This can work very well, but to look convincing it needs to be done with some considerable skill, and usually requires quite a bit of work with masks and brushes. Then, in Photoshop, blend these exposures, using the parts from each one that capture properly the part of the scene that you want.
Take a "normal" exposure, and then a few more at 1-2 stops over and under that point. Also, they really only work unobtrusively when there is a clearly defined edge to the brightness transition, such as a horizon line or a cliff edge.Ī more contemporary approach is to take multiple exposures of the same scene, varying (usually) just the shutter speed. Also, they can be slow to use under the rapidly changing light conditions at the beginning and end of the day (when they are most likely to be used).
#Adobe photoshop cs2 tutorials full#
The problem with this approach is that a full set of quality 1, 2 and 3 stop filters, in soft and hard edged configuration, with filter holders and lens adaptor rings, can cost close to $1,000. Put a two to three stop blocking filter over part of the scene that’s overly bright, and you can now set an exposure that encompass the brightness range available. The traditional method has been through the use of split neutral density filters. Now, there are many ways to accomplish this.
While the majority of day to day scenes are easily handled by this dynamic range, there are situations, especially for the landscape photographer, where more is needed. So, if for the sake of discussion we will use the number of 6 stops of dynamic range as being what a typical film or sensor can record, we now see the problem that HDR attempts to address. I have no desire to enter that particular debate at this time. Each of these fuzzys the exact values that various photographers can agree upon when it comes to the dynamic range that a particular film/developer combination, or sensor, can produce. I’ll just note parenthetically that with film there is a shoulder and toe to any film’s dynamic range curve, where values flatten out, and with digital sensors there is the question of noise acceptability in the lower values. So, somewhere between six and nine stops of brightness level is what most photographic systems are capable of recording. Most people would agree that colour negative can record about one stop more and B&W film maybe an additional stop as well. In photography (rather than in sensitometry or printing) this is measured in stops, with each F stop being a doubling or halving of the amount of light being received by the recording medium, be it film or a digital sensor.įor the sake of this discussion, let’s assume that a typical colour transparency film or digital camera sensor can record 6 stops of dynamic range. _ About Dynamic Rangeĭynamic range refers to the range of brightness levels that exist in a particular scene – from darkest – before complete and featureless black, to lightest – before complete featureless white.
Rather, and since I’ve been involved in the CS2 beta program and therefore have some experience with using the product – I thought that there would be photographers (especially landscape photographers) who would find an initial look at this exciting new capability to be of interest. This is not intended to be either a comprehensive how-to, or a complete technical treatise on the subject of HDR, or Adobe’s implementation in Photoshop CS2. Dynamic range though is one of the limitations that hasn’t yielded much over the years to technology’s inexorable advances.īut, that’s about to change with the introduction of the Merge to HDRfunction in Photoshop CS2, which became available in mid-April, 2005.Ī caveat before proceeding, so as to forestall the usual deluge of e-mails that follows any first-lookthat appears here, and that some readers don’t feel answers all of their questions or addresses their particular concerns. 7 frame blend with a 14 stop dynamic range, using HDRĮverything has limits, and the technical evolution of photography during the past 150 years has largely been about overcoming the craft’s limitations.
0 kommentar(er)
