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pop511
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HDR

Post by pop511 » Sat Jun 03, 2017 7:00 pm

We are all familiar with the standard 3 shot technique spaced 2 stops apart. Then combining them in our favorite software
With nothing better to do , I combined 3 shots and then tried 2 shots at 4 stops apart ( from the same series ) to see if there is any difference.
I used P/S automate/merge to hdr pro. No adjustments were done.
There are slightly more shadow areas on the waves in the 2 shot HDR.

WELL....This is odd.
I've gone back into P/S. Checked the PSD files. Jpeg file conversions. Looking at the pictures, they are totally different. The colours on the 2 shot are more open, but on the working files they are not.
I'm disappointed with this post, but will leave it up for now if anyone is interested to try.
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ed davis

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Post by Duck » Sat Jun 03, 2017 7:40 pm

There is more to HDR than a blind 2 up, 2 down bracket. That's actually the wrong (albeit accepted) way because it's actually the 'lazy' way. Proper capture of a bracketed sequence involves generating 3 images that encompass the complete luminance range (dynamic range) without clipping. Meaning, you capture shadow detail without clipping shadows then capture highlight detail without clipping then split the difference and capture the midtones. Just because you do an 2+,2-,0 Ev range doesn't guarantee there will be no clipping, therefore you will lose detail in the shadows and/or highlights.

Before sending off your three (or two) exposures to be tone mapped, check the histograms for clipping (left for shadows, right for highlights). If there is any clipping there then you'll have problems with the output.

A friend of mine has a great tutorial on Udemy on how to properly capture an exposure range for a guaranteed proper result. HDR Masterclass with Pat Cook. It's $10 (I believe) and it's about 6 1/2 hours of instruction from start to finish.
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Post by pop511 » Sat Jun 03, 2017 11:58 pm

Agree Duck;
" Proper capture of a bracketed sequence involves generating 3 images that encompass the complete luminance range (dynamic range) without clipping. "
Then there are those that expose in one stop increments over a 5 - 9 stop range. Pick out those over/under and use the rest, and of course those that want to adjust exposure will do it prior to combining.
Yes those blown out highlights/blacks do make a difference.
" Just because you do an 2+,2-,0 Ev range doesn't guarantee there will be no clipping "
Yep..exposure range in the scene
I've only lab tested my old camera a canon 1dsMk2. It has a 10 1/3 stop range, but there are so many cameras out there. Do you know your F stop range? ( not only to you Duck, but anyone reading this )
I started this off with " I wonder what would happen " if for some reason the properly exposed shot never came out. What would the result be?
Perhaps. Don't trust your technical abilities.? Only want to get your toes wet?
Lovely discussion, Duck.
Kind regards;
ed davis

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Post by Duck » Sun Jun 04, 2017 2:23 am

pop511 wrote:[...] I started this off with " I wonder what would happen " if for some reason the properly exposed shot never came out. What would the result be? [...]

Ah, I missed that part. From experience there have been a few rare occasions when I have just used the two end brackets and left the center exposure out. But those have been in scenes where the existing range has been well within the range of the camera. For those conversions it's more about getting the effect of the tone mapping rather than getting a full range from the multiple exposures. I can't recall if I've ever tried it on a high contrast scene. Nice 'what if' scenario.
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Post by St3v3M » Mon Jun 05, 2017 7:18 pm

This has been an interesting, and educational, post for me as I just returned from an all bracket trip and wondered how I know how far apart to space them. I sort of guessed the result knowing what I 'should' take but would have been happy to have read this first. I'm still playing with it but this helps! S-
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