Once in a while, you just don’t have either the time of day or the weather with you, when you shoot photos. Take this example from Strasbourg. I had researched Strasbourg from home, and had a pretty good idea, what I wanted to shoot. But two things turned out to be a problem. 1) I could not stay in the city until sunset, due to time schedules, but I could stay until an hour before sunset, which could have been good enough. 2) It was grey, and there was drizzle. I shot my shots using an umbrella, and left Strasbourg not quite satisfied with the result. It’s a long exposure, to at least try to make the water interesting enough. I love this place Pont Saint-Martin in Strasbourg. I think it is also probably the most photographed place in Strasbourg, nevertheless I love the place, and I did not want to let my photo go. I looked into alternative processing methods. I did not have any success on the light, so I had to add something else, make it stand out. And as it turned out, it was in using textures I found the answer. This is the before photo: And this is what I did: Continue reading
It’s been a bit quiet from me for a while, I have been busy working on my portfolio book. Finally, it is ready, and I am pretty with it. There is both a book version and an e-book version available right here. The e-book is only $9.99.
Over the next period, I will post all of the photos in the same order as in the book.
Location location and location. Three of the most important things for photographers, at least for cityscape and landscape photographers like myself. The three next important things are light light and light. But what if you only have one them, the Location? Will you then have nothing?
Usually my mantra is ‘Light is everything’, but as recent events has turned out for me, I have ended up with a whole bunch of daytime photos. And instead of discarding them, I have started working on them, to see if I can get something interesting from them. Something more artistic.
This is the original of the photo above:
As you can see quite different, and not really interesting. There is one good thing, to say about the light; it’s slightly defused, due to the slight overcast. And this does give me more flexibility. Lucky me!
This photo needs a kick. A kick to send it somewhere more interesting. The first thing you have to realize, and accept, is that you have to leave reality behind you, and enter the world of art.
The making of this is photo
Since I ended up with all of these daytime photos, I have been playing with toning and cross-processing photos Lightroom. There are number of ways of doing this, to get something really interesting out of it. Cross processing was invented in the film days, and you did it by developing in the wrong chemicals. This of course was a very unpredictable process. Today you can do it digitally, and you have full control.
These are some tricks, that I use when I cross process my photos in Lightroom.
Split toning: There is a panel in Lightroom called split toning. This I use more often than not, on my photos, daytime or not. Sometimes only to nudge a photo ever so gentle in a direction. This photo is split toned like this:
I often end up with some kind of yellow in the highlights and some kind of blue in the shadows, this case is no different. But when you try it, do try to move the cursor around, slowly to digest the changing colors and see what you can get, that you like. Remember that not two photos are alike.
Hue / Saturation / Luminance (HSL): This panel in Lightroom is really powerful, when it comes to Cross Processing the colors.
But how do I end up with these values? Exactly these values? I do it, by using this button for each of the panels. This example is for the Luminance, but you can do the same for the Hue and the Saturation panel.
This way, you typically adjust two or three sliders, at the same time, but not at the same rate, because the pixel you clicked on will not have all colors represented to the same extend.
Colored Gradients: The last thing I used to tone this image, is toned gradients, like this:
As you can see this image has three gradients. Each touches the image in an individual way. Two has got toning, a blue color and a yellow color. The last one, makes sure that the upper right corner has a similar brightness as the left hand corner has. The before photo has a bright and less bright corner, but I like a more symmetric look in the sky, and therefore darken the right hand corner a little bit.
Final steps in Photoshop
After having “toned” and “cross processed” my photo in Lightroom I brought it into Photoshop. What I still didn’t like, was too much contrast and I wanted the gate to be a little more prominent.
First I added some Orton Effect (you might want to learn about that here – it’s digital magic). I used the “Overlay” blend mode, this way, I could stick to my normal exposure. The Orton Effect I added using A mask. I rarely use global changes in Photoshop. The reason why I bring things into Photoshop is to tune specific parts of an image, and by applying global changes, I shortcut my purpose.
After having applied the Orton Effect to the extend that I liked, I merged all layers into a new layer (not flattening!), by pressing SHIFT + CTRL + ALT + E (or on Mac SHIFT + CMD + ALT + E). This is probably the feature that I use the most in Photoshop.
