Shooting for HDR
And now I've kind of shown a little bit off a steer and you can kind of see what it is you know how do we get there and let me just plop this example here this is probably a good example okay so when we talk about hdr way talk about high dynamic range okay some some some real basics here is that you know as I said before the human eye can see a lot more than what your camera sensor can currently right now I think this one can see a living stops of dynamic range and when I say dynamic range think about you know, a scale between you know, the shadow and highlights so for example if I opened up this photograph here you can see that this area the whites here this is blowing out which means that that is beyond how bright my cat camera can capture and hear the blacks have plugged up so that so the effects of dynamic range is everything where you see detail so all these mid tones here is basically what the camera can see so so if you take a scene for example I think I remember executive I thi...
nk is about seventeen stops of light in this particular scene and a stuff of light is you know we're going we're going too call them thieves or exposure exposure values so if we say exposure values zero which is, you know let's sit you know for example well you know just look at this table for example okay so so let's just assume that this is this is zero so for every explosion value plus on minus so when we add it is just like you know when we change the f stops on a camera shutter speed etcetera were doubling amount of light for each gain an explosion value so if we say take a mid grey and then we want to go to that one one stuff we double it we want to go up one more stop we double it again we want to go one will stop we double it again so we keep doubling it and in the other way when we want to get down and make a darker we half the amount of light that comes in for each exposure so it's not a linear scale doesn't just go across like that it's like a curve and it's just like you know my background was in telecommunications and audio so if you listen to music for every d b I think for every three d b gain in music you have to double the amount of power that you're putting through so for example you know if you have a radio that's what you get a radio and you turned upto half you know it's loud and it's turned it up to you know seven and it gets allowed it and then you go toe ate it you know, the increment doesn't seem to be a cz big anymore as it did you know, when you first started and as because alinea scale, you know, because of the law of physics, you know, there's resistance and things like that and the other stuff, so every time you want to get more, you've got it double that power each time so it's just the same in light, so a lot of the stuff that comes that we talk about here can come from audio as well. So every time that we want to increase amount of light, we have to double the amount of power to get one more stop and because of that that's, why, you know our eyes work on that conway where we can see so much with the human eye if you, you know, go and say a dark building, you could go in and just have a tiny, tiny little like or just not even a light just a little candle or maybe just a little, you know, if you go into a cave just a little bit of light comes in your eyes and just and you can see in an incredibly low like condition, but then when you walk outside, if everything worked on a linear scale and it didn't work like that, you would be blinded to citizen, would you just be bombing the light would just would blind you s oh but because of the way that works were able to view you know incredible amount of the human eye I think we've got fourteen fourteen fourteen stops you know I just wantedto just double checks I give you the right numbers so the human eye can see approximately fourteen stops of dynamic range of wine so that's that amount of light double double, double, double double double so it's actually quite astounding the amount of light that you can see and the amount of detail but the thing about the human eye to is it always adjusts is constantly adjusting which is you know a good examples why the pirates wore an eye patch they didn't wear an eye patch because they had their eyes stab down which is what I used to think what it is this when they were fighting when they're on the ships they would have one eye on the patch and then when they go down below dips I would flip the patch and then there I this I would already be adapted to the dark because otherwise you wait for one of two seconds were dead because someone's going to cut it off so that's why they would have the ipad is the one I would be adapted for outside any other I would be adapted for below decks so you know so the human eye can adapt very very much so one of the things we're going to use an example up here is let me turn this on. This is kind of the best example we could get for her indoors. Like a lot of this stuff. You know, I do a face, dear. I like to do outdoors but can also work indoors. So for example, you know, if we look here, we see the brightest part of this this here, or we look at the brightest part here. Now I can see the detail, and they're very, very easily and the same thing when we look in the shadows here, I can also see the shadows or a detail here in that area is not very difficult at all for our eyes to do that. Now, if I was to take a single photograph, which we're going to do in a little bit here, the camera is not able to capture all of that. So if I expose to bring out the detail here, all of this is going to burn out blown out to