Teacher: Kenji Tachibana Digital Photography I. H igh D ynamic R ange Back Light – 11 slides Copyright © 2003 – 2009 Kenji Tachibana

Teacher: Kenji Tachibana Digital Photography I HDR: Back light glass S hooting Translucent & Transparent: Side light for solid forms but back- light for drawing transparent and translucent objects.

Teacher: Kenji Tachibana Digital Photography I HDR: Back light translucent objects N ear Opposite Colors: The backlight on the leaf is making it glow and stand out as the subject. So is the near compliment color scheme. The orange subject makes a clear separation from the near compliment green color background. The side light is doing a great job of bringing out the texture of the green foliage and the orange subject. The backlight is adding sparkle to the maple leaf and acting like a catch light…

Teacher: Kenji Tachibana Digital Photography I HDR: Back light translucent objects S eparation: Exact Selection The subject was tediously ‘Select-out’ so that the subject and the background could be lab worked separately. The HDR made it impossible to work on the image as a whole.

Teacher: Kenji Tachibana Digital Photography I HDR: Back light translucent objects S election: Avoid meticulous selections whenever possible. They Are very time consuming and Laborious. I teach the fast selection method which makes liberal use of the mask painting technique. By mastering this technique, you will cut a large amount of from your lab work future…

Teacher: Kenji Tachibana Digital Photography I S election: Avoid meticulous selections When ever possible. They Are very time consuming and Laborious. I teach the fast selection Method which makes liberal use of the mask painting technique. Nature’s Treasures

Teacher: Kenji Tachibana Digital Photography I HDR: Back light translucent objects G lass, Liquid, & Color: Soft broad source backlight makes this still life come to life. It draws the water so that you can see the volume, the length of the pour, and the movement caused by the pour. The neutral color scene and the lighting makes the blue bottle bluer and the glass cup fully gradable. Custom White Balanced

Teacher: Kenji Tachibana Digital Photography I HDR: Back light translucent objects C olor Science: Lord William Thomson Kelvin Different types of light sources have their own color expressed in K. K stand for Lord Kelvin who gave numerical values to color in the late 1800’s. Daylight – 5,000K (Combination of sun & skylight) Cloudy – 7,000K (Cool but forgiving light source) Skylight – 9,000K (Also soft and cool but brighter) Incandescent – 3,000K (Avoid this hard & warm light) Fluorescent – 4,000K (Avoid this yellow green light) Custom – Set your own by aiming the camera at a white or neutral gray target card.

Teacher: Kenji Tachibana Digital Photography I HDR: Back light opaque objects B acklight Beauty: it’s everywhere This is a classic backlit situation. If you let the camera handle the exposure, it will under exposed as demonstrated by the top example. The bottom example was EC adjusted by +2 f/stops, maximum adjustment. And it probably looks closer to what you might have experienced. Think for a moment about similar lighting situations from your own past. It is not that uncommon in the real world.

Teacher: Kenji Tachibana Digital Photography I HDR: Back light opaque objects V isual Memory: Remember what you want… I purposely mislead you in the previous slide sequence. Now with this new comparison image, it is clear that the new image is more like what you would have experienced in the scene.

Teacher: Kenji Tachibana Digital Photography I HDR: Back light opaque objects R ight Exposure: Making value judgments We are all believers. We want to believe that the image on the LCD is what the original scene looked like. That is why having reference image(s) planted in the digital film is so important. Although, you have to actively use it in order to succeed in getting the right exposure…

Teacher: Kenji Tachibana Digital Photography I HDR: Special situation S pecial HDR Situation: High dynamic range is a high contrast tonal range situation. It usually happens in direct sunlight situations. Although, HDR condition can exist even when the lighting is soft.

Teacher: Kenji Tachibana Digital Photography I HDR: Special situation S oft Light HDR: High dynamic range is a high contrast tonal range situation. It usually happens in direct sunlight situations. Although, the extreme tonal range situation can exist even when the lighting is soft.

Teacher: Kenji Tachibana Digital Photography I HDR: Back light translucent objects E xposing for Details: Over expose to capture image details from the shadow areas. Under expose to capture image details from the highlight areas. Over exposed Under exposed

Teacher: Kenji Tachibana Digital Photography I HDR: Back light translucent objects F inal Composite Image: The captured details from both the shadow and highlight areas were combined into the final image. Shadow Detail Highlight Detail

Teacher: Kenji Tachibana Digital Photography I HDR: Back light translucent objects S ummary: HDR High dynamic range is a high contrast tonal range situation. It usually happens in direct sunlight situations. Although, the extreme tonal range situation can exist even when the lighting is soft.

Teacher: Kenji Tachibana Digital Photography I x End