tag:blogger.com,1999:blog-85529627250942006312024-03-05T22:55:04.316-07:00ImageLiner.blogspot.comPhotography blog and the Boise Photography Projecttraywolfhttp://www.blogger.com/profile/06205565591880314520noreply@blogger.comBlogger26125tag:blogger.com,1999:blog-8552962725094200631.post-17594736104388605372021-09-06T17:44:00.008-06:002023-06-12T20:21:21.725-06:00Hell's Canyon, Emerald Lake, Idaho<p> Hell's Canyon Wilderness, Emerald Lake Idaho<br /><br />Emerald Lake, at approximately 7,000 feet (pass at 7,800'?), is part of the Seven Devils Mountain Range. <br /><br />From Council, Idaho, drive about 50 miles (2.5hr drive) to Black Lake Campground. From there, it is a moderate hike of 5 or 6 miles with a full-pack. Although Black Lake campground was fairly busy, we had the trail, and Emerald Lake, to ourselves for the entire trip. We spent 3 days, intending 4, but forest fires further North filled the valleys with smoke, forcing an early departure. </p><p></p><p>Emerald Lake only has one or two good camping spots. A wide marsh at the inlet makes the West side of the lake unapproachable. Traveling
along the East side, near the inlet, is one spot suitable for a single
tent. Then a quarter-mile further is a camp that can hold three
tents. From then on, the lake-shore is too strewn with fallen timber
and inclines to be camp-able. The outlet has a few uneven spots for
camping, along with room for pack animals, should you have such
critters.<br /><br />This trip is from late August, 2021. Photographs taken with a Nikon D5100, and Tamaron 10-24mm. All photographs hand-held and most were shot at 10mm. I typically shoot at ISO 100. Because good tripods are heavy, none of these photos are HDR.<br /><br /></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgA_RQcxNPNDy38_E7EQTE26Lg1o7JFaOh6vcJNUJzjHx8r91IqIeISF_7r65FreYwSW50eisMbnwtCRFRgyGLCjj623livYbvg_QZNqsnUTrzbzR6flMjRi4IVT5DiZI1kEXmV0ioFbsU/s1030/Divide-DSC_1789+-1-Small.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="685" data-original-width="1030" height="426" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgA_RQcxNPNDy38_E7EQTE26Lg1o7JFaOh6vcJNUJzjHx8r91IqIeISF_7r65FreYwSW50eisMbnwtCRFRgyGLCjj623livYbvg_QZNqsnUTrzbzR6flMjRi4IVT5DiZI1kEXmV0ioFbsU/w640-h426/Divide-DSC_1789+-1-Small.jpg" width="640" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">A small tarn, on the left, as you cross the divide<br /></td></tr></tbody></table><p><br /></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgqW-vjFJROFLCSG6Xyqv0dv1iTDc3TVNcW9ZNUgl4aG1Tw0dA6VpfSrB_lv1Atah1O1eePBbwVrgW7IVYr5rwLwGfkIWwJW-1ILK_YQoolcXQyWCjHCLC_XvPuv77QS2atUzNnCQIENSY/s1030/Divide-forBrianOrr-DSC_1791+-2-Small.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="685" data-original-width="1030" height="426" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgqW-vjFJROFLCSG6Xyqv0dv1iTDc3TVNcW9ZNUgl4aG1Tw0dA6VpfSrB_lv1Atah1O1eePBbwVrgW7IVYr5rwLwGfkIWwJW-1ILK_YQoolcXQyWCjHCLC_XvPuv77QS2atUzNnCQIENSY/w640-h426/Divide-forBrianOrr-DSC_1791+-2-Small.jpg" width="640" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Casey Mountain, at the divide, looking North, by North West<br /></td></tr></tbody></table><p><br /></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEih1qdbxCAfBDxR3XD0ZpKMpLBAvncyw-BEp00Yc2pVjjbyQo2BgaksaKkipTzdjfxL2ncbu7XNa5y5mbPQ-tKO0HhMsN2sIvq6OzGgz4bhhZGB75HruxaXcI-Iu25QxiMZLSD87lNnZgg/s1551/Divide-Emerald-DSC_1784+-1-Small.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1551" data-original-width="1030" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEih1qdbxCAfBDxR3XD0ZpKMpLBAvncyw-BEp00Yc2pVjjbyQo2BgaksaKkipTzdjfxL2ncbu7XNa5y5mbPQ-tKO0HhMsN2sIvq6OzGgz4bhhZGB75HruxaXcI-Iu25QxiMZLSD87lNnZgg/w426-h640/Divide-Emerald-DSC_1784+-1-Small.jpg" width="426" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Looking down on Emerald Lake in the distance<br /></td><td class="tr-caption" style="text-align: center;"><br /></td><td class="tr-caption" style="text-align: center;"><br /></td></tr></tbody></table><p></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgqggNwVmc93T3WYaAza5aJYWuLSOOjcgwmQA2bytORiZCXj1pEY3PJmpoVBXLUJT8KrqaSApJxzhLbhQuougSlxo_d39tA2FC4caRXVltG4BRLm2YFdIvx2dJfm1vKOoV-OOnPNfAFruU/s1030/FlowersLogs-DSC_1798+-1-Small.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="685" data-original-width="1030" height="426" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgqggNwVmc93T3WYaAza5aJYWuLSOOjcgwmQA2bytORiZCXj1pEY3PJmpoVBXLUJT8KrqaSApJxzhLbhQuougSlxo_d39tA2FC4caRXVltG4BRLm2YFdIvx2dJfm1vKOoV-OOnPNfAFruU/w640-h426/FlowersLogs-DSC_1798+-1-Small.jpg" width="640" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">At the approach to Emerald Lake <br /></td><td class="tr-caption" style="text-align: center;"> </td><td class="tr-caption" style="text-align: center;"> </td><td class="tr-caption" style="text-align: center;"> </td><td class="tr-caption" style="text-align: center;"> </td><td class="tr-caption" style="text-align: center;"> </td><td class="tr-caption" style="text-align: center;"> </td><td class="tr-caption" style="text-align: center;"> </td></tr></tbody></table><p></p><div class="separator" style="clear: both; text-align: center;"></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjuUKJBuOvZjDI9_GIQWHUn1seV-ZDioUPErdY9EhXRu1_WGD4bIqfWBgICI82P_DMjRpEFQyEqcuEnvpR64W6a3_ORfEia-HjdHUPCNZLSPil7c6WuEORPoZXuL9m9gL07b1z1WLpzV50/s1551/ForestFloor-DSC_1808+-1-Small.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1551" data-original-width="1030" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjuUKJBuOvZjDI9_GIQWHUn1seV-ZDioUPErdY9EhXRu1_WGD4bIqfWBgICI82P_DMjRpEFQyEqcuEnvpR64W6a3_ORfEia-HjdHUPCNZLSPil7c6WuEORPoZXuL9m9gL07b1z1WLpzV50/w426-h640/ForestFloor-DSC_1808+-1-Small.png" width="426" /> </a></div><div class="separator" style="clear: both; text-align: center;">Along the East Side, with smoke and sunlight filtering through<br /></div><p></p><p><br /></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiAhRUEcTO3myfUzVw-DxDCXJ9lbJ_in5joOw3JPeS1zM_T89yrjoIw8aPsbr3M216diJEaE9LQjqKaI_LgVpjzYWUa0WHMAkSsuy2iJK3b_RZ3MHoKAnR16EX8_jq9moVdsQypYNp17NQ/s1742/StreamVertical-DSC_1816+-1-Small.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1742" data-original-width="1030" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiAhRUEcTO3myfUzVw-DxDCXJ9lbJ_in5joOw3JPeS1zM_T89yrjoIw8aPsbr3M216diJEaE9LQjqKaI_LgVpjzYWUa0WHMAkSsuy2iJK3b_RZ3MHoKAnR16EX8_jq9moVdsQypYNp17NQ/w378-h640/StreamVertical-DSC_1816+-1-Small.png" width="378" /></a></div><p>Considering Hell's Canyon's penchant for being dry, the forest on the East side of the lake was surprisingly lush and moist. <br /></p><p><br /></p><p></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjjzOhr81U61qGyAoApUKx0BexwfuJ6FbG_eGeh6tqEbrbeU3fG3L1WTDQLnJkO9n6W2LjQdDxACvmhWGFJ8DKIFezSY_mxBLO_4toyTnZyFOR9EVhwsDUD7zya0ONfF_JbdDUFRcdW_gk/s1551/LakeSide-Colorized-DSC_1828+-1-Small.png" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1551" data-original-width="1030" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjjzOhr81U61qGyAoApUKx0BexwfuJ6FbG_eGeh6tqEbrbeU3fG3L1WTDQLnJkO9n6W2LjQdDxACvmhWGFJ8DKIFezSY_mxBLO_4toyTnZyFOR9EVhwsDUD7zya0ONfF_JbdDUFRcdW_gk/w426-h640/LakeSide-Colorized-DSC_1828+-1-Small.png" width="426" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Looking towards the inlet<br /></td></tr></tbody></table><p></p><p><br /></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjpJbCqRquDG5WVuKJdor9mXof4DtZ4JpKFO8e5fbkqBrOLYL3oqLojNlEJDyiv3rjCoITSU1doYVEwOugcjb4dFiCElSOujJFxSIaEYK31oIATpz39bPY8FRaoC_A3vREZI-AMWRG0mYw/s1030/NickCastingWarm-DSC_1818+-3-Wide-Small.png" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="582" data-original-width="1030" height="362" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjpJbCqRquDG5WVuKJdor9mXof4DtZ4JpKFO8e5fbkqBrOLYL3oqLojNlEJDyiv3rjCoITSU1doYVEwOugcjb4dFiCElSOujJFxSIaEYK31oIATpz39bPY8FRaoC_A3vREZI-AMWRG0mYw/w640-h362/NickCastingWarm-DSC_1818+-3-Wide-Small.png" width="640" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Catch and Release fingerlings<br /></td></tr></tbody></table><p></p><br /><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhPrpBgFag5AmBd-sdbIeTXmPjT8AcGb9IrgZTGYiKlcDIO1k7W_-_Q10WQQc52aJYlqZL9ULShVKX0HE61pxx_RZ-KFZl2qPlFj0UZ7Z8OfgOZggm6yHjbWRg55GnzriLF0-_dHJ-tXPc/s806/BookCover-Colorized-DSC_1844+-1-small.png" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="606" data-original-width="806" height="301" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhPrpBgFag5AmBd-sdbIeTXmPjT8AcGb9IrgZTGYiKlcDIO1k7W_-_Q10WQQc52aJYlqZL9ULShVKX0HE61pxx_RZ-KFZl2qPlFj0UZ7Z8OfgOZggm6yHjbWRg55GnzriLF0-_dHJ-tXPc/w400-h301/BookCover-Colorized-DSC_1844+-1-small.png" width="400" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Stylized photo for Shutterfly Book Cover<br /></td></tr></tbody></table><br /><p><br /></p>traywolfhttp://www.blogger.com/profile/06205565591880314520noreply@blogger.com0tag:blogger.com,1999:blog-8552962725094200631.post-72227455205970404472021-09-06T17:05:00.007-06:002021-09-06T18:57:20.998-06:00SwanFalls, Idaho 2021<p> SwanFalls, Idaho 2021</p><p>HDR photo, looking North, North West.<br />Click for larger view<br /><br />This was a spur-of-the moment late-morning day-trip. One should wait for early morning or late-late afternoon for landscapes like this.<br /></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhoY9uZy_epkW36syDXcInNIAWcve8JkQ2zjwIEgTddkjLSfS39M9CI6EaSbFrOCsqXhOfxTKWVzxBEn-l0-ELh2NJ8IolAmQe4ygzKzusuNuglX3N0Rpjt6b1eILHPWHwc7CCXPKIA6kw/s1030/SwanFallsHDR2_Small.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="685" data-original-width="1030" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhoY9uZy_epkW36syDXcInNIAWcve8JkQ2zjwIEgTddkjLSfS39M9CI6EaSbFrOCsqXhOfxTKWVzxBEn-l0-ELh2NJ8IolAmQe4ygzKzusuNuglX3N0Rpjt6b1eILHPWHwc7CCXPKIA6kw/w400-h266/SwanFallsHDR2_Small.png" width="400" /></a></div><br />See the first attempt here:<br /><span><span class="w4txWc oJeWuf" id="c135" role="region"><span class="MUhG4e OGjyyf" data-blogurl="https://imageliner.blogspot.com/"><a href="https://imageliner.blogspot.com/2017/11/snake-river-canyon-at-swan-falls-idaho.html">https://imageliner.blogspot.com/2017/11/snake-river-canyon-at-swan-falls-idaho.html</a><br /><br /><br /></span><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiEP78G-08Mfa6N248Koh9hRsI_uF5R91iVrTRr8EIhRHE9Woldtg4ibtW_F3uNmjNo9HklXBMYWI5WXx9rPB8Us0MXXMORDniEmXfpPwLWFavK96BfNPPvhkzPp9lvsIAozwuERQ-kEGc/s806/LookingEast_small.png" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="536" data-original-width="806" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiEP78G-08Mfa6N248Koh9hRsI_uF5R91iVrTRr8EIhRHE9Woldtg4ibtW_F3uNmjNo9HklXBMYWI5WXx9rPB8Us0MXXMORDniEmXfpPwLWFavK96BfNPPvhkzPp9lvsIAozwuERQ-kEGc/w400-h266/LookingEast_small.png" width="400" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Snake River, looking South. Non-HDR snapshot<br /></td></tr></tbody></table><br /></span></span>traywolfhttp://www.blogger.com/profile/06205565591880314520noreply@blogger.com0tag:blogger.com,1999:blog-8552962725094200631.post-36318580445187745792021-09-06T16:46:00.002-06:002021-09-06T18:58:37.732-06:00Madhuban Indian Cuisine, Boise ID<p> Madhuban Indian restaurant, Boise, Idaho<br /><br />Cellphone photo, late afternoon sun through the doorway.<br />Click for larger view.<br /></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjZ3lNyPm7lUFIWli8mJnV5de0t7K0CEWhrKCBoxbwgToiUywFY4Hr-e7l5FGy3DfClctMALwi2mgrQicJ4I_l4N0uAO6AVDD2dOCtRlXygGJn8pJtTG4olIL6jVFsb7GD2W_dXaeo3M_g/s1073/Madhuban-window_small.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1073" data-original-width="806" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjZ3lNyPm7lUFIWli8mJnV5de0t7K0CEWhrKCBoxbwgToiUywFY4Hr-e7l5FGy3DfClctMALwi2mgrQicJ4I_l4N0uAO6AVDD2dOCtRlXygGJn8pJtTG4olIL6jVFsb7GD2W_dXaeo3M_g/w300-h400/Madhuban-window_small.png" width="300" /></a></div><br />traywolfhttp://www.blogger.com/profile/06205565591880314520noreply@blogger.com0tag:blogger.com,1999:blog-8552962725094200631.post-64023243069410560192021-09-06T16:43:00.003-06:002021-09-06T18:59:29.830-06:00Koenig Winery, Caldwell Idaho<p> Koenig Winery, Caldwell Idaho<br />Cellphone Snapshots on a pleasant fall afternoon<br /></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhbIt_xpsztccBmka3SMBGBw6qRC9B3V7ADvw7rDoF7J7alXtXSiIcVTc8ZbdyhuJiLtcWc8umnw2chTpwsutdpFx9X-Ua1qzUg6RskpcFbvlUe3H1-v5YD-QHIN25LnAJFSP8KT6g7cNQ/s806/KoeingWinery_Small1.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="806" data-original-width="806" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhbIt_xpsztccBmka3SMBGBw6qRC9B3V7ADvw7rDoF7J7alXtXSiIcVTc8ZbdyhuJiLtcWc8umnw2chTpwsutdpFx9X-Ua1qzUg6RskpcFbvlUe3H1-v5YD-QHIN25LnAJFSP8KT6g7cNQ/w400-h400/KoeingWinery_Small1.png" width="400" /></a></div><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiG_ctiWYftIAFc4A76p6nSeD0N4BhLokanQV4pym-8Q5CjrERCWChBsa6dGGvxN9NniUv4bc4OeT7q3PZzslHrZqbj_8ENVz_DJtEWSQpx0FNKYYE9WJjNxTtBVZXVmYWo0mYw7WYS8pU/s806/KoeingWinery2_small.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="806" data-original-width="806" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiG_ctiWYftIAFc4A76p6nSeD0N4BhLokanQV4pym-8Q5CjrERCWChBsa6dGGvxN9NniUv4bc4OeT7q3PZzslHrZqbj_8ENVz_DJtEWSQpx0FNKYYE9WJjNxTtBVZXVmYWo0mYw7WYS8pU/w400-h400/KoeingWinery2_small.png" width="400" /></a></div><br /><p><br /></p>traywolfhttp://www.blogger.com/profile/06205565591880314520noreply@blogger.com0tag:blogger.com,1999:blog-8552962725094200631.post-37931051753979194732021-09-06T16:33:00.004-06:002021-09-06T19:01:42.535-06:00Bruneau Idaho, Fence Line<p>Fence Line, Near Bruneau Sand Dunes, Idaho 2018<br />Trying out the new Tamaron APC 10-24mm wide-angle<br /><br />Click for larger view<br /><br /></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiC9uistHA2I-ietWS-iUTxYqZRlg1kVbamtl1mk6H0GOv8wCOdn_ZpRGqV92ubSgAhMhYXkGdoxEtHDv9_ubec12OctCKCph_KjVSeDSTkR62cy3KREn9uJ5zc9yiTFtk2zBidrOK0d2s/s1030/FenceLineHDR_Medium.png" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="685" data-original-width="1030" height="426" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiC9uistHA2I-ietWS-iUTxYqZRlg1kVbamtl1mk6H0GOv8wCOdn_ZpRGqV92ubSgAhMhYXkGdoxEtHDv9_ubec12OctCKCph_KjVSeDSTkR62cy3KREn9uJ5zc9yiTFtk2zBidrOK0d2s/w640-h426/FenceLineHDR_Medium.png" width="640" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">HDR</td></tr></tbody></table><p></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhIlIaupjKIcRbCyzg4xOs5TS4Ohoe0lCEHRHEzRVkxjj0GpRVwUtSn65BRbM6aPxVOaYrcGijighknetL3WCK15RfCYA1dWkUTV4G5_XjpDs5IzZ7T2IGvgR6m5H4ESBf3rMREjPb30Wc/s1551/CattleGrate_Medium.png" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1551" data-original-width="1030" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhIlIaupjKIcRbCyzg4xOs5TS4Ohoe0lCEHRHEzRVkxjj0GpRVwUtSn65BRbM6aPxVOaYrcGijighknetL3WCK15RfCYA1dWkUTV4G5_XjpDs5IzZ7T2IGvgR6m5H4ESBf3rMREjPb30Wc/w426-h640/CattleGrate_Medium.png" width="426" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">HDR</td></tr></tbody></table><br /><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhOAqHaw7Jayf6aDyaUYGUIWvuSh5jeq_sADbcm6m5d7OOmgjjbVjQw_AcI8L3krK5O8Gag-0y9l9nQOGqf22askBQPJmzSuLI6ZHG7xHdLzDkyipL7ub1vq5Pa3dBpvfRq2ycKlPRV18s/s1214/SandDuneCrest_Medium.png" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1214" data-original-width="806" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhOAqHaw7Jayf6aDyaUYGUIWvuSh5jeq_sADbcm6m5d7OOmgjjbVjQw_AcI8L3krK5O8Gag-0y9l9nQOGqf22askBQPJmzSuLI6ZHG7xHdLzDkyipL7ub1vq5Pa3dBpvfRq2ycKlPRV18s/w424-h640/SandDuneCrest_Medium.png" width="424" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Bruneau Sand Dunes<br /></td></tr></tbody></table><br /><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjMdii8sHP4Xlk2LUBw6Xe2KAy2rSlnWvp2hjPSnuBoIeqMAvT_SujeCNSn3WEMaD6oInhlU4dPRlD2MJw9MivS4L9MQbngD95JPXLnfRM33CGIglw2XiFU5U96RuHzpKLPEaOr8ywKmfM/s1214/BruenoCanyon1_small.png" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1214" data-original-width="806" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjMdii8sHP4Xlk2LUBw6Xe2KAy2rSlnWvp2hjPSnuBoIeqMAvT_SujeCNSn3WEMaD6oInhlU4dPRlD2MJw9MivS4L9MQbngD95JPXLnfRM33CGIglw2XiFU5U96RuHzpKLPEaOr8ywKmfM/w424-h640/BruenoCanyon1_small.png" width="424" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Bruneau Canyon, HDR<br /></td></tr></tbody></table><br />traywolfhttp://www.blogger.com/profile/06205565591880314520noreply@blogger.com0tag:blogger.com,1999:blog-8552962725094200631.post-18628103177674203812021-09-06T16:07:00.008-06:002023-06-13T07:17:03.956-06:00Adelmann Mine<p> Adelmann Mine trail, East of Boise, Idaho </p><p>Just a short drive outside of Boise is the Adelmann mine. The Mine's history is murky, with the date built unclear. It stopped operations around 1903 and reportedly mined for gold, silver, lead, pyrite, and quartz. Near by, the main mine shaft was dynamited shut. The rails for hand-carts, leading from the shaft to the mill were still there.<br /><br />Drive East of Boise, along Highway 21. Just past Lucky Peak Dam, crest Hilltop cafe, and another half-mile down the hill is a State Maintenance facility. Park on the outside of the gates and walk through the yard. The trail is not well marked, but is easy to follow. <br /><br />The hike is 5 miles with a moderately steep
climb, 1300 feet elevation gain. We carried a liter of water and a light lunch.<br /><br />These photos are handheld snapshots taken November, 2019 and it was late in the day by the time we were done. Because of the hills, sunset was about 3:00pm.<br /><br />Click for larger view.<br /><br /></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgwYhXcI_DVHF1bs7UCbey-ttOZ2XkMAxd4HD6fSidJ4ZLgXc6RQwGELmTQwfKGmLtWXnkccizpxryR7Hf9ZWD6zhxZ66SoC1PMxDxDjVIqGWJsc3uq_u0dIc0kaKiMEtpN-AL3cqV8z0g/s912/MineDistance_Small.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="912" data-original-width="606" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgwYhXcI_DVHF1bs7UCbey-ttOZ2XkMAxd4HD6fSidJ4ZLgXc6RQwGELmTQwfKGmLtWXnkccizpxryR7Hf9ZWD6zhxZ66SoC1PMxDxDjVIqGWJsc3uq_u0dIc0kaKiMEtpN-AL3cqV8z0g/w426-h640/MineDistance_Small.png" width="426" /></a></div><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEggf4YZvX5cNe6ObT91pxwfoTHI3ysXsXuB6v-Rt2NmG6zPUHi_9dSyzJmzXdBFpfiEymfZSrXnbAekHTKK9Bk4kqy-dmQShHNFaze5LIAMq_XFld2CFQw4UjHJDHto3rXEpNOYTLwQUz8/s912/LookingDown_Small.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="912" data-original-width="606" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEggf4YZvX5cNe6ObT91pxwfoTHI3ysXsXuB6v-Rt2NmG6zPUHi_9dSyzJmzXdBFpfiEymfZSrXnbAekHTKK9Bk4kqy-dmQShHNFaze5LIAMq_XFld2CFQw4UjHJDHto3rXEpNOYTLwQUz8/w426-h640/LookingDown_Small.png" width="426" /><br /><br /></a></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh6SJCqgerG_8mrfT3QF1zUFQD7RARVl88Y2uAxB_NCZq4MjGtI5CrMs5hXipuXbHrJquDarCWsEhHWTcAhpCnZcZ2_hSYFp48aBhwoKjBEiQE5UejG4zu1SBxuduy09NRxNAyVT9ZaFjw/s606/Sideways_small.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="403" data-original-width="606" height="426" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh6SJCqgerG_8mrfT3QF1zUFQD7RARVl88Y2uAxB_NCZq4MjGtI5CrMs5hXipuXbHrJquDarCWsEhHWTcAhpCnZcZ2_hSYFp48aBhwoKjBEiQE5UejG4zu1SBxuduy09NRxNAyVT9ZaFjw/w640-h426/Sideways_small.png" width="640" /></a></div><p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiqQmJR9hz2yr-7ZY3PGfOirxZuPu1E7QZJG3csc303F4emWMmkj4q7NKEaaeR7HdFiWgatv7MSaivlDndOOrb_pRWUnQEnbVk0XQZxCTqJOpgiXQU9DniDpjYZeCjlLgidKVsW4eI2xYU/s606/Window2_small.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="403" data-original-width="606" height="426" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiqQmJR9hz2yr-7ZY3PGfOirxZuPu1E7QZJG3csc303F4emWMmkj4q7NKEaaeR7HdFiWgatv7MSaivlDndOOrb_pRWUnQEnbVk0XQZxCTqJOpgiXQU9DniDpjYZeCjlLgidKVsW4eI2xYU/w640-h426/Window2_small.png" width="640" /></a></div><br /><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjTKAp4k9WRnzwzYDk8DLEnSmc3AaPBKuDxAMXrpFD06xL9NPi7zVyiWJZ60vHf7JlqzfwV-zahd5y4FVkh0oSSn1UkY6xQQ6CyQOtzDLSAwp998wi0_bS4KnQ5jChPKIehNl1x_Bxbixg/s606/ValleyView_Small.png" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="403" data-original-width="606" height="426" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjTKAp4k9WRnzwzYDk8DLEnSmc3AaPBKuDxAMXrpFD06xL9NPi7zVyiWJZ60vHf7JlqzfwV-zahd5y4FVkh0oSSn1UkY6xQQ6CyQOtzDLSAwp998wi0_bS4KnQ5jChPKIehNl1x_Bxbixg/w640-h426/ValleyView_Small.png" width="640" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Looking down the valley<br /></td></tr></tbody></table><br />Keywords: Adelman mine, Alderman mine (sic)<br />traywolfhttp://www.blogger.com/profile/06205565591880314520noreply@blogger.com0tag:blogger.com,1999:blog-8552962725094200631.post-21925261851388290082020-01-02T21:12:00.002-07:002023-06-13T07:42:37.935-06:00Using an 18% Grey Card<div style="color: #666666;">
<span style="font-size: x-small;"><i>How to article: Using an 18 percent Grey Card. This article discusses using in-camera reflectance metering with an 18% grey card. This article applies to both film and digital cameras. Article revisited and edited. Original Nov, 2011.</i></span></div>
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An 18% grey card allows you to set the camera's exposure using a known reference, The card will give the correct exposure for any scene, regardless of the subject, regardless of the subject's color. I frequently use a grey-card. <br />
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Grey cards are literally a grey rectangle made of cardboard, plastic or cloth, and can be purchased from any camera store for about $15 to $30. What they all have in common is they are made of a photographic neutral shade, averaging 18% grey. Ideally, you want one that can be folded or cut so it fits in your camera bag. <br />
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Contents:<br />
<ul>
<li>Using a Grey Card</li>
<li>Why use a grey card (the proof)</li>
<li>Interpreting the results </li>
<li>Grey Card reading + 0.5 stops</li>
<li>Dark Subjects, night scenes overexposed </li>
<li>Light and backlit subjects</li>
<li>Controversy and exceptions </li>
</ul>
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<b><span style="font-size: large;">Why a Grey Card?</span></b><br />
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With your camera, do this 1-minute experiment:<br />
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1. Place a dark sheet of paper or a dark magazine on the table-top, then cover it with a white sheet of paper.<br />
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2. Using the camera, focus on the white paper so it occupies most of the frame.<br />
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3. Meter the scene with an auto-metered exposure, noting the camera's recommended shutter speed and aperture.<br />
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4. Remove the sheet of paper and re-meter the darker scene. Note the different exposure.<br />
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<i>Questions: </i><br />
<ul>
<li>? Knowing both subjects were in the same lighting, why does the meter reading change with a differently-colored subject? Is not the subject in the same quality and quantity of light?<br /> </li>
<li>? Which meter reading should you use if both the dark and white subject are in the same scene? </li>
</ul>
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The Answer: <span style="color: #38761d;">Neither the white or black-paper reading is correct. </span><br />
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<span style="color: #38761d;">If you were to actually take the photographs, you would see the white paper looks grey, not white, and the dark paper will look grey, not black. The issue is this: The camera meter is fooled by the color of the scene and misreads the exposure.</span><br />
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<b><span style="font-size: large;">The Camera Meter is Usually Wrong</span></b><br />
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When a majority of a scene is "whiter than normal" (snow, concrete,
light colored walls, backlighted), or "darker than normal" (black
subjects, theater stages with dark curtains, night shots), all cameras
meter incorrectly. <br />
<br />
But here is the surprise: It turns
out with almost any scene, any subject, under any lighting,
the camera's meter is wrong, to some degree. This is true with
landscapes, portraits, and still-lifes. Granted, an average scene meters reasonably well and will get an acceptable picture. But almost
always a better exposure can be made with a grey card.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgx7ng5eE9Daw1Dn0gZjTxA_YMYhEAxklAY97RLU0aqOR7sEZhTd9A2V4W54B92JoLGm9XGBeKwjngg9rvmyXqaHyNSuVizO0XbPIteynlnWjxBXYsXsA5s2tcRrjI1RKj7Mfkd8EnHUlk/s1600/Blender.jpg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgx7ng5eE9Daw1Dn0gZjTxA_YMYhEAxklAY97RLU0aqOR7sEZhTd9A2V4W54B92JoLGm9XGBeKwjngg9rvmyXqaHyNSuVizO0XbPIteynlnWjxBXYsXsA5s2tcRrjI1RKj7Mfkd8EnHUlk/s1600/Blender.jpg" /></a></div>