black or if I exposed to bring out the detail and hear all of this is gonna be blown out white so we're gonna we're gonna photograph that and sex, but and the reason for that and I'm sure, as photographers, you're used to compensating all the time you always used teo, you know, when you're taking a photograph, it's, you know, it's a person in there, okay? Let's exposed with skin tones and let whatever happens to the background happened if you don't have control over an otherwise if you have control and, you know, your studio environment, you'll use light modifiers you, you know, throw light on there to kind of brighten it up or flag it off if it's too bright or whatever, so you can get everything with them, what the camera can capture. So one of the amazing things about hd are one of the other uses its thinking about is a light modify from nature, you know, when you're looking at a mountain, you can't throw up a hill like, you know, for the mountain or, you know, or flag off, you know, the son, you know, where is hitting the side to get everything within what the camera can capture, but with hdr, we can actually get around that. So think about as seen has this much dynamic range, so this is from black, this is tow white, and this is how much we see in this room right now, everything we're looking at, which weirdly enough, the highest contrast seen is here, which is why we created head because the room is, you know, very low contrast because it's you know, it's eliminated for a beautiful video video work so we got dynamic range here the human eye can see this much of the range or maybe the human eye can see that whole range so let's assume in this room yet we can see the entire right now the camera's sense that can only capture this much. So we've got all of this here and in this way you make the decision is where we move it, which is you know, when we compensate when we overexpose we underexposed and when we do bracketing well, we'll get cracking in a second, but when you're you know, changing it there and you're doing compensation, so maybe you're over exposed by a couple of stops you under exposed by a couple of stops you know, where I yeah, I don't want to get into the whole zone system because that's, you know, a whole lot of discussion in itself, but ansel adams zone system really wass the you know, the grandfather of hdr and so you would look at a particular zone and say, you know what? This is the important a part that I want to be in focus focus but exposed properly exposed and in so you know you'll take your scene because the meat of thinks everything's eighteen percent gray and, you know, you meet us something this darker and the meter's still thinks it's eighteen percent gray and and that's why when you take the photograph and you don't do anything but just use the meter there that that gray area you know, that dock area is going to look underexposed is going to be kind of, you know, bright, and it shouldn't it doesn't have the death of the shadows or something brighter, for example, you know, like, you know, the snow could be blown out, you don't necessarily have a texture in there or worse yet, you know when you have the beautiful whites and then they just become these muddy, milky kind of grace, you know, from this thinking that everything is eighteen percent great, so what the zone system you can, you know, compensate for that and say, you know, if this is brighter that's puppet up a stop with two stops depending on where it is on his own scale, let me just mention a maze will just mentioned because a great resource for that is a good friend of mine tim cooper has video is called perfect exposure and it's actually teaching a zone system for digital photographers and amazing mission that we have that footage cafe and also, if you go to the site, we've got photoshopped cafe, door, comfort, slash, creative, live and on there I have some discount cards, eventually giving forty percent off all my videos, I think till monday or next week or something, but I just mentioned it because I just thinking about tim cooper's video, is it justin? Excellent resource for learning about the zone system, and I recommended, you know, people check that out because I don't have time to get into all of s so I just want to say thank you for that. We really appreciate those discounts, and you go ahead and repeat the girl. Oh, yeah, yes. Photoshopped cafe dot com forward slash creative life. Fantastic. And you guys will also be posting those links in the chat room as well throughout the day. Thanks. Thank you. All right. So, you know, so, having said that so let's go back to this example. So we we would compensates we have moved this along and try and get our exposure. So depending on what we want to expose, you know you know, black there in the snow we want to get the text in the black everyone is so their eyes. Well you know the snow is just going to white man's will shoot against a white seamless you know good like getting a bear interest but you know but everything else is going to be gone because you know so so dark and the camera contraption this section of the of the scene so rather than sliding this bag was um forwards and saying you know what? I'm going to choose this and throw it away which is what for targets have done since the invention of photography you know ansel adams and lean on other people before him also used dodging and burning as another technique to extend the dynamic range to bring back details in certain areas so that's why I say you know and in a certain way he's the grandfather of hdr even though he wasn't necessarily you know think