Sky and subject mismatch - Page 10

Iansky · #91 May 2nd, 2012, 03:23 AM

The Dynamic range of these sensors will not allow effective coverage of both highlight & shadow areas without adjustment and prioritising one over the other in single exposures, even with a spot meter you will not be able to effectively capture both.
people have mentioned HDR but you can also shoot one image for the highlight (sky) and a second image for the shadow area(church) and merge them together to give a balanced image with correct exposure for both.
There are many videos on You Tube that will show you how to do this.

AnttiV · #92 May 2nd, 2012, 03:31 AM

Quote:

Originally Posted by Iansky

The Dynamic range of these sensors will not allow effective coverage of both highlight & shadow areas without adjustment and prioritising one over the other in single exposures, even with a spot meter you will not be able to effectively capture both.
people have mentioned HDR but you can also shoot one image for the highlight (sky) and a second image for the shadow area(church) and merge them together to give a balanced image with correct exposure for both.
There are many videos on You Tube that will show you how to do this.

Well, that is actually HDR :) In its simple form, but HDR nonetheless.

tdekany · #93 May 2nd, 2012, 09:05 AM

Quote:

Originally Posted by Phil66

I would be happy with the original as it is accurate. It's parts are over or under exposed but I am now realising that the camera isn't a human eye. ;)

Phil

I took the picture in P mode, how and where do you see over or under exposure?

Remember the rain was coming down hard.

Phil66 · #94 May 2nd, 2012, 03:14 PM

Quote:

Originally Posted by tdekany

I took the picture in P mode, how and where do you see over or under exposure?

Remember the rain was coming down hard.

Sorry I meant "It's when parts are over or under exposed but I am now realising that the camera isn't a human eye. ;)"

;o)

David A · #95 May 2nd, 2012, 03:26 PM

Don't know about Panasonic bodies but Olympus bodies have an option to turn on a display of blown highlights and shadows instead of the histogram. The blown highlights flash red and the blown shadows flash blue. This shows in the captured shots as well when you're reviewing them. I find it a more useful feature than the histogram which can tell me that I have blown areas but doesn't tell me where. I tend to watch the highlights rather than the shadows and use negative exposure compensation to ensure I don't blow highlight areas I want detail in—you can see the flashing red areas reduce as you dial in the exposure compensation.

Phil66 · #96 May 3rd, 2012, 01:34 PM

Quote:

Originally Posted by David A

Don't know about Panasonic bodies but Olympus bodies have an option to turn on a display of blown highlights and shadows instead of the histogram. The blown highlights flash red and the blown shadows flash blue. This shows in the captured shots as well when you're reviewing them. I find it a more useful feature than the histogram which can tell me that I have blown areas but doesn't tell me where. I tend to watch the highlights rather than the shadows and use negative exposure compensation to ensure I don't blow highlight areas I want detail in—you can see the flashing red areas reduce as you dial in the exposure compensation.

In the G3 it shows blown highlights, if set in menu, only on the replay.

Phil

ilikecheesecake · #97 May 11th, 2012, 12:39 AM

You're right about the camera not being a human eye. A camera will only do what you tell it to do or what others have told it to do when it was programmed.

Someone mentioned Ansel Adams earlier. He had the benefit of various chemicals and different types of printing paper to alter/enhance what was on the negative. We have lightroom etc.

He would over expose the negative and under develop the film to try and control the highlights on the negative on bright days and under expose and over develop on dull days to increase the contrast on the negative.

You can't use chemicals to do this with a digital camera but you can try to do it with a programme.

But metering is the key ingredient and the goal is to try and capture all of the tones in the scene which are contained within the range of tones that the sensor can record. Plus Adams did a lot of "visualising" before he took the photograph. He knew what his camera,film,paper and chemicals were capable of and he did loads of legwork experimenting to get the result he was after.

Your eye can probably register three times the tonal range than the sensor in your camera. Plus there's a brain attached to your eye and that has the ability to change the iris in your eye in a split second when you look at a scene, plus you've got all the input from your other senses and emotion to combine into the "viewing" as well. The camera is a box with a light recording medium in it and won't do all that when it takes a photograph as it fixes the aperture when it opens the shutter and does not record all the other stuff either.

So metering and processing are your friends. Plus the "right light" if you can wait for it.

Don't forget that on a dull day it might be good to do some portraits, go indoors or do some still life/closeups.

Keep photographing and don't get put off by the BS and try to keep it simple for your sanity and wellbeing.