This new layer I changed the Shadows and Highlights in, using this feature:
The final step was to change the perspective. I know, that there is a Perspective Crop in Photoshop, but I really prefer to use a different tool, that is much more visual. But to use that, I once more merge all layers into a new layer (still not flattening) using my favorite feature in Photoshop SHIFT + CTRL + ALT + E (or on Mac SHIFT + CMD + ALT + E).
The feature I use for correcting perspective, is transform->Distort. The advantage of this feature, is that it is visual, you can actually see what you are correcting. The disadvantage is that it only targets one layer, and for that reason I created the new merged layer.
If I used the perspective crop, I would correct perspective in ALL layers. However, if I do that, I would not be able to bring in a new version of the photo or a different exposure from Lightroom to blend in. Because I shoot normally HDR, I often go back into Lightroom to export another version/exposure of my image, to use along with the ones I have in Photoshop already. But if I corrected perspective using crop, this path would be closed to me.
By using the Transform->Distort, all I have to do is to remove that layer, and then import the extra photo into Photoshop. Do what ever I want to do, and then do a new Transform->Distort on a new merged layer.
Let’s see how this is done:
And then you get a frame, that you can move around, and you see the result instantly. This I like, because I can really fine tune what I want.
And this is basically what I did to bring this ordinary daytime photo, into an artistic photo.
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Ryd Junk Yard in Sweden.
The Orton Effect is named after photographer Michael Orton, who invented the method back in the 1980′s – that’s in the film era, but you can apply it to digital photos too. It’s like digital magic. And digitally you can even control it much better and easier than you could in the old film days.
The Orton effect applies a magical soft and dreamy look to your photos, you could call it Glow. It has a softness to it, and yet it remains a sharp photo, if zoomed in.
The junk yard photo above, has Orton Effect applied in the trees and the leaves, and the tree below also has Orton Effect (click to see larger version). And as you can see, it is both sharpness and unsharpness at the same time. That is what gives the magic dreamy look.
It really can be that piece of digital magic, you add to a photo, that makes it really unique and special, but you must use it with care. I fairly often use it (or one of it’s sisters – which I describe later). I use it in perhaps 20% of my photos, but I only use it selectively and sometimes even only in very subtle ways. If you compared to a version without, you would be able to see the difference, but otherwise you wouldn’t notice it, because I use it with care.
This is the final version of the tree from Wanaka in New Zealand, and it has one of the strongest uses of the Orton Effect I have ever used:
How to make the Orton Effect step by step
There are some requirements for making the Orton Effect, and these are:
- You need to have Photoshop (any version) or Gimp.
- You also need an over exposed photo. But don’t worry you can make one artificially.
The Orton effect works best on overexposed photos. If you do not have an over exposed photo, you can increase exposure artificially both in Photoshop and in Lightroom. I shoot HDR photos most of the time, which gives me over exposed photos that I can use for the Orton Effect. Later in this tutorial I will show how to make artificial overexposed photos, but also a couple of alternatives to the Orton Effect.
Let’s make some Orton Effect.
Step 1: First open your overexposed photo in Photoshop or Gimp. Duplicate the layer twice, so that you have three layers with the same image.
Step 3: The second layer must be out of focus, that is you have to blur it. You use Gaussian Blur to do that.
Step 5: Try moving the slider between different pixel levels. As you can see in the preview, the Orton Effect changes, as you change the blur levels. It changes quite a lot.
You can merge the two layers by selecting them and pressing CTRL + E or selecting it from the context menu.
Step 9: Using the effect globally is generally not a good thing and by merging the two layers, you can add a layer mask, and the mask in what you like.
Create a black layer mask to hide the layer. This allows you to paint in what level of “Orton Effect” you want to apply in your photo, and more important, where to apply it.
You can add a Layer Mask by pressing the button, and then invert the layer mask by pressing CTRL+I, while having the mask in focus. Or you press ALT (or CMD on a Mac) and press the button, and you will get a black mask.
Step 10: Using the brush tool (read about layer blending here, if it’s new to you) you can paint in what level of Orton Effect you want in your photo. As you can see I only use it selectively.
The Sisters of the Orton Effect
You might already be thinking ‘What happens if I use some of the other blend modes?’ Well, most gives something that is quite unusable and psychedelic, but ‘Soft light’ and ‘Overlay’ gives something that you can use. The method is otherwise exactly the same, and the effect is somewhat similar, in particular for the ‘Soft light’.