practically exposures on a digital camera but he was exposing film and in the dark room doing the dodging and burning and doing hdl which is why you know his landscapes or so so famous so now with hdr we have the ability to take the photographs and you can see here let me go in here and I'm going to show you this particular shot and this is in the bradbury building and this is the the full dynamic range of the scene I was going to go back teo there okay so what I'm doing is I'm doing bracketed shots and and by bracketing, I'm able to take a siri's of photographs in caps of the entire dynamic range of the scene. Now what I'm showing you here is a little extreme before, you know, for the average photograph, if you're just doing a photograph that you wantto a cheryl print now, if you're doing any vfx work, which I also do, some three d stuff and use hdr keep it ization, and I use it for reflections and environments and stuff like that at that point, and you do need to capture the entire dynamic range of the scene. So what I'm doing here is your notice this is the brightest photograph and in I'm dropping it down two stops each time now, a lot of people say, you know, how much do you brackets? Probably a million questions they do back at one stuff to break it, to stops to bracket three stops. It is a personal purpose I break it to, and the reason I bracket to is because this digital camera has a battle living stops of dynamic range. Now, when I say living stubbs, you know, I haven't participate, I'm going to say is about eight effective stops, maybe maybe a little bit more, you know, where the quality is really, really good. You know it can capture the stuff you say yeah yeah I got this highlighter I got the shadow but the shadows full of noise and highlights full of artifacts so I'm talking about like really good quality about eight stops so therefore if I'm doing one stuff you've still got so you got seven stops of overlap I think you know it's it's it's overkill so I do too stops at a time and by doing two stops is still a lot of overlap and you can capture a lot of detail but it's enough of a change that you're actually noticing something so if we go here you don't notice that this point here I've dropped it down two stops but look at this we're starting to see the detail like right now is actually looking really good at the ground level it's showing the detail really well look at the atrium though the atrium is you know, completely blown out and it's blooming right now s o is this is a good photograph is you because I've heard people use the term you know hey do you ever do single image hdr and maybe someone's ass tina on the ten room okay let's really think about what hdr is you know single images d r you know that's like, you know I think he's applied to use it's like single stereos single speaker stereo you know, I've started to speakers and on a mano signal it's not going to become syria it's become mano into speakers so you know single image hdr you can create a tone mapped effect or a filter on a photograph but if it's a standard dynamic range it's never going to be hdrs and they were going to be high dynamic range because you still and limited to that effective eight you know upto you know, living even up to thirteen stops depending on what camera you having appointed shoot's going to be a little less I'm thinking like six what oh my god I already have five to seven stops on the typical point shoot camera s o you know if you've got one shot that's it that's what's on the sense you're not you can pull out stuff in a royal file that you're not necessarily going to see initially but you can only pull out what's on the sensitive you know you know, magically going to create pixels where there's no pixels because you were running, you know, some kind of a plug in or filter and let me ask you a question you know what filter I am I going to run this through right now on def you khun crimea you know I'll give you my camera that is that is going to bring out a full detail there in at a trim the magic it doesn't exist filter exactly. So you know some of her people so you don't need to bracket you know you can do h d are you could get something from a single photograph all that's gonna happen is there area there's still gonna be bloomed? You cover a little bit of detail actually, you'd be surprised but all that's gonna happen up there you're not going to get out the blue of the sky you're not going to get any texture or you going to do is get a great it's just going white's gonna turn gray that's it and just in a little bit of a review calling if you don't mind so what you're basically saying is like particularly the camera you have there has an effective eight stops of range of that dynamic range just within that camera and you would access all eight stops using a raw file yes, peg, but but really a raw files you actually when I say it stops, that actually is going to be about a living stops on here that I can access, okay, you know, but then there's other three stops contend teo, you know, have a lot of problems and noise and stuff, so you really want to overlap for those because I don't see an example later where I'll take a photograph and I'll show you how to squeeze every little bit of dynamic range out of one rule file and you'll see there's a lot of detail in there yeah but you know that some of the details not very good quality s so yes absolutely brought yes we're going to get into the shooting things right after this we'll talk about the shooting test but absolutely shoot on rockers ajay peg is just not going you know the whole goal here it's