True reason, as Ed says, for HDR.

[Cazzie]

This is just a comparison of a true HDR image in lieu of a single properly processed image. First, I never mess with Saturation, unless I want a desaturated image. All Saturation levels (Photomatix Pro) are between 46 and 50. One big problem (other than false coloring with halos) I find with a lot of HDR is that the Strength levels are too high. Most of my Strength levels are between 60 and 80. On most occastions my Lighting is set at 0 also, but I have found that a Medium Lighting check is better. And I leave my Temperature levels at 0 on 99% of my images. What I look for is a good histogram with all color levels fairly even. I hope these two images of a spotless Triumph Spitfire 1500 cc 4-cylinder, taken at VIR yesterday, shows the subtle difference that a three-shot HDR image has over that of a single processed image.

Single shot non-HDR image

http://i5.photobucket.com/albums/y168/cazmodel/spitfire_engine_0_zps57be8056.jpg

Three-shot HDR image

http://i5.photobucket.com/albums/y168/cazmodel/spitfire_engine__tonemap_zps25076a79.jpg

[Panther_99FS]

Cazz,
Try taking that single shot image and reduce the highlights & bring out the shadows to see what you come up with...

[EasyEd]

hey All,

I think P has figured it out. Caz I'm not sure there is enough dynamic range in the original to really take advantage of HDR. That said you have admirably illustrated the point by showing more detail in the shadows although the original photo may have done an adequate job.

From DxO Mark


Landscape photography: maximum Dynamic Range

Landscape photographers often carefully compose their images and choose the optimal time to shoot. This type of photography commonly involves mounting the camera on a tripod and using the lowest possible ISO setting to minimize noise, thus maximizing image quality.

Unless there is motion, relatively long shutter speeds are not an issue with a tripod. What is paramount is dynamic range, especially because photographers will often aim for detail in high-contrast settings, juxtaposing bright sky with shadowy foliage, mountains, etc. Ideally, the dynamic range of the camera should be greater than the dynamic range of the scene, otherwise details in shadows are lost or highlights are burned.

Dynamic range falls rapidly with higher ISO settings, as any analog or digital amplification performed will increase the noise in the darker areas, making it harder to distinguish between fine levels of contrast.
Maximum dynamic range is the greatest possible amplitude between light and dark details a given sensor can record, and is expressed in EVs (exposure values) or f-stops, with each increase of 1 EV (or one stop) corresponding to twice the amount of light.
Dynamic range corresponds to the ratio between the highest brightness a camera can capture (saturation) and the lowest brightness it can capture (typically when noise becomes more important than the signal, i.e., a signal-to-noise ratio below 0 dB).

A value of 12 EV is excellent, with differences below 0.5 EV usually not noticeable.
This scale is open, as incoming light is not a bounded quantity.


So what this means is that it is good to know the "range" your camera can capture.

So for example a K5 Pentax has an EV range of 14.4, A Canon has 70D an EV range of 11.6

So then you need to look at the dynamic range of the scene you are photographing (and want detail in whites and blacks)

So meter the darkest and then the lightest at constant f-stop or shutter speed not adjusting ISO in either case. I took this from: http://www.outdoorphotographer.com/how-to/shooting/max-out-your-dslr-sensor.html


The dynamic range of the scene is just the difference, in ƒ-stops, between the darkest important shadow and brightest important highlight. Let’s say you meter the darkest shadow and get 1/60 sec. at ƒ/2.8. (In other words, you fill the frame with the darkest shadow—nothing else—and your camera recommends an exposure of 1/60 sec. at ƒ/2.8.) You meter the brightest highlight and get 1/60 sec. at ƒ/22. The dynamic range is six stops. (Count up from ƒ/2.8 in full-stop increments: ƒ/4, ƒ/5.6, ƒ/8, ƒ/11, ƒ/16, ƒ/22.) If you expose the scene at 1/60 sec. at ƒ/8 (midway between the shadow and highlight readings), then every part of the scene that meters 1⁄60 sec. at ƒ/8 will be rendered as a midtone. The darkest shadows will be three stops darker than midtone, and the brightest highlights will be three stops brighter than midtone.

Outdoor scenes can have over 10 EVs of dynamic range.

But what if you don't like F8 because of depth of field? Suppose you want f22. Then you are moving 3 stops "darker" so you need to add light to the shadows by 3 stops so instead of shooting at 1/60th you are at 1/8th but what happens to the highlights? Well 1/60th is recommended at f22 but you are at an eighth so the highlights are overexposed. What to do? Well suppose you bracket two shots one underexposed by 3 stops (1/60th) for highlights and one exposed at an eighth (of course you are on a tripod) for low lights and then combine in post processing.

And when you bring in ISO considerations it can be even more complicated as some cameras will bracket ISO.

And then there are just the "art" considerations. As in Caz image above perhaps he wanted us to see the pattern on the radiator better than in the original without blowing the highlights. Multi-bracketed shots allows this.

My understanding is that for many landscape photographers bracketing is routine - "just in case".

-Ed-

[Panther_99FS]

hey All,
So meter the darkest and then the lightest
-Ed-

For sure!
Even with single shots, meter at the darkest spot then the lightest spot and look at the difference between the 2 single shots (yes this is a distinct advantage of digital over film).

Oftentimes in single shot post processing, I'll reduce highlights and work the shadows and blacks as required for what I'm looking for.

[Cazzie]

Ed, as a rule, my settings for HDR images are three-shots, bracketed at 0 Ev, -2 Ev, and +2 Ev. Camera is tripod mounted, ISO 100 or 125, Aperture Priority, with a general f-stop of f/13, I let shutter speed be what the camera decides. If there is a low light situation, I cover the viewfinder, open Live View, and set the self-timer. The D5100 will self-time all three shots, eliminating any hand shake or mirror shake.

I use the Histogram most when doing HDR, I try to get a good tonal balance from the right to left (dark) to right (light), and adjust to balance the neutral tones (middle). As stated, I do little to nothing on Saturation, Temperature, and Lighting. Few people realize the power in adjusting the Gamma, I find that most useful at times, much better than adjusting Highlights, White point, or Black Point.

[EasyEd]

Hey All,

Caz you gonna get rid of that Nikon stuff and get a K3? It looks like about all I've ever wanted in a camera just not in a rangefinder style box.

-Ed-

[roger-wilco-66]

In my experience one has enough dynamic in a RAW file under normal (daylight) lighting conditions to modify the tonal ranges to achieve a result like the OP posted. I only make bracketed DRI (not necessarily HDR) shots when the lighting is extreme, like shooting in a room with a bright window in the background, or large rooms with strong artificial lighting, or during sunset/sunrise against the sun.

Cheers,
Mark