Topaz Labs Software
!5% Off Photomatix use Coupon Code theHDRimage
Purchase My Prints
- Photomatix Pro 5 Review
- OnOne Software solves your Adobe woes
- onOne Software Releases Perfect Photo Suite 8
- Topaz Labs brings Clarity to the Milky Way – Photographing the Milky Way
- Using the Histogram to Ensure you have covered the Dynamic Range of a Scene
- Depth of Field – In Depth
- Advanced Metering
- Topaz Labs introduces ReStyle
- Software Review – Topaz Lab’s new -Clarity
- Topaz Labs releases B & W Effects 2.1
- Why HDRs Don’t Look Real
- HDR Pro in Photoshop CS6 – Using ACR
- Twilight – Nature’s HDR
- HDR does not = Light
- onOne Perfect B & W
- 5 Quick Steps to better HDRs – Step 5
- 5 Quick Steps to better HDRs – Step 4
- 5 Quick Steps to better HDRs – Step 3
- 5 Quick Steps to better HDRs – Step 2
- 5 Quick Steps to better HDRs – Step 1
- Oloneo Releases update to PhotoEngine and HDR Engine
- HDR – How Many Exposures are Enough?
- Follow up on “HDR Styles” Nik Presets download
- Triggertrap Mobile – LE HDR Trigger – Product Review
- Thought for the Day – First take a Great Photo
- HDR Styles
- Gray Skies forever? Photomatix Pro
- HDR – What is it we actually do?
- Shooting the HDR Night Cityscape
PopularAdjust 5 Aperture BLack & White Black & White Conversions Black & White HDR Composition Depth of Field Focus HDR HDR Editing HDR Examples HDR Exposure HDRI HDR Images HDRsoft High Dynamic Range Images How far apart to space exposures How many exposures to shoot Layer Masks Lightroom Metering Nik HDR Efex Pro Nik HDR Efex Pro 2 Nik Silver Efex pro OCF Off Camera Flash oloneo onOne onOne software Perspective Photomatix 4.1 Photomatix Coupon Code Photomatix Pro 4.0 Photomatix Pro 4.1 Photoshop Reader Images sharpening Single Image HDR Single Image HDR Processing Slective Deghosting in Photomatix Software review The HDR Image Topaz Labs Tripods When to boost your ISO in HDR
- January 2014 (1)
- November 2013 (3)
- August 2013 (4)
- May 2013 (1)
- April 2013 (2)
- February 2013 (4)
- January 2013 (9)
- December 2012 (8)
- November 2012 (4)
- October 2012 (2)
- September 2012 (8)
- August 2012 (8)
- July 2012 (6)
- June 2012 (1)
- April 2012 (4)
- March 2012 (1)
- February 2012 (18)
- January 2012 (15)
- December 2011 (13)
- November 2011 (23)
- October 2011 (23)
- September 2011 (12)
- August 2011 (1)
- July 2011 (3)
- June 2011 (3)
- November 2010 (1)
- October 2010 (7)
- September 2010 (3)
Daily Archives: October 24, 2011
Today we are going to look at yet another subject that can benefit greatly from shooting and processing in HDR-HighDynamicRange: the Automobile.
Automobiles are almost like shooting portraits outdoors, shot wrong and at the wrong time of day can lead to disappointment. So let’s take a close look at what it takes to get a truly pleasing shot. Today we will focus on setting up the shoot itself and tomorrow we will work on the processing.
I am also going to do this in two parts, a basic shoot and then an advanced set-up for those that may want to take this above and beyond.
Location, Location, Location
Shooting an automobile is as much about the background as it is the car itself. In the wrong environment the car will loose the appeal that we as photographers or more importantly the client, (Classic Car Owner, Auto Manufacturer etc) desire. So first we have to find the location; that may be a twisting mountain road, along the shore of the ocean or lake, In front of a cityscape, day or night or in our case, the oft used, desert dry lake bed.