getting more dynamic range so why do you want to shoot in a bit file you know s oh yeah so we're going to go in and look at the next one that's down another couple of stops and notice now we actually start to see some detail up the top there everything else in the building is still looking nicely exposed and then we go here now was studying teo say hey you know these standard capture detail now in the highlight areas in the shadows to stand up like a look at the doors of the bottom you can start to see the texture and there you can start to see the color in there now and good another two stops there notice right now the ground floor is almost completely gone except for the bright areas the reflections is showing ondas the other thing is beautiful about that detail in the reflections where we done the one shot we got back here a little bit notice there's no detail in those reflections is gone so here I was dying to see the room and then we're kicking up there now we're starting to actually see I don't know if you can see it on there but you can see the sky outside and you see the color of the sky you can actually see that the atrium is dirty now see that that they need to clean that glass and you know that's you know kind of you know the whole thing so you can see that going through the different stops you sure that's not your sensor just probably is so you know, talking about hdr you know so out of that I'm able to move to these photographs and then bring something like this together and I'll just show you quickly that's horrible let me show you I don't find me I don't like the time nothing on that one and I get caught I'm gonna break in while you're opening this so right now you're using of course photoshopped cc yes how far back is today's class how far back with versions of photoshopped can we go toe have effective good learning good question we can go back tio most of what we're covering today why should everything we're covering the day goes all the way back to float a shop cs cs three is ah lot of stuff really started to change a ce faras that and then I'm thinking c s five were, you know, the time mapping tools that we're gonna be using him photoshopped some of those came and see us five some very small increments and see a six on dh cc practically actually, nothing has changed as far as age in years, so so, in essence, you know, ifyou've got photo shop, this is kind of applied teo that's the best. Thank you. So as you can see here, here's a tone map version and when I say toem app, you know, get a little bit ahead of myself, but what we've done is basically, we've taken all those individual shots, and we've taken the shots. We've merged them together and then adjusted them inside of photoshopped and and this is the shot that I got from that very same scene, and you can notice how much you got the details there and highlights they're on the roof there, you can see that, and you go down here into this wrought iron and down here you can see the detail looking the doors, they're seeing the windows there, you can see the detail and to give you a comparison, you know what would be the best exposure here to compare it with, would it be that one, maybe? If we don't want a blooming, we bring it down there. So the other option we could do if one, images to take that one and start to squeeze it. And besides, you could probably get a little bit of detail out of here and recover almost the same amount benedict quality would just be really bad we really grainy and noisy, and you still wouldn't get the quality in the sky and a four inch color. So basically that's, what we're doing is the whole process off hdr is taking those bracket of photographs, jamming them together into one photograph, and at that point, we have what's known as an hd our photo, and then once we have that hdr photo, then the next step is that we interpret it into a time map photo, so rather than, you know, confuse you by just saying that, why don't I demonstrate what what hd arias and actually let's go through the process of creating an hd our photograph right now? So what I'm gonna do is I'm just going to turn this on a little bit, and I've also got this little chart to help you here. Um, let me get to my little chart here, I think I put on a desktop, hopefully I did. And why you're bringing up the chart there? Colin yes, I want to remind the internet audience that if you purchase the class this is the exact chart that you will be receiving so just wanna let you know exactly and here it is and so what I've done is you know, this is a exposure exposure charges you know there's three things that affect the exposure off of a photograph on the camera this the shutter speed the aperture and I s o so basically, you know, the shutter speed is how long the shutter is open allows a certain amount of light and the aperture is how why I don't how large the iris is open so how much light comes into that amount of time and those are the two really adjustments the optical adjustments that based on the actual hardware itself and real light and in the third one that effects is the s o I s o's out official because why eso is the camera only has one native you know, even though this camera you know goes all the way up to sixty four thousand whatever it is there's not sixty four thousand processes in here there's one processor which the sensitivity basically someone I increased the isa I'm just increasing the sensitivity of that sense which is why if you're shooting at a higher so that says he can get really hot and as it gets hot, then it starts to generate more noise and it gets grainy, which is why hire