The advantage of using the Soft light and Overlay is that you can easier stick to your ordinary exposures.
As it happens I often end up using either blend mode ‘Soft light’ or ‘Overlay’, rather than ‘Multiply’ because it works better with normal exposures, and therefore is easier to incorporate in my existing processing workflow. Or maybe I am just lazy.
Changing the Exposure to Overexposed
It’s really no big deal to make an over-exposed photo artificially. In Lightroom there is a slider for it, and you can make a virtual copy of the normal exposure, increase the exposure of it and export it along with the normal exposure.
And in Photoshop you can add an Adjustment Layer for exposure, and do the exact same thing. And if you duplicate your layer, and merge the Adjustment layer to the duplicate, you will have both the normal exposure and the overexposed as two layers.
Adjust the exposure to overexposed by 2 stops.
And then you can do the Orton Effect easily:
As I have been writing about I have been searching for something I can use as a new style. I have had a feeling of what I was looking for. I have had a few shots at it, without striking a clean note.
But as I was rumbling through older photos I came across this one, which I never processed before and applied one of the Lightroom filters I made last week – and there it was! A clean note. Or at least the beginning of it. I did a little extra post-processing here and there, but not a lot, and I was happy … for about 10 seconds. I zoomed in, and saw that the image was ruined by noise. I had shot it at ISO 10159 (why why WHY!!!). Because I had had the camera on Auto ISO the day before, while driving through a tunnel to get to this wonderful place. And this photo is shot almost in darkness.
It is processed in Lightroom only, except for the Noise reduction. To handle the noise reduction, I started by reducing the size of the image to about half resolution, not half megapixels. I shot this at 36 megapixels, cropped it down to 29.5 megapixels, and what I did was to reduce the resolution from 7360×4004 to 3676×2000 and thus reducing it to 7 megapixels). After I had done that I applied noise reduction to the final result. And this is it.
I used Noiseware for the noise reduction, and I used the Default settings. There are a number of various settings, but I quickly started loosing details, so I stuck with the default filter.
The photo is still noisy, but it actually works quite nice with the colors and style I think. If I had used stronger noise reduction I would have lost so many details, that the photo would have been ruined.
In my Arcanum cohorte one of my fellow apprentices asked about when to do noise reduction. I first tried to do the noise reduction before the resolution reduction, but that gave a terrible result. Then I reduced the size first and then did the noise reduction, and that was a much better result. This is still noisy, but at least it is regular noise.
I am a realist by Nature. Sometimes that is a curse and at other times it’s a blessing.
Currently I am trying to push new styles out of my photos, but it doesn’t really work for me, yet. Life has taught me, that everything is hard the first time you try. Experience comes in … well levels. You get stuck from time to time, but suddenly you can do whatever you were trying to do. A new skill has been acquired (tada.wav). Sometimes you don’t even realize, what was difficult is in fact no longer difficult.
Then for a while you get comfortable with what you are doing – your mojo is working just great. But then you start trying to reach new areas. Things get hard, and you have to get mojo working again.
Currently I find myself in such a place. I don’t full fill my own expectations to myself to the level I want to be on. I don’t get exactly the results that I want. I am searching for the answer, searching for the key that will unlock the door I want to go through. I am confident that I will find the key, not sure when, though. But eventually I will succeed. This life has taught me.
One of the things I have been dealing with is colors. The danger over over saturating photos, while not leaving them flat and colorless. I am addicted to the colors, and the more I use them, the more I want them, and suddenly, I am over the edge. This photo I have processed over the last couple of days, with the specific goal to keep saturation well under control.
This is a an in between version:
#1: The original had this boomerang cloud, slightly darker than the rest of the clouds. I enhanced it to get an “object” in the sky, to work with the ground. But I wasn’t really happy with it, until I noticed that there were some natural edges or cuts in the clouds.
#2 I used this natural cuts, to brighten up the sides of the boomerang cloud and ended up with a cloud like an object in the sky. This worked much better with the composition, I think.
About the photo
The city of Luxembourg is placed in and above a canyon. Along the edge of the canyon runs a balcony giving you a fantastic view of the beautiful old city below. It’s nick named the most beautiful balcony in Europe. Luxembourg is both modern and an old city, with a grand history of war, money and politics. And there are many great restaurants for food lovers like me. Absolutely worth a visit.