To explain this another way, the camera meter expects a scene to have an
average number of rocks, trees, sky, people, and things -- this is how it is calibrated. According
to Kodak, if all of these items are spun in a
blender, you would get something along the lines of an
18% grey. Since the camera cannot tell the subject matter, it assumes this standard grey and sets the exposure with this in mind. <br />
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<i>Examples of missed exposures are shown below.</i><br />
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Better exposure means less post-processing. Better exposures give
better colors, with better shadow details. This is true with film and digital. <br />
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<i>(For
reasons that are too complicated to explain here, all cameras, film and
digital sensors are calibrated for 12 to 14% grey, depending on the
manufacturer. Grey Cards are calibrated at 18%, for black-and-white printing -- meaning the grey card is not quite right. This
article explains how to work around this. The world really needs a 13% grey card.)</i> <br />
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<b><br />Buying a Card:</b><br />
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Grey cards are inexpensive, and they can be made of
cardboard, plastic, or cloth -- but I found plastic too
glossy and instead I use cardboard. Being cardboard, I
can cut it to size to fit in the camera bag. Mine is about 6x8" -- in retrospect, a tad too small. The back of the card should be
white, which can be used for <a href="https://imageliner.blogspot.com/2011/11/nikon-d5100-d7000-white-balance.html" target="_blank">White Balancing</a>. Because it is not
waterproof, expect to replace it every few years. <br />
<br />(Credit-card-sized cards are useful for
post-processing and are too small for in-camera metering.)<br />
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<b><span style="font-size: large;">Using the Card</span></b><br />
For in-camera metering, follow these steps<br />
<ul>
<li>For simplicity, set the camera to Av mode (aperture preferred), or Tv (shutter preferred). Avoid fully-automatic program modes -- too hard to compensate because too many values change at the same time.<br /> </li>
<li>Hold the grey card in the image area.<br />It does not need to be accurately focused but it must be in the same quality of light as the subject. <br /> <br /></li>
<li>It should occupy most of the view-finder.</li>
</ul>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEilbhyphenhyphenKd-q0uT5nzh9Tve6ESxjy-JvtcnJueduh0AEOtJezT0bgd2oL4BGLDMdOVNL6z1srwWQ-I27E4v_dFbtFy3QxXSHyNpqVPk5mDgVJuxcAd5NN-O-7HPPgkVvqtl2yodxZhAz2DKA/s1600/UsingGreyCard_1.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="293" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEilbhyphenhyphenKd-q0uT5nzh9Tve6ESxjy-JvtcnJueduh0AEOtJezT0bgd2oL4BGLDMdOVNL6z1srwWQ-I27E4v_dFbtFy3QxXSHyNpqVPk5mDgVJuxcAd5NN-O-7HPPgkVvqtl2yodxZhAz2DKA/s400/UsingGreyCard_1.jpg" width="400" /></a></div>
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<ul>
<li>Angle the card between the lens and the main light source so it does not glare.<br /> <br /></li>
<li>Try not to cast a shadow on the card.<br /> <br /></li>
<li>Note the exposure (Shutter speed and aperture). This is the exposure that should be used, plus 1/3 to 1/2 stop, as explained below.</li>
</ul>
<i>Although the grey card does not need to be in focus while metering, some cameras, such as my Nikon D5100, struggle with auto-focus on a featureless grey card, especially in dim light. You won't be able to use a focus-lock on the edge, because that will also lock the exposure. Temporarily set the lens to manual focus.</i><br />
<ul>
</ul>
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<b>Interpreting the Grey Card:</b> <br />
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1. While metering the card, note the exposure.<br /> (This is the exposure that should be used.)<br /><br />
2. Remove the card and re-meter the scene.<br />
<br />
3. *If* the exposure changes (either the shutter speed or aperture changes), then exposure compensation is needed. <br /><br />With the card removed, use exposure compensation to adjust the meter reading until it matches the grey-card reading, then add +1/3 to +1/2 stop (one click of the dial). You can return the camera to a Program or other Auto-exposure mode, leaving the compensation in place. Use the grey-card's reading for the final exposure, <br /><br />
<br />
<br />
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjGDZ_yKnYklYVoQj5PAICWeexh2lCaKA0-pmb2YV0DBROpPlCIMy2SYjj46Zfv-2YDykjIeB_CB1IwwCeSdXJEAQTkdpRWP2PouKTJV1BKt2R632DxqRnfKe95jeiqLht6C8RAWwahaBw/s1600/hint.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjGDZ_yKnYklYVoQj5PAICWeexh2lCaKA0-pmb2YV0DBROpPlCIMy2SYjj46Zfv-2YDykjIeB_CB1IwwCeSdXJEAQTkdpRWP2PouKTJV1BKt2R632DxqRnfKe95jeiqLht6C8RAWwahaBw/s1600/hint.jpg" /></a><i>I
find it easiest to set the camera in either Aperture Preferred (Av) or Shutter Preferred (Tv) mode. This way, only one meter value changes
as the card is removed. For example, if in Av mode, the aperture stays
fixed and only the shutter changes.</i><br />
<br /><u>
For example</u>:<br /><br />With the card: <br />In the viewfinder illustration above, the grey card metered at <br />
125 @ <i>f</i>5.3 (the grey card's recommended exposure, in AV mode/fixed aperture).<br />
<br />
Without the card: <br />
250 @<i> f</i>5.3, <br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgixCDnsqUtMW-knfoK3hmF7dGF4GK0LgpPId9GaWo1adt3EntwdoGQ2Jzu6W67laZpy0gm0iq-ajx7EltYHgvZ0PhFO_WeOdVfsLFE9VcVLCW_yxThBUwNhAg8IORi5jN5BulvZn1maWY/s1600/ShutterSpeed_Scale%252B13EV.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="393" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgixCDnsqUtMW-knfoK3hmF7dGF4GK0LgpPId9GaWo1adt3EntwdoGQ2Jzu6W67laZpy0gm0iq-ajx7EltYHgvZ0PhFO_WeOdVfsLFE9VcVLCW_yxThBUwNhAg8IORi5jN5BulvZn1maWY/s400/ShutterSpeed_Scale%252B13EV.jpg" width="400" /></a></div><p>
indicating a +1 stop (+1.0EV) over exposure is required.<br />
</p><p style="margin-left: 80px; text-align: left;">Because the grey card is 18% grey, but the camera is calibrated to approximately 13%, add an additional +1/3 to +1/2 stop to the grey-card reading. The variation of a 1/3 to 1/2 depends on the camera. Some jump in third-stop increments and others, especially older cameras, use half-stop increments. The difference is immaterial. <br /></p><p>
<b><u><br />Setting the Compensation</u>:</b><br />
<br />
No need to count or calculate the number of stops. <br />
<br />
</p><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjGDZ_yKnYklYVoQj5PAICWeexh2lCaKA0-pmb2YV0DBROpPlCIMy2SYjj46Zfv-2YDykjIeB_CB1IwwCeSdXJEAQTkdpRWP2PouKTJV1BKt2R632DxqRnfKe95jeiqLht6C8RAWwahaBw/s1600/hint.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjGDZ_yKnYklYVoQj5PAICWeexh2lCaKA0-pmb2YV0DBROpPlCIMy2SYjj46Zfv-2YDykjIeB_CB1IwwCeSdXJEAQTkdpRWP2PouKTJV1BKt2R632DxqRnfKe95jeiqLht6C8RAWwahaBw/s1600/hint.jpg" /></a>Start with the camera's recommended meter reading, while in AV or TV mode. Then, using the camera's Exposure Compensation controls ("+/-"), spin the dial until it reaches the grey-card's recommended setting, <u>plus</u> one click for the +1/3 (or +1/2) additional. <br />
<br />
Cameras vary in how this is done,
but most work similarly. Illustrated below, is the Nikon D5100's
compensation controls: While holding the compensation button, rotate the rear dial. <br />
<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjuACDidfpG-vTtFt2v3ffVZbYpihZPEYvwmKCg1S_2l2ajFZtlG6xw4-WE3ud-VyR_Qu90QkU6MJdmggKeZVCfmObE0V0HnpXNgsdX08-B4m9t6yTchZ7WQkhgXR8qDVr73ZccbMoO7KY/s1600/NikonD5100_ExposureCompControl.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjuACDidfpG-vTtFt2v3ffVZbYpihZPEYvwmKCg1S_2l2ajFZtlG6xw4-WE3ud-VyR_Qu90QkU6MJdmggKeZVCfmObE0V0HnpXNgsdX08-B4m9t6yTchZ7WQkhgXR8qDVr73ZccbMoO7KY/s400/NikonD5100_ExposureCompControl.jpg" width="400" /></a></div>
<br />
<i>When adding that last +1/3 to +1/2 stop, use 'one more click of the spin-dial' from the grey-card setting. If under-exposing, spin the wheel the opposite direction (always 'add' the last-click - even if under-exposing); see the 'dark subject' example, below. </i><br />
<br />
See also this handy reference/counting chart: <a href="http://imageliner.blogspot.com/2011/11/fractional-shutter-speed-and-aperture.html" target="_blank">Fractional Shutter Speed and Aperture chart</a>.<br />
<br />
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</div>
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiHo-2Z4fuSI4TXWNi3oLdGtGcYxsRTNyyXdpQfumJpBxP59KBcM2D922dheHXe2tZRo8N27Bv0-xeU6HGUkLIWF7VmyRGa3CAY9poyentFaXSHLg4GwYfzRziNwxwwPJvVPfuBAARr6Oc/s1600/ModeDial_SmallwithHand.jpg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiHo-2Z4fuSI4TXWNi3oLdGtGcYxsRTNyyXdpQfumJpBxP59KBcM2D922dheHXe2tZRo8N27Bv0-xeU6HGUkLIWF7VmyRGa3CAY9poyentFaXSHLg4GwYfzRziNwxwwPJvVPfuBAARr6Oc/s1600/ModeDial_SmallwithHand.jpg" /></a></div>
<span style="color: red;">Important Note:</span> In order to use 'Exposure Compensation' the camera must be in a
non-automatic mode (switch the camera's mode dial off of fully-automatic
(the green mode) and place it in either Aperture Preferred (Av),
Shutter-Preferred (Tv), or on some cameras, Programmed (P). <i>With most cameras, the green-squared, fully-automatic mode (or fully Manual mode) does not allow exposure compensation</i>.<br />
<br /><br />
<div style="color: #666666; font-family: Arial, Helvetica, sans-serif; margin-left: 80px; text-align: left;">A little history: For decades, people used just the grey cards setting, without that added +1/3 stop. And practically-speaking, that is still true today. But if you are going to the trouble to use a grey card, that extra click is just a tad better. Admittedly, this is probably nit-picking. </div>
<br />
<br />
<span style="font-size: large;"><b>Re-Metering </b></span><br />
<br />
Once the Exposure Compensation has been set for a particular scene, the camera can remain at this setting, even if the light
changes. If a cloud passes overhead, the meter may change, but there is no need to re-meter or re-adjust the compensation (assuming semi-automatic Av, Tv modes, or an adjustable Programming mode). -- why? The subject's color did not change and the grey card's recommendation still stands. <br /><br />You can also change aperture (or shutter speeds - assuming AV and TV modes), without re-metering. As long as the compensation is set, all automatic meter readings will change accordingly. Adding a polarizing or other filter does not need to be
re-compensated (the meter reading will change, following the adjustment).<br />
<br />
However, if re-composing the picture, with a different subject, <br />
<ul>
<li><u>Re-set the compensation</u> to zero!</li>
<li>Then re-calibrate with the grey card. <br /><i></i></li>
</ul>
<i>It is easy to forget to reset calibration to zero when re-metering the grey card.</i><br />
<br /><br />
<span style="font-size: large;"><b>Examples</b>: </span><br />
<br />
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjGDZ_yKnYklYVoQj5PAICWeexh2lCaKA0-pmb2YV0DBROpPlCIMy2SYjj46Zfv-2YDykjIeB_CB1IwwCeSdXJEAQTkdpRWP2PouKTJV1BKt2R632DxqRnfKe95jeiqLht6C8RAWwahaBw/s1600/hint.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjGDZ_yKnYklYVoQj5PAICWeexh2lCaKA0-pmb2YV0DBROpPlCIMy2SYjj46Zfv-2YDykjIeB_CB1IwwCeSdXJEAQTkdpRWP2PouKTJV1BKt2R632DxqRnfKe95jeiqLht6C8RAWwahaBw/s1600/hint.jpg" /></a><span style="font-size: large;">Dark Subjects = Under Expose</span><br />
<br />
<br />
<i>Camera meters are fooled when a dark or light subject fills
most of the frame; especially when using a center-weighted
metering system. The subject's color affects the meter.</i><br />
<br />
You have probably seen metering errors. Here is a great example from
Canon Camera's website, showing how a darker than normal subject can
fool the camera meter into over-exposing. Note how the black car is
nearly grey. The same problem occurs taking a picture at night or stage
photo where most of the scene is black. In each case, the camera
overexposes:<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj9XgF9p-BnXUlOPvvdsNccprVGoDm4Fi4FdFV-DKKNEWpNzqfB2kI6u33w3yFuSr47Bi4X3aJ3V94btuiM-r7koYHsCRGqdujx7uL3ino1i_syBsm9_QXm4p4uCACzxAm9QvYehKPv5wo/s1600/DarkCar_Underexposed.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" height="363" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj9XgF9p-BnXUlOPvvdsNccprVGoDm4Fi4FdFV-DKKNEWpNzqfB2kI6u33w3yFuSr47Bi4X3aJ3V94btuiM-r7koYHsCRGqdujx7uL3ino1i_syBsm9_QXm4p4uCACzxAm9QvYehKPv5wo/s640/DarkCar_Underexposed.jpg" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><br /></td></tr>
</tbody></table>
<br />
<i style="color: red;">This is counter-intuitive.</i> <br />To properly render a dark subject, <u>under-expose</u> from the camera's recommended meter reading. "To keep the blacks, underexpose."<br />
<br />
<u>Remember, you are compensating for errors made by the camera meter</u>.<br />
<br />In a scene like this, many photographers don't bother with a grey card and they just guess at
(-1.5 or -1.75 (-1 2/3)) stops. The grey-card will give the exact value.<br />
<br />
For example, with a dark subject, the camera might recommend 1/100 @ <i>f</i>8
(over exposing) while the grey card might recommend a 1 and 2/3's stop
under exposure. As before, set the exposure compensation to the grey
card's reading -- under exposing to a shorter shutter speed -- then spin
the dial the other direction, adding that last +1/3 (or +1/2) stop. <br />
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj8kaBrk3SQdw8RHOQ0YbB8ydCvik90fFVSkfrt8zB9Lik-U8bNMxaXOlFYeuIoPzL-xaAOGG-9P0kCGZxrecZ-5abFX8dpxFKEiZ3040CKJcWL6f1a0jcq-xFrCFgVmESIC72G3tJ24dI/s1600/ShutterSpeed_Scale-1.3.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj8kaBrk3SQdw8RHOQ0YbB8ydCvik90fFVSkfrt8zB9Lik-U8bNMxaXOlFYeuIoPzL-xaAOGG-9P0kCGZxrecZ-5abFX8dpxFKEiZ3040CKJcWL6f1a0jcq-xFrCFgVmESIC72G3tJ24dI/s400/ShutterSpeed_Scale-1.3.jpg" width="380" /> </a></div>
<i>Adding the (+1/3) stop compensates for the camera's 12-to-13% vs 18%) calibration difference. </i><br />
<br />
Rule of thumb:<br />
<br />
For night landscapes, dark night-time sky photos, dark stages, etc., a
grey card is hard to meter. Set exposure compensation to -2 stops (2EV
under exposure), and let the camera meter normally. <br />
<br />
<br />
<br />
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjGDZ_yKnYklYVoQj5PAICWeexh2lCaKA0-pmb2YV0DBROpPlCIMy2SYjj46Zfv-2YDykjIeB_CB1IwwCeSdXJEAQTkdpRWP2PouKTJV1BKt2R632DxqRnfKe95jeiqLht6C8RAWwahaBw/s1600/hint.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjGDZ_yKnYklYVoQj5PAICWeexh2lCaKA0-pmb2YV0DBROpPlCIMy2SYjj46Zfv-2YDykjIeB_CB1IwwCeSdXJEAQTkdpRWP2PouKTJV1BKt2R632DxqRnfKe95jeiqLht6C8RAWwahaBw/s1600/hint.jpg" /></a><span style="font-size: large;">Light Subjects = Over Expose</span><br />
<br />
<br />
With snow scenes, the camera assumes the subject is likely about 14% (18%) grey and it will try like the devil to make it so. It does this by (accidentally) under-exposing the snow, making it obviously grey. You correct the faulty meter reading by manually "over-exposing." <br /><i><span style="color: red;"><br />This is also counter-intuitive</span></i>: On a bright snowy day a good rule of thumb is to over-exposure the meter reading by 1 3/4 to 2.0EV stops. This keeps the snow white. Again, experienced photographers just guess and set exposure compensation to +2. Meter off the grey card to get the exact value.<br /><br />"If bright, go 'up'"<br />
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjxOq79JevybxcDd0ETbJFq48AY1cFnndDgsaC_lJaMOeSicuTOl_V27tUmdi0_GOMKRYw4_6-pu6Vjxe0cuOydZjjb7NdeBAOzNF13Kw3_qeiQ41xtRqGLRnnczl9ObpuTVtblICFLeto/s1600/LightSnow_OverExpose.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjxOq79JevybxcDd0ETbJFq48AY1cFnndDgsaC_lJaMOeSicuTOl_V27tUmdi0_GOMKRYw4_6-pu6Vjxe0cuOydZjjb7NdeBAOzNF13Kw3_qeiQ41xtRqGLRnnczl9ObpuTVtblICFLeto/s1600/LightSnow_OverExpose.jpg" /></a></div>
<br />
<br />
Scenes where most of the image is white, a +2.0 stop over exposure is needed. You will see this with white or light-colored walls, concrete, etc.. If other subjects occupy space in the same frame, less compensation might be needed.<i> </i><br />
<br /><div style="margin-left: 80px; text-align: left;">
<i>Of interest, when deciding to compensate (say for snow), it is the <u>color</u> of the subject that determines what you need to do -- <u>not</u> the brightness of the light. At night, the same snow scene needs to be over-exposed the same +2 stops as on a bright or cloudy day.</i><br /></div>
<br />
<br />
<b>Backlighting</b><br />
<br />
Backlighting adds complexity when using a grey card. In this next example, the sun is in the top-center of the frame, the bright sky, the nearly white aircraft, and the nearly-white concrete all occupy most of the frame. The camera incorrectly metered, under-exposing the scene (note especially the near silhouetted person, who humorously is the real subject -- lots'a problems with this picture). <br /><br />To compensate, meter with a grey card (or guess at a 1.0 to 1.5 stop over-exposure).<br />
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhPmjz8K2rNZnqmgDsrMgPrrmeUo3pIMHADA8c_63DY7i9CvKCxXYP4Ocp2z2eZh8Sh3X1_FzU0f8Jputux3XKis-da8oofzQebBs_0FZfyDpK9YESmwLkdU5kRK9Un-YasjjKKtyROf-Y/s1600/LightAircraft_OverExpose.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="428" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhPmjz8K2rNZnqmgDsrMgPrrmeUo3pIMHADA8c_63DY7i9CvKCxXYP4Ocp2z2eZh8Sh3X1_FzU0f8Jputux3XKis-da8oofzQebBs_0FZfyDpK9YESmwLkdU5kRK9Un-YasjjKKtyROf-Y/s640/LightAircraft_OverExpose.jpg" width="640" /></a></div>
Greycarding a backlit scene is complicated. In this example, hold the grey card, as you were facing the scene. Literally, place the card right in the scene, as shown above, but you won't be able to angle the card into the sun. The backlight casts the card in its own shadow -- exactly like the subject. If that exposure were used, the highlights in the scene would be blown into near pure white and the shadows would be as-if high noon. In this instance, back-off the exposure 2/3rds of a stop (shorter shutter speeds or narrower apertures), allowing the shadows to remain.<br />
<br />
If the people were not moving (and they always are), it would be a good candidate for an HDR photo. But in reality, this photo is hopeless. If this were my shot, I would decide who or what was the subject and move in closer. Portrait for the woman; angled closeup on the plane. Change the angle, more to the right or wait for a different time of day. <br />
<br />
<br />
<span style="font-size: large;">Grey Cards and Normal Pictures</span><br />
<br />
Even with seemingly normal landscapes and portraits, the meter is likely off. For example, in a portrait, caucasian skin is easily 1 stop whiter than grey. If the face occupies a significant portion of the viewfinder, this will throw-off the meter. A grey card gives a better meter reading.<br />
<br />
Similarly, landscapes with dark foliage, expansive skies, wheat fields, etc., are all out of the norm and a grey card will set a more appropriate exposure. <br />
<br />
<br />
<span style="font-size: large;">White Balancing</span><br />
<br />
Exposure compensation adjusts for metering errors, and for artistic reasons. With digital cameras, there is also a separate problem with "white balancing," also known as color correction. <br /><br />See this ImageLiner article: <a href="https://imageliner.blogspot.com/2011/11/nikon-d5100-d7000-white-balance.html" target="_blank">White Balancing</a>. <br />
<br />
With my photographs, I often do the following:<br />
1. Set the White Balance<br />
2. Meter a grey card and compensate as needed<br />
<br />White-balancing is not the same as exposure compensation, but the same grey card can be used to fix both problems. <i>This is a bit of a digression.</i><br /><br /><br />
<span style="font-size: large;">Using a Grey Card in a Post Processing</span><br />
<br />
During a shooting session, where you are taking multiple pictures of your subject, have a model or assistant hold the grey card while you take their photograph in the same quality of light as the subject.<br />
<br />
In post processing, use the photo editor's white-balance control (usually with an eye-dropper tool), and pick the center-grey scale; the photo will white-balance automatically. Do this with both RAW and JPG photos. Once set, apply this curve to the remaining photographs from the photo-shoot.<br />
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjoeF4sAkFkpZJZZ7RYsR0a0DeC68i6zT4s005YH39oGatej4ELhWnmyWRtLBGCqLPgI1qOM-oAbZRgrEvorvPrTcuf6S8ZpN1sTl87jBhaZBphLm0EnlyA9OJjsDF2ryluGxKxSrpf6sk/s1600/Greycard_inImage.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="465" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjoeF4sAkFkpZJZZ7RYsR0a0DeC68i6zT4s005YH39oGatej4ELhWnmyWRtLBGCqLPgI1qOM-oAbZRgrEvorvPrTcuf6S8ZpN1sTl87jBhaZBphLm0EnlyA9OJjsDF2ryluGxKxSrpf6sk/s640/Greycard_inImage.jpg" width="640" /></a></div>
<br />
<br />
<b>Using Blacks and Whites</b>:<br />
<br />
Alternately, most editors allow you to eye-drop a pure-white pixel and a pure-black pixel, and the editor will center the grey-scale automatically.<br />
<br />
In either case, setting the mid-tone curve in post-processing is an <u>after-the-fact</u> process. Better results, with the the best quality highlight and shadow details, are found when the exposure is set properly during capture. <br />
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiY0I1rtwQpQubNUghwEO_w_DnLPUYACLpfQ8vVrdedIH-H4WA-Me-O0K7TUNgOSemQluYyYoxybwPbdxytnVJ5SMxYpShDioA7IbfTEfBQGxInERBD_zoqLu5KQOkoJLHP3Fd_c0LrFLc/s1600/GreyCard_inImage_Closeup.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="311" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiY0I1rtwQpQubNUghwEO_w_DnLPUYACLpfQ8vVrdedIH-H4WA-Me-O0K7TUNgOSemQluYyYoxybwPbdxytnVJ5SMxYpShDioA7IbfTEfBQGxInERBD_zoqLu5KQOkoJLHP3Fd_c0LrFLc/s400/GreyCard_inImage_Closeup.jpg" width="400" /></a></div>
<br />
If you use the in-scene grey-card in post-processing, you may loose some of the shadow details, which were never captured because of exposure problems. <br />
<br />
<u>Post-processing Exposure Problems</u>: <br />
<br />
Consider the black car example, above. No amount of
post-processing can salvage the glossy paint reflections captured by the over-exposure -- even with in-scene curve
adjustments.<br />
<br />
With the under-exposed example, no pixels were recorded in the shadows -- there is nothing to recover from, and no amount of post-processing will fix this. Even after brightening, the subject will be blocky and ill-formed.<br />
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<br />
<br />
If metered with a grey-card at the time the photo was taken, you would have more latitude in post-processing. Plus, you would have the pleasure of having a perfectly-exposed photo, without resorting to computer trickery.<br />
<br />
Of course, with non-moving subjects, HDR can be used to capture both the highlights and shadow detail. See these ImageLiner articles: <a href="http://imageliner.blogspot.com/2012/12/technique-for-stanley-forest-burn.html" target="_blank">HDR Photo Techniques - Stanley Idaho</a>, and <a href="http://imageliner.blogspot.com/2017/11/snake-river-canyon-at-swan-falls-idaho.html" target="_blank">Swan Falls, Idaho</a>. <br />
<br />
<br />
<span style="font-size: large;">Controversy </span><br />
<br />
Using an 18% grey card reading for the actual exposure has been the gold-standard for metering and it has become somewhat of a religious issue. But the change in procedure, adding 1/3 to 1/2 stop to the card-reading, is a relatively new idea.<br />
<br />
There is conflicting advise on this topic, with most referencing older sources that do not take into account digital cameras, and newer published specifications (references at the end of this article). <br />
<br />
After much studying, and with my own photographs, it seems clear that a grey card was originally designed to solve printing problems - not to calibrate light meters. But using the card in this fashion is clearly better than the default meter. By making a minor, last minute adjustment of +1/3 to +1/2 stops, the grey-card is close. This last +1/3 stop is an admitted pain. It would be <i>simpler if we had 13% grey cards</i>. <br />
<br />
Before 1980, Kodak recommended an even more nuanced approach: If a light subject, they recommended a half-stop more light than the grey-card's setting, per the recommendations above. But if it were a 'dark' subject, Kodak said to under-exposing a half-stop from the grey-card; this is counter to the current recommendations of <i>increasing</i> a half (third) -stop, compensating for the difference between 18 and 13%). Kodak dropped the idea because it seemed overly complicated but this could accentuate the darker shades. <br />