For this shoot I chose the Clark Lake dry lake bed in the Anza-Borrego desert of California. My Favorite place to shoot.
My choice of locations and the desire to shoot HDR was confirmed today when I opened up Road & Track magazine and saw a shot of a 2012 Dodge Charger shot in HDR IN the Anza-Borrego desert. I regularly run into their team doing tests along the way from their Newport Beach headquarters to the desert. In fact, for inspiration for your shoot check out the better automotive publications and even the websites for car manufactures like Porsche and Lamborghini. They often have some downloadable wallpapers that have some stunning photography.
I choose the spot I wanted because having been there and shot many times I knew how the light would be at all times of the day. I knew at a certain time of day the lake bed would be pushed into shadow while the mountains behind it would still be lit and nicely lit come the golden hour. One note when shooting near large mountain ranges. You need to know that sunset behind those mountains can occur 1-2 hours before actual sunset depending on the altitude and your proximity to those mountains.
The good thing is that it provides for a very long twilight period where the sky provides plenty of light yet without any direct light on your subject. This is kinda of like working with a giant softbox in the sky. Plenty of soft natural light to make our subject look good. This lake bed has mountains on 3 sides so I knew I had to be there at 4PM even though actual sunset was 6:15PM but I actually was able to work past sunset with the aide of something else in the advanced setup of this tutorial.
Shooting earlier in the day is not desirable, the light is too contrasty with harsh shadows and even if we could capture that dynamic range it isn’t pleasing to our subject at all
So we want to shoot later when our subject is not in direct sunlight.
Place the vehicle in the location you want. Again this may take some pre-scouting so you know where the light will be at what time and location
Having a clean vehicle
This image is going to be sharp and full of detail so a clean vehicle is of the essence. Any blemish will show up. But, we may not have the luxury of a cover trailer to bring the vehicle to the location and it may get dusty just getting there or even while on the location if winds are high. If the vehicle is not your own, DON’T Touch it. Leave it to the car owner to clean. Any scratch you put into a $10,000 paint job will be your fault.
If the vehicle is your own or if the owner needs advice on how to clean the car on location, I recommend a California Car Duster to get the big stuff off and then wiping the car down with a Micro fiber cloth using a detailing lubricant such as Meguiar’s Car Detailer. This will prevent the tiny scratches you can get from wiping a car with a dry cloth.
Once the vehicle is clean and in place you can begin to play with your setup as the light gets where you want it. Don’t wait for the light to be where you want to start to set-up as the light will change very quickly and you may only get 15 minutes with each lighting scenario so you have to be ready.
You will need to determine angle and focal length for the shoot. In general we don’t want to shoot straight on to a side or the front or rear. We may want to have those shots as alternative angles but that won’t be our money shot. In general we want to be at a 30-45° angle to the side and encompassing either the front or the rear of the vehicle. Once we determine a general shooting area we need to consider the focal length we will shoot at.
Again I will go back to the “Portrait” analogy. Just as in shooting a portrait, we want to choose a focal length that is pleasing to our subjects face or body. We don’t want any part particularly emphasized, especially if it makes the subject look odd. We want as much beauty as possible and emphasize only the positive. For this shoot I chose my Canon 24-105L 4.0 IS. It gave me the range that best suited this shoot.
On my Full Frame Canon 5D, I like to use focal length of 50 – 70mm. On APS-C bodies this may be in the 35 – 50mm range on your camera. This gets me close enough to see the detail I want, yet still gives me the perspective I need to include a good amount of the scenic background. I have used up to 200mm at times but remember with a long focal length we loose the amount of the background shown due to perspective. If you are a fan of the Nifty Fifties ( Canon 50mm 1.8 – Nikon 50mm 1.8) This may be a great time to break it out.
I don’t like to use wider angle lenses because we start to get distortion in size perspective of parts of the vehicle that are closest to the camera and that leads to a less pleasing look such as this one shot at 24mm.