In the previous articles we have covered the theory behind HDR, and why it is necessary to take more than one shot. How to improve the image quality, by pushing the histogram to the right and various approaches to post-process HDR photos. This is fundamental knowledge to HDR photography.
If you did not read them, you might want to. You find them here:
- Part I: Understanding Exposure Value Stops or EVS.
- Part II: The Dynamic Range.
- Part III: The Histograms.
- Part IV: HDR and tone mapping.
The purpose and result of HDR software
Because you shoot several shots of the same scene, you have to use a tool to put them together. You can either do it manually, and blend the images, by stacking the photos in Photoshop or GIMP and then blend them into a final HDR photo using layer masks. Or you can use a tool that will do this automatically.
The automatic HDR software is probably the more common approach.
The problem of doing something, automatically is, that you are less in control, and the engine might not do want you want it do, or it will do more than you want it to do. Like in all other aspects of of life ‘there is no silver bullet’. There is no secret recipe, that will give you fantastic HDR photos, by pressing a button.
But making a fantastic HDR photo, does not have to be difficult, if you just know what to do, and have done a little practicing. I will help you understanding, what it is that you (need to) do.
As covered in part IV, the purpose of the HDR software is a two step process, first to merge the photos together to a 32-bit image file (the real HDR photo), and second to transform it into a 16-bit image, because you can’t see the 32-bit image properly. The 16-bit, is not really an HDR photo, but is usually referred to as the HDR, and this I also do, just bear in mind that the 32-bit image is technically the HDR photo.
A tone mapping algorithm will map the tones from 32-bit to 16-bit and a fusion algorithm will blend the photos.
The fusion algorithm does not have the same flexibility and artistic options as does the tone mapper, and for that reason I personally prefer to use a tone mapper, rather than use a less flexible fusion algorithm. But it is a matter of personal taste.
Tone mappers also come in many flavors, and to me, artistic flexibility is the most important thing.
Single exposure tone mapping
The tone mapper maps tones from one image to another, by passing the image through an algorithm. The merging of three images into the 32-bit HDR, does not have anything to do with the tone mapper itself.
You can take a single (well exposed) image, and put that through the tone mapper, and you will get a similar result, as had you used a 32-bit HDR photo. The viewer will see the photo, and recognize it, as what is commonly referred to as ‘an HDR photo’ (keeping in mind, that the only HDR really is the 32-bit image, that we can’t see properly).
Not all single exposure images gives great results in the tone mapping algorithm. It depends very much on how well exposed the image is.
A couple of examples of single exposures I have tone mapped:
To commoners these photos will look like HDR photos, because what is commonly referred to as HDR photos, really are tone mapped images. And the commoners, will not know the difference. I hope I have made it clear enough to you.
Side effects when tone mapping
Tone mapping is not without flaws, in particular if you push the gas pedal towards the floor. To me the tone mapper is a flexible tool, that you can bend, not necessarily to your will, but can bend into many interesting and artistic results, but if you are not careful, you can also get the worst image ever. This opens up for creativity and I do use this to great extend, and with great care.
Let’s walk through some of the common side effects from tone mapping.
This is the fourth article in my series of articles on getting a better and deeper understanding of HDR photography.
If you haven’t read the previous articles, you might find them interesting too before reading this one.
- Part I: Understanding Exposure Value Stops or EVS.
- Part II: The Dynamic Range.
- Part III: The Histograms.
High Dynamic Range and Tone Mapping
Is HDR the same as tone mapping and vice versa? No, it is not. However, it is two terms that people often confuse with each other, and it is quite important to get a grasp on which is which, if you ask me.
In Part II about the Dynamic Range I said that a High Dynamic Range photo, is a photo that is merged from several different exposures into one final photo. This way you extend the cameras natural dynamic range and get more detail.
People with some knowledge of photography, will often recognize an HDR photo, as being an HDR photo. But what they recognize is really something different, than the fact it is an HDR photo, if by HDR, we stick to, that it is several photos merged into one.
May the Histograms be with you!
Use the Histograms, Luke!
Some of the questions I will try to answer in this article, are ‘What is a histogram?’, ‘Why are histograms important in HDR photography?’ While answering there will be other findings; findings like: ‘Why is it important to push the histogram to the right?’