<br />
Then there is this problem. In a high-contrast scene, such as a white building in bright sunlight, where there are deep shadows in the doorways and overhangs, and open, lighter shadows on the walls, where should the grey card be placed? Neither location gives satisfactory results and the contrast may exceed the camera's (film's) ability. In this case, make an artistic decision: If metering for dark shadows (exposing details in the shadows), the highlights will be lost. If metered for sunlight, the shadows fall into into complete, featureless black. An incident light meter would have the same problems<i> -- where do you place the meter? </i><br />
<br />
With some photographs, metering is an artistic, not a technical problem. "Proper" exposure is not carved in stone, even with a grey
card. <i>In the high-contrast building example, deep black shadows may be intended; in this case, meter the brighter areas. If both shadow details and usable highlights are wanted, there are these choices: Wait
for less-contrasty light, such as in the early morning. Add
fill-lighting to the shadowed areas. Use HDR and manipulate the photo in
software.</i><br />
<br />
<br />
Humorous Update 2012.01.03:<br />
<br />
For the imageLiner <a href="http://imageliner.blogspot.com/2012/01/vanguard-tracker-4-tripod-review.html" target="_blank">Vanguard Tripod Review</a>,
I needed to photograph a coin against a white sheet of paper.<br />
<br />
This is
literally the photograph taken at the camera's recommended exposure 320
@ f5.6, with no RAW corrections. Notice how white the paper isn't. I
should have
used a grey card and forgot to overexpose 2 stops. I laughed when I saw
the picture. <br />
<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhMV6bR03alMtm_H492lymYVSnP-Oh3ih8oMESgwUUmhxckLDUxkK9Aj-KbcrBpOB7rbTE_WpY9vbtdBr6VsvWfKouPeZxY3bYkahyphenhyphenAYWgKErjUt4-BopbsHZgid6eOaWvdu3NOecRq6lE/s1600/unretouchedWhitePaper.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" height="232" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhMV6bR03alMtm_H492lymYVSnP-Oh3ih8oMESgwUUmhxckLDUxkK9Aj-KbcrBpOB7rbTE_WpY9vbtdBr6VsvWfKouPeZxY3bYkahyphenhyphenAYWgKErjUt4-BopbsHZgid6eOaWvdu3NOecRq6lE/s400/unretouchedWhitePaper.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Click for larger View; click "X" to return</td></tr>
</tbody></table>
<span style="font-size: xx-small;"></span><b></b><br />
<b>Conclusions</b><br />
<br />
I often use a grey card, especially in landscapes. It provides a solid starting point for the exposure. Frequently the camera meter is off by 2/3rds of a stop (or more); this is easily seen in the final print. By exposing properly, there is less post-processing, and the colors are less muddy. It is nice to begin with an image with the best details.<br />
<br />
Don't blindly follow the grey card's recommendation. Artistic license sometimes dictates a change from the "proper" exposure. There are times when a picture should be under-exposed, deepening shadows, accentuating light sources, etc. And there are times when a photo might benefit from over-exposures. <br />
<br />
Related articles:<br />
<a href="https://imageliner.blogspot.com/2011/11/nikon-d5100-d7000-white-balance.html">ImageLiner: White Balancing</a><br />
Reference chart: <a href="http://imageliner.blogspot.com/2011/11/fractional-shutter-speed-and-aperture.html" target="_blank">Fractional Shutter Speeds and Apertures</a><br />
<br />
<a href="http://imageliner.blogspot.com/2012/12/technique-for-stanley-forest-burn.html" target="_blank">HDR Photo Techniques - Stanley Idaho</a>, <br />
<a href="http://imageliner.blogspot.com/2017/11/snake-river-canyon-at-swan-falls-idaho.html" target="_blank">Swan Falls, Idaho</a>. <br />
<br />
<br />
Discussion thread: <a href="http://photo.net/bboard/q-and-a-fetch-msg?topic_id=23&msg_id=000eWN&start=20" target="_blank">18% grey card vs 12-13%</a><br />
Wikipedia article on <a href="http://en.wikipedia.org/wiki/Light_meter#Exposure_meter_calibration" target="_blank">Light Meter Calibration</a> <br />
<a href="http://www.scantips.com/lights/metering.html" target="_blank">Reflective Light Meters explained</a><br />
<a href="http://www.scantips.com/lights/gamma.html" target="_blank">Histograms and Gamma</a><br />
<br />
Calibration Reference:<br />
Kodak 18% Grey Card: 18%<br />
Canon, Nikon, Sekonic: 12.5%<br />
Pentax, Minolta, Kenko: 14%<br />
<br />
<br />
<span style="font-size: xx-small;">Keywords:</span><br />
<span style="font-size: xx-small;">night scene over exposed overexposed. night shots overexposed. nightshots grey gray. exposure compensation, gray card greycard graycard gray-card grey-card.</span><br />
<a href="http://en.wikipedia.org/wiki/Exposure_value" title="Exposure value"></a>traywolfhttp://www.blogger.com/profile/06205565591880314520noreply@blogger.com0tag:blogger.com,1999:blog-8552962725094200631.post-69392098434730214952017-11-19T00:14:00.005-07:002023-06-12T20:17:05.472-06:00Snake River Canyon at Swan Falls, IdahoSnake River Canyon at Swan Falls, Idaho<br />
<br />
Earlier this week, a friend and I drove to Swan Falls, Idaho, for a short day-trip and photographic expedition. <br /><br />See also Swan Falls, Second attempt:<br /><a href="https://imageliner.blogspot.com/2021/09/swanfalls-idaho-2021.html"><span><span class="w4txWc oJeWuf" id="c147" role="region"><span class="MUhG4e OGjyyf" data-blogurl="https://imageliner.blogspot.com/">https://imageliner.blogspot.com/2021/09/swanfalls-idaho-2021.html</span></span></span></a><br />
<br />
This gave me a chance to try out my newly-acquired Nikon D7000 (bought used from a friend), taking its first photographs as the new owner.<br />
<br />
First, some humor:<br />
<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhZOJLnWSbGds9cUJMwS31fuItjtZW9x2akhWt87ui8jxTrH29ONXJXBKPJB3d9ehkbqM-pr4Vw8LiIFrH9X8-IvmNMcv7sAjAdfZ9k_t9oE0eWdvd2Wv2Kfzn00Vje2AyTTUw4ymCJHbA/s1600/SpeedLimit55-Tiny.png" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="412" data-original-width="277" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhZOJLnWSbGds9cUJMwS31fuItjtZW9x2akhWt87ui8jxTrH29ONXJXBKPJB3d9ehkbqM-pr4Vw8LiIFrH9X8-IvmNMcv7sAjAdfZ9k_t9oE0eWdvd2Wv2Kfzn00Vje2AyTTUw4ymCJHbA/w269-h400/SpeedLimit55-Tiny.png" width="269" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Typical Speed Limit Sign in Rural Idaho<br /> <br /></td></tr>
</tbody></table>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEinD2xieRoW9R1rMNNBKejLkoRIoNec9oarlgzzg9OpezgLEHbpioq496YEFFmsktaObk07kSohWpMRdF9I7nURTIUK0dm8N7mVfT4O6MSeCzfonZRLwEDi7P1tzdq9dDMMqlx64U3R7-k/s1600/SwanFallsRoad1-Tiny.png" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="412" data-original-width="277" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEinD2xieRoW9R1rMNNBKejLkoRIoNec9oarlgzzg9OpezgLEHbpioq496YEFFmsktaObk07kSohWpMRdF9I7nURTIUK0dm8N7mVfT4O6MSeCzfonZRLwEDi7P1tzdq9dDMMqlx64U3R7-k/w269-h400/SwanFallsRoad1-Tiny.png" width="269" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><br /></td></tr>
</tbody></table>
<br />
<b>Now, onto more serious work. </b><br />
<br />
I took two sets of HDR photographs. With HDR, I like to take five bracketed photographs with +/-2ev, and +/-1ev compensation spread. Using a photo editor, they are blended into the final image. These are over-done, but I enjoyed the project <br />
<br />
(See this
keyliner article for a discussion of HDR techniques: <a href="http://imageliner.blogspot.com/2012/12/technique-for-stanley-forest-burn.html" target="_blank">Stanley Forest Burn</a>). <br />
<br />
Here is the final HDR of the first set of photos, after cropping and editing. <br />
<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhjT3o9RWQH9wA_nHO_LgXyyDvmX1EnAlL2kIMlnneSkio1NIA7gxBcaZLJ4Q5IRxhrQtrxJrzI2lnF-a_d5x668ZTrW7T80nk54_3Vc7myizGNg-A7kajtKBgsFoT5a-Tf3T1cQLIMjrg/s1600/SwanFalls-Small.png" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="812" data-original-width="652" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhjT3o9RWQH9wA_nHO_LgXyyDvmX1EnAlL2kIMlnneSkio1NIA7gxBcaZLJ4Q5IRxhrQtrxJrzI2lnF-a_d5x668ZTrW7T80nk54_3Vc7myizGNg-A7kajtKBgsFoT5a-Tf3T1cQLIMjrg/s400/SwanFalls-Small.png" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">+/- 1ev HDR, looking West<br />
Click for a larger view<br /><br />
(0ev) f11 1/25sec ISO 125 18-200 Nikon DX at 18mm, with polarizer and HDR</td></tr>
</tbody></table> <br /> <br />
For reference, this is the same picture taken at +0ev, non-HDR, before cropping and before editing:<br />
<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjsOwf96H8GCbL1oMaW9wZsNJOyJEaPW-z_rNFcSwYdZld6D97pIf3HyWr9_iCMo-1yZAb34WRFFBSqJF1tOPTiMSaIEJj6nXaqsnqv0RTI3d_ylTmd_tKpMBSWgRsJCU9t6o3gmiA64IA/s1600/2017_11_SwanFallsNonHDR.png" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="412" data-original-width="277" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjsOwf96H8GCbL1oMaW9wZsNJOyJEaPW-z_rNFcSwYdZld6D97pIf3HyWr9_iCMo-1yZAb34WRFFBSqJF1tOPTiMSaIEJj6nXaqsnqv0RTI3d_ylTmd_tKpMBSWgRsJCU9t6o3gmiA64IA/s400/2017_11_SwanFallsNonHDR.png" width="268" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Non-HDR, non-edited.<br />
Note vignetting caused by the polarizer at 18mm</td></tr>
</tbody></table>
<br />
With the wind, the clouds were briskly on the move. There was not enough time between
exposures to take all of the layered photos and this caused artifacts in the final HDR. Knowing this, and hoping for the best, I
settled for a three-image spread, using +/-1ev. <br />
<br />
Nikon Cameras are capable of taking a three-shot-spread using a "Bracket" control, but being unfamiliar with the camera, I could not get the control to work. Instead, I bracketed manually, using exposure compensation. This meant fiddling with the controls for 20 seconds between shots, which was more than enough for the clouds to ghost. <br />
<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjuYXQWCXftVWMxeEHjtNbNhKVXFrfg0GXpbIzadlK8I56YPvmC9OTAZRUiimyb_y7_7BxdGmWQ8SF3v66abohjSFWLmzWCsqBATaSz2w9m12vTgRvAB0m_5eZ69WV39o-vDHwbXiE8Ct8/s1600/2017_11_swanfalls-Artifacts.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="130" data-original-width="418" height="123" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjuYXQWCXftVWMxeEHjtNbNhKVXFrfg0GXpbIzadlK8I56YPvmC9OTAZRUiimyb_y7_7BxdGmWQ8SF3v66abohjSFWLmzWCsqBATaSz2w9m12vTgRvAB0m_5eZ69WV39o-vDHwbXiE8Ct8/s400/2017_11_swanfalls-Artifacts.png" width="400" /> </a> </div>
<br />The ghosting is not visible in the camera's preview, but I was confident the stacked HDR phtoto would fail. I was right. This photo could not be printed. Click the HDR image above and study the sky -- it fell apart. The wind is why I only took 2 HDR series that day.<br />
<br /><div style="margin-left: 80px; text-align: left;"> (<i>Out of principle, I never use the camera's
internal HDR, preferring to fail, spending hours with a photo-editor.</i>)<br /></div>
<br />
<br />
<b>HDR - Horizontal View</b><br />
<br />
As expected, the
second HDR, taken about 5 meters down the cliff side, had the same problems with galloping clouds.<br />
<br />
At home I fixed the problem with the editor. I cut the sky from the +0ev exposure, overlaying on top of the HDR and cutting carefully along the horizon line. This meant the bottom-half of the photo was HDR while the top-half was not. I find this humorous and it gave good results. <br />
<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgRUFAWPjFDG54veW1VMZaydNLdSj1GqBDUVdRU38zY5SELKcyw6OYtJ0Fet8gb1QDtSEpEJWZeAQuS-CeangKRAwfKayfF4oVU-8ZEjiEK-Pmd-6ZBGmF9tWwlynUlpaH7ggnjj4x-CGA/s1600/SwanFalls-WestHorizontal-Small.png" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="542" data-original-width="812" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgRUFAWPjFDG54veW1VMZaydNLdSj1GqBDUVdRU38zY5SELKcyw6OYtJ0Fet8gb1QDtSEpEJWZeAQuS-CeangKRAwfKayfF4oVU-8ZEjiEK-Pmd-6ZBGmF9tWwlynUlpaH7ggnjj4x-CGA/s400/SwanFalls-WestHorizontal-Small.png" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">+/- 1ev HDR<br />
Click for larger view<br />
(0ev) f11 1/30 ISO 125 18-200 DX at 18mm, HDR</td></tr>
</tbody></table>
<b></b><br />
<b><br />Colorized Black and White Version</b><br />
<br />
Using a technique that Randal Davis, of Boise, Idaho, taught me, I made a black and white version, then put back-in the blue river and sky. You would never know this was a black-and-white picture. It looks like typical Southern Idaho scene: <br />
<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgvSA1CyA-fDGHI9ZyLxzuda58KFS9Z_ZvcXV2tnqU_xAueuYa99XiwHCG_SMa_OlilvO0YAyXk0f8YDcCFRWSDews7hyqO77ZB_40IZIkWAxgzdI6Pkh7zZrc8Cb0oLyjjlaetAsQVaH8/s1600/SwanFalls-Horizontal-BlueRiver-Small.png" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="462" data-original-width="812" height="227" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgvSA1CyA-fDGHI9ZyLxzuda58KFS9Z_ZvcXV2tnqU_xAueuYa99XiwHCG_SMa_OlilvO0YAyXk0f8YDcCFRWSDews7hyqO77ZB_40IZIkWAxgzdI6Pkh7zZrc8Cb0oLyjjlaetAsQVaH8/s400/SwanFalls-Horizontal-BlueRiver-Small.png" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Colorized black and white<br />
Click for larger view</td></tr>
</tbody></table>
<br />
Here were the assembly steps for the black and white:<br />
<br />
1. HDR the original three images, as described above. The sky will have artifacts from the wind.<br /> Make this the HDR exposure and save in the main editing window.<br /><br />
2. From another image, cut the sky from the best single image (one without artifacts). <br /> Cut carefully along the horizon line.<br /> In my case, I used the +0ev image (it has no artifacts). <br />
<br />
Past this on top of the HDR, positioning correctly. <br /> Do not worry about the river.<br />
<br />
3. Duplicate the base layer on top of the sky<br />
4. Convert the top-layer to B&W, leaving it as the top layer<br />
<br />
5. From the BW layer, erase along the sky, then along the river, letting the colors bleed through<br /><br />
6. Combine the layers for the final image.<br />
7. I used a slight Neutral Density Graduation on the sky, darkening the top.<br />
<br />
<br />
Compare the blue in the river with the photo above. It is the same blue.<br />
<br />
<br />
<b>Snake River Canyon and Swan Falls</b><br />
<br />
The <a href="https://www.idahopower.com/recreation/parks-and-campgrounds/swan-falls/" target="_blank">Swan Falls Dam and Power Plant</a>,
40 miles South of Boise, Idaho, was built in 1901 to power the silver mines further south, in the <a href="http://imageliner.blogspot.com/2013/09/grandview-idaho.html" target="_blank">Owhyee mountains</a>. It later powered Caldwell, and Pierce Park, west of Boise, where I now live. <br /><br />The site is now a museum, and picnic area. The museum is open Saturdays, 10 a.m. to 4 p.m., between April 15 and Labor Day, or by appointment. Year-round, you can walk across
the dam and hike various trails. <br />
<br />
Several years ago, my brother and I jet-boated from Celebration Park, in Caldwell, Idaho, to the base of the dam. The area is popular for bass and
sturgeon fishing. Reportedly, some Mariners like to hit submerged rocks and sink their ships while making this journey.<br />
<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgswX3RgEzTX2XUmue4qHyd3qMhyphenhyphenwu6AnenqmqS6I7wXJ209nOWJnU9dHkKYqSr4ouOhqTEyykduDXEOC1qM2hYq2XXaBk6c2AkFABEYU9bW9Yv7Zf18GiswdNAJyRiDzcNzOgZOikMRAo/s1600/2017_11_swanfallsHydro.png" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="170" data-original-width="412" height="165" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgswX3RgEzTX2XUmue4qHyd3qMhyphenhyphenwu6AnenqmqS6I7wXJ209nOWJnU9dHkKYqSr4ouOhqTEyykduDXEOC1qM2hYq2XXaBk6c2AkFABEYU9bW9Yv7Zf18GiswdNAJyRiDzcNzOgZOikMRAo/s400/2017_11_swanfallsHydro.png" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">The Idaho Power "Swan Falls" power plant, seen from the canyon rim</td></tr>
</tbody></table>
<br />
This area hosts the <a href="https://idfg.idaho.gov/ifwis/ibt/site.aspx?id=65" target="_blank">Snake River Birds of Prey Wildlife Conservation Area</a>, which is where most of these photos were taken. Seven miles before the dam you will find a short, well-marked trail that takes you to the rim, overlooking the river. The trail is only a few hundred yards long and is accessible year-round. Expect wind. If you go, find and recover my black baseball cap, somewhere over the edge of the cliffs.<br />
<br />
In good weather, you can stand at the top of the canyon and look down at soaring raptors as they ride updrafts.<br />
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<u>Driving instructions</u>:<br />
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From Boise, drive west on I84, taking the Meridian and Kuna exit, 44. <br />
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At the interchange, drive South on highway 69. As you approach downtown Kuna, Idaho, the road sweeps to the right. Follow into town. Note the sign for the Visitor Center, and veer left, onto Swan Falls Road. <br /><br />Drive South 12 miles on a well-paved road to reach the overlooks and the dam. This is accessible year-round. The drive down the canyon, to the dam, is unusually steep. <br />
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If the weather is nice, consider climbing a rock outcropping called "Initial Point," which is about mid-way from Kuna to the falls.<br />
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<br />
Related Articles:<br />
Keyliner HDR techniques: <a href="http://imageliner.blogspot.com/2012/12/technique-for-stanley-forest-burn.html" target="_blank">Stanley Forest Burn<br /></a><a href="https://imageliner.blogspot.com/2021/09/swanfalls-idaho-2021.html">Swan Falls, second attempt</a><br />
<a href="http://imageliner.blogspot.com/2012/01/vanguard-tracker-4-tripod-review.html">Tripod review</a><br />
<br />traywolfhttp://www.blogger.com/profile/06205565591880314520noreply@blogger.com0tag:blogger.com,1999:blog-8552962725094200631.post-43017112087908721762017-10-30T22:48:00.001-06:002017-10-31T21:23:14.565-06:00DX to FX Lens Conversion ChartReference: DX to FX lens conversion chart<br />
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<br />
If you have a DX camera (Also called "Cropped" or APS-C-lenses), such as a consumer-level Nikon, or Pentax, the lenses have an implicit magnification factor when compared to the old-style 35mm film format. <br />
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If you grew up with film, a 28mm lens was a moderate-wide-angle, a 50mm was a "normal" lens, and a 135mm was a short-telephoto. Think of these as magnification or field-of-view. But these same focal lengths on a DX camera act as 1.5-times those magnifications.<br />
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For years, I called these focal-lengths "old-school" vs "new-school" -- this may not be true for you. If you are blessed with a full-framed digital camera, such as a Nikon FX (full frame), focal lengths are the same as the old days. But most of us have less expensive equipment, cameras with the smaller APS-C sensor size, and because of this we have to do the mental gyrations when comparing focal lengths.<br />
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For example, on a newer DX camera, a 50mm lens behaves as if it were a 75mm short-telephoto.<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhHg5OIIPF67eSSCIe58IKLE2ppKn1UpIbySYDT5UJPyEILhkEf506ZWGxM1Er1ha_vwdgFJYRX5fiEaX8DnArGYnxn4UkyVja0mVJ0LvMQompSmYXAufaNbwVm3LgkeV-nR3WQSdPdYuk/s1600/LensConversions.png" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="191" data-original-width="782" height="156" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhHg5OIIPF67eSSCIe58IKLE2ppKn1UpIbySYDT5UJPyEILhkEf506ZWGxM1Er1ha_vwdgFJYRX5fiEaX8DnArGYnxn4UkyVja0mVJ0LvMQompSmYXAufaNbwVm3LgkeV-nR3WQSdPdYuk/s640/LensConversions.png" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Click for larger view</td></tr>
</tbody></table>
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The math takes the new focal length time 1.5, which equals the approximate focal-length on a full-frame camera:<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgmTeBGPZwm6Mfy49LIjuiTXpdmdJL_EVMMUMExMoPtjFTxC1L6z6reEUUANa2nCyn6mIuKN-e82WAw5zvym05cWyLG4Vtc7XT4aYfs0iyBHZUke8vJkF2Oz4cnH7Lb4COsWJTJ2YFBufc/s1600/LensConversionMath.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="248" data-original-width="714" height="137" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgmTeBGPZwm6Mfy49LIjuiTXpdmdJL_EVMMUMExMoPtjFTxC1L6z6reEUUANa2nCyn6mIuKN-e82WAw5zvym05cWyLG4Vtc7XT4aYfs0iyBHZUke8vJkF2Oz4cnH7Lb4COsWJTJ2YFBufc/s400/LensConversionMath.png" width="400" /></a></div>
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<i>Or, going the other way, you can convert a 200mm DX lens to the old-style focal length by dividing 200 / 1.5 = 135mm.</i><br />
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Thus<br />
<br />
Although a DX 18mm lens sounds impressively-wide, it is really a boring 28mm moderate-wide-angle. On the other side, a 200mm DX is a respectable long telephoto, clocking in at 300mm -- almost good enough for some bird-watching. <br />
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<b>Why the 1.5x Magnification on "DX" lenses? </b><br />
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My Nikon manual is paraphrased the issue like this: APS-C cameras have a smaller (and cheaper sensor, and the lens's circle of view is also smaller (making for less-expensive glass):<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiaLt7Y35o5rz1_MAXBmgalDFiLqu85hxMgctXaiBYAZm7_wy6V-qfXFUJvogL0Bu7MvakrLuwgeVmBB3C2TVjWWawP7Q-GkfWf3in8feN4ewyDz40QXCAG01JyWgbkyhD12DKsRk9UWZ8/s1600/NikonIllustration.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="362" data-original-width="611" height="236" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiaLt7Y35o5rz1_MAXBmgalDFiLqu85hxMgctXaiBYAZm7_wy6V-qfXFUJvogL0Bu7MvakrLuwgeVmBB3C2TVjWWawP7Q-GkfWf3in8feN4ewyDz40QXCAG01JyWgbkyhD12DKsRk9UWZ8/s400/NikonIllustration.png" width="400" /></a></div>
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<br />
Some camera brands have different cropping factors. Entry-level Canons are 1.6. Some Olympus, Panasonic, and Sony have crop factors of 1.3 or 2.0. Check your manual.<br />
<br />traywolfhttp://www.blogger.com/profile/06205565591880314520noreply@blogger.com0tag:blogger.com,1999:blog-8552962725094200631.post-51256915994796458932016-08-22T23:06:00.002-06:002021-01-07T20:29:56.978-07:00Box Lake above McCall IdahoBox Lake above McCall Idaho<br />
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Box Lake sits at 7200 feet and is reached by a short, but strenuous 4 mile hike, with an elevation gain of 1800 feet. This trail is for moderately experienced backpackers, and would
not take first-time hikers.<br />
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In late August, after the lake's level has dropped, there is a fun, sandy beach. Many day-hike to the lake, bringing their dogs, and lunch. <br />
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Around the lake, we saw the usual litany of chipmunks, and deer, along with a good crop of black crested mountain blue jays (Stellar's Jay). There were no mosquitoes. Along he trail there was an occasional huckleberry here-and-there, especially on the north slopes. At night, a squadron of bats raced across the lake.<br />
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Photos:<br />
All photos are straight, non HDR, taken without a tripod. I used a polarizer.<br />
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These photos were taken halfway up the box canyon, a mile or so, off-trail. <br />
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhCLck1mpQ-GWPrjy0yh0vNCvhKDGTY_FE2_VhFglSvVg_j2CnZgasyxT_Sg94y5NLWIRIOOd0CeSw19MAtF_XqYhrCSMz7ob_eIyNHeoFSV1eIUEmvVOBEnM6dkdIB8SUv-E-08MPioIo/s1600/BoxLakeFlowers1-978-640.png" style="margin-left: auto; margin-right: auto;"><img border="0" height="267" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhCLck1mpQ-GWPrjy0yh0vNCvhKDGTY_FE2_VhFglSvVg_j2CnZgasyxT_Sg94y5NLWIRIOOd0CeSw19MAtF_XqYhrCSMz7ob_eIyNHeoFSV1eIUEmvVOBEnM6dkdIB8SUv-E-08MPioIo/s400/BoxLakeFlowers1-978-640.png" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Box Lake, looking North. Click for a larger view.</td></tr>
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhKxQ3Ou-JUpMjZeBzJqXmt3RGHzM-qKZmWUxxD-cWgdbx-6f5vXR_Ryt8unxqDEPewuhsKoO0NYvC9sTw38VXZOyab5Tz2iSdbyN2yzGCj4rF06zqP8YPONM5-gLOwwu_WoCRFvRs3woE/s1600/BoxLakeHigh1-990-640.png" style="margin-left: auto; margin-right: auto;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhKxQ3Ou-JUpMjZeBzJqXmt3RGHzM-qKZmWUxxD-cWgdbx-6f5vXR_Ryt8unxqDEPewuhsKoO0NYvC9sTw38VXZOyab5Tz2iSdbyN2yzGCj4rF06zqP8YPONM5-gLOwwu_WoCRFvRs3woE/s400/BoxLakeHigh1-990-640.png" width="270" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Box Lake, looking North</td></tr>
</tbody></table>