Also note this is a Standard Photograph in the natural light. It doesn’t have the Dynamic range we want with the blown out sky and no detail in the mountains
The same shot at 50mm provided a much nicer perspective for our vehicle. But again note how the standard image, while getting the mountains now better lit, plunges our vehicle into darkness. Good thing we know about HDR.
We’ve got our location, we’ve got our vehicle placed there, we have it clean and we’ve chosen our angle and focal length. So now let’s shoot our HDR.
I measured the Dynamic range and knew it was well within the normal 3 Shot 2 stops apart shoot. So I set the camera to Aperture priority and Exposure Bracketing and took 3 shots. 0,+2.-2
These 3 shots get the midtones, the highlight sin the sky and mountains and the shadows of the vehicle all covered.
Tomorrow in part 2 I will cover in its entirety the processing of these images.
The previous was our normal HDR shoot and will be perfect for almost everything we want to do. But there are conditions where we may need to take it to the next level.
In Photography we either need to “find the light” or “Create the light” I wanted to shot later into the actual twilight. The only problem with this is I loose some of the natural softbox lighting I get earlier in the evening, especially low on the body and into the wheels and tire area. So to fix that…
HDR + OCF = OMG
OK so let’s decipher those acronyms. We know HDR, High Dynamic Range. OCF is, Off Camera Flash. If two things are all the rage in photography right now it is HDR and OCF. So why not combine the two. OCF is a way to tame dynamic range. You use the natural or ambient light to light your background and then provide strobe lighting for your subject and in a lot of cases that is good enough to get the image you want, But of course not for me. I want to take it one step further.
Here is my Basic Set-up. Two Flashes on stands, One Canon 580EX and One Vivitar 285HV. And Cactus wireless triggers to fire the flashes remotely. I used 42” Shoot-through Umbrellas (I added the second after I shot this shot on the Vivitar). I also moved the flashes closer to the subject later to create a larger light source.
Of course we could do an entire lesson or website just on OCF, so I won’t. I will just show you some possibilities of using this set-up. But I will give you some pointers that can help.
- Make your light source as large as possible. This means having the lights as close to your subject as you can without being in the shot and also using a large diffuser to eliminate hotspots, This can be a Softbox or an umbrella or even shooting through a large diffuser, remember we are trying to evenly light a large object so we need a lot of nice diffuse light
- Watch for reflections. We are also shooting a highly reflective object so we have to watch for distinct reflections of the lights. We do this primarily by using “Angle of incidence, angle of reflection” Meaning if the light is at the same but opposite angle our camera is to the subject. We will see a reflection. So if the camera is at a 45° angle to the car, we don’t want the light at an opposite 45° angle to it.
One lucky part of doing this shoot for HDR, that would be a bad thing in regular OCF shooting, is that the flash takes a second to recharge. In a normal shoot this would mean some missed shots if you shot too quickly. I used this to my advantage because I only wanted the flash to fire on the 0 exposure shot. If I quickly took the +2,-2 shots afterwards the flash did not have enough time to recharge to fire. If I really needed to, I easily shut the trigger off on the camera after the first shot if I needed more time.
To give you an idea what the shot looks like lit by the OCF flashes here is an example. What should be noted here is this shot was shot well past sunset and it was in fact quite dark. If you look at the shot settings you will see that it is ISO400 f/10 and 1.6 seconds of exposure! But also note that the strobe light matches the ambient which is something we would want.
Tomorrow we will look at this image processed with the other two for our final HDR. I know this doesn’t really delve into how to do OCF. It’s not meant to other than just give you a feel for it and see if it is something you might like to attempt.
We still can get a great image using HDR alone so this may not be worth YOUR time.
So be back tomorrow for part two of this tutorial. Post processing where I will take you step by step on how I finished two images and the final results.
I know, you don’t want to wait, but my typing finger is sore.