back when we shot film. If you shot negative film, then you had HDR film Kind of like it was pretty pretty, uh, yet a lot of latitude on that film. But then we went to digital, and we suddenly had these really limited, uh, spectrums of light. We just didn't have much latitude. And our cameras it became more like transparency film where you had to just nail the exposure because if you weren't dead on, you would lose your blacks and your highlights on and over time we've gotten better and better and better. And so now, like I shoot with a Canon five D Mark three, and the Canon five d mark three is got a pretty good amount of latitude, and then as you go further later on, cameras have even gotten mawr latitude to them. So they we increasingly getting more latitude if you're shooting or if you want to shoot with a medium format those who have even higher ranges of latitude. So the more latitude we can get, the more we look like our eyes because our eyes have the ability to see, mostly beca...
use our brain has the ability to quickly compute between the highlights and the shadows. And so your brains probably not actually capturing both the same time your brains probably thinking about simultaneously differently. It's looking over at the sun Sat, and it's saying, Okay, I'm gonna dark in that down. That's what it looks like with the blue sky. And by the way, if I glance over the shadows, this is what it would look like. And it's kind of fusing them together in your head, so your brain is really doing an HDR inside of your head. And then in order for us to approximate that, we have to do the same inside the camera. Which means we have to take different pictures for each, which the shadows on the highlights in the mid tones, so that we can put them all together, refused them all together and get the final shot that we want to get. And so that's what we're gonna talk about today. Um, but when you think about HDR photography, your gut reaction should be because most people do it so poorly because they go crazy with it. And then suddenly you're photographs don't look like photographs anymore. They look like paintings and the reason they looked like paintings is that there's no contrast in them because they've taken the blacks up so bright and the highlights down so dark that it's literally like two or three stops of total attitude between like from the brightest white to the darkest dark and no one sees that way. It just it's not riel. So what I want to do is talk about the concept of making a really good HDR that's still photographic and still looks like what your eye sees and still feels like photograph rather than a painting. OK, that's that's our goal, and we're going to do everything inside of light room. We don't have to leave. We don't have to go to a plug in. We don't have to go to photo shop to do this. Everything, all the tools, air inside of light room. And then we're also going to talk about the ability to do panoramic images inside of light room as well. And we'll do a couple extra tricks. Um, I'll surprise you with a few extra tricks