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Just beyond Box Lake, directly North, are two lakes called the "Sisters". Only the larger of the two Sister's lakes is of interest, with the
smaller being little more than a pond. Fishing is reportedly
spectacular in the larger lake.<br />
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We followed a trail on the West side of Box Lake, looking for Sisters. We crossed a forested area, burned in the early 1990's, because of felled timber, and because we did not use a map, we got lost and overshot the lakes. Instead, we should have hiked to Box Lake's outlet, and followed the drainage up to the other lakes. <br />
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhb7sI_5Fr9bEMCXzJgraVDrIsL3qWyxHztsJDIT1qOZmysgxdGlRoD6Ot4YwLKlDQK-M9FHC9mmlr42dIao6g7XjwljWuNksy0OaJ_k9PMl9l8Cy9p2o64DLSltqT_gNiMWfFIgI2rPvI/s1600/BoxLakeTrail2-970-1280.png" style="margin-left: auto; margin-right: auto;"><img border="0" height="232" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhb7sI_5Fr9bEMCXzJgraVDrIsL3qWyxHztsJDIT1qOZmysgxdGlRoD6Ot4YwLKlDQK-M9FHC9mmlr42dIao6g7XjwljWuNksy0OaJ_k9PMl9l8Cy9p2o64DLSltqT_gNiMWfFIgI2rPvI/s640/BoxLakeTrail2-970-1280.png" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">On the Box Lake Trail, past Sisters, en route to Heart Lake</td></tr>
</tbody></table>
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi3-QtXlWK3aCyQ0ox_fEwageSs1-yCjuKIHqHOPKBdAZK5crJdwNpCBqK9TMUpMhoAR8DbGMGlk0XSahsUwBwUwanKmxiJFHUeIJb8szxQr4GeBbc-cW368OXzmIe0KfqQDQtBLavCyhI/s1600/BoxLakeTimber1-975-640.png" style="margin-left: auto; margin-right: auto;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi3-QtXlWK3aCyQ0ox_fEwageSs1-yCjuKIHqHOPKBdAZK5crJdwNpCBqK9TMUpMhoAR8DbGMGlk0XSahsUwBwUwanKmxiJFHUeIJb8szxQr4GeBbc-cW368OXzmIe0KfqQDQtBLavCyhI/s400/BoxLakeTimber1-975-640.png" width="266" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Forested Burn from the mid 1990's. Undergrowth trees are about 4' tall. The polarizer is evident. Click for larger view.</td></tr>
</tbody></table>
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Driving and Hiking Directions:<br />
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From McCall, Idaho, turn right onto Lick Creek Road, driving 11 miles. The road is maintained and well marked. Stop at the Box Lake trail head. We arrived Saturday and stayed until Monday. By Sunday, we had the lake to ourselves. <br />
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From the trail-head, immediately begin climbing on a moderately steep trail. The trail stays on a brisk climb for almost the entire hike, with only a few blessedly-level meadows. This is not a technical climb, but it is tiring. A full pack will take about 4 to 5 hours. Day hikers make the climb in under 2 hours. Water is available for the first third of the trail. In late August, we used about 2 liters of water per-person on the climb. <br />
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At the summit, the trail drops quickly down to the lake, losing 600 feet. That 600' is noticeable both directions. <br />
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As you approach the lake, there are two wonderful camping spots, one on the right, and the other on the left. Continuing to the left, two more, but rockier spots are about 30 yards away, behind the prime spots.<br />
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If there is no room at the Inn, continue further left, along the West side of the lake. About mid-way around the lake, is a delightfully shady camping spot, surrounded by an extraordinary number of fallen and mature trees. I liked this spot and would stay there the next time I visit. At the far end (the outlet) are additional spots we did not explore. The entire East side of the lake is uninhabitable, with boulders and falling rock.<br />
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The return trip, along the same trail, is downhill all the way. The trail is steep and slippery, with gravel and debris. Your calves will be angry. Using a careful pace, and with lighter packs, the return was two and a half hours, without taking breaks.<br />
traywolfhttp://www.blogger.com/profile/06205565591880314520noreply@blogger.com0tag:blogger.com,1999:blog-8552962725094200631.post-14937208799456850582016-05-30T22:37:00.002-06:002023-06-12T20:26:27.751-06:00Jump Creek IdahoPhotos from a day-trip to Jump Creek, Idaho, Spring 2016.<br />
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<a href="http://this%20photo%20was%20taken%20with%20a%20neutral%20density%20filter%20to%20help%20slow%20down%20the%20shutterspeed./" target="_blank">Jump Creek</a> is a short drive from Boise, Idaho, and is a popular day hike for families. <br />
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Photographs<br />
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The falls are in a small canyon and the pool is shallow and wade-able. This photo was taken with a neutral density filter to slow the shutter speed.<br />
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiP9KVmvUdbY8BhXm488tSYdIJ1giwhUxkqHMi4IYkAjGAdu11xLGhyrwRtcAf2q7LjQ8OvVdwg1SzcmUHLsndtNORlE9zYcbeaOKLdzw-cvTdsVVhcLSjq3ndnu73Grx859vjw6AwPq3E/s1600/JumpCreekFalls1_web.png" style="margin-left: auto; margin-right: auto;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiP9KVmvUdbY8BhXm488tSYdIJ1giwhUxkqHMi4IYkAjGAdu11xLGhyrwRtcAf2q7LjQ8OvVdwg1SzcmUHLsndtNORlE9zYcbeaOKLdzw-cvTdsVVhcLSjq3ndnu73Grx859vjw6AwPq3E/s320/JumpCreekFalls1_web.png" width="216" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Click for larger size</td></tr>
</tbody></table> <br />From the upper trail, looking down at the falls with a wide-angle lens. No polarizer and it shows.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj2cM8M1Nvyo5x6PwcqiTjjISnEOOiqZedC0GlvSmDghjJC9lKbV8wJAh8Q9BeNUIJkOoxEnWdjPQEIyo8jc0MkBtjQgDKDf9ZT2bM_vazbgjTcm_Pvl-n79CtHkwXleITn8cJc6mn9FJo/s1600/JumpCreekLandscape1_Web.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj2cM8M1Nvyo5x6PwcqiTjjISnEOOiqZedC0GlvSmDghjJC9lKbV8wJAh8Q9BeNUIJkOoxEnWdjPQEIyo8jc0MkBtjQgDKDf9ZT2bM_vazbgjTcm_Pvl-n79CtHkwXleITn8cJc6mn9FJo/s320/JumpCreekLandscape1_Web.png" width="216" /></a></div>
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Wildlife is mostly birds, day hikers, and one photogenic lizard, who was selling insurance (I admit he is not a gecko). In the closeup, he is only 6 inches away from the lens -- he was not moving for anyone. He posed for a half-dozen photos.<br />
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My directionally challenged hiking companion, Steve. He finally bought a GPS after this trip. He does not own a smart-phone.<br />
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<a href="http://this%20photo%20was%20taken%20with%20a%20neutral%20density%20filter%20to%20help%20slow%20down%20the%20shutterspeed./" target="_blank">Jump Creek</a> Travel Notes:<br /><br />
On highway 78, just outside of Marsing (towards Jordan Valley), turn off the highway and drive a few miles on a well-paved road to get to the picnic area (directions in link above). From there, a leisurely quarter-mile hike along a mostly flat trail takes you to the falls. The upper trail is more treacherous but interesting; do not take young children on this route.<br />
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As you hike along the draw, watch for poison ivy*, which grows along the stream bank. At the falls itself, there are no worries, just don't go bush-whacking along the stream.<br />
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Related Imageliner links:<br />
<a href="http://imageliner.blogspot.com/2015/03/pillars-of-rome-oregon.html">The Pillars of Rome</a>, Oregon<br />
<a href="http://imageliner.blogspot.com/2015/08/frank-church-wilderness.html">Frank Church Wilderness</a>, Idaho<br />
<a href="http://imageliner.blogspot.com/2013/09/grandview-idaho.html">Grandview</a>, Idaho<br />
<a href="http://imageliner.blogspot.com/2012/12/technique-for-stanley-forest-burn.html">Stanley, Idaho Forest Burn</a><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiM_QV03yXXi3gpEJMqkbUUZcvuT6p-cGbj6Wkeb5c7zC7heCe5pZgGW53yAQUQeF3dgG5eu-EXXcscCRNSlYVTc8Fe8jOJwDZIRui6nLmk19gmPPV22wfF-WRi0o97HfeL7f8bW_C1__M/s1600/PoisonIvy_Small.png" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiM_QV03yXXi3gpEJMqkbUUZcvuT6p-cGbj6Wkeb5c7zC7heCe5pZgGW53yAQUQeF3dgG5eu-EXXcscCRNSlYVTc8Fe8jOJwDZIRui6nLmk19gmPPV22wfF-WRi0o97HfeL7f8bW_C1__M/s1600/PoisonIvy_Small.png" /></a></div>
*Poison Ivy: A bushy plant that grows in clumps and can intermingle with other plants. Glossy green leaves in the spring, mottled red and browns in the fall.<br />
<br />
The entire plant, including stems and roots, are toxic to touch - even in the winter after the leaves have fallen. If your dog or kids run through the bushes, do not pet them. If your clothes touch the plants, throw your clothes away because this stuff will not wash out.<br />
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At Jump Creek, the plants are numerous, but easily avoided.<br />
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<br />traywolfhttp://www.blogger.com/profile/06205565591880314520noreply@blogger.com0tag:blogger.com,1999:blog-8552962725094200631.post-60957822474980088192015-08-22T20:15:00.003-06:002023-06-12T20:23:48.236-06:00Frank Church WildernessPhotos from a backpacking trip in the Frank Church Wilderness, central Idaho, 2015. Destination, Ship Island Lake. Because of the backpack, I did not carry a tripod and I forgot my grey-card. Both were missed.<br />
<br />
All photos with a Nikon D5100 18-85 Nikon Kit Zoom APC. <br />
<br />
<br />
Airplane Lake. Standard photo, with polarizer. 1/800, f3.5. EV+0, ISO 200. 18mm(27mm). Handheld.<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgkUcyplz7kjCxEkJztZVsTFoUwaqxXF1l5AEbXxQyOLvD_IzpeGJ2ZXntz2KDzegtRJ43oPN6Z8nX8zFK4Dq0XNV-jBV9_qGw3FUfdJdtN2EiFsb1MHzuAmMAf4IsQDIC_PvxObRB-bDI/s1600/AirplaneLake_SmallWeb.png" style="margin-left: auto; margin-right: auto;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgkUcyplz7kjCxEkJztZVsTFoUwaqxXF1l5AEbXxQyOLvD_IzpeGJ2ZXntz2KDzegtRJ43oPN6Z8nX8zFK4Dq0XNV-jBV9_qGw3FUfdJdtN2EiFsb1MHzuAmMAf4IsQDIC_PvxObRB-bDI/s320/AirplaneLake_SmallWeb.png" width="214" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Airplane Lake, 2 miles short of Ship Island. Click for larger view.</td></tr>
</tbody></table><p>
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<br />
Cathedral Lake, rising full Moon. 1/80", F8. EV+0. ISO 800, 26mm(40mm). No polarizer. Exposure guessed. At ISO 800, the picture is grainy. Used a boulder and a shirt for a tripod.</p><p></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhUzMvfEfJrXRNhDsXad-N4qLdZ15KP0I4-pnWffGu4dvHa2wFvkIpSU3q7uYGiR9e5SclZBsXV8NylUYqPoOWdp9wADVCzxklP_X2cuCc6qC9ixtmmXwOkzzVhY1DdHTpiK89Wp6ytzMc/s1600/CathedralLake_1Web.png" style="margin-left: auto; margin-right: auto;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhUzMvfEfJrXRNhDsXad-N4qLdZ15KP0I4-pnWffGu4dvHa2wFvkIpSU3q7uYGiR9e5SclZBsXV8NylUYqPoOWdp9wADVCzxklP_X2cuCc6qC9ixtmmXwOkzzVhY1DdHTpiK89Wp6ytzMc/s320/CathedralLake_1Web.png" width="230" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Cathedral Lake, rising full Moon. Click for larger view.</td></tr>
</tbody></table>
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<br />
Portrait of my daughter. 1/125 f 3.5. EV+0. ISO 100, 18mm(27mm). 3/4 power auto-flash for fill, plus a polarizer. Auto-exposure, with some white-balance and brightness corrections post-processing. Note vignetting from a stacked polarizer and UV filter. Probably should have stepped-back a bit and zoomed to 50mm, that would have helped to shallow the depth-of-field -- but I always forget I have a zoom lens -- I am still used to prime lenses.<br />
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgVCaXvqzFnFHK2mMrwPipRIF5IOyTOjWfgZOw1R3stvgWthdnWWDJVfC-bfpJv5zQ6LymfI0aQYJ26EWZjfqt3bQO7b0FRFGQYlO2l0W7ifHPLMFIU8MzbdlnlmyIPKEZx3Vz2q_V8DNw/s1600/Piper_3+-1-Web.png" style="margin-left: auto; margin-right: auto;"><img border="0" height="215" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgVCaXvqzFnFHK2mMrwPipRIF5IOyTOjWfgZOw1R3stvgWthdnWWDJVfC-bfpJv5zQ6LymfI0aQYJ26EWZjfqt3bQO7b0FRFGQYlO2l0W7ifHPLMFIU8MzbdlnlmyIPKEZx3Vz2q_V8DNw/s320/Piper_3+-1-Web.png" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Daughter. Click for larger view</td></tr>
</tbody></table><p> </p><p>The kit zoom lens that came with the camera is the only lens I have. I
wished I had a 16mm(20mm) and a 50mm(85mm) prime. I have always favored
the wide angles and, as you can see above, I have the zoom set as wide
as possible -- and it is not wide enough. I miss the old days
when my film-camera has a wonderful f4 20mm -- what a joy that was.<br />
<br />
Ship Island Lake, HDR. Because the photo was hand-held, the HDR fell apart and the photo was too soft to be printable, but I still tolerate the picture; it has an old-timer quality. I would have preferred better results.<br />
<br />
</p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhP-ODPwZZ57grBmxNybqz-mhKn2NBcma2CuUuGwGK1rDlu0myn6mj1y42etbG-11ob2faeeoULy2krI76irVpAI8WyPYvH43jTkl3CosJ9RoHfu8LJGEUvoyIg4hNzLxHUHIHHrOV0oMU/s1600/ShipIslandLake_2_HDR_Web.png" style="margin-left: auto; margin-right: auto;"><img border="0" height="185" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhP-ODPwZZ57grBmxNybqz-mhKn2NBcma2CuUuGwGK1rDlu0myn6mj1y42etbG-11ob2faeeoULy2krI76irVpAI8WyPYvH43jTkl3CosJ9RoHfu8LJGEUvoyIg4hNzLxHUHIHHrOV0oMU/s320/ShipIslandLake_2_HDR_Web.png" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Ship Island Lake, HDR - Soft. Click for larger view</td></tr>
</tbody></table>
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<b>Lessons Learned</b><br />
<br />
I took two HDR landscapes, but without a tripod, the results were poor. Without a tripod, other photos suffered too. Next time, I am bringing a light-weight tripod, as much as I hate the weight. <br />
<br />
Forgetting the 18% grey-card was a colossal irritation.<br />
<br />
Although not evident here, dozens of other pictures were taken, with most of them being of people. For a father-daughter trip, such as this, the landscapes are nice, but it is the pictures of us that will be cherished. We even took selfies. I am glad I devoted as much film to ourselves.<br />
<br />
The moon was full during the five-day trip and there was no glory in the night sky. My next backpacking trip will be at new moon. <br />
<br />
<br />
Related Articles:<br />
<a href="http://imageliner.blogspot.com/2011/11/using-18-grey-card.html" target="_blank">Using an 18% Grey Card</a><br />
<a href="http://imageliner.blogspot.com/2012/12/technique-for-stanley-forest-burn.html" target="_blank">HDR Techniques: Stanley Forest Burn</a> <br />
<br />
<br />
Related Imageliner links:<br />
<a href="http://imageliner.blogspot.com/2016/05/jump-creek-idaho.html">Jump Creek</a>, Idaho<br />
<a href="http://imageliner.blogspot.com/2015/03/pillars-of-rome-oregon.html">The Pillars of Rome</a>, Oregon<br />
<a href="http://imageliner.blogspot.com/2015/08/frank-church-wilderness.html">Frank Church Wilderness</a>, Idaho<br />
<a href="http://imageliner.blogspot.com/2013/09/grandview-idaho.html">Grandview</a>, Idaho<br />
<a href="http://imageliner.blogspot.com/2012/12/technique-for-stanley-forest-burn.html">Stanley, Idaho Forest Burn</a><br />
<br />traywolfhttp://www.blogger.com/profile/06205565591880314520noreply@blogger.com0tag:blogger.com,1999:blog-8552962725094200631.post-9881967459730730472015-03-01T20:33:00.002-07:002023-06-12T20:29:57.274-06:00Pillars of Rome (Oregon)Pillars of Rome, Oregon<br />
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These are sandstone and gravel formations near <a href="http://en.wikipedia.org/wiki/Rome,_Oregon" target="_blank">Rome, Oregon USA</a>, south of Jordan Valley, on US Highway 95. The formations were a well known landmark to the Oregon Trail wagon trains as they moved West in the mid 1800's. It reminded the travelers of Roman architecture, thus its name.<br />
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The Wikipedia link at the top of this article contains a great picture
of the range, facing West. There was no sense competing and I only took
photos from the top, deciding not to waste film*. <br />
<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj_ATMEqFMLLObOoXpxs7g1vOqh8aUYxvxoFUF3ezftnT8THnSMBnKKy6gDkTWgQpxmdEpZJh3rHTv6pk1vIWiGohiPgICTpIq7EJhhFcIyQ1VBn2sOOF2KErmLkFlG3mJNgAO6fsc2FD4/s1600/Pillars+HDR+and+Cropped_Small.png" style="margin-left: auto; margin-right: auto;"><img border="0" height="231" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj_ATMEqFMLLObOoXpxs7g1vOqh8aUYxvxoFUF3ezftnT8THnSMBnKKy6gDkTWgQpxmdEpZJh3rHTv6pk1vIWiGohiPgICTpIq7EJhhFcIyQ1VBn2sOOF2KErmLkFlG3mJNgAO6fsc2FD4/s1600/Pillars+HDR+and+Cropped_Small.png" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Click for larger image</td></tr>
</tbody></table> <br />
Some have asked if this image was HDR. Yes, but it was lightly touched and originally I was not even going to comment. Here is the same shot, split, showing the final HDR, overlayed with a straight EV0 standard exposure. <i>This blended image was also saved as a JPG, at the request of a
friend, and the JPG compresses and shifts colors differently than a PNG ( I am no longer fond of JPG images</i>):<br />
<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh5_0C-qw5EPtPiyVBqwRMD9QMEMtM7VMmhf5chhVDzo4bmPpAIw54qjPouhdjTmwqMC5qBML0Kg3f5hFaKSp9K174IzwUW5J7CQCXvLbvwzAxYTgZm5Pjtv_1dug26Rda4jMBxQxAGSEU/s1600/Native+and+HDR+Comparison.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" height="231" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh5_0C-qw5EPtPiyVBqwRMD9QMEMtM7VMmhf5chhVDzo4bmPpAIw54qjPouhdjTmwqMC5qBML0Kg3f5hFaKSp9K174IzwUW5J7CQCXvLbvwzAxYTgZm5Pjtv_1dug26Rda4jMBxQxAGSEU/s1600/Native+and+HDR+Comparison.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Click for larger image</td></tr>
</tbody></table>
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<div class="separator" style="clear: both; text-align: center;">
</div>
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As always, I shoot RAW, with five different exposures at +/- EV 2.0 stops and I blend the photos using Corel's Paintshop Pro; details in the links below. <br />
<br />And just for fun, here is an image where I played with layers and colors. My thanks to Randal Davis for his instructions on the technique. I'll probably re-work this picture again, to bring in more natural colors:<br />
<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgj3vjYcidqCsvqOBi_-Mq9n3iTKI6FsTYvSXjXs1ZuZxhaK1UTc_Xz0HgaGMjaYHgOItxD1lpw7MxzSAFU-lDguOtMYCxYifosyRUVNM2V6glF4UOMQQtiP9Ms2p7ptoOZlfz4oV4F1PQ/s1600/Pillars+Shadow+BWColorizedSmall.png" style="margin-left: auto; margin-right: auto;"><img border="0" height="231" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgj3vjYcidqCsvqOBi_-Mq9n3iTKI6FsTYvSXjXs1ZuZxhaK1UTc_Xz0HgaGMjaYHgOItxD1lpw7MxzSAFU-lDguOtMYCxYifosyRUVNM2V6glF4UOMQQtiP9Ms2p7ptoOZlfz4oV4F1PQ/s1600/Pillars+Shadow+BWColorizedSmall.png" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Click for larger image</td></tr>
</tbody></table>
<br />
<u>Driving and Hiking Instructions</u>:<br />
<br />If out of Boise, Idaho, drive about two hours through Nampa, then to Marsing,
then past Jordan Valley. <br />
<br />
When in Rome, turn NW, off the highway, on a well-marked, well-maintained gravel road. Drive a few miles to the rock formations. Once on foot, jump the fence and walk about a quarter mile on flat terrain to the base. The trip can be made in a standard car, and can be made in the rain.<br />
<br />
As you approach the monoliths, there is a faint trail on the north side that will take you along the back, and then up to the top. The trail is easy, with an easy ten-minute climb (follow the cliffs along the north side of the small spire in the top photo). These photos were taken from the top plateaus, facing East.<br />
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If the driving instructions seem vague. Don't worry. Rome is unincorporated and I would guess less than a dozen people live there. The "town" has a small cafe, a gas station, and a rancher's airstrip, where I saw a Kitfox and an old, tired Cessna 140. Behind the cafe are a few trailer homes, and that is it. Literally turn West at the cafe; you can't get lost. <br />
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<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiulyaP7zm24tVC5TtQDdsOoVm77whsq59LW6sJJVd4hVuhxuxQSIFADNwecJpJ_zI7tNgWrat9ZDivAjcU-bvQ7OQQVxAIXsaZnWXiofHcSZNQF6QYeWFr45GFZrfSKKK_iMo3YaGUvxY/s1600/Pillars+HDR+Sage+Cropped_Tiny.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiulyaP7zm24tVC5TtQDdsOoVm77whsq59LW6sJJVd4hVuhxuxQSIFADNwecJpJ_zI7tNgWrat9ZDivAjcU-bvQ7OQQVxAIXsaZnWXiofHcSZNQF6QYeWFr45GFZrfSKKK_iMo3YaGUvxY/s1600/Pillars+HDR+Sage+Cropped_Tiny.png" width="183" /></a></div>
<i><span style="font-size: x-small;"><br />*I am joking about the film. Gosh, I miss Kodachrome.</span></i><br />
<br />
Related articles:<br />
<a href="http://imageliner.blogspot.com/2013/09/grandview-idaho.html">Grandview, Idaho</a><br />
<a href="http://imageliner.blogspot.com/2011/11/using-18-grey-card.html">Using an 18% Grey Card</a><br />
<br />
Related Imageliner links:<br />
<a href="http://imageliner.blogspot.com/2016/05/jump-creek-idaho.html">Jump Creek</a>, Idaho<a href="http://imageliner.blogspot.com/2015/03/pillars-of-rome-oregon.html"></a><br />
<a href="http://imageliner.blogspot.com/2015/08/frank-church-wilderness.html">Frank Church Wilderness</a>, Idaho<br />
<a href="http://imageliner.blogspot.com/2013/09/grandview-idaho.html">Grandview</a>, Idaho<br />
<a href="http://imageliner.blogspot.com/2012/12/technique-for-stanley-forest-burn.html">Stanley, Idaho Forest Burn</a>traywolfhttp://www.blogger.com/profile/06205565591880314520noreply@blogger.com0tag:blogger.com,1999:blog-8552962725094200631.post-38788094833589908172014-06-12T23:56:00.003-06:002023-06-12T20:33:39.930-06:00Muir Woods, California USMuir Woods is a Redwood grove 30 minutes North of San Francisco, California. You will have the thrill of driving a serpentine road that keeps you and the car busy. The drive is fun and when you arrive, the trees will be a religious experience.<br />
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Although these coastal redwoods are not as large as the Sequoia's further North, they are taller, reaching 370 feet (30 stories) and are up to 20 feet in diameter. Trails near the park entrance are paved and accessible by all, and you will get to see the largest trees. The upper trails are dirt and are well maintained. These are day-hike trails with easy-to-moderate climbs. Expect rain. <br />
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<br />
These photos were taken in the Spring, 2014, along the Ocean View Trail. Leaving the Visitor's Center, the trail loops up into the forest for 5 miles. It will take about 2 hours. On this morning it was a thin overcast with a soft, warm light. <br />
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEimpKicvozKpAqe2x80kIOszYrAaVQ6Te2uMovAza8zUee7TcHjRd1zUhmzQf4bTczPtx-vigFsTIWgsL8dKnNtkq3jGt4gQkM6nPAY4ROL7CjizM2QiS52rRvXdtEaYQtMWrMRurPar5g/s1600/Redwoods2_HDR_Small.png" style="margin-left: auto; margin-right: auto;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEimpKicvozKpAqe2x80kIOszYrAaVQ6Te2uMovAza8zUee7TcHjRd1zUhmzQf4bTczPtx-vigFsTIWgsL8dKnNtkq3jGt4gQkM6nPAY4ROL7CjizM2QiS52rRvXdtEaYQtMWrMRurPar5g/s1600/Redwoods2_HDR_Small.png" width="427" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Ocean View Trail, Redwood Grove. Click for larger view.</td></tr>
</tbody></table>
<br />
This is a moderately-processed HDR (High Dynamic Range), taken with a grey-card, a tripod, no polarizer, and was taken with a 38mm APC stock zoom lens. <br /><br />Of the five exposures that make up the photo, the center frame was taken at f8, 1/8", 1600 ISO, with no exposure compensation; the outlying frames were +/- 2 stops. <i>Details on HDR photo techniques can be found in the links below.</i><br />
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgAoMb0FXwZLDFHPcTnRik72cx7zPNZVSssphQA2gHN61nu0_QQqUVCZK7GL_3hU-GHSuJUV0vICGNg3Drqk0i1HofgGtO4sbMAWGARq29_j-18Z7Op8Px5dUEOdpmdxRI23fmAl_tZ7-Y/s1600/Redwood2.Exposures.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="155" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgAoMb0FXwZLDFHPcTnRik72cx7zPNZVSssphQA2gHN61nu0_QQqUVCZK7GL_3hU-GHSuJUV0vICGNg3Drqk0i1HofgGtO4sbMAWGARq29_j-18Z7Op8Px5dUEOdpmdxRI23fmAl_tZ7-Y/s1600/Redwood2.Exposures.png" width="400" /></a></div><p>
<br />
In post-processing, I was surprised to see the camera's ISO setting at 1600. At the time, I had manually set ISO 200 and did not notice the shift. The problem? On the Nikon D5100, there turns out to be two controls: The (manual) ISO and an "Auto ISO Sensitivity Control". The Auto-control will override manual settings, within a specified range.
