We talk about wanting more dynamic range from our sensors and I know I'd like to have more, but we actually have quite a lot of dynamic range if we are prepared to work at getting it out of the file. I just signed up for Adobe's LR/PS creative cloud package which lets me do a bit more than my perpetual licence version of LR6 did, and I've been reprocessing a few of my images to see just what I can do. I previously posted a before/after post on this image but I thought I'd do a more complete explanation of how I work to get the most out of a really wide range scene. It all starts with the initial exposure. You don't want to clip the highlights. I used spot meter mode and exposed for the brightest part of the clouds in order to avoid clipping them and this is the result: Nice sky. Shame about the rest of it. One trick I've learnt, since I'm going to be using an adjustment brush to bring the sky back after bringing up the shadow area is to create the mask for the brush now. It's a lot easier to get a nice clean mask when you have auto masking turned on when you have maximum contrast at the edge of the mask area and for a mask on the sky that's right now. I created the mask but made no adjustments. I then made the adjustments to bring up the shadow area starting with an exposure increase of +2.8 stops. I reduced contrast, didn't touch the highlights at all because I want to keep the highlights as they are in this area since the sky has to be the real highlight area, lifted the shadows a little and made a small negative black point adjustment and then did my sharpening and noise reduction. I used the Lightroom Sharpen-Faces preset because I didn't want to boost noise by sharpening a lot of detail in the areas I'd brightened, and I also reduced the detail slider in noise reduction from the default 50 to 25 and raised the contrast slider in noise reduction to 25 for the same reason. Here's the result after all of those global adjustments: Now we can see the shadow area which looks a bit flat, and the sky is gone. Both of those are going to get dealt with next. First the sky. Back to that adjustment brush and the first thing is to bring the exposure down. I reduced exposure by -1.55. I wanted to bring it down a bit more but it looked a bit off when I did that so I settled for -1.55, reduced contrast a bit, reduced highlights by -79, increased the white point by +4 to just short of clipping in the brightest part of the clouds, and pulled the black point down to -59. I then set sharpening to -50 which eliminates sharpening in the brush area. There were some rough areas around the trees and lamp post so I had to use another brush there and make some touch ups to get those areas looking reasonable and ended up with this: Things are starting to look reasonable. Next I did a graduated filter from the horizon on down with maximum impact at the horizon, and used the brush in the filter to remove the sky from the effect and did a slight boost of clarity to open up the mid-tones a little in the street and houses and increase contrast there slightly: Finally I went back and used the targeted adjustment tool to increase saturation in the blue sky a little to get rid of the muddy tone to the blues there. I also made some shadow adjustments in the graduated filter to brighten the foreground a bit more and gave it a small increase in saturation, the only saturation adjustment apart from the blues in the sky. Here's the final result: It may look a little dark overall to some people but this shot was taken at just around sunrise with the sun just below the horizon. The sky was much brighter than the foreground and I wanted to keep that distinction in order to capture the mood. The gold in the clouds was a bit on the dark side to start with and the blue sky had yet to brighten so while the brightest part of the clouds was extremely bright, the rest of the clouds and the blue sky areas were a fair bit darker. There was quite a brightness range from light to dark in the sky to start with. I couldn't brighten the sky any further without clipping the brightest part of the clouds and ending up with white splotches in them which would look pretty nasty so I've got the sky as bright as I can keep it without that and I've kept the foreground a little darker than that in order to keep the relativities. Those are my choices but you can use this approach and boost the brightness of the foreground more in your images if you choose. Anyway, that's a quick run through how I try to get the most dynamic range I can out of an image from the E-M1. Hopefully someone will find something useful in the process.