesn't really matter what I'm using the charge more for it's just counting so we know so if we set this up five six at one twenty fifth which is what I'm going to do right now I'm going to get into manual exposure here and I'm going back up to the scene and I'm gonna just go in here I'm gonna just sit this two five six at one twenty fifth of a second so we're good to go there we've got it's it is sa four hundred now typically if I'm out there was that once again you know I'll be shooting at the lowest eyes so I can one hundred fifty four hundred not bad not really going to get much noise in there you know and particularly mark through you can shoot pretty high without getting a lot of noise but having said that in hd argue we're just kind of minimize as much noise as you possibly can so this point so we've set that so that's going to be our average exposure now I'm going to go in I'm going to sit my exposure by reckoning to shoot three exposures from so what's gonna happen now when I've got the state to the three is that the one twenty fifth is going to be remember that was a three to zero to under two over so the one twenty fifth is going to be shot at zero and then it's going to go to over and to understand what was going to be if you look on the chart he can go down to is gonna be one of one five hundred and then you're going to go two up the other way is one one thirtieth so the slowest exposed there would be one thirtieth very hard to do that hand health, which is you know, another reason too push up the s o so what I'm gonna do is I'm just going toe focusses shot here and I'm gonna put this into manual exposure so so that's what I'm doing is I'm manual suppose a manual focus is I'm taking off the other thing you can do so you set up the back button focusing here for the afonso which I actually have a mind so I don't have to heat keep hitting the switch so that if on here is if I go here expo then I hold my finger as long as my finger is on this button might uh focusing is not gonna wander it's going to stay locked in there no matter where I go if I put it half down notice it's not changing it's locked in there so that's going to keep it until it take my finger off. So this is a really, really useful little tool to use, particularly when you're doing a lot of, you know, supposed to target for your things that are moving eyes just great to do that. So at that point here I'm just gonna lock it and I've got my exposure locked in I'm just, you know, just do it one more time, lock it in and I'm gonna hold them I think and I said, it's going to hold, you, take three shots, just like that. So you want to hold a vory, bring your elbow and told it is firm as you possibly can hold your breath and then take three. Now, typically, as I said, you should be using a tripod. I'm focusing here on these guys. I'm just gonna come and sit down. So one of the little tricks that I do when I'm doing handheld, particularly when you're using a wide angle lens, you know, you get a lot of stuff. There's. How are you holding it in position? You'll see the little squares, a little focusing points, and then what I do is, I take the focusing point and then all aim it on a certain object and then a hole down, and I'll keep that focused on that a particular object, and I'll help me from staring across the frame.

Class Description

Colin will teach you his wildly popular 3-step process to Extend the dynamic range of any photograph. Bring out detail in the shadows and highlights to make a photograph so real, it will pop off the screen. Learn how to shoot, merge and tone map using Photoshop, Lightroom, Photomatix and more. Make your photographs stand out from the crowd.

Software Used: Adobe Photoshop CC 14.0