My camera's auto-sensitivity range was set to a maximum ISO of 1600 and a minimum shutter of 1/30. </p><p>Since a tripod must be used for HDR shots, I now set the Auto speeds to a slower, narrower range or ISO 800 and 1/4". -- I never want to see ISO 1600 in a landscape photo!<br /><br /></p><p style="margin-left: 40px; text-align: left;"><i>There are admitted benefits to Auto ISO, especially without a tripod. If the shutter falls too low, the camera can sneak the ISO and compensate. This can save mistakes when not paying attention to shutter speeds. Trouble is, I don't like to be surprised.</i><br /></p><p>
<br />
Also on the trail, I found a small pine stand a few hundred yards north of the grove, apparently damaged by lightning. It is hard to believe anything could burn in this forest, given the dampness.<br />
<br />
</p><div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEipbxR3vK_SiYot_57yuK9LlLnLD1M35QAxl3fie9YyF-CR3XImUE__gFMyX4b5FQ6hh54iCCh0Uu7GP9l-N-g6p2j19R_P87x1rJwBzTf6DwicYJwQ6B9YFFlAhRmGtEwjalNGSQihK_c/s1600/Redwoods3_HDR_Small.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="432" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEipbxR3vK_SiYot_57yuK9LlLnLD1M35QAxl3fie9YyF-CR3XImUE__gFMyX4b5FQ6hh54iCCh0Uu7GP9l-N-g6p2j19R_P87x1rJwBzTf6DwicYJwQ6B9YFFlAhRmGtEwjalNGSQihK_c/s1600/Redwoods3_HDR_Small.png" width="640" /></a></div>
<br />
Related Articles:<br />
<a href="http://imageliner.blogspot.com/2011/11/using-18-grey-card.html">Using an 18% Grey Card</a><br />
<a href="http://imageliner.blogspot.com/2012/12/technique-for-stanley-forest-burn.html">HDR Photo Techniques</a><br />
<a href="http://imageliner.blogspot.com/2013/03/newport-bay-bridge.html">Newport Bay Bridge - HDR</a><br />
traywolfhttp://www.blogger.com/profile/06205565591880314520noreply@blogger.com0tag:blogger.com,1999:blog-8552962725094200631.post-39953689003945966132013-09-02T21:17:00.002-06:002023-06-12T20:36:05.799-06:00Grandview IdahoPhotos near Grandview Idaho<br />
<br />
HDR Photographs taken from Idaho Highway 78, Owhyee County, departing Murphy, ID, driving towards Grandview, ID. August, 2013. <br />
<br />
<b>"Desert Landscape"</b><br />
<br />
This HDR image was taken with a polarizer, facing NNW. Notice the color fall-off in the sky, to the left (West). This is typical of a polarizer when facing directly East or West. Especially when using a wide-angle lens, there is almost always a color-fall-off on one edge or the other. Additionally auto-focus cameras use circular polarizers, which are not as effective as traditional filters.<br />
<br />
In the distance is the Snake River canyon. Click the image for a larger view.<br />
<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjdFN4rELRn0ycIpCRs1ZQFAqBxKV15t1z_3Lh3GztNVhUGN0NwG1S4qbyuuN_d9w1uI-y11R8JKAFGcQAoAVuKMCq5C5D8DYyMVOA2oJYikRN_2IhhW4qY5ePJu4Oy9E8EZMBWW8Nja9U/s1600/Cropped_Small.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" height="166" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjdFN4rELRn0ycIpCRs1ZQFAqBxKV15t1z_3Lh3GztNVhUGN0NwG1S4qbyuuN_d9w1uI-y11R8JKAFGcQAoAVuKMCq5C5D8DYyMVOA2oJYikRN_2IhhW4qY5ePJu4Oy9E8EZMBWW8Nja9U/s400/Cropped_Small.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Click for larger view</td></tr>
</tbody></table>
The final image has soft edges, partly because of the breeze (HDR does not like it when the subject moves), and partly because of my color manipulations. This is not a printable image. <br />
<div class="separator" style="clear: both; text-align: center;">
</div>
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<br />
<b>"Fence Posts"</b><br />
<br />
Two miles East, along the same highway, facing South. The Owhyee Mountains are in the distance. The dirt road you see is a ranch service road, and is not the highway. This is a 5-exposure HDR, taken with a wide-angle, which captured the foreground fence
post and the background's vanishing point:<br />
<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhba-ML8Rv7fI3SVQJdIa5rNTifU5QYbiaMJLTkItUdL2g_f131X11eGrMtZ5msOY9opCMkZAh3gV-5lX_rrlVZ2OSKWUiwNcCEoYJGErQeYpZwzcaNFldaP5x4MzXrA9KdU6TSP6onR6w/s1600/FencePosts_FinalSmall.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" height="287" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhba-ML8Rv7fI3SVQJdIa5rNTifU5QYbiaMJLTkItUdL2g_f131X11eGrMtZ5msOY9opCMkZAh3gV-5lX_rrlVZ2OSKWUiwNcCEoYJGErQeYpZwzcaNFldaP5x4MzXrA9KdU6TSP6onR6w/s400/FencePosts_FinalSmall.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Click for larger view</td></tr>
</tbody></table>
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<br />
Here are the five exposures used to assemble the HDR. <br />
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjFk9QtDJBiRDvPDNz7OQfJ-giTwvbWKQxkV9Sd5GQql8JFutjaKfaa3j9ZoU84TT1LNp7tfzD2OZi-mW-fPz6oD5vjy2XPTyw69WXfTEmjCzvDnHP5YpmmeenMoF9sVEuyRu5H0Rq832s/s1600/Illustration-RGB.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="387" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjFk9QtDJBiRDvPDNz7OQfJ-giTwvbWKQxkV9Sd5GQql8JFutjaKfaa3j9ZoU84TT1LNp7tfzD2OZi-mW-fPz6oD5vjy2XPTyw69WXfTEmjCzvDnHP5YpmmeenMoF9sVEuyRu5H0Rq832s/s640/Illustration-RGB.jpg" width="640" /></a></div>
<br />
The final HDR image is similar to the EV-0 exposure - this was a well-lit scene, with high contrasts, so it is no surprise the grey-card-metered EV-0 picture was close to the proper exposure. <br /><br />
These were taken mid-afternoon, with the sun
directly overhead. This is not the best time to take a photograph. It
was a fun challenge to see if the images could be saved. <br />
<br />
<br />
HDR took
some of the contrast out of the picture, filled-in harsh shadows, and gave some
color to the washed-out sky. The corner vignettes are caused by the
polarizer filter stacked on top of a UV filter, and is pronounced
because of the wide-angle lens. I did not notice this while taking the pictures. These were cropped out of the final HDR.<br />
<br />
<br />
<b>Owhyee County</b><br />
<br />
For those of you not familiar with Idaho, the Southern half of the State is dry, high-desert, with sage and cheat-grass. Owhyee County is a large, particularly desolate area, with 7,700 square miles, and a population of 11,000 souls. The county was named for 3 Hawaiian trappers, who in 1819, traveled in this region and disappeared. The anglicized name stuck. The famed Silver City ghost town can be found about 30 miles SW of Murphy, on an unimproved road.<br />
<br />
Along the Snake River, within pumping distance, you will find alfalfa, some grains, and dry-desert cattle grazing. Google-maps shows how important the Snake River is to the local economy. The red-x is approximately where the photographs were taken and the town of Grandview (population 440) is marked at the "A".<br />
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<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiO0MnBR-FtiYRT9-WCogd_DtlfOOY0siy9Uy4QfiPQsYHzyA3kLS3AR2kB2qtvHM4OSLQFRhSbf3P4Dovp_MWobkJJlXgR48wmTjYv2TwmAzuh_h0wa0uZZyO84ENZ8XwKeEW1zLw108o/s1600/2013_08_Grandview.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="361" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiO0MnBR-FtiYRT9-WCogd_DtlfOOY0siy9Uy4QfiPQsYHzyA3kLS3AR2kB2qtvHM4OSLQFRhSbf3P4Dovp_MWobkJJlXgR48wmTjYv2TwmAzuh_h0wa0uZZyO84ENZ8XwKeEW1zLw108o/s400/2013_08_Grandview.jpg" width="400" /></a></div>
<br />
Related Imageliner links:<br />
<br />
<a href="http://imageliner.blogspot.com/2016/05/jump-creek-idaho.html">Jump Creek</a>, Idaho<br />
<a href="http://imageliner.blogspot.com/2015/03/pillars-of-rome-oregon.html">The Pillars of Rome</a>, Oregon<br />
<a href="http://imageliner.blogspot.com/2015/08/frank-church-wilderness.html">Frank Church Wilderness</a>, Idaho<br />
<a href="http://imageliner.blogspot.com/2012/12/technique-for-stanley-forest-burn.html">Stanley, Idaho Forest Burn</a><br />
traywolfhttp://www.blogger.com/profile/06205565591880314520noreply@blogger.com0tag:blogger.com,1999:blog-8552962725094200631.post-27229634220992649352013-03-31T09:57:00.003-06:002023-06-12T20:41:09.158-06:00Newport Bay BridgeNewport Bay, Oregon Bridge - Various HDR pictures<br />
<br />
<i>Newport Bay bridge (Yaquina Bay Bridge), just before dusk. There was a boat arriving in a few minutes and the boat's movement
and wake would ruin the final HDR shot, generating artifacts and pixellation. Since it takes a moment to
adjust for each exposure I worked quickly. </i> <br />
<br />
Images on this page are large 5MB jpg and take time to download, once clicked. <br />
<br />
For each scene, five exposures were made, ranging from -2 stops to +2 stops EV. Paintshop Pro was used to combine the images into a final HDR. HDR techniques are covered in this article: <a href="http://imageliner.blogspot.com/2012/12/technique-for-stanley-forest-burn.html" target="_blank">HDR Technique - Stanley Forest Burn</a>. The lens is a kit zoom lens set at 22mm ACPS, mounted on a tripod. <br />
<br />
<br />
<b>HDR Set #1</b><br />
This is a five-exposure sequence using moderately-enhanced coloring. <br />
(EV +/-2 stops)<br />
<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjP35LtimmkJCOzUjN71f87zfFbWrZZwg5j4uhAYy9LymjC6BhECyOmrT3zLGO2QVF3b7QPFFx6kZCZ8jAVtCH82MFdvDo5bMW2Q3IdFRd6zet1FKnsfFzLOR8Q043FRCqTsiM84hPV1y0/s1600/NewportBridge_NaturalColor_Large.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" height="225" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjP35LtimmkJCOzUjN71f87zfFbWrZZwg5j4uhAYy9LymjC6BhECyOmrT3zLGO2QVF3b7QPFFx6kZCZ8jAVtCH82MFdvDo5bMW2Q3IdFRd6zet1FKnsfFzLOR8Q043FRCqTsiM84hPV1y0/s400/NewportBridge_NaturalColor_Large.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Click for larger view; click "X" to return</td></tr>
</tbody></table>
<br />
<br />
<b>HDR Set #2</b><br />
The second version, using the same five exposures, has more aggressive color enhancements. I like this version even though it looks more artificial. I wished the cloud contrast from the first picture made it over. Some day, I will bring over the clouds from the first picture. <br />
<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhSwAJ1HFnOZtua-AwFQjlEmqqoAWdrjKYmUpdd58qYY9wNPhs27b9TZ452hBvKqlBlLA-nE-1QTlIIFbUhV7-Lt8fHmHIsulfB9hX7HSen3n7wiVGVjq7CbZm7IE6SdGYflZYlUULz6Dk/s1600/NewportBridge_BoldColor_large.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" height="225" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhSwAJ1HFnOZtua-AwFQjlEmqqoAWdrjKYmUpdd58qYY9wNPhs27b9TZ452hBvKqlBlLA-nE-1QTlIIFbUhV7-Lt8fHmHIsulfB9hX7HSen3n7wiVGVjq7CbZm7IE6SdGYflZYlUULz6Dk/s400/NewportBridge_BoldColor_large.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Click for larger view, click "X" to return</td></tr>
</tbody></table>
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<br />
<b>Unedited - Non HDR Straight Photo</b><br />
This is a non HDR reference photo, EV +0, taken to illustrate this article. Being near sunset, I was hoping for a warmer light, but as you can see, it was unremarkable and was soft and diffuse. <br />
<br />
<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEidQOKOlnAh9rohEnJwGcbQ8UY822abopZXO3Ng8acnAHzK8XHr-fcZftMRkID4c0eb1hbqrYRCjBwifL-FxMT2AWLpqY4xwNsYhzsulKNeOVfUuzEqxEioOvYANSqP1g3TNga9yWEbzuw/s1600/DSC_0408_Straight_Med.JPG" style="margin-left: auto; margin-right: auto;"><img border="0" height="263" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEidQOKOlnAh9rohEnJwGcbQ8UY822abopZXO3Ng8acnAHzK8XHr-fcZftMRkID4c0eb1hbqrYRCjBwifL-FxMT2AWLpqY4xwNsYhzsulKNeOVfUuzEqxEioOvYANSqP1g3TNga9yWEbzuw/s400/DSC_0408_Straight_Med.JPG" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Click for larger view, click "X" to return</td></tr>
</tbody></table>
<br />
Compare this un-edited image, with the final two sets and you can see the 16:9 crop removed some clutter in the foreground and gave the picture a more horizontal look. I cropped after all of the HDR work.<br /><br />From the HDR series (5 exposures, not illustrated), the center exposure (EV+0) was taken at [f9/180], ISO 250. White-balance was manually-set. I did not use a grey-card, and it shows, being off by +2/3 stop on the center exposure. With
HDR, a poorly-exposed meter reading is of less concern because the
blended photos will merge into a near-perfect exposure. <br />
<br />
<br />
<i>I
like how HDR maintains a good exposure in the sky and the
bridge. This photograph would have been challenging with traditional film. I would have had to
use graduated filters, and extra work in the dark-room, to salvage this
otherwise bland photo -- or wait for better
lighting. </i><br />
<br />
<br />
<b>Interior HDR views:</b><br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgoKD1VAdUrqopAGDpsgoSI8EGLjo7IhDrmmyvc8oy-onzgC7De2BmBGLEVh3dtaWY7UO54tl-TtrGUNozvFP7ENkO6bOSQ2xpnup1ZFv-U6D4LqSbo3j0mqrxv1PgXCOvmcGoVsKImnTU/s1600/NewPort_Bridge2_Color_Med.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgoKD1VAdUrqopAGDpsgoSI8EGLjo7IhDrmmyvc8oy-onzgC7De2BmBGLEVh3dtaWY7UO54tl-TtrGUNozvFP7ENkO6bOSQ2xpnup1ZFv-U6D4LqSbo3j0mqrxv1PgXCOvmcGoVsKImnTU/s400/NewPort_Bridge2_Color_Med.jpg" width="263" /></a></div>
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgUyZEcJZ1Ca8mV7HS18pjhEq6FTtX8sAc2OXuDLycAGn-vSHfQFoyNlIhcfYm0fDYkheBlQZV-b7v6LuHvFOlAQ7P6P_gC8XLdXrVTpVByQBPYf1D0sulcII2zRjlT1ea2SniKX1-7qRQ/s1600/NewportBridge1_BW_Med.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgUyZEcJZ1Ca8mV7HS18pjhEq6FTtX8sAc2OXuDLycAGn-vSHfQFoyNlIhcfYm0fDYkheBlQZV-b7v6LuHvFOlAQ7P6P_gC8XLdXrVTpVByQBPYf1D0sulcII2zRjlT1ea2SniKX1-7qRQ/s400/NewportBridge1_BW_Med.jpg" width="285" /></a></div>
<br />
<br />
<b>Mistakes</b><br />
<br />
Earlier in the day I was shooting JPG and forgot to return the camera to RAW. Because of this, the HDR exposures were in high-quality JPG, and I think that adds softness to the edges and this would not have been a problem if I would have used my <a href="http://imageliner.blogspot.com/2012/05/d5100-checklist.html" target="_blank">checklist</a>.<br />
<br />
Secondly, in the top-photos, in my haste, I forgot to lock-down the tripod's head and it moved ever-so-slightly as I manipulated the controls. When I first merged the pictures, it was a pixellated train-wreck. Fortunately, the software (PSP) has an option to "align" the pictures before merging, otherwise the exposures would have been lost. <br />
<br />
<b>Related Articles:</b> <br />
<br />
<a href="https://imageliner.blogspot.com/2011/11/nikon-d5100-d7000-white-balance.html">White Balancing</a><br />
<a href="http://imageliner.blogspot.com/2011/11/using-18-grey-card.html">Using an 18% Grey Card</a> <br />
<br />
<a href="http://imageliner.blogspot.com/2012/12/technique-for-stanley-forest-burn.html" target="_blank">HDR Techniques for Stanley Forest Burn</a><br />
<a href="http://imageliner.blogspot.com/2013/03/newport-bay-bridge.html" target="_blank">NewPort Bay (Yaquina Bay Bridge)</a><br />
<a href="http://imageliner.blogspot.com/2012/03/first-hdr-highway-21.html">Highway 21 HDR</a> <br />
<br />
<br />
<br />traywolfhttp://www.blogger.com/profile/06205565591880314520noreply@blogger.com0tag:blogger.com,1999:blog-8552962725094200631.post-9545089866637098612012-12-16T12:40:00.004-07:002023-06-12T19:45:42.821-06:00HDR Technique for Stanley Forest Burn PhotoHow To article showing HDR techniques.<br />
<br />
The Stanley Basin, near Idaho's famed Sawtooth Mountains, is a forest of mostly lodgepole pines with little undergrowth. In the summer of 2012, droughts, beetles, and lightning strikes caused many of the stands to burn. This is an HDR photo taken a month after the fire, and this article discusses how the photo was made.<br />
<br />
HDR is the technique that blends multiple exposures of the same scene into one photograph. When using HDR (High Dynamic Range) you can choose to be subtle, dramatic, or unbelievable. My goal was to be dramatic. <br />
<b><br /></b>
<b>Final Results</b>:<br />
<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh3mE6GNMZGYu0dZZK3Bs3MqVZ4FHwMFW6-G-XZn63dYbfBuPT3I8Tq1-j-5pwg8Y1Yb_wNWe9Ke7pjgRRP_-VA9HK2A3BynGWs7jy-rhqXfEP5LKGXL2EBmimSlLsppycfnUyG6yISSjs/s1600/StanleyForest_Final_Small600x900.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh3mE6GNMZGYu0dZZK3Bs3MqVZ4FHwMFW6-G-XZn63dYbfBuPT3I8Tq1-j-5pwg8Y1Yb_wNWe9Ke7pjgRRP_-VA9HK2A3BynGWs7jy-rhqXfEP5LKGXL2EBmimSlLsppycfnUyG6yISSjs/s640/StanleyForest_Final_Small600x900.jpg" width="417" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Stanley Forest Burn, October 2012 - Click for larger view</td></tr>
</tbody></table>
<br />
<br />
<div class="separator" style="clear: both; text-align: center;">
</div>
<b>The Photograph:</b><br />
<br />
The photo was taken mid-afternoon on a heavily overcast, rainy day, using a grey-card for the main exposure, and white-balanced. Below is the scene, as it appeared "correctly exposed" at EV +0 - no compensation and no editing:<br />
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgj93x8VfNWoc1uWiRu4sbFOWn3fgJdo_Br7DztiTWX4CfknKKB5ioie4XbSWAlWcKjV9vq7usTZxPi-6rmgsf1Qr2u188Csi2kkRBI4On__kqi5mu2pcHv4SgdY6bHPp5UBk3eR2bpKiQ/s1600/2012_12_Stanley_Histogram.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="383" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgj93x8VfNWoc1uWiRu4sbFOWn3fgJdo_Br7DztiTWX4CfknKKB5ioie4XbSWAlWcKjV9vq7usTZxPi-6rmgsf1Qr2u188Csi2kkRBI4On__kqi5mu2pcHv4SgdY6bHPp5UBk3eR2bpKiQ/s400/2012_12_Stanley_Histogram.jpg" width="400" /></a></div>
<br />
<u>HDR Exposures</u>:<br />
<br />
An HDR photograph takes three or more frames, bracketed at
various exposure compensation. With software, all are
blended and stacked into a final image. Traditionally, take one shot at normal exposure, then a second at +1 stops over-exposure, and another at -1 stops under. HDR combines all three into one picture. <br />
<br />
With this, you can pull in shadow and
highlights that would be lost to a single exposure. In other words, you do not have to sacrifice shadow detail to capture highlights. The
technique can also enhance (and some would say exaggerate) contrasts and
colors. <br /><br />
<br />
For this photo, I took a sequence of 5 exposures, from -2 stops to +2 stops. All five were combined, building the final image. I made other adjustments to the saturation, hue, and manipulation in the sky:<br /><br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiJNbuB1a7_IpnrdcreDtdToQ9G3ijLWPwxHHSdREb0ekKow64K8xA3tfK9nqq-9bmbe64GSbY9NNl0sWR6BaK5o5EBLtlsWMTn8_G6MS_EqQ4Ad_62NuJ9u1dTfDkSVQLeOup_gQGufG4/s1600/2012_12_Stanley_Brackets.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" height="236" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiJNbuB1a7_IpnrdcreDtdToQ9G3ijLWPwxHHSdREb0ekKow64K8xA3tfK9nqq-9bmbe64GSbY9NNl0sWR6BaK5o5EBLtlsWMTn8_G6MS_EqQ4Ad_62NuJ9u1dTfDkSVQLeOup_gQGufG4/s640/2012_12_Stanley_Brackets.jpg" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Bracketing Sequence + / - 2 EV - Click for larger view</td></tr>
</tbody></table><p>
<br />
Camera-HDR<br /><br />The exposures can be taken automatically by the camera, using a feature often called auto-bracketing -- letting the camera pick each of the exposures. But my Nikon D5100 is limited with only a three-frame sequence, typically -1 stop EV, 0, +1
stop EV. Software can accept more. Because of this, I bracket manually using Exposure Compensation. Having more frames produces more nuanced results. <i>It is unfortunate that the Nikon does not have a variable setting for the number of frames. <br /><br /></i>
Although many newer cameras can build HDR
exposures in-camera, there is little control. Because of that, I do not use a camera's built-in HDR. If you use the
internal HDR, it does the bracketing for you and, in the case of the
Nikon, only three frames are used. <br />
<br />
<i>2017.11 Update: I now am using the camera's auto-bracketing, with the understanding it only supports three exposures. Reason: If there is a wind, and the clouds are moving, I can't capture images fast enough without having artifacts. See this article: <a href="http://imageliner.blogspot.com/2017/11/snake-river-canyon-at-swan-falls-idaho.html" target="_blank">Keyliner SwanFalls</a>.</i><br />
<br /><br />
<br />
<u>Follow these exposure steps</u>:<br />
<br />1. Be sure the subject, and sky are not moving (wind, fast rivers, most people, etc.). HDR does not tolerate movement during the exposures. <br /><br />2. You must use a tripod.<br /><br />
3. Set the camera to Aperture-preferred automatic (or manual). <br /><br />Do not use Program or Shutter-preferred -- you want the depth-of-field to remain constant during all five exposures; do not let the program-mode shift the f-stop.<br />
<br />4. Although not required, shoot RAW (not JPG). RAW for best results. JPG compresses the individual images, causing artifacts.<br /><br />5. I recommend setting <a href="https://imageliner.blogspot.com/2011/11/nikon-d5100-d7000-white-balance.html" target="_blank">White Balance</a>. <br />
<br />
6. Meter the scene with no exposure compensation (EV +0).<br /><br />I typically use a <a href="http://imageliner.blogspot.com/2011/11/using-18-grey-card.html" target="_blank">grey card</a>, but the camera's default meter reading is adequate. <br />This is what I call the base exposure. Do not take the first picture yet.<br />
<br />
7. From the base-exposure,
using exposure compensation, dial-back EV -2 stops, under-exposure. <br />(For less-dramatic effects, EV -1.5 stops for the first exposure; EV +1.5 for the last)<br />
<br />8. As rapidly as possible, take 5 photos, adjusting the exposure with each picture.<br /><br />Take the first exposure, <br /><span style="font-family: courier;">(EV -2). (or EV -1.5 for less dramatic results)<br />(EV -1), (EV -0.75)<br />EV +0, <br />EV+1, and (EV +0.75)<br />EV +2. (EV + 1.5)<br /></span>
<br />
The HDR software does not care about the order, but I keep them in this pattern for reference. Keep the camera rock-steady between shots. <br />
<br />
<br />
See these Image-Liner articles for details on the Exposure:<br />
<a href="http://imageliner.blogspot.com/2011/09/nikon-d5100-auto-bracketing.html" target="_blank">Auto-Bracketing vs Exposure Compensation</a><br />
<a href="http://imageliner.blogspot.com/2011/11/using-18-grey-card.html" target="_blank">Using an 18% Grey Card</a><br />
<a href="https://imageliner.blogspot.com/2011/11/nikon-d5100-d7000-white-balance.html" target="_blank">Controlling White Balance</a><br />
<br />
</p>HDR fails if the wind is blowing. Trees and rocks will dance across the finder, leaving "artifacts" in the final, combined image. These will not be recoverable in post-processing. <br /><br />Moving clouds are particularly troublesome because the bright sky is one of the main reasons for using HDR - the contrast between the sky and foreground can be brought into range. But if they are moving, it causes pixellations and color shifts in the finished HDR <br /><br />With software trickery, where you can exclude areas from HDR, you will lose the hoped-for dynamic range.<br />
<br />
Because they twitch and sway ever-so-slightly, people make poor HDR subjects. <br />
<br />
No doubt, shooting JPG at High Quality is convenient, but the images
are compressed and will compress more aggressively at the -2 and +2
ranges (blacks and whites are more compressible). For
example, look at Frame-1, above. Lots and lots of black. When HDR sees
these frames, it will detect more changes than expected and will introduce accidental artifacts into the combined photo. For this reason, shoot RAW. <br />
<br />
<br />
<span style="font-size: large;"><b>Post Processing with HDR</b>:</span><br />
<br />
You will need software to process an HDR photo. I use Corel's Paintshop Pro because the software is relatively inexpensive ($90). The remaining steps in this article reference that tool, but other software works similarly. <br />
<br />
<br />
<b>Organization</b><br />
<br />
Begin by organizing your work. <br />
<br />
Create a folder for the image(s). The extra work is worth the trouble, just for the organization of it. The folder contains each of the 5 exposures, the final ".HDR" file, the final printable version, and smaller versions you might send by email or post online. You will likely have 8 to 10 files for one photo. If multiple series of the same subject, give each series its own folder.<br />
<br />
<br />It is helpful to rename the five exposures, appending the
exposure-compensation in the name. For example, my Nikon named the
first exposure as "DSC-0312.NEF". I renamed it as "DSC-0312-2.NEF",
where "-2" is two stops under-exposed. Shooting in the same order every time makes this easy.<br />
<br />
<span style="font-family: "courier new" , "courier" , monospace;">DSC-0312-2.NEF (-2 stops under-exposed)<br />DSC-0313-1.NEF (-1 stops under-exposed)<br />DSC-0314+0.NEF (EV +0 normal exposure)</span><br />
<span style="font-family: "courier new" , "courier" , monospace;">DSC-0315+1.NEF (+1 stop over-exposed)<br />DSC-0316+2.NEF (+2 stops over-exposed)</span><br />
<br />
If
bracketing at 0.7EV (or other ranges), still use the -2 nomenclature,
knowing the real values are stored in the image's EXIF information. <br /><br />Sometimes when HDRing, I might toss out the +2 frame to bring
down the highlights. Renamed files makes this easy to identify.<br />
<br />
<br />
<b>HDR Steps</b>:<br />
<br />
PSP has two modes - "Manage" and "Edit." start in the "Manage" tab to build an HDR. <br />
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjFps8ReXEqI814d8vOd1TQmxGlplxMIIZtM36jk2x3PXB-FiCSOvy6H6pwifZfFLceDgFwKkQ8TZvAqyj04JwjO8VBeHjlsWpaX1_WlDWbw0Wri5HJhyphenhyphenIKV1R4J1MFSZNsiayQYdTJXyA/s1600/2012_12_Stanley_ManagevsEdit.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="123" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjFps8ReXEqI814d8vOd1TQmxGlplxMIIZtM36jk2x3PXB-FiCSOvy6H6pwifZfFLceDgFwKkQ8TZvAqyj04JwjO8VBeHjlsWpaX1_WlDWbw0Wri5HJhyphenhyphenIKV1R4J1MFSZNsiayQYdTJXyA/s400/2012_12_Stanley_ManagevsEdit.jpg" width="400" /></a></div>
<br />
<br />
1. From the Manage tab, click the left-navigation's "Collections/Computer" tabs, changing to "Computer."<br />
<br />
2. Browse to the folder created for the HDR<br />
<br />
3. On the bottom row, PSP displays thumbnails of the images; this is called the "Organizer." Note exposures (1 through 5). Hover the mouse to see the exposure compensation and the entire filename.<br />
<br />
4. Highlight each of the original exposures by clicking the first then shift-click the last (exposures 1 through 5, including +0). The order does not matter, but it is probably sorted by RAW name, under-exposures to over-exposures.<br />
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi2_MrjySd2BFJ6CmSWOf1nxP5QWbUjQSAJ4nEwi6ivPHEOSgVvWaJ0BJdwOleX-msDN8KKrNWfLwAT5oSfr5MgkfScaZ7Mv1IYXeqU8hBRoQ8C4LEfJx9uRct1fhgJ5wqN1WSqvCTXyxE/s1600/2012_12_Stanley_Manager.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="181" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi2_MrjySd2BFJ6CmSWOf1nxP5QWbUjQSAJ4nEwi6ivPHEOSgVvWaJ0BJdwOleX-msDN8KKrNWfLwAT5oSfr5MgkfScaZ7Mv1IYXeqU8hBRoQ8C4LEfJx9uRct1fhgJ5wqN1WSqvCTXyxE/s400/2012_12_Stanley_Manager.jpg" width="400" /></a></div>
<br />
5. Choose the "HDR" Menu.<br />
<br />
'Other-mouse-click' any of the images, and choose menu "HDR, Exposure Merge" from the context menu.<br />
<br />
<i>If the "HDR" option is greyed or unavailable, you have a previous HDR window open in the background. Minimize PSP and dismiss other open PSP windows.</i><br />
<br />
6. The Left-Navigation shows the initial HDR options, illustrated below, <br />
<br />
a. Choose your camera RAW model/brand - e.g. Nikon, Pentax, etc.<br />
b. Choose Feature-based or Edge Alignment (see below)<br />
c. Always choose [x] Auto-crop and <br />
d. Click the "Align" button<br />
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj6NW1YHI6B2gJ32rzjGKUOvGkHiNZ89roPsQLl8mgO1sKfOCfcsXRh3upHYAweiSa23U4fbR2AfaD5wqpEeNIIG_c8dNxNfgxfW0HhKV8nYAlSeZt_Gk3Fk8RaitKAAZZ3o8bXsKAHPTQ/s1600/2012_12_Stanley_Alignment.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="553" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj6NW1YHI6B2gJ32rzjGKUOvGkHiNZ89roPsQLl8mgO1sKfOCfcsXRh3upHYAweiSa23U4fbR2AfaD5wqpEeNIIG_c8dNxNfgxfW0HhKV8nYAlSeZt_Gk3Fk8RaitKAAZZ3o8bXsKAHPTQ/s640/2012_12_Stanley_Alignment.jpg" width="640" /></a></div><p>
<br />
* If the resulting image is fuzzy, indistinct, out-of focus, return to this step and <br />
change the Alignment method from 'Feature'-based to 'Edge-detection'. <br />
<br />
* I generally ignore the custom editing (auto-brush, brush-in, etc.) on the bottom half.<br />
<br />
At the bottom of the navigation panel is a next button.<br />
</p><p><br />
7. On the next screen, PSP offers six default adjustments.<br />
Generally, the 'Presets' should be ignored because they are usually too strange.... <br />
<br />
</p><div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgjKxM0EJN5Rr6yVYslvXt0y1k0crsYKKNjTt74edqu-doRcnQcBNzOI-EVkmB6RWSHRrIn40jrYX1w0m5DO91ysIR0hODrSgxm8i4sYSN3IDNZoVizgHwvSGy4nlbFeKaB8aySXIz0d6M/s1600/2012_12_Stanley_HDRAjustments1.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgjKxM0EJN5Rr6yVYslvXt0y1k0crsYKKNjTt74edqu-doRcnQcBNzOI-EVkmB6RWSHRrIn40jrYX1w0m5DO91ysIR0hODrSgxm8i4sYSN3IDNZoVizgHwvSGy4nlbFeKaB8aySXIz0d6M/s640/2012_12_Stanley_HDRAjustments1.jpg" width="412" /></a></div>
<br />
<br />
8. ...Instead, scroll to the bottom of the dialog and make changes manually, but if one of the presets is interesting, you could start with it as a base. Often, the horizontal adjustments for Tint and Vibrancy should be adjusted closer to the center than PSP's suggestions.<br />
<i></i><br />
<i></i><br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi3r7G-VZMW8mVPDjthsNSM-22s13o_NSfER65PdUiq2L1LYrgulgXIWzW5eoyv4PIMHDheLO0otFxPpLNeF7NNxQMsJWCUQGQa8Uo1KhuO1zl8qPNse2FZRZ1LX4fWxnsRfxJqe2wZdYU/s1600/2012_12_Stanley_Sliders.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi3r7G-VZMW8mVPDjthsNSM-22s13o_NSfER65PdUiq2L1LYrgulgXIWzW5eoyv4PIMHDheLO0otFxPpLNeF7NNxQMsJWCUQGQa8Uo1KhuO1zl8qPNse2FZRZ1LX4fWxnsRfxJqe2wZdYU/s640/2012_12_Stanley_Sliders.jpg" width="392" /></a></div><p>
<i><br /></i>
<i>Adjust until the photo appears as desired.</i><br />
<br />
<br />
9. Optional: Create an HDR File.<br />
<br />
At the bottom of the left-nav is an optional button, "Create an HDR". This builds a special ".hdr" file that holds all of the exposures and the current slider-settings. Expect the resulting file to be near 100mb if shooting RAW. Use this to re-build or revisit the original HDR settings. I don't consider the file a necessity because the original exposures are still available and can be re-created. The file is convenient if you intend other editing changes or want to play with different styles.<br />
<br />
<br />
10. Click "Process" on the bottom of the Adjustment navigation panel. <br />
<br />
PSP opens another left-nav, allowing for basic photo-editing, such as "Smart Photo Fix". Choose these options as you would for any normal photograph. Consider starting with the Smart Photo fix.<br />
<br />
11. Clicking "Finish" opens the merged HDR into a standard Editing window.<br />
<br />
<br />
<b>Troublesome Touch Ups</b><br />
<br />
All
photos have troublesome areas and it strikes me as humorous when my
mind's eye sees the picture one way but when pulled up on a screen, the
camera captured something different. </p><p>
Once the HDR has merged and you are presented with a single image, begin your normal darkroom work. <br />
<br />
</p><div style="text-align: right;">
<i>Do all editing in the final, completed HDR image - not in the original exposures.</i></div>
<br />
I noted these obvious problems with my photograph: <br />
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgrwFPXBI-d-ddY8klyZdKyMAQmm6BCfxeuYuXg4bUTVlbIW_sUt3AapjfeKPc2MgOXYMiTDPeQn8Gs34Cff-7HsScXSMI776LXp52xRd8M4WECmYwwHckJRAs_nlw-IJsL2rXjGwEaaL4/s1600/2012_12_Stanley_Concerns.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="360" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgrwFPXBI-d-ddY8klyZdKyMAQmm6BCfxeuYuXg4bUTVlbIW_sUt3AapjfeKPc2MgOXYMiTDPeQn8Gs34Cff-7HsScXSMI776LXp52xRd8M4WECmYwwHckJRAs_nlw-IJsL2rXjGwEaaL4/s400/2012_12_Stanley_Concerns.jpg" width="400" /></a></div>
<br />
As usual, I am incapable of leveling a tripod and all the trees lean left.