When I started on digital photography I noticed the histograms on my camera, when I played back my photos on the LCD screen. I did not really realize what, it was. I guessed it was some kind of graphical representation of the photo, which is true, but the real understanding I did not realize until much later.
Last year I attended a photo workshop, and the coach managed in a few hours, to explain to everybody, even the wives of the photo geeks, what a histogram is, how important it is and how to use it in a field. I was quite impressed by this deed.
Histograms are one of the most important tools for a digital photographer. It is always important, also if you are shooting HDR photos, some think it might not be, but it is. I still sometimes forget to check my histograms and I regret it when I get home.
What is a histogram and what does it show?
A histogram is a visual representation of how the tonal range is in a photo. The height of the bars in histogram, tells us how many pixels in the image have the specific tones.
The far left of the histogram is black and the far right is white. If there is a lot of high bars in the left hand side of the histogram, the image will have a lot of dark tones, while if there is a lot of high bars to the right, the image will have a lot of bright tones.
This photo is a well exposed photo:
A photo like this, is a well a exposed photo because the bars does not touch either side of the histogram. But it tells us more than that. From the distribution of the height of the bars, we can see that there is a peak in bright tones end of the histogram, which tells us a lot of brightness exists. And of course that is the bright clouds.
What does High Dynamic Range exactly mean? To understand High Dynamic Range, you need to understand Dynamic Range first. Now that we are clear on what EVS is, we can talk about the Dynamic Range in terms of Exposure Value Steps (If you missed Part I of this series, you might want to read Understanding Exposure Value Steps first).
In photography the Dynamic Range is the difference between the darkest and brightest part of a scene. Some scenes have a bigger difference (brighter or darker areas) than others do, they have a higher dynamic range.
Imagine a scene with some really dark shadows, like under trees, and some really bright sunlit areas and the Sun itself included (like the photo above). If you take a photo of this scene, your camera will leave some areas either completely white or completely black. This is because the dynamic range is incredibly high. The difference in the intensity of the light is huge and a camera can not record it all in one photo. Infact, the human eye is much better at that.
How much light a camera can capture, from the darkest area to the brightest area is called the Dynamic Range of the camera and it is measured in Exposure Value Steps or EVS.
Not two brands or camera models has got the same dynamic range and the difference from camera to camera is quite big. In the end it comes down to, how sensible to light the sensor inside the camera is, but also how the camera uses the sensor. Two camera models using the same sensor, might not have the same performance.
If you have a scene and you can’t get a good shot of it, without blowing either the highlights or the shadows, you can extend the dynamic range, by shooting two additional photos, one darker and one brighter.
Now you have three photos, including one to cover the highlights better and one to cover the shadows better. These must be merged using a piece of software. And this new merged photo is the High Dynamic Range photo. A photo that has extended the native dynamic range of the camera.
Let’s say, that you shoot the dark one at exposure compensation -2 and the bright one at exposure compensation +2. This way you extend the cameras limited dynamic range by 4 EVS, (that is -2 in the dark end and +2 in the bright one).
Three exposure bracketed shots at -2, 0 and +2.
A camera has a native dynamic range. My Fuji Finepix x100 has got a dynamic range of 12.4 EVS, while my Nikon D800 has got a dynamic range of 14.4. The Canon 5D Mark III only has got 11.7 EVS in the dynamic range. All cameras are different.
But what does this mean? Let’s stick to the example of -2, 0 and +2.
In case of the Canon 5D Mark III, then it has got a dynamic range of 11.7 EVS, the total dynamic range will then be 11.7 EVS +4 EVS (2 EVS extra for dark and 2 EVS extra for the bright exposure) = 15.7 EVS. That’s an increase of the dynamic range covered of 34%!
The Nikon D800 will be 14.4 EVS + 4 EVS = 18.4 EVS. An increase of approx. 28%.
Sony A7R is 14.1 EVS + 4 EVS = 18.1 EVS. An increase of approx. 28%.
As you can see from these three high end cameras mentioned, even high end cameras from leading camera brands are very different. Canon in general has got less dynamic range, than Sony and Sony has less than Nikon. And this pattern goes all the way to entry level cameras.
How do you find out about such things? Well, I always find my information on specific cameras at www.dxomark.com. They have an extensive database of sensor tests and it is very likely that you will find exactly your camera there too.
And if you are in the market for a new camera, and haven’t chosen brand yet, this is something you seriously should take into consideration, before choosing your brand.