eso photograph? You know, in the camera tents get noise in there because you're really cooking at sensor and the longer you do it, the more the images, you know, start to deteriorate, sometimes you get ten off, let it cool down a little bit if you're shooting super high, I sl, but for the sake of shooting hdr, we don't we don't need to shoot high I s o unless we're doing handheld and weaken, you get that there with that shutter speed and appetite. Now, the thing about the aperture is, and I'm just gonna change the lens out here a little bit too. The thing about the aperture is when you change the aperture, it also changed the death field, so, you know, a more open aperture you're going to get I shall over depth of field, which is why they call it f stops so the f is the depth of field you're getting here and in as we go to, you know, higher number, the appetite closes down smaller and gives a large depth of field or larger focal length, so if you want, you know, when you're shooting it, you know, some of these sittings here, like, you know, to a is a very shallow differently all their forces shelled different field five six is getting them we start to get further up you know, to your living twenty two more stuff is going to be shown in focus at once so one of the things in hd r it really comes down to you know your personal taste what do you want to do a lot of time when I'm shooting architectural stuff I'll go for an f stop it it's going to give me a really big depth of field because sometimes you know the blurriness you can look a little weird unless you're trying to do it on purpose like I did with the times square stuff then you know, when I was out of focus it looked I thought it looked really cool because I was trying to do it on purpose so the shutter speed as you know and I know this is a little repeat for a lot of people but for some people who don't know this you know the shutter speed, the faster the show to speed very five shutter speed is going to freeze motion a slow shutter speed is going to enable you to have a more fluid motion, you know, when you see things like the oceans and when I showing those ocean scapes that I said earlier on I was shooting knows that the longest exposure was thirty second exposure so this and my actual after was open for thirty seconds at that time so you know but the whole bracketing my I was basically about a minute exposure for the for the three shots I was doing for that um so uh you know the other thing is when you're sitting this for of shooting in hd are one of the things you've got to be very very careful about is on ly changed you shutter speed you don't want to change the I s o because you're going to start introducing noise I'm wanted noise and you know and also if you look at different photographs of different esso's you notice that the grain structure changes because of that thea other thing is the apple tree you don't want to be changing that because you're gonna be changing your dip the field is gonna introduce blurring into your photographs and they're not gonna match so what you want to do is lock everything down and you want to change the shutter speed only so you could do that either by going manual or shooting an aperture priority um like you know what I'll do is I'll talk about this and then after the break I'll do the shooting just so we can get the camera plugged in so you can see what I'm talking about the settings I think they don't make more sense that way that sounds perfect people would love to see the screen. Yeah. So let me talk about the camera cities first thing if you can and I say if you can cause a lot of cities don't permit it steady tripod now this is not necessarily my steady tripod it's just a little thing I'm using to put on the table but if you can't get that camera really still really really important if you can hand held actually works quite well a lot of the photographs that I was showing earlier rama handheld and you can actually you know what a shop can actually, you know, align these a little bit and I say a little bit you know, don't go too crazy handheld is better I'm sorry tripod trifun is better because you know, obviously we're taking three photographs if we can we want, you know or three or upton I know whatever we're taking, we want to have that camera really, really stable onda reason being saying three as a kind of that last shot I showed you I had nine shots on there and that's probably a question we're getting a lot of how many shots do you take it's using one of the biggest questions get we are it depends on the dynamic range of this scene um I've got an example here, let me show you this example is if I am shooting something that's a low contrast for example, something like this this is in holland you know there's the mist that's a lodine immigrants it was actually shot on film and scanned in it looks a bit but there's not a lot of dynamic range in there and that could be captured in one shot so not everything needs to be hd are not everything needs to be bracketed a lot of scenes could be captured quite well with one shot um you know if it's within that range like anything in here like in front of me right I could capture quite nicely in one shot I don't need to use your if you've got a very contrast he scene for example inside the bradbury building when you've got outside you've got inside very very dark you've got a super contrast he's seen and in that point or for example like the scene here you know it's very high contrast seen so then you if you really want to capture old detail you're going to start with basically black and then just keep