Tilting the frame a few degrees, using the horizon-leveling tool, stood
them vertical.<br />
<br />
The green stands of trees in the background were not obvious when I took the original pictures. I was pleased when I saw them in the darkroom because they gave hope to an otherwise bleak landscape. These were more emphasized than reality, but I was not after a literal rendition. <br />
<br />
Several of the tree's burned bark flaked off, exposing a bright orange
bark underneath, much like leopard spots. They were distracting, even
in the original photographs. They were calmed in post-processing with some old-fashioned darkroom "burning."<br />
<br />
A featureless, flat sky is the bane of all overcast photographs but I recovered with some blatant darkroom trickery -- adding blue that was never there. A dark-blue sky was added to the top-third of the picture, using PSP's graduated filter. This was subtle and I am unapologetic.<br />
<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgEos3KXjNt8NCjBk12kLTuDQH4pnWSM94BX80jxoyCPtXtFjXcVglLRgwAn8lQGDY_ChQwjNSbf9AUHMIKPXJce6BejsHrn5VymRjXuqd3IimrDAu_oJ7SpalHpaxyX826dHnDEsRxDm0/s1600/2012_12_Stanley_GraduatedFilter.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" height="355" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgEos3KXjNt8NCjBk12kLTuDQH4pnWSM94BX80jxoyCPtXtFjXcVglLRgwAn8lQGDY_ChQwjNSbf9AUHMIKPXJce6BejsHrn5VymRjXuqd3IimrDAu_oJ7SpalHpaxyX826dHnDEsRxDm0/s400/2012_12_Stanley_GraduatedFilter.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Click for larger view</td></tr>
</tbody></table><p>
<br />
What ever you do, do not fix these problems in the original exposures. You would have to make the
exact change, in the exact same spots in all 5 exposures, which is
impractical and impossible. Make changes after the HDR has
merged. <br />
<br />
<br />
<b>Final Save - Use Great Caution</b><br />
<br />
With the final, edited image, save the file in your native editor's format (in Paint Shop Pro, they are a '.pspImage" extension). Name this file "something_<b>Final</b>.pspimage". Photoshop users should save as a .PSD / .PSB image.<br />
<br />
<span style="color: #cc0000;">When saving this image, turn off compression. </span><br />
<br />
For example, PSP compresses its own native file-formats. <br />In the Save-As menu, click "Options" and turn compression <u>off</u>. <br /><br />For printing, you want a full-fidelity image and if saved compressed, details will be lost, which can never be recovered. For proof, see this article: <a href="http://www.keyliner.blogspot.com/2012/12/multiple-jpg-edits-degrades-quality.html" target="_blank">JPG Compression</a>. Naturally, an uncompressed image makes for a sizable file -- expect near 100MB per HDR-image. <br />
<br />To share the file, Save-As, and
create smaller versions suitable for websites and email. Name these versions "something_Final_Small800x600.png". Use PNG instead of JPG for better compression. When doing this, take great care in not accidentally overwriting the master files with a "Save". <br />
<br />
<br />
<b><u>HDR File Save Recommendations</u></b><br />
</p><ul>
<li>Save-As in the editor's native format - e.g., .pspimage, .psd/photoshop</li>
<li>Name the file "something_Final.pspimage"</li>
<li>In the Save-As options, turn off all compression</li>
<li>Save-As a second time and create a "something_Final_Small.png" image for mailing.</li>
<li>Make no editing changes to any of the original RAW photos</li>
</ul>
This completes this article on HDR. Your comments welcomed.<br />
<br />
2017.11 Update: A talented photographer-friend of mine thought the
colors were too exaggerated (I agree) and he didn't care for the branch
sticking up in the center fallen log. I agreed on that too. Here is
the most recent edit: <br />
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiITP9TD4GXtR-czLQAQZ9UOYjWDZbJ_O62wZxr6bWf0q6mkNO-LDAWmI9X5dm6HSJRtNKpawVu3aAX7_Pv4qF4A6gdDwl1-7zYxg6wjCUYSQoPp1vZAZ6QRCj4h7vqi18emZSBqMF7Dnk/s1600/StanleyForest_JimSmall.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="896" data-original-width="600" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiITP9TD4GXtR-czLQAQZ9UOYjWDZbJ_O62wZxr6bWf0q6mkNO-LDAWmI9X5dm6HSJRtNKpawVu3aAX7_Pv4qF4A6gdDwl1-7zYxg6wjCUYSQoPp1vZAZ6QRCj4h7vqi18emZSBqMF7Dnk/s400/StanleyForest_JimSmall.png" width="267" /></a></div>
<br />
Related articles:<br />
<a href="https://imageliner.blogspot.com/2011/11/nikon-d5100-d7000-white-balance.html">White Balancing</a><br />
<a href="http://imageliner.blogspot.com/2011/11/using-18-grey-card.html">Using an 18% Grey Card</a> <br />
<br />
<a href="http://imageliner.blogspot.com/2013/03/newport-bay-bridge.html" target="_blank">NewPort Bya (Yaquina Bay Bridge)</a><br />
<a href="http://imageliner.blogspot.com/2012/03/first-hdr-highway-21.html">Highway 21 HDR</a> <br />
<br />
<a href="http://www.keyliner.blogspot.com/2012/12/multiple-jpg-edits-degrades-quality.html" target="_blank">JPG Compression</a> <br />
<br />
Related Imageliner links:<br />
<a href="http://imageliner.blogspot.com/2016/05/jump-creek-idaho.html">Jump Creek</a>, Idaho<br />
<a href="http://imageliner.blogspot.com/2015/03/pillars-of-rome-oregon.html">The Pillars of Rome</a>, Oregon<br />
<a href="http://imageliner.blogspot.com/2015/08/frank-church-wilderness.html">Frank Church Wilderness</a>, Idaho<br />
<a href="http://imageliner.blogspot.com/2013/09/grandview-idaho.html">Grandview</a>, Idaho<br />
<a href="http://imageliner.blogspot.com/2017/11/snake-river-canyon-at-swan-falls-idaho.html">SwanFalls, Idaho</a><br />
<br />
<br />traywolfhttp://www.blogger.com/profile/06205565591880314520noreply@blogger.com0tag:blogger.com,1999:blog-8552962725094200631.post-91843404504350885472012-08-05T21:24:00.002-06:002017-11-21T21:32:25.439-07:00Nikon D5100 Firmware Upgrade<span style="font-size: x-small;"><i style="color: #666666;">Nikon D5100 Firmware Upgrade 1.01</i></span><br />
<br />
Occasionally, once or twice a year, you should check Nikon's site to see if your camera has a firmware update.<br />
<br />
My camera shipped with firmware version 1.00 and has now been upgraded to<br />
D5100 firmware: A: 1.0.1 / B:1.01 released 2011.11.10<br />
(There are A and B and L firmware versions. This upgrade updates the A and B.)<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjLDxqb9a1pPDjTaFejT_w_Gn_q-cfmOnYincx-1zO1L5fzgUlrqm5iCsmSX0HHMyBmOj4zXixV8JxYUb1HqykXVhiURri33us838evbCbEVa4BKhMrcfF_aoNiMA2Cam_R9SEFcc_U_vE/s1600/2012_08_NikonFirmware_Banner.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="109" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjLDxqb9a1pPDjTaFejT_w_Gn_q-cfmOnYincx-1zO1L5fzgUlrqm5iCsmSX0HHMyBmOj4zXixV8JxYUb1HqykXVhiURri33us838evbCbEVa4BKhMrcfF_aoNiMA2Cam_R9SEFcc_U_vE/s320/2012_08_NikonFirmware_Banner.jpg" width="320" /></a></div>
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<br />
From Nikon's site: These issues were resolved:<br />
<ul>
<li>An error where the card may not have been recognized when some memory cards were used has been addressed.</li>
<li>When <span style="font-weight: bold;">Selective color</span> from the retouch menu is performed on a picture taken with the image quality set to <span style="font-weight: bold;">NEF (RAW)+JPEG</span> and an image size of <span style="font-weight: bold;">M</span> or <span style="font-weight: bold;">S</span>, the edges of the image may not have changed color. This issue has been resolved.</li>
<li>When <span style="font-weight: bold;">Metering</span> was set to <span style="font-weight: bold;">Matrix metering</span>, the exposure mode set to <span style="font-weight: bold;">M (Manual)<span style="font-weight: normal;">,</span></span> and the HDR exposure differential set to Auto, the exposure differential was fixed at a value equivalent to <span style="font-weight: bold;">2 EV</span>. This has been changed to enable automatic adjustment of exposure differential so that it is appropriate for the scene</li>
</ul>
<br />
There may be other changes to insignificant to document and it is always advisable to apply the latest. <br />
<br />
Applying a firmware update to the camera is easy. Roughly, download the firmware to a computer, expand the compressed zip file and copy the resulting ".bin" to the <u>root</u> of an SD Memory card. Insert the card into the camera and open the camera's Firmware Version menu. Follow Nikon's instructions and power-cautions carefully. Full details can be found at this link.<br />
<br />
Vendor Link: <a href="http://support.nikonusa.com/app/answers/detail/a_id/17547/session/L2F2LzEvdGltZS8xMzQ0MjIwOTEwL3NpZC9CU0FZTFoybA%3D%3D" target="_blank">D5100 Firmware Link and Instructions</a><br />
<br />
All Nikon Firmware versions can be at this <a href="http://support.nikonusa.com/app/answers/detail/a_id/13783" target="_blank">Nikon Current Firmware Downloads</a>.<br />
<br />
<b>Other Articles of Interest:</b> <br />
<a href="http://imageliner.blogspot.com/2012/12/technique-for-stanley-forest-burn.html" target="_blank">HDR Techniques for Stanley Forest Burn</a><br />
<a href="http://imageliner.blogspot.com/2013/03/newport-bay-bridge.html" target="_blank">NewPort Bay (Yaquina Bay Bridge)</a><br />
<a href="http://imageliner.blogspot.com/2012/03/first-hdr-highway-21.html">Highway 21 HDR</a> <br />
<br />
<a href="http://imageliner.blogspot.com/2011/11/using-18-grey-card.html">Using an 18% Grey Card</a>traywolfhttp://www.blogger.com/profile/06205565591880314520noreply@blogger.com0tag:blogger.com,1999:blog-8552962725094200631.post-8017728413764934772012-03-04T22:42:00.001-07:002021-09-06T19:32:25.357-06:00First HDR - Highway 21I photographed this bridge near Boise, Idaho today. The highway curves down from Federal Way, to the East, on the way to Lucky Peak Reservoir. This was a cloudless, late winter day, facing into the just setting sun.<br />
<br />
This is my first HDR shot, with a variety of other manipulations, briefly discussed below.<br />
<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhBR9tE4OOJuHLIs4lvBuwtmj0aV5RbJntbVBSbyBm-b5EqYe1BiJo8ATShKQHlQOXQmpfzAHM6rb6OCjiCz-0ph8v-WdbZZ2w4RfDgbUnnR5mD29eJNiuDofS8VKanFijague0RzYJqHg/s1600/Highway21_HDR.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhBR9tE4OOJuHLIs4lvBuwtmj0aV5RbJntbVBSbyBm-b5EqYe1BiJo8ATShKQHlQOXQmpfzAHM6rb6OCjiCz-0ph8v-WdbZZ2w4RfDgbUnnR5mD29eJNiuDofS8VKanFijague0RzYJqHg/s400/Highway21_HDR.jpg" width="272" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Highway 21, Idaho. Click for larger image.</td></tr>
</tbody></table>
<br />
Here are two of the four shots that formed the basis for the HDR. This is the under-exposed and over-exposed versions (middle-exposure not illustrated). The spread was 1-1/3 stops between each for a total of 2-2/3rds stop between the high and the low. <br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj4akYDuCl6baXYW7On85rVABEVTkFS1Y5dqGY9ks1q2SGwEpm-5mn9SaqKlXEceHkKcg-tzffSg2jtv3qYxsTVFSvrOhgFAipT0RL5re-YkOagEHV1weYKzGxFwwFr-NAzlJiyyP75FpM/s1600/TwoExposures.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="241" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj4akYDuCl6baXYW7On85rVABEVTkFS1Y5dqGY9ks1q2SGwEpm-5mn9SaqKlXEceHkKcg-tzffSg2jtv3qYxsTVFSvrOhgFAipT0RL5re-YkOagEHV1weYKzGxFwwFr-NAzlJiyyP75FpM/s320/TwoExposures.jpg" width="320" /></a></div>
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<br />
A grey-card was used to set the middle exposure and this was a mistake, given the sunset (see this article: <a href="http://imageliner.blogspot.com/2011/11/using-18-grey-card.html" target="_blank">Using a Grey Card</a>). The grey-card perfectly exposed the bridge, but with sunsets, you should underexpose more than normal to bring out the colors. Even with the bracket, the low-exposure was not low enough and the sky still washed out. The scene also lacks contrast. However, if you look at the high-exposure, there were few shadows to be found and I'm not sure I could do better.<br />
<br />
I did not use the camera's built-in HDR, wanting more control over the merge process and, in the end, four separate shots were used, as opposed to the normal three. With PaintShop Pro X4, I blended three shots for the HDR, choosing one of the options called "LocalTone" -- this gave the image a slightly-contrasty black-and-white feel, which you can see in the bottom half of the image. Next, I made a separate HDR, choosing more normal colors and using a bunch of trickery, overlayed the bridge and sky over the first HDR. This became the final image. The image took several hours to edit, with attention to details that probably weren't necessary.<br />
<br />
This scene deserves to be photographed again, for a lot of reasons. To begin, even with the sunset, the sky was uneventful and in the winter, everything was grey. The other issue was we arrived about 10-seconds before sunset, giving my friend and I only a few minutes to work. It was dark before we could explore other compositions.<br />
<br />
The other problem was operational. I am still used to film cameras. Did I bother previewing images on the LCD to check the exposure? Nope. And for a few moments I had to fiddle with the new Nikon camera's exposure compensation controls. Mixing bracketing and exposure compensation got confusing. Lessons learned. On the plus side, I had the White Balance set to daylight, purely by accident, because I forgot to check. Fortunately, this was exactly what it should have been. <br />
<br />
Later this spring, when the grass is green and the trees have leaves, I hope to mount a second expedition to the same location, and we'll approach the bridge from a few different angles.<br />
<br />
<br />
Related articles:<br />
<a href="http://imageliner.blogspot.com/2012/12/technique-for-stanley-forest-burn.html" target="_blank">HDR Techniques for Stanley Forest Burn</a><br />
<a href="http://imageliner.blogspot.com/2013/03/newport-bay-bridge.html" target="_blank">NewPort Baya (Yaquina Bay Bridge)</a><br />
<br />
<br />
<a href="https://imageliner.blogspot.com/2011/11/nikon-d5100-d7000-white-balance.html">White Balancing</a><br />
<a href="http://imageliner.blogspot.com/2011/11/using-18-grey-card.html">Using an 18% Grey Card</a> <br />
<br />
<br />
<br />traywolfhttp://www.blogger.com/profile/06205565591880314520noreply@blogger.com0tag:blogger.com,1999:blog-8552962725094200631.post-85808588797726441012012-01-02T00:36:00.004-07:002012-04-25T19:17:52.096-06:00Vanguard Tracker 4 Tripod ReviewReview - Vanguard Tracker 4 Tripod<br />
<a href="http://www.vanguardworld.com/index.php/en/pv/products/photo-video/detail-1-4-14-81.html" target="_blank">www.vanguardworld.com</a><br />
<br />
<b>Summary:</b><br />
<br />
A solid, industrial-quality tripod at a good price ($140 mail order to 180 retail, US). <br />
Well designed, with only a few minor, and correctable flaws. <br />
<ul>
<li>Independent, sturdy legs with 80-degree pivot </li>
<li>Easy-to-use quick release on the legs</li>
<li>Foam grips on the legs; comfortable carry strap</li>
<li>3-axis, panning head - a joy to use </li>
<li>Removable quick shoe</li>
<li>No cheap-feeling parts </li>
</ul>
<br />
All components are industrial strength, with nothing cheap or flimsy;
even the carrying strap is over-built. The design is well
thought-out, with attention to details, and it has been a pleasure to
use. When my friends hold this tripod, they laugh at the stoutness but deep in
their hearts, they know they own pieces of junk. It competes well against Bogen, Manfrotto, and Sylk brands.<br />
<br />
The tripod has a little brother, the Vanguard Tracker 3 which weighs a pound less and has slightly thinner legs but comes with the same head. Differences are so minor, I recommend spending the extra $10 and buying this model, just for the heavier-duty legs. Both tripods are heavy enough where nothing is gained by the smaller version. <br />
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<br />
This is a heavy-duty tripod, designed to hold equipment up to 20lbs. None of my cameras need this capacity, but the extra mass is exactly what you are looking for because it adds stability on windy days and dampens vibrations. And a beefy tripod is simply more able to withstand abuse over its lifetime. There are lighter-weight (carbon-fiber) tripods, at twice the cost, but lighter-weight is not something you always want. <br />
<br />
Weight: 3.4kg (7.5lbs)<br />
<br />
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhPGlftDl-V41QJ0a3eYS3IzG81vh6dCjLRaV0t39TLiKxDefKX-VSQ6USWiw4p4dQ6M6kHXhE-1eGlStid7n6B1tQVxMyEopal_P9M3Pvtr1tS7GtJ-Q_kCXWJvqB-X5bqPNkeyTarO1A/s1600/Vanguard_FeatureIllustration.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhPGlftDl-V41QJ0a3eYS3IzG81vh6dCjLRaV0t39TLiKxDefKX-VSQ6USWiw4p4dQ6M6kHXhE-1eGlStid7n6B1tQVxMyEopal_P9M3Pvtr1tS7GtJ-Q_kCXWJvqB-X5bqPNkeyTarO1A/s640/Vanguard_FeatureIllustration.jpg" width="640" /></a><br />
<br />
<b>PH-55 Head, Standard</b><br />
<br />
Starting with the head, it is silky-smooth and easy to adjust.<br />
<ul>
<li>3-axis, 3-handle Pan Head</li>
<li>Smooth movement in all directions, using a friction-resistance that feels like a fluid-head</li>
<li>Degree markings on the X and Y Axis</li>
<li>Solid cast-metal parts</li>
<li>Removable cast-metal Quick Shoe</li>
<li>2 Quick Shoes supplied; one for 35mm (1/4") threads and a second for large-format cameras</li>
<li>Quick Shoe needs a coin or blade to tighten (see below)</li>
<li>Does not include bubble level (not a complaint; just observation; bubbles are useless)</li>
<li>The head does not fold-up into a small small, non-protuding package; something will always be "sticking out" unless you remove the handles. </li>
</ul>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhE_SQpjyyuDppCy-05D9JcJWE2CRjoy8pFjM7K8hdfRxg_p67f7ytK-UpXiVlOsPBEjruP8Zue8YCoMF8met5uvg8rjxtPHdlskueAq6d1ciLsobcE0mYExbqIVmf_cV2UEB3QPlmQTq8/s1600/HeadIllustrated.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="341" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhE_SQpjyyuDppCy-05D9JcJWE2CRjoy8pFjM7K8hdfRxg_p67f7ytK-UpXiVlOsPBEjruP8Zue8YCoMF8met5uvg8rjxtPHdlskueAq6d1ciLsobcE0mYExbqIVmf_cV2UEB3QPlmQTq8/s400/HeadIllustrated.jpg" width="400" /></a></div>
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<br />
Horizontal movement on X axis (illustrated Green): 360 degrees.<br />
Nose-down movement on Y axis (Blue): -90 degrees, straight down.<br />
Nose-up movement on Y axis (Blue): +30.<br />
Portrait/Landscape on Z axis (Red): +30 degrees left, -90 degrees portrait.<br />
<br />
The +30-degree Z axis tilt (illustrated red) is nice -- if the tripod is on uneven ground, you can probably get the camera level without having to mess with the leg lengths. But because the Z and Y axis are so fluid, there is no obvious place to tell where "level" is; you get to eyeball and adjust manually each time you set up the tripod.<br />
<br />
<b>Quick Shoe:</b><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgh7z4wHlJR6JijlzNedemlFng74e5tXQrqmx0c-16c16wgjtENsjKqYBDOPlOIowmoPGT67iQReBVQDZcoVAPM20SRmuxj5EQ7w8YojLln5pyRfVd_PqZiVYUSeJI84SWeJSptx8mAS6Y/s1600/AttachingShoe.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgh7z4wHlJR6JijlzNedemlFng74e5tXQrqmx0c-16c16wgjtENsjKqYBDOPlOIowmoPGT67iQReBVQDZcoVAPM20SRmuxj5EQ7w8YojLln5pyRfVd_PqZiVYUSeJI84SWeJSptx8mAS6Y/s1600/AttachingShoe.jpg" /></a></div>
The Quick Shoe is a small metal plate with a slotted screw that attaches to the camera body. The plate and camera body then slide into the tripod as one unit and is secured with a small knob on the head.<br />
<br />
This is a good design. I typically leave the quick shoe attached to the camera, even when not using the tripod. <br />
<br />
But the Quick Shoe has several minor design problems. First, the screw cannot be tightened by hand and you will need a blade or a coin. Notably, Vanguard does not provide a tool for this common task. <br />
<br />
I've found a small coin is the best tool to tighten the camera mount. As illustrated below, I fashioned one on a key-chain by drilling a small hole in a 5-cent coin and then hooked it to the tripod's carry-strap so it is always handy. <br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgfl_J81JYTMAJ8rXT1kS8qvHETMkjpwXb_6YCaux9UJoGIJmoszE9yvkYZt9uVpV5yy313nVQ9C4mwBD3qqgfPAp9nz8G5ZgZZRfjL1hZoYwEoSjFPERRTdT5jHo3o033hV8LvJdSHsKM/s1600/HomeMadeKeySlot.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="235" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgfl_J81JYTMAJ8rXT1kS8qvHETMkjpwXb_6YCaux9UJoGIJmoszE9yvkYZt9uVpV5yy313nVQ9C4mwBD3qqgfPAp9nz8G5ZgZZRfjL1hZoYwEoSjFPERRTdT5jHo3o033hV8LvJdSHsKM/s400/HomeMadeKeySlot.jpg" width="400" /></a></div>
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Knowing I was breaking federal law, I laughed maniacally as I drilled the hole in the coin. The idea works well and it would be fun if something like
this were included with every tripod. It would cost about a dime to make
one of these.<br />
<br />
The screw also had another fixable annoyance. At one end of the shoe's slot are machined threads and the screw often gets wedged in this area as is slides up and down the slot. I fixed this by gluing a small plastic tab (actually, it was a door-cabinet rubber pad which you can buy at any home-repair store), illustrated above. This fixed the problem.<br />
<br />
The Quick Shoe does not have a spring-loaded centering pin, which helps align the shoe with a small indent on the bottom of most cameras. This would be a 'nice-to-have' feature but it would interfere with the shoe's slot (which helps adjust the camera's center of gravity) and it is understood why this feature is missing.<br />
<br />
<b>Legs:</b><br />
<br />
I really like the legs and how they extend. The foam leg grips are nice to hold and if you sling this over your shoulders, it gives a little padding. The legs are substantial -- nothing wimpy about them. They are round aluminum with internal groves that prevent twisting. Legs join at the yoke with solid, cast-metal parts. With the legs extended, the camera's viewfinder will be at a comfortable standing height for a six-foot person. <br />
<br />
Body height (legs extended, including head, no center extension): 1.6m (64.5" ~5').