Auto Exposure Bracketing (AEB) options are important!
As an HDR photographer, you are very interested in what options you have for bracketing your shots. How many shots can you bracket? Can you do it on a timer or remote control? How many EVS can you have between your shots?
This is really important stuff for the HDR photographer!
While the Canon 5D Mark III, from the example above, is the camera with the lowest dynamic range, it does have the most flexible bracketing system of the three and it it can cover more dynamic range, than any of the others. It allows 7 shots of up to 3 EVS between each shot.
7 shots at 3 EVS between each shot will be: -9,-6-,-3, 0, +3, +6 +9. That is a HUGE dynamic range covered. However, having 3 EVS between each shot can give bad results in post processing, and I don’t recommend it, but even at 2 EVS you get a huge dynamic range coverage.
Most cameras only allow to bracket 3 shots at maximum 2 EVS, as shown in the figure above (giving -2, 0 and +2 exposures). This extends the cameras native dynamic range with 4 EVS. And for many situations this is just fine.
If you are in the market for a camera, investigate the options! I was surprised to find out, that Nikon D3100 didn’t have any bracketing options. But there might be others, that don’t have it, and some models have more flexible bracketing options.
Personally I find it very important, that the native dynamic range of the camera is high. Using my D800 or D600, I capture almost the same in one shot, as the Canon 5D Mark III does in a -2, 0, +2 series. And this I personally find a huge advantage.
How to compensate for lacking bracketing options
I also have cameras that only do 3 exposures in bracketing, and they also support 3 EVS between each shot, but I really avoid doing this, unless I am caught in a difficult situation.
The reason why I avoid 3 Exposure Value Steps in my bracketing, is that I end up with nasty artifacts, in the post processing, because the HDR software can not put it together properly. What I do instead of increasing it them to 3 EVS in bracketing steps, is to shoot two series.
If you shoot a scene at -2, 0 and +2, then you can adjust the exposure compensation on your camera (the +/- button – look for it, and you will find it). If you adjust it to -1, and then shoot your series again, you will then get: -3, -1, +1. And if you kept your camera on a tripod and was careful, when you adjusted the camera, you know have 6 shots:
-3, -2, -1, 0, +1 and +2
And if your scene was too dark, you just adjust +1 instead of -1, and get 6 shots of:
-2, -1, 0, +1, +2 and +3
This you can do on almost any camera, and this is what I do, if caught between a rock and a hard place. And in really extreme situations you can shoot 3 series or adjust the compensation different. The camera is flexible enough, if you accept a little manual work.
If you are considering to buy a new camera and intend to shoot a lot of HDR, this is important stuff, that needs to be investigated before buying a new camera. I was misguided when I bought my Fujifilm X100 Finepix camera. It does have AEB, but not at 2 EVS, only at 1 EVS. I can take -1, 0, +1 and because it has a native dynamic range of 12.4 EVS, that sums up to 14.4 EVS in the high dynamic range photo, which is exactly what my D800 delivers in one photo. This is clearly not very optimal for me, and I end up using the X100 far too little.
And a funny thought – does that make the Nikon D800 photo a less High Dynamic Range photo, just because it can cover the same dynamic range in one photo, while the X100 needs 3 shots? What is High Dynamic Range? It is not clearly enough defined.
How to trigger the bracketed series is important too
When you start shooting HDR photos, you pretty quickly learn that, using a tripod is worth the effort. Even slightly moving cameras, can make a post-processing difficult. The most optimal thing, is not to touch the camera at all, while the camera shoots the bracketed shots.
Canon and Nikon offers the option of a timer 2 seconds, before the camera starts shooting the bracketed series. Usually two seconds is enough for the tripod stop stirring after you touched it.
Sony A7/A7R allows the use of a remote control. It would have been nicer to be able to use the timer (one device less to keep track of). The Sony NEX-7 does not allow any kind of remote triggering.
But as mentioned several times in this article, investigate the specific camera model, before buying it. Otherwise you might end up being disappointed. And it is expensive to be disappointed with a camera.
- Understanding HDR part I – Exposure Value Steps.
- Read part III about Histograms here.
- Get 15% discount on Photomatix Pro. Use promo code: caughtinpixels.
- You might also want to read my free detailed HDR tutorial here.
- I also highly recommend spending a little time comparing cameras at www.dxomark.com.