shooting two stops until you see white and if you do that you've captured the entire dynamic range of your scene now when I say that you know that that is the hard and fast rule now the rule of thumb that I use is usually I do three shots unless something you know I have a reason I want to capture a lot more detail or this super bright or super dark areas is a lot of extra dynamic range typically I'll shoot three exposures one regular islander exposed by two stops and in all over exposed by two stops and take those three very very important other thing is the uv filter your notices no uv filter on the front of my camera you know that uv filter that everyone puts on well the reason for that is because when you're taking multiple exposures that extra piece of glass is creating glare and as you're stacking more exposures are multiplying that glare as well. So that's why sometimes if you shoot with the uv filter you get your hdr imagesit's almost like you've got to get out of squeegee and wipe the windows and you know, punch up the contrast a little bit because that can also multiply so you know why do you have a uv filter on there anyway? Oh, I know I just want to protect your lens but this is for nice lens hood you know, not just they're to stop lens flare coming in but it also protects your lands bang you know you know you could break this you don't wanna break silence and you'll look like a professionals can it looks like you got a bigger lindsey so you know it's all about you know lindsey and on you know this is the professional you know profession if I hadn't even put on right on calling that was a question about whether you used any filters that will help your stop your stops as well. Yes, land us that remind me what that's called mutual density from neutral density. Thank you. I'm glad you asked that because when it comes to shooting the when I want to freeze motion in the middle of the day, you know, a lot of the time is too bright if I want to open up that, you know, I can stop. Oh, actually say I want to stop down the attitude as much as I can to eliminate as much light as I can. I got my eyes all the way down to one hundred or fifty in the case of this kind could do and of ste still got a lot of light coming in and, you know, in a really bright situation, you you know that anything I could do to get a proper exposure is speed up the shutter speed and I speed up the shutter speed that consulate on emotion, so if I'm shooting a waterfall or I'm shooting a river or the ocean in that case, the waves coming up over the ocean, you know, you saw the shuttle you left, so I start again. I think you can probably remember, but let me show you again just in case, um, just to give you an example here, this one so you can see here this is the you know it's not missed its water and being a thirty second exposure as able to slow down that motion there and these are the waves going backwards and forwards and then by doing the slow exposure it looks like dismissed because you're catching all that movement so in order to do that you have to cut down a lot of light coming into the camera so I could do that with these guys usually density filters and I have a couple of different ones here six stops and nine stops and these just basically are like sunglasses for your plans you problem over the tough here and they cut down the amount of light coming in and therefore actions you know, slow down my shutter speed now and I can compensate now it's another reason not to have a uv filter on here because sometimes I stash these sometimes it's not enough and so I'll take a couple of these together and stack them and wow when you do that you can't see anything so you have the composite you shot first on a trifle then pop these on and then you could take exposed you know, get a thirty second exposure what sunset before the sun star's toe dip down below the horizon sometimes on the two of these in order to get that so these air is a great and you'll shoot your entire sequence with the neutral density filters on absolutely great yeah so yeah you definitely don't want to take those off so yeah so the neutral density field is a really good and in the other thing teo you sometimes a polarizer secular polarizing works well when you're shooting obviously can't do it when you're seeing directly into the sun because you have to have on angle for the polarizing the work so here's the other thing about it that thing I mentioned other reason not to have a uv filter when I have two of these stacked on top of each other if I the uv filter and I got three filters and I'm going here and I'm shooting white the filter's going to start to appear inside my frame and I'm going to see this little circle and it's going to be black around is just that you're going to create kind of a vineyard effect which you know is not not desirable when you can actually see the edge of the felt so even with two when I'm shooting ultra wide lands right now I'm using it this is my twenty four seven meters and work fine, but the seventeen forty if I'm shooting that at seventeen and I've got two filters they're going to start to show when I'm all the way down to seventeen so if I need to filter sometimes I have to slightly zoom in a little bit compensate for that yeah, all right, so let's talk about some more of the camera sittings, asai simply getting a manual focus or appetite priority when we played the camera and you know, we'll we'll work through this, but then the other thing that you want to do is you want to set this on continuous shooting, so you're not shooting individual shots so you can hold down your finger