<br />
Fully extended (with center): 1.9m (74" 6'3").<br />
Collapsed length (including head): 80cm (31 1/4").<br />
<br />
Tube diameters:<br />
Outer section: 32mm (1 1/4") - "beefy"<br />
Mid section: 28mm (1 1/8")<br />
Lower section: 24mm (15/16")<br />
<br />
Legs individually pivot outwards at ratcheted positions 25-degrees, 50, and 80-degrees, illustrated above. If fully splayed, the center post must be removed. See below for more details.<br />
<br />
The over-sized Quick Release levers are plastic and are easy to use, even with gloves. The tightness of the grips is adjustable. However, this is the one area where I would like a more robust part. Although the levers seem reasonably solid, I could imagine thicker materials. If a lever breaks, spares can be ordered. With this said, I've had no problems.<br />
<br />
<br />
<b>Center Post:</b><br />
<br />
The center-post is a hexagonal-shaped tube that does not rotate in the yoke. The post manually rises and is tightened with a simple and large wing-nut. The wing-nut passes through a solid metal threading and engages a (distortion pad) built into the yoke.<br />
<br />
When loose, the post is sloppy in the yoke, but when tightened, it provides a firm grip. The mechanism is simple and the wing-nut/threads cannot scratch or mar the center post, no matter how tight. With the leg-heights, you will seldom need to use the center post.<br />
<br />
The bottom of the tube has a removable stop, that also acts as a secondary head. Remove the center post and invert the alternate head when you need a landscape-only, low profile stand, illustrated below. This takes only moments to setup.<br />
<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhcSwa8QQ8jI1Fy1K9SH00gwVTkBrTEYThEiDd_8ZBDHkluaybrFEEHNUwolGf7SlzX4zRODN1qsi959zQFgDZd5ExWatv5d6QKqVUtqUoPBaEdiv1tFAjoi9QC_M1_ZZ9xA7tfSp5iLsc/s1600/InvertedCenterPost.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="208" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhcSwa8QQ8jI1Fy1K9SH00gwVTkBrTEYThEiDd_8ZBDHkluaybrFEEHNUwolGf7SlzX4zRODN1qsi959zQFgDZd5ExWatv5d6QKqVUtqUoPBaEdiv1tFAjoi9QC_M1_ZZ9xA7tfSp5iLsc/s640/InvertedCenterPost.jpg" width="640" /></a></div>
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<br />
<br />
<br />
<br />
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<br />
<br />
<br />
A more useful close-to-the-ground setup involves removing the Pan Head from the center post and mounting it on the alternate mount.<br />
<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhsxt0QiHmCRpJ3LYZut4DiFsWz0zfS9aeDxaADy-OaBU4NLFuMRxxTMqQMgtxoSxHKy8UqJZuGT3d2ms5vc5Q0cKCdeJe1WZSsRXmp8QteVmEhjHUX_9wrltpRbABH_dpcV-yVTXivnf0/s1600/PanheadAuxillaryMount.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="177" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhsxt0QiHmCRpJ3LYZut4DiFsWz0zfS9aeDxaADy-OaBU4NLFuMRxxTMqQMgtxoSxHKy8UqJZuGT3d2ms5vc5Q0cKCdeJe1WZSsRXmp8QteVmEhjHUX_9wrltpRbABH_dpcV-yVTXivnf0/s320/PanheadAuxillaryMount.jpg" width="320" /></a></div>
Using this setup takes several minutes because the pan-head has to be removed from the post. It took a few minutes to figure out how to do this. Begin by locking the x-axis, then remove three set-screws from the bottom of the head. Twist the locked head to unscrew from the post, then screw it directly on the alternate head. The new assembly raises the height of the camera another 5 inches higher than
alternate head, but you get full control of the 3-axis head, including
Portrait.<br />
<br />
Practically speaking, mounting the pan-head directly to the stand is a minor project. As an alternative, the center post can be inverted in 10-seconds, hanging the camera up-side-down, which is much easier to do. Using the pan-head, the camera can be rotated to any position -- but you would have to dance-around the legs.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhDwLPYtubqt3dSP7dZimFHzXJ17pCHncsEDvJBaQJxU28JvKOxoxilv142kyHlR6XlNeFHZDhagMoO7JMqt7Bn48T-2zD08QD3RWS7LFHFHOoQvWJXLbsqDwfm_p68CucYjLql_2emxGY/s1600/InvertedPanHead.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="184" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhDwLPYtubqt3dSP7dZimFHzXJ17pCHncsEDvJBaQJxU28JvKOxoxilv142kyHlR6XlNeFHZDhagMoO7JMqt7Bn48T-2zD08QD3RWS7LFHFHOoQvWJXLbsqDwfm_p68CucYjLql_2emxGY/s200/InvertedPanHead.jpg" width="200" /></a></div>
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<b>Cosmetic Changes: </b><br />
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I did one other thing to help make the tripod easier to use. I painted red on the second handle to color-code its function
and it serves as a visual clue because all three handles are similar (you could also use red electrical tape). This should be a standard feature on all 3-axis heads.<br />
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<br />
<b>Other Comments:</b><br />
<br />
This is a substantial tripod, weighing 7.5 pounds, and you won't be taking it backpacking, but that is not its purpose. The weight is exactly what you are looking for when buying a full-featured tripod and you will appreciate the carrying strap. The strap is comfortable and it also doubles as a binding strap to keep the legs tied. Travel cases can be purchased separately, but are not robust enough for air-travel.<br />
<br />
The tripod has a smaller brother, the "Tracker 3," which weighs a pound less,
has thinner legs and a shorter center post, selling for $10 less. For such a little difference, I recommend the larger model. Besides, if you are looking to save weight, neither of these models will meet your needs.<br />
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<span style="font-size: large;"><b>Things to Avoid when Buying any Tripod</b></span><br />
<br />
Speaking of light-weight, many years experience and three discarded tripods later, have taught me a few things to avoid. The Tracker 3 and 4 have none of these problems. <br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgQpUAj6P-YXpxKHib8X_bI9n0mQ2b43mpR8o7t9YefEbQo7fwSBBTJuevTxrQk9yTmF_iWo0FYYUuAyZfvUPVXjSqeAaS23urfwo-GhmxWDGF_WIOxGP30JwC9lhfxKYkOmHlYiKOgsqY/s1600/ThingsToAvoid.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="384" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgQpUAj6P-YXpxKHib8X_bI9n0mQ2b43mpR8o7t9YefEbQo7fwSBBTJuevTxrQk9yTmF_iWo0FYYUuAyZfvUPVXjSqeAaS23urfwo-GhmxWDGF_WIOxGP30JwC9lhfxKYkOmHlYiKOgsqY/s640/ThingsToAvoid.jpg" width="640" /></a></div>
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I have particular disdain for hand cranks and cross-leg supports. Hand cranks are never really used because once you loosen the wing-nut, you might as well raise and lower the center post by hand and the hand-crank just gets in the way.<br />
<br />
In theory, Cross-leg supports seem like a great idea -- all three legs open at the same time -- but the mechanisms are fragile, with thin plastic parts and ironically, they usually make opening the legs more difficult. I have argued with many-a-tripod, trying to get all three legs to spread. There is a reason high-end tripods never have this feature. Three separate legs may take a bit more time to open, but are simpler to use. Besides, if you are using a tripod, you can't be in that big of a rush.<br />
<br />
Other tripods have twist-lock leg extensions instead of levers. These are a pain; levers are easier to use. Some claim twist-locks help keep out dirt. Nonsense. If anything, it helps them hold water when standing in a river and it will dribble in the car on the way home.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEglVKLTzMl0vJFzBMBUDm3JTMqgtDbLzhyphenhyphenjWNQorWzgi84xpHVqbglZUxr_4-D-3R8ItnmQS2gYNi2J8oDOv1qvh0CPy7wrMvwHqSB8AbLYXb72L9fR6hhyXQRwgU9klhpS104L73saT0Y/s1600/TwistLocks.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEglVKLTzMl0vJFzBMBUDm3JTMqgtDbLzhyphenhyphenjWNQorWzgi84xpHVqbglZUxr_4-D-3R8ItnmQS2gYNi2J8oDOv1qvh0CPy7wrMvwHqSB8AbLYXb72L9fR6hhyXQRwgU9klhpS104L73saT0Y/s1600/TwistLocks.jpg" /></a></div>
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<b>Single-Handle heads and the Vanguard Tracker 1</b><br />
Vanguard also sells a much smaller and simpler Vanguard Tracker 1 with a PH-50, single-handle head. I have a like-dislike relationship with single-handled heads, leaning towards the dislike side. <br />
<br />
On the surface, the head seems simpler to operate because it only has one handle -- but you will find you have to fiddle with two other knobs each time you use it. Especially the horizontal rotation -- it must be locked down or the camera will wobble. You will always be fiddling with this control. <br />
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Another problem with this type of head is the portrait/landscape control (wing nut illustrated on the back-side). It can rotate to portrait mode, but it does not rotate the other direction. If the tripod is on a slight incline, you may not be able to level the camera without adjusting leg-lengths. <br />
<br />
<b>Conclusion:</b><br />
<br />
I recommend the Vanguard Tracker 4 tripod. It competes well against Bogen / Manfrotto / Sylk. You will appreciate the well-thought-out features and the smooth head. The price, $140 - $180, is a pleasant surprise. The PH-55 3-axis head is a strong selling point. Choose the Tracker-4 over the slightly smaller Tracker-3; both have the same head and both are good.<br />
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<br />
If you read other reviews on the web, you will find mostly 4 to 5-star comments, with very few detractions. My complaints with the Quick Shoe were solved with easy home remedies. Consider purchasing a second Quick Shoe ($20) as a spare.<br />
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<br />
Reference: <br />
Vendor Site: <a href="http://www.vanguardworld.com/index.php/en/pv/products/photo-video/detail-1-4-14-81.html" target="_blank">www.vanguardworld.com</a><br />
Vanguard <a href="http://www.vanguardworld.com/index.php/en/pv/products/photo-video/detail-1-4-27-166.html" target="_blank">Cary Case</a> <br />
Amazon: <a href="http://www.amazon.com/VidPro-Carrying-Bogen-Manfrotto-Vanguard-Giottos/dp/B001D9AYF8/ref=pd_bxgy_p_text_b" target="_blank">Padded Carry Bag</a>traywolfhttp://www.blogger.com/profile/06205565591880314520noreply@blogger.com0tag:blogger.com,1999:blog-8552962725094200631.post-69325707176832168722011-11-05T23:53:00.001-06:002017-12-03T19:05:40.598-07:00Setting Nikon D5100 / D7000 White Balance<div style="color: #666666;">
<i><span style="font-size: x-small;">The How and Why of setting White Balance with a Nikon D5100 and D7000. This article deals with a Nikon DSLR camera, but the concepts are useful for all digital cameras. Edited 2017.11 - streamlined illustrations and added instructions for older Nikon D7000 cameras.</span></i><br />
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Photographs take on the color and hue of the light the photo was taken in. You may have noticed this. On overcast days, or under dark overhands or foliage, your photos may have a distinct blue tint. Indoors, photographs may be unnaturally warm (red). Fluorescents may appear as a variety of unnatural colors.<br />
<br />
Your eye (brain) automatically compensates for most of these color shifts but, by default, the camera records the scene as-it-is. You can use a setting called White Balance to color-correct the scene, setting the colors to "how they are supposed to be."<br />
<br />
Digital cameras have an "Auto White Balance" and it can make a guess about the light, but you will get better photographs by balancing the pictures manually. This article explains how and why to control the white balance. This is sometimes called Color Correction.<br />
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Contents:</div>
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<div style="color: #666666;">
<ul>
<li>Examples - White paper under incandescent</li>
<li>When to White Balance and when not to</li>
<li>Setting White Balance Manually with White Sheet of Paper (recommended)</li>
<li>Using Pre-configured White Balance (sunny-day, cloudy-day, etc.)</li>
<li>Using Auto White Balance</li>
<li>Turning off White Balance</li>
<li>"Mood" lighting</li>
<li>Histograms</li>
</ul>
</div>
<div style="font-family: Arial,Helvetica,sans-serif;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj4vvfR189lH7tl2nSRJ-eLuUXWtO5MuVkHVqXFqdwmURP5sjgavOLBSaGdxZ-do1pxmg4q8mlfmU_lGCQM9k3xhJ8XFIxB5zi_6ayUsaClZ5eI6NB6_imbpHnJcBe4fx_3qwyc_qKGRFE/s1600/WarmHouse.jpg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj4vvfR189lH7tl2nSRJ-eLuUXWtO5MuVkHVqXFqdwmURP5sjgavOLBSaGdxZ-do1pxmg4q8mlfmU_lGCQM9k3xhJ8XFIxB5zi_6ayUsaClZ5eI6NB6_imbpHnJcBe4fx_3qwyc_qKGRFE/s1600/WarmHouse.jpg" /></a>Incandescent lighting (a standard old-fashioned light bulb) has a warm color to it -- verging on yellow or red. Under normal conditions, people instantly become
acclimatized to the light and the brain ignores the color. But from an outdoor (blue-ish) lighting, looking inside of a house, you can see the warmth, which is visible to both you and your camera.<br />
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<span style="font-size: xx-small;"><i style="font-family: Arial,Helvetica,sans-serif;">See this article for an example of open-shade color correction:</i> <a href="http://imageliner.blogspot.com/2012/01/still-life-with-mussels.html" target="_blank">Still Life with Mussels</a>. </span></div>
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This article assumes you are shooting in a non-RAW mode. White-balancing only matters if JPG or PNG. On my Nikon D7000, I am saving 1 each RAW and JPG. White-balancing matters on the JPG-side.<br />
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<span style="font-size: large;"><b>Examples with a White Sheet of Paper</b></span><br />
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As an experiment, you can test how your camera and its auto-white-balancing behaves by photographing a sheet of white paper. <br />
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With the camera in automatic exposure and auto white-balance, it will likely miss both the color correction and the exposure. Admittedly, all-white subjects cause other exposure problems, but it is easy to separate the color shifts from metering errors. In these examples, pay attention to the color.<br />
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<span style="font-size: small;"><i>None of the photographs in this article were manipulated with a photo editor and <b>all</b> were taken under incandescent halogen lighting.</i></span><br />
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<span style="font-size: large;"><b><u>White Balance Examples</u></b></span><br />
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<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: right; margin-left: 1em; text-align: right;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhdGQ1A2avdd1kJq6v5s3Vufb0oIOonbWI8JXOkHpUVef2grNzVjPQO4s2mn-qEyVa0TNPQdhvsP6pMKhjy46Y_ntcizkTP55QjtaBys7NAoqwUqDPY72cn2yTM6UBLT-XhiFT2e2E0S4Q/s1600/DSC_0118_ThumbNail.JPG" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhdGQ1A2avdd1kJq6v5s3Vufb0oIOonbWI8JXOkHpUVef2grNzVjPQO4s2mn-qEyVa0TNPQdhvsP6pMKhjy46Y_ntcizkTP55QjtaBys7NAoqwUqDPY72cn2yTM6UBLT-XhiFT2e2E0S4Q/s1600/DSC_0118_ThumbNail.JPG" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Correct WB and Exposure</td></tr>
</tbody></table>
<b>Photograph A</b> is how the photo should appear.<br />
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A white sheet of paper, a white book, and an apple -- on a light-grey desktop. The paper is bright white. With manual "white balancing" and manual exposure compensation, this picture appears as the mind's eye saw it -- even though it was taken under an incandescent light. <br /><br />Again, note this photo was not manipulated with a photo-editor; this is a straight shot from the camera. I encourage you to try this experiment yourself. Consider trying this experiment under full-shade on a cloudless day - you will find an obvious blue shift.<br />
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<i>The overall whiteness of the scene fools the meter. Because of this, the picture was over-exposed +2 stops to compensate.</i><i> This would be a metering problem regardless of the light, type of camera, film, etc., and is a separate issue, covered in this imageLiner article: <a href="http://imageliner.blogspot.com/2011/11/using-18-grey-card.html" target="_blank">Using an 18% Grey Card</a>. </i><br />
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<b>Photographs B - Auto White Balance + Auto-Meter</b><br />
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Photograph "B" was taken as the camera would prefer: Auto-White Balance plus normal exposure. The photo is under-exposed and muddy -- and still carries a substantial red undertone.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhEYe9s8xuDXBZC1QdwwcfJv5zeLJ74eRbe6M5epmbS2SxUpgb_JdUiyBu5XaWIybzsZ0i1H4HAYDjhqAmM9ZdBv9YYR7Y5wy7sPA9JKLmXetsv5iLbvLZuTkJ1bC34I_eU5fL-_7Rwmzo/s1600/2017_11_whitebalance-Closeup.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="219" data-original-width="416" height="210" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhEYe9s8xuDXBZC1QdwwcfJv5zeLJ74eRbe6M5epmbS2SxUpgb_JdUiyBu5XaWIybzsZ0i1H4HAYDjhqAmM9ZdBv9YYR7Y5wy7sPA9JKLmXetsv5iLbvLZuTkJ1bC34I_eU5fL-_7Rwmzo/s400/2017_11_whitebalance-Closeup.png" width="400" /></a></div>
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Compare this in Photo C, where it is still Auto-White Balance, but the exposure was increased by two stops to counter-act the camera meter's inability to handle a mostly white scene. Although "C" is improved, it is still nothing like the way photo should have appeared.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi8jC-VhjgLEPuIXB3Rkii9p0twcDgu8nxhdb5e-HL3R8u9tZiHRHfyZW7KP24KCnxq9BA7xthxz-tfvOE2FnxPXnV1HjOtIpjLIR3V1PrMfzvYycQjgJXg45O54KKFmMZzIDAjNnAcoUU/s1600/2017_11_whitebalance-Proof.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="127" data-original-width="209" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi8jC-VhjgLEPuIXB3Rkii9p0twcDgu8nxhdb5e-HL3R8u9tZiHRHfyZW7KP24KCnxq9BA7xthxz-tfvOE2FnxPXnV1HjOtIpjLIR3V1PrMfzvYycQjgJXg45O54KKFmMZzIDAjNnAcoUU/s1600/2017_11_whitebalance-Proof.png" /></a></div>
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<b>Photograph D</b> was taken under the worse possible conditions:<br />
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The camera was set for a Daylight (not Auto) white balance and there was no exposure compensation to counteract the white-subject's metering error. The red is overwhelming. I was surprised at this photo. <br />
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<span style="font-size: large;">Real-World White Balance</span><br />
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Except for bright, sunny days, almost all photographs can benefit from White Balancing.<br />
This is especially true if artificial lights are used. <br />
<br />
Consider white-balancing in these situations where the color of the light can often look unnatural in the final photograph:<br />
<ul>
<li>Outdoor shots underneath overhangs or shade (blue)</li>
<li>Cloudy, overcast days (blue)</li>
<li>Artificial lighting</li>
<li>Indoor under a cold, wintery window light (blue)</li>
<li>Indoor under incandescent lighting (red)</li>
<li>Scenes with a brightly-colored backgrounds or colored reflecting surfaces</li>
<li>Scenes with a lot of white (snow, concrete, etc.) </li>
<li>If you want the objects as their 'true' color </li>
</ul>
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However, for artistic reasons, do not white-balance in these conditions: <br />
<ul>
<li>Sunrise / Sunsets </li>
<li>Candle and firelight</li>
<li>Neon and other light sources that are in the photograph</li>
<li>"Mood" lighting</li>
</ul>
<i>For each of these, consider forcing white-balance to 'direct sunlight' (daylight) -- do not allow Auto to adjust. </i><br />
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Use Auto in these conditions:<br />
<ul>
<li>Average day-light (no need to white balance; leave on Auto)</li>
<li>If using a Flash when the entire frame is within the flash's range</li>
<li>When you are too lazy to do otherwise </li>
</ul>
Do not bother white balancing if shooting only RAW. <br /><br />
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<span style="font-size: x-small;"> </span><br />
<span style="font-size: x-small;"> </span><br />
<span style="font-size: large;">Setting White Balance</span><br />
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Follow these steps to set the Nikon D5100's White Balance. Other cameras have similar steps.<br />
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There are three ways to control White Balance:<br />
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A. Manual (recommended)<br />
B. Pre-Sets (choosing a camera's fixed style, such as "cloudy day")<br />
C. Auto<br />
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White Balance can only be set when the camera is in one of these modes: P,S,A or M.<br />
<br />
For reasons only Nikon understands, automatic modes, portrait, landscape, etc, use Auto White Balance and cannot be manually set. I suppose this is because these modes were intended to be used by non-technical photographers.<br />
<br />
<i>However, if you are reading this article and are concerned about White Balance, you should already be in one of the P,S,A or M modes.</i><br />
<br />
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<br />
<br />
<span style="font-size: large;">D5100 Manual White Balance with a Sheet of Paper</span> <br />
<b><br />Method A: Manually Setting White Balance - Recommended Method</b><br />
<br />
<i>For a Nikon D7000, see below.</i> <br /> <br />
In my opinion, the
pre-set WB settings (incandescent, shade, etc.) are barely acceptable. More accurate balances can be set by manually calibrating with a
white sheet of paper. This only takes a minute and the results are always better than the camera's auto white-balance.<br />
<br />
<br />
You will be taking a calibration photo and this photo will set the correct White Balance for the current lighting conditions. You will need a sheet of white paper and about 60 seconds of your time. <br />
<br />
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<br />
1. Confirm the Camera's mode dial is in P,S,A, or M. You cannot be in Auto-Program, Sports, Portrait, etc.<br />
<br />
Have a sheet of white paper handy.<br />
<br />
2.
Press "Menu" <br />
<br />
In (green) Shooting Menu, select "White
Balance". <br />
Right-arrow to move to the next menu:<br />
<br />
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<br />
<i>Important: You cannot use the "i" menu to manually configure or set the 'Pre' white balance -- even though the "i" menu has a "Pre-set" choice. "Pre" (as in Pre-set Manual) was an unfortunate name for this choice -- "manual" would have been better. The name "pre-set" is easily confused with the factory-pre-sets, such as "cloudy-day", "shade", etc.</i> <br />
<br />
3. In the list, scroll to the last item. <br />
Select <b>"<u>PRE</u> - Preset Manual"</b><br />
<br />
4. Press Right-Arrow to select. <br />
<br />
5. Highlight menu choice "Measure" (OK). <i>If prompted to overwrite, choose Yes.</i><br />
<br />
6. In the view-finder, compose on a sheet of White Paper. <br />
<ul>
<li>The sheet must be in the same <u>quality</u> of light as the subject </li>
<li>For Nikon, the paper must occupy <u>most</u> of the frame </li>
<li>Angle the sheet slightly so it partially faces the light source and the camera, with no glare</li>
<li>You do not need to be perfectly focused on the paper </li>
<li>Do not cast your shadow on the sheet</li>
</ul>
<br />
7. Press the shutter to take the calibration photo of the white paper.<br />
<br />
Confirmation Prompts:<br />
The video will
show "Data Acquired"<br />
The View Finder will show "Gd" (Good).<br />
<i>Note: The
calibration photo is not stored on the memory card.</i><br />
<br />
"Pre" (Pre-set manual) white balance is now set.<br />
<br />
Photograph your actual scene normally.<br />
Re-calibrate white balance if the nature of the light changes.<br />
You do not need to re-calibrate if the subject or composition changes.<br />
<br />
<br />
<div style="color: #666666;">
<span style="font-size: x-small;">Note: You cannot use the "i" menu to calibrate the PRE White Balance,
but you can use the menu to return to the last-recorded calibration. </span></div>
<br />
<br />
<br />
<span style="font-size: large;">D7000 Manual White Balance with a Sheet of Paper</span> <br />
<b><br />Method A: Manually Setting White Balance - Recommended Method</b><br />
<br />
For a Nikon D7000, calibrating white balance with a
white sheet of paper takes a moment and the results are better than the camera's auto-settings.<br /><br /><i>For a Nikon D5100, see above.</i><br />
<br />
You
will be taking a calibration photo and this photo will set the correct
White Balance for the current lighting conditions. You will need a
sheet of white paper and about 60 seconds of your time. <br />
<br /><br />
1. Confirm the Camera's mode dial is in P,S,A, or M. You cannot be in Auto-Program, Sports, Portrait, etc.<br />
<br />
2. Press and hold the WB button on back panel<br />
Rotate the control until "PRE" is selected on the top LCD panel<br />
Release "WB"<br />
<br />
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<br />
3. While in "Pre-mode", press and hold the WB button again<br />
The LCD Flashes "Pre"; view-finder shows "Pre"<br /> (flashing "Pre" for six seconds; complete the following step within that time)<br />
<br />
5. Compose white sheet of paper in the same light and quality as your subject<br /><br />
Press shutter to take a photo<br />
Confirm "Good" flashes on LCD<br />
Tap shutter to return to regular mode<br />
<br />
Notes: <i>The D7000 store the reading in "d-0" (of d-4 possibilities). I ignore the other d-x settings -- which are useful in a studio setting.</i><br />
<br />
<br />
Notes for all Nikon cameras:<br /><br />
* The white balance remains in effect even after power-off<br />
* Make sure the paper occupies most of the frame<br />
* You do not have to focus on the paper, but may not be able to release the shutter, depending<br />
on your focus settings. Set lens to Manual focus, if needed.<br />
* The Calibration photo does not actually store a picture<br />
* A grey card can be used instead of white, but in dim light, this is dark. <br /> I use the backside of my grey-card <br />
<br />
Return to Auto when the quality of light changes.<br />
<br />
<br />
<u>Cautions</u>:<br />
<br />
<i>These cautions are true with all white balance settings.</i> <br />
<ul>
<li>White Balance remains in effect until changed. It is easy to
forget to un-set. It can wreak havoc on your remaining
photos. <br /> </li>
<li>Important: White balance settings even survive turning the camera off.
Remember to return WB to "Auto" when you are done.<br /> </li>
<li>D5100: There are no view finder indicators showing white balance has been
set, but you can see the setting on the Video display ("WB"). When
Viewing/Previewing a photograph's Information Panel, White Balance is
indicated in the Statistics.<br /> </li>
<li>Switching to an Auto-P (Green) (or any of the Scene modes) forces white balance to
Auto -- no matter what was previously set. When the camera returns to PSAM mode, the selected white
balance is returned as last-set. </li>
</ul>
<br />
<br />
<b>White Paper vs Grey Cards</b><br />
<br />
A
white sheet of paper (or any other uniformly white/grey object) can have
some writing or other variations on it, but a clean sheet is best. <i>Some
will argue that a white sheet of paper is not precise and is "too
white," blowing out the highest registers. This may be true, but my results have been excellent and there is
something to be said for inexpensive and handy. </i><br />
<br />
<br />
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Kodak
Grey Cards: Technically, the paper does not have to be white.
Ideally, it would be a few percentage points less than pure white. It
turns out any uniform, neutral (non-colored) grey would work but finding
a "neutral colored" card is hard; I'm still looking.<br />
<br />
Standard
18% grey cards can be used, but they are often too dark (hard to calibrate
in dim light) and most have a slight coloring which can throw off the
calibration. The cards were designed for printing and exposure compensation -- not for white balancing. With all this said, I use the back-side of my grey-card (a 90% white) as a white-surface.<br />
<br />
<br />
<b>Method B. Using Pre-configured White Balance, e.g. "Cloudy Day":</b><br />
<br />
The camera has a series of pre-configured values, such as "Incandescent", "Cloudy Day", "Shade", etc. I do not use these values, preferring setting them manually.<br />
<br />
1. Confirm the camera is in P,S,A or M mode.<br />
<br />
2. Press the "MENU" button, open the Shooting Menu (Camera icon), scroll to "White Balance." <br />
<br />
3. In the White Balance menu, note these options:<br />
<br />
Choose from one of the following:<br />
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<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<span style="font-size: x-small;">Note: The camera also supports setting the White Balance from a previously-stored photograph.
Ignore this option because the white-paper method is faster and more accurate.</span><br />
<span style="font-size: x-small;"> </span> <br />
Although there is a Fluorescent setting, it probably won't work because of the myriad of different colored lights and some lights give out multiple color spectrums. Use the manual method, described above, but even that may be hopeless. Consider using a flash if the subject is close. <br />
<br /><br />
<b>Method C: Auto White Balance:</b><br />
<br />
The Camera's AUTO White Balance attempts to choose the color
correction, but as illustrated at the top of this article, it is less-than-perfect. However, I will use it in bright daylight or when using a
flash. But almost all other times, you should take more control. <br />
<br />
Setting "Auto" White Balance:<br />
1. Press the "MENU" button,<br />
<br />
2. Open the Shooting Menu (Camera icon), scroll to "White Balance."<br />
<br />
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<br />
<br />
<br />
<i>An
alternate path to this same setting is to press the "i" Menu, which
opens the Information Display. Press "i" a second time to place the
editing cursor on the adjustable menus. Scroll to "WB" near the top,
right). Click OK.</i><br />
<br />
3. In the White Balance menu, choose Auto.<br />
<br />
<br />
<span style="font-size: large;">Turning Off White Balance</span><br />
<br />
White Balancing cannot be turned off -- the camera's JPG mode will always attempt some form of white balancing, either in a pre-set or auto-mode. In any case, when done with any manual setting, return the camera to Auto WB because the setting is so easy to forget.<br />
<br />
A. For the D5100: Using either the MENU or "i" menus, select White Balance (see above)<br />
<br />
B. In the scrollable list, choose AUTO<br />
<br />
Confusion Alert:<br />
The D5100 MENU, 'Shooting Menu,' "White Balance," is confusing. When you return to the WB setting, the menu starts with "PRE - Preset Manual" at the top of the scrollable list. It is not obvious the up/down arrow keys will take you to AUTO. (Note: in the "i" menu, it is obvious how the menu should be used.)<br />
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<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
For the D7000,<br />
<br />
a. Press-and-hold WB; turn the wheel-control until "WB A" appears in the LCD.<br />
<br />
<br />
<span style="font-size: large;"><b>"Mood" Lighting</b></span><br />
<br />
There are times when Auto should not be used. When shooting for
"mood" lighting -- where the color of the light is important. In these conditions, do not allow the camera to use Auto -- and somewhat
counter-intuitively -- do not choose Incandescent or any other
White Balance setting.<br />
<br />
Situations like sunsets, candle-light, street lighting, etc.,
require a somewhat exaggerated color balance. In other words, with
Auto (or any of the pre-sets), the camera will try to make the scene appear "normal" -- when in fact, you want the color. In these instances, manually force the camera to a pre-set "<u>Daylight</u>," accentuating the color.<br />
<br />
<i>In other words, "auto" is not daylight.</i><br />
<br />
A. Using either the MENU or "i" menus, select White Balance (see above)<br />
<br />
B. In the scrollable list, choose Direct Sunlight (Daylight)<br />
<br />
<i></i><br />
<br />
<b>Fine Tuning White Balance:</b><br />
<br />
The built-in pre-configured values (incandescent, flash, cloudy, etc.) can be fine-tuned to a warmer or cooler color than the offered defaults. You might consider using this when selecting Direct Sunlight (Daylight) and "warming it up" for a portrait. <br />
<br />
This option is only available from the MENU button (not the "i" menu) and is only available for the built-in pre-configured values. Sadly, these steps will not work with the Manual/White Paper method and this cannot be used when using any of the Scene exposures.<br />
<br />
1. Using "MENU", choose a Pre-Set White Balance, such as "Direct Sunlight"<br />
<br />
2. While highlighting the choice, press the Right arrow.<br />
<br />
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<br />
<br />
3. Use the arrow keys to set a more pronounced color cast.<br />
<br />
Note: The center ("0,0") is for the selected pre-configured value. In other words, Incandescent, cloudy, Daylight, etc., all start at their own (0,0). When making fine-tuned adjustments, Nikon does not show the selected value numerically. <br />
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<br />
<br />
This concludes the White Balancing article.<br />
The remaining sections are technical details about the illustrated photographs.<br />
<br />
<iframe bordercolor="#000000" class=" idsvdilwiorquzmglzfc pnckkjctvvshmqvahbit lqxtaqfvkxyffeykinno" frameborder="0" height="150" hidden="" hspace="0" marginheight="0" marginwidth="0" scrolling="no" src="https://ad.doubleclick.net/adi/N7433.148119.BLOGGEREN/B6533661.297;sz=180x150;ord=[timestamp]?;lid=41000000026530730;pid%3D53463;usg%3DAFHzDLvz9CP_RUnAzqrVdc8CFhC8XZScMw;adurl%3Dhttp%253A%252F%252Fwww.abt.com%252Fproduct%252F53463%252FNikon-25478.html;pubid%3D538164;price%3D$699.95;title%3DNikon+D5100+16.2+Megap...;merc%3DAbt+Electronics+%26+Appliances;imgsrc%3Dhttp://content.abt.com/media/images/products/BDP_Images/big_D5100KIT.jpg;width%3D85;height%3D85" style="display: none !important;" vspace="0" width="180"></iframe><br />
<br />
<b>Histogram Details on the Example Photos:</b><br />
<br />
Readers may be interested in the example photograph's histograms. The on-camera histogram shows <b>Picture D</b> (incandescent light, no White
Balance (daylight) and no exposure compensation) like this.<br />
<br />
The chart shows the photograph was generally under exposed,
with almost all the pixels on the left sides. The pixels appear by
volume and almost all are the "Red" variety. <i>Picture C (Auto WB, no
EC) would show a more centered histogram, but with very few pixels on
the right side of the charts due to under-exposure.</i> <br />
<br />
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgy_fd4NnEawcIySDVLmC5Xgfn474OamEeMNtSXZl58AdiBYmaJJKV15zB3wNcdt9gvDvXCsfl6oQmSd8ZbvM_P0gOdDsLH5neVOSlmO904q3rR_7bmE2tv1mmtWbuwhJY_s8iAWyg593I/s1600/Histogram_114.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="452" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgy_fd4NnEawcIySDVLmC5Xgfn474OamEeMNtSXZl58AdiBYmaJJKV15zB3wNcdt9gvDvXCsfl6oQmSd8ZbvM_P0gOdDsLH5neVOSlmO904q3rR_7bmE2tv1mmtWbuwhJY_s8iAWyg593I/s640/Histogram_114.jpg" width="640" /></a></div>
<br />
<br />
<br />
<br />
<b>Picture A</b> (correctly exposed with manual White Balance, +2 stops EV) as this:<br />
<br />
where all colors have approximately the same number of pixels and all
the pixels were in approximately the same place -- indicating a
mostly-white subject. Because it was over-exposed two stops, most of
the pixels were on the far-right, compensating for the meter's inability
to understand the all-white-scene. <br />
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgVslSShE29AQ1vZJf67nT4d7X1JEyUjOaCetphQaYaCw7ByX6oQ4HTsklHmJxodoe6iEgtt2ej7Mis5YV7CHT9fqkA9SHGiVqvQuC37Li03V8eqzO2YraUmRACFXVAme7Zz0bonjyWMsw/s1600/Histogram_118.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="451" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgVslSShE29AQ1vZJf67nT4d7X1JEyUjOaCetphQaYaCw7ByX6oQ4HTsklHmJxodoe6iEgtt2ej7Mis5YV7CHT9fqkA9SHGiVqvQuC37Li03V8eqzO2YraUmRACFXVAme7Zz0bonjyWMsw/s640/Histogram_118.jpg" width="640" /></a></div>
<br />
<br />
<br />
* You cannot blindly accept that you want all of your pixels in the center of the chart. In this case, knowing the nature of the subject, it is acceptable (required) to have most of the pixels on the far-right of center. <i>A perfectly-centered histogram does not mean the picture is "perfectly exposed."</i><br />
<br />
<br />
<br />
<b>What About Color Correction in the Editor:</b><br />
<br />
Can you color correct in your photo editor. Of course. But assume you took 100 pictures that day. You would have to color correct them all. As long as you are shooting in JPG (not RAW), it may save you more time if you color-correct when the photo is captured. (Admittedly, some editors allow you to batch-apply one color setting to all photographs in the session, making this less of an issue.)<br />
<br />
With RAW, all bets are off and all corrections are done in an editor - not the camera. When White Balancing in the editor, you essentially don't care the color cast when the photo was taken (RAW doesn't even allow you to care), but you must, at least in one of the photos, have a reference shot of a known, fixed color (see Whibal link below, as well as other products). <i>Unfortunately, this type of card cannot be used for exposure compensation. </i><br />
<br />
The workflow on post color-correcting are different and will be described in a separate article.<br />
<br />
<br />
<b>Related Links:</b><br />
<a href="http://imageliner.blogspot.com/2011/11/using-18-grey-card.html" target="_blank">imageLiner: Using an 18% Grey Card</a> for exposure Compensation<br />
Reference: <a href="http://imageliner.blogspot.com/2011/11/color-temperature-reference-chart.html">Color Temperatures </a><br />
<br />
Article showing color correction in open shade, shadow, blue hue<br />
<a href="http://imageliner.blogspot.com/2012/01/still-life-with-mussels.html">Still Life with Mussels</a><br />
<br />
There are several commercial products that claim to help with White Balancing. All of these have my interest, but not yet my dollars. I'm inclined to purchase WhiBal but in the back of my mind, a white sheet of paper has been doing a fine job.<br />
<br />
Commercial link:<br />
<a href="http://www.whibalhost.com/_Tutorials/WhiBal/01/" target="_blank">WhiBal White Balancing Card</a> ($30 - 50, sized various)<br />
<a href="http://michaeltapesdesign.com/store.html" target="_blank">Whibal Purchase</a> (oddly, a different site) <br />
The first link opens to a tutorial. This product is designed to White-balance in editing software but would work very well, replacing the white paper described in this article.<br />
<br />
<br />
Commercial link:<br />
<a href="http://dotlinecorp.net/index.php?main_page=index&cPath=1105" target="_blank">DotLineCorp White Balance Disks</a> ($20)<br />
<span style="font-size: x-small;">I have not tried these products, but am somewhat interested. On the other hand, a sheet of white paper works fairly well</span>. There are also inexpensive white balance lens caps.<br />
<br />
Commercial link:<br />
<a href="http://www.amazon.com/ExpoImaging-ExpoDisc-Digital-Balance-Filter/dp/B0002GFOSU" target="_blank">ExpoImaging ExpoDisk</a> on Amazon and others ($100). A lot of people use the lid from a Pringles Potato Chip can, claiming they get the same results.<br />
<br />
<br />traywolfhttp://www.blogger.com/profile/06205565591880314520noreply@blogger.com0tag:blogger.com,1999:blog-8552962725094200631.post-49236867907481939442011-09-11T22:20:00.000-06:002017-11-21T21:39:06.731-07:00Nikon D5100 HDR is not available..Problem: HDR - This option is not available at the current setting or in the camera's current state.<br />
<br />
HDR is unavailable (cannot be used) if Auto-Bracketing is on.<br />
HDR is unavailable (cannot be used) if Image Quality is set to any of the RAW settings.<br />
HRD is only available in one of the PSAM modes (you cannot be in fully-automatic or scene modes). <br />
<br />
<b>Issue:</b><br />
With the Nikon D5100, HDR is not selectable if the camera has Auto Bracketing turned on or any variant of RAW is selected in the Shooting Menu, 'Image Quality.' It almost goes without saying, the camera must also be in one of the PSAM modes, and not in the Green-Automatic mode. <br />
<br />
This article is an excerpt from a longer, more detailed article: <a href="http://imageliner.blogspot.com/2011/09/nikon-d5100-auto-bracketing.html">Nikon D5100 Auto Bracketing</a><br />
<br />
<br />
<b>Solution:</b><br />
Turn off Auto-Bracketing and/or<br />
Turn off RAW<br />
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjxgns_zLy-NOvuJ3Y4-fKiDnv1HsrgKWKkprtvPRB1TgLQ44Ss3VFguHQ-oFpwhqV0UsbWkTbhqt1D7XRCL9CAbbd-h1Fp5I5yPRaHZqynJE6GwEkGGJI10-TmDDe_k2mx74vMZyfXZbU/s1600/1109_NikonAutoBracket_Activating2a.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="218" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjxgns_zLy-NOvuJ3Y4-fKiDnv1HsrgKWKkprtvPRB1TgLQ44Ss3VFguHQ-oFpwhqV0UsbWkTbhqt1D7XRCL9CAbbd-h1Fp5I5yPRaHZqynJE6GwEkGGJI10-TmDDe_k2mx74vMZyfXZbU/s640/1109_NikonAutoBracket_Activating2a.jpg" width="640" /></a></div>
<br />
A. Press "i" to activate the Information Display.<br />
<br />
B. Press "i" a second time to position the cursor along the right side.<br />
<br />
C. Arrow-key down to the BKT section (illustrated in yellow, above).<br />
Click OK to select the bracketing option - e.g. "stops" -- set the value to "Off" to disable.<br />
<br />
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgmUZ96D3yaqctryoylAsWi-nXShMBLK06Jzs6oAYyJAtcl-xXfbpG1HApl06cv8_n2GNngya3M_p2XHka3e1DBZyVsw3xOCU1rHLAfO4gPSI7TJgZ_24x5z7FYHINmdi9TxR7EmLhHK8Q/s1600/1109_NikonAutoBracket_AEChoice.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="131" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgmUZ96D3yaqctryoylAsWi-nXShMBLK06Jzs6oAYyJAtcl-xXfbpG1HApl06cv8_n2GNngya3M_p2XHka3e1DBZyVsw3xOCU1rHLAfO4gPSI7TJgZ_24x5z7FYHINmdi9TxR7EmLhHK8Q/s640/1109_NikonAutoBracket_AEChoice.jpg" width="640" /></a></div>
<br />
<br />
<br />
<b>3. Choose "Off" to turn off the feature. </b><br />
<span style="color: #666666;">(Note: Use this screen to turn off Auto Bracketing in mid-series)</span><br />
<br />
<b>4. Turn off RAW.</b><br />
<br />
Additionally, confirm the camera's Image Quality is set to JPG (FINE). RAW, or any variant of RAW+JPG cannot be used. See "i" menu, Qual, or Menu, Shooting Menu, Image Quality.<br />
<br />
<br />
<i>Additional Comments:</i><br />
Rather than using HDR in-camera, consider manually using bracketed exposures and HDRing in software, such as PaintShop Pro, Photoshop, or Photomatix. This way, you are not restricted with JPG-only.<br />
<br />
Related articles:<br />
<a href="http://imageliner.blogspot.com/2011/09/nikon-d5100-auto-bracketing.html">Nikon D5100 Auto Bracketing</a> - Full Details on the feature, including additional methods<br />
<a href="https://imageliner.blogspot.com/2011/11/nikon-d5100-d7000-white-balance.html">White Balancing</a> - Color Balancing<br />
<a href="http://imageliner.blogspot.com/2011/11/using-18-grey-card.html">Using an 18% Grey Card</a> - For better exposures<br />
<br />traywolfhttp://www.blogger.com/profile/06205565591880314520noreply@blogger.com0tag:blogger.com,1999:blog-8552962725094200631.post-75953560983190759462011-09-11T00:37:00.002-06:002021-08-29T07:18:00.940-06:00Nikon D5100 - Auto Bracketing<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiHKGCmjRHuNzk27Z91kystBf7VIzz9GZkV8NWSexIvK7I4oc_HOab__dsiYfPjlIodyd9JpLqP_WHKk1iZTQlfg0vG4o0Myf9YOyiccm0xIT9d0HaemK0Ah1j6If3VIulQ7z_n1jaSa_w/s1600/1109_NikonTopBanner.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiHKGCmjRHuNzk27Z91kystBf7VIzz9GZkV8NWSexIvK7I4oc_HOab__dsiYfPjlIodyd9JpLqP_WHKk1iZTQlfg0vG4o0Myf9YOyiccm0xIT9d0HaemK0Ah1j6If3VIulQ7z_n1jaSa_w/s1600/1109_NikonTopBanner.jpg" /></a></div>
<br />
<br />
<span style="font-size: small;"><b><br /></b></span>
<br />
<b>Contents:</b><br />
-Definition<br />
-Using Nikon D5100 Auto Bracketing<br />
-Visual Indicators for Auto Bracketing<br />
-Release Modes <br />
-Differences in Single vs Multi-frame release modes<br />
-Using Fn (Function) to set Auto Bracketing (highly recommended)<br />
-Picture Preview Mode (Showing +/- EV)<br />
-When to use Auto Bracketing vs Exposure Compensation<br />
-HDR Auto Bracketing (High Dynamic Range)<br />
-Nikon Auto Bracket Issues and Oddities <br />
<br />
<br />
<span style="font-size: small;"><b>Definition: Auto-Bracketing:</b></span><br />
<br />
Auto-bracketing is when the camera takes 3 frames, each at a different exposure.<br />
<ul>
<li>The first picture is at the metered reading (+0EV)</li>
<li>a second frame -1 stop under-exposed (-1EV) </li>
<li>a third frame +1 stop over exposed (+1EV) </li>
</ul>
<i>The amount over and under is adjustable in 0.3 stop (EV/Exposure Value) increments.</i> <br />
<br />
Use this feature when you are unsure on how to set the exposure. Common situations include strong back lighting and scenes with internal light-sources or dark shadows. Auto-Bracketing is also used with camera-based HDR. With HDR, the three exposures are combined into one image and this can be done in-camera or with software. However, when using HDR, I found it best to use software-based HDR (such as PaintShop Pro or PhotoShop) rather than the in-camera HDR function because you have greater control over the image.<br />
<br />
See this Keyliner article on how to AutoBracket:<br />
<a href="http://imageliner.blogspot.com/2012/12/technique-for-stanley-forest-burn.html" target="_blank">HDR Techniques for Stanley Forest Burn<br /></a><br />
<a href="http://imageliner.blogspot.com/2013/03/newport-bay-bridge.html" target="_blank">NewPort Bay (Yaquina Bay Bridge)</a><br />
<br />
If the in-camera HDR is used, Auto Bracketing is automatic and you <u>cannot</u> use the Auto Bracket feature discussed in this article - <i>although you can adjust with width with these steps</i>. <br />
<br />
<u>Common Error</u>:<br />
<br />
<div style="font-family: Arial, Helvetica, sans-serif;">
</div>
<div style="font-family: Arial, Helvetica, sans-serif;">
If the camera displays an HDR error when Auto-Bracketing: "This option is not available at the current setting or
in the camera's current state", see this article: <a href="http://imageliner.blogspot.com/2011/09/nikon-d5100-hdr-is-not-available.html">Turning off Auto-Bracketing for HDR</a> (plus other conditions that can trigger this error) plus see this article for other details on bracketing. </div>
<br />
For a small run of exposures, Auto
Bracketing may be more trouble
than it is worth and you might consider using manual +/- Exposure
Compensation. Reasons to chose auto bracketing over exposure compensation are explained later in this article.<br />
<br />
<br />
<span style="font-size: large;"><b>Using Nikon D5100 Auto Bracketing:</b></span><br />
<br />
<b>Setting Auto Bracket Style:</b><br />
<br />
Auto Bracketing is controlled in two different menus. As a one-time event, set the Auto Bracket 'style' -- where I recommend "exposure only" -- then separately, set the bracketing amount for the current round of photos. <br />
<br />
<b>1. Set Auto Bracket Style</b><br />
<br />
Start
by setting what type of Auto Bracketing you want to use.<br />
<br />
Three styles are supported<br />
<ul>
<li>AE (Auto Exposure Bracketing - recommended)</li>
<li>WB (White Balance Bracketing)</li>
<li>ADL (Active D Lighting bracketing (on-off)</li>
</ul>
<br />
This is a <u><i>
one-time</i></u> setup and I recommend choosing Auto Exposure (only).<br />
<br />
From the manual: <i>Nikon supports multiple types of bracketing. This article is concerned with Auto Exposure Bracketing.</i><br />
<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhXc6IteMRPEmG279uqrIY-GpJKoeR5U2brJ_j5VNppLWFvKG2KZwIBkuZXhtfT-8eKHzg-KHHQXBNrP99CCGE-z05p5dConyQg9qVDBaYVWwOS2woXq32X_kLYoWwPI_j48_ZVkJEj66U/s1600/1109_NikonAutoBracket_Example.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" height="259" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhXc6IteMRPEmG279uqrIY-GpJKoeR5U2brJ_j5VNppLWFvKG2KZwIBkuZXhtfT-8eKHzg-KHHQXBNrP99CCGE-z05p5dConyQg9qVDBaYVWwOS2woXq32X_kLYoWwPI_j48_ZVkJEj66U/s640/1109_NikonAutoBracket_Example.jpg" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Illustration from Nikon D5100 User's Manual. Click for larger view; click back to return.</td></tr>
</tbody></table>
<i>Note the upstairs window exposures. At +0EV, and +1EV, the window's highlighted details are blown-out.</i><br />
<br />
<u>Setting Auto-Bracket Style</u>:<br />
<br />
A. Press "Menu" / Pencil<br />
B. Select "e" (Bracketing/flash)<br />
C. "e2" Auto Bracketing set<br />
D. Select "AE" (Auto Exposure bracketing "OK")<br />
E. Press "Menu" twice to return to normal exposure mode<br />
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgkK4gZ-dtGiqtacQSKA80ZLtOzM4HlIu56AxQThYytMpRqHj3QriwmjaYcXf9g9Dkt2TTxliJXzVvGIRib09phe4lHCatfnDpdabYZ9L_SaEFhxnPDJgAt7oS4KU4I3iFb6GRwdjhlAOk/s1600/1109_NikonAutoBracket_Menub.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="115" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgkK4gZ-dtGiqtacQSKA80ZLtOzM4HlIu56AxQThYytMpRqHj3QriwmjaYcXf9g9Dkt2TTxliJXzVvGIRib09phe4lHCatfnDpdabYZ9L_SaEFhxnPDJgAt7oS4KU4I3iFb6GRwdjhlAOk/s640/1109_NikonAutoBracket_Menub.jpg" width="640" /></a></div>
<br />
<br />
<br />
<br />
<br />
<b><br />2. Using Auto Bracketing while Shooting</b><br />
<br />
<br />
After setting the style, turn Auto-Bracket on with these steps. Once
turned on, the camera will auto-bracket all photos in groups of
3 until turned off. Only groups of three are supported.<br />
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjxgns_zLy-NOvuJ3Y4-fKiDnv1HsrgKWKkprtvPRB1TgLQ44Ss3VFguHQ-oFpwhqV0UsbWkTbhqt1D7XRCL9CAbbd-h1Fp5I5yPRaHZqynJE6GwEkGGJI10-TmDDe_k2mx74vMZyfXZbU/s1600/1109_NikonAutoBracket_Activating2a.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="218" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjxgns_zLy-NOvuJ3Y4-fKiDnv1HsrgKWKkprtvPRB1TgLQ44Ss3VFguHQ-oFpwhqV0UsbWkTbhqt1D7XRCL9CAbbd-h1Fp5I5yPRaHZqynJE6GwEkGGJI10-TmDDe_k2mx74vMZyfXZbU/s640/1109_NikonAutoBracket_Activating2a.jpg" width="640" /></a></div>
<br />
<br />
<br />
A. Press "i" to activate the Information Display. <br />
<br />
<i>The Information Display may be set to show a simple or more complicated screen; both are illustrated.</i><br />
<br />
B. Press "i" a second time to position the cursor along the right side.<br />
<br />
C. Setting the Width or Spread:<br />
<br />
- Arrow-key down to the BKT section (illustrated in yellow, above).<br />
- Click OK to select the bracketing option - e.g. "stops".<br />
<br />
Typically, choosing AE07 or AE10 (1 stop).<br />
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgmUZ96D3yaqctryoylAsWi-nXShMBLK06Jzs6oAYyJAtcl-xXfbpG1HApl06cv8_n2GNngya3M_p2XHka3e1DBZyVsw3xOCU1rHLAfO4gPSI7TJgZ_24x5z7FYHINmdi9TxR7EmLhHK8Q/s1600/1109_NikonAutoBracket_AEChoice.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="131" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgmUZ96D3yaqctryoylAsWi-nXShMBLK06Jzs6oAYyJAtcl-xXfbpG1HApl06cv8_n2GNngya3M_p2XHka3e1DBZyVsw3xOCU1rHLAfO4gPSI7TJgZ_24x5z7FYHINmdi9TxR7EmLhHK8Q/s640/1109_NikonAutoBracket_AEChoice.jpg" width="640" /></a></div>
<div class="separator" style="clear: both; text-align: center;">
</div>
<br />
<i style="color: #666666;">(See below for a <u>faster</u> way to make these adjustments)</i><br />
<br />
<br />
<br />
<b>3. Take the pictures</b><br />
<br />
Compared
to other camera brands, the D5100 does not Auto Bracket as most
would expect and the owner's manual does not fully explain the feature; many think the camera is in error. When Auto Bracketing, you must manually fire the shutter 3 times.<br />
<br />
<br />
Once the bracketing width is set (AE0.7, AE1.0, etc.), press the shutter 3 times, firing three separate exposures. <br />
<ul>
<li>The first will be taken at the camera's indicated meter reading. </li>
<li>The second will be one stop (AE-1.0) under exposed (or as set) and </li>
<li>The third will be one stop (AE+1.0) over exposed (or as set). </li>
</ul>
<br />
<span style="color: #cc0000;"><u>Caution</u>: </span><br />
<span style="color: #cc0000;">When
Auto Bracketing is turned on, it remains on. </span><br />
<span style="color: #cc0000;">All subsequent photos are
shot in groups of 3 (+0EV, -1EV, +1EV). You must complete the sequence by manually pressing the shutter 3 times. </span><br />
<br />
<i style="color: #666666;"><br />
</i><br />
<span style="font-size: large;">Quickly Setting Auto Bracketing with the Fn button:</span><br />
<br />
The Nikon 5100 has a user-assignable Fn button, which can be
assigned to any function. Because HDR is becoming so common, I like to assign Fn to Auto Bracketing. By pressing Fn and spinning the dial, I can adjust the bracketing width on-the-fly, from 0 to 3 stops. This is faster than either the "i" or regular menu.<br />
<br />
Follow these one-time steps to program the Fn button:<br />
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhcBMVFsig3UBiinGO3g9cVznXqh6CGxk56jjpFRt7uJogOcSmwE631aNjXMR6jT2X1akZmHqrkGu16odEBorgc1kpN-eXb45gqz8admx11XJhk7dgOoD74rKg8pFn1YQoqG2MLHgAXd6U/s1600/fn_Button.jpg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhcBMVFsig3UBiinGO3g9cVznXqh6CGxk56jjpFRt7uJogOcSmwE631aNjXMR6jT2X1akZmHqrkGu16odEBorgc1kpN-eXb45gqz8admx11XJhk7dgOoD74rKg8pFn1YQoqG2MLHgAXd6U/s1600/fn_Button.jpg" /></a></div>