and it's going to shoot. The other thing going to do is order exposure bracketing so if your camera khun do that, you can set it up automatically, too. Take their sequence of photographs with two over to undersell said it here to shoot one to under two over, and then I'll put it on with the motor drive or the continuous shooting matter drives kind of old school, but in manual or appetite priority and and I could just hold down the shutter and I get three at a time. Now this other techniques you can use to eliminate camera sake, one of them you can do, you can use the remote release here, you could just play this one. This one is also in a kilometer and I can play that in and I can click it and in that way I'm not shaking the camera as I'm pushing the shutter or just use a little wireless remote and just and I can do that now there's other things I can talk about the candy because I should've cannon I don't necessarily saying cannons better than economy cameras camera and if you're good for target that you can take a good photo on any camera if you have that photographer than this hassle blood in the world's not going to help you education will, which is why you're watching this class so the other thing is with the canon camera there's a couple of other options and one of the things that if I fire this right now on your list, do it you can see it's very quiet I put this on too silent shooting mode. Yes, I can actually change that I don't know if that microphone would picked it up, but the, um hey hell out that is and so what's happening is, you know, the mirrors kind of flopping up each time and you know, it's very minimum, but it can cause a little bit of camera shake sometimes, so by going on silent mode and special if you're shooting hdr, it doesn't really matter because it could be a little bit of a lag is kind of the the drawback of using silent mode, but you get less camera shake or the other thing you could even do is you can lock up the mirrors you could actually use the mirror lockup mode now the drawback of days you have to push the shutter physically three times you can't hold the shuttle once, but if you're using a remote no problem put in look up much and you can take three shots without getting any camera shake. So that's kind of another important thing. Uh, the other thing that I would say is shoot as low and I s so as you can, so we are introducing extra noise especially enough. We're shooting a scene that's not going anywhere because we're not doing a lot of moving scenes and hdr anyway, because that's gonna cause ghosting, you know, you can use a high, you know? Hello, issa, put it on the tripod and get those night shots. Now, you know, if you're in a windy condition, you know, you might want to think about using sandbags or or, you know, I have a little hook on mine, I can just hang my camera bag front, just give a little extra weight to the tripod and also try not to get the tripod of extended too high. You know, when you start to extend it, if you argue next extended by the fat parts of the legs and the skinny parts of the legs give it more stability because, you know, sometimes it gets windy, you know, you you really get some shapes is just going to kind of minimize it that way and and if you can, you know, kind of stand up one of your camera trying shelter it a little bit um so what else we got here for that you know, I guess that that's that's the main thing so then when we're shooting the scene, the other thing is, you know, as I mentioned before, if you can, you want to avoid movement too much movement in the scene, we can reduce the ghosting, but if we don't have to it's better not to and finally shed a great card, get in eighteen percent great card and just pop it and one of the exposures and in that way, we can do a white balance later, you know, because people get all hung up on white balance, you know? And it was so funny because, I mean, you know, you know, you should never shoot with, you know, you know, what, a white balance or, you know, you should always, you know, shoot this motor see that might always should use exactly certain amount calvin or, you know, custom white balance isn't all that mean, yeah, custom white balance is great if you got the time, take it custom white balance, wonderful bit if you're shooting right doesn't matter the white balance is not written into the file and I don't know why people get so worried about it you know it's it's not stop critical I mean she's a great card and you can wipe balance it later I mean it's nice to get a writing camera try to get it right on camera but you know if you don't it's not the end of the world you know it's not written in it is just a suggestion when you're shooting in royal what gets written into the camera is you set a speed is your aperture is your s o is the mk tan ix the stuff that happens in the land of depth of field you're exposed new camera shake these are the things that give written on to the car but then other things like color space why balance, you know, sharpening all these other things there on ly a piece of text which is communicating with the with the raw file and that could be changed later fantastic cool and we shoot a great card and then we just go into however you're processing right whether it be curves or levels and just select that and you should be good with your really your hole you were in camera raw very camera select select the white balance, their camera roy and one of the beautiful things about up for a shop. C c is that ncc. You can go into camera, or directly from from photo soaps, you know, to get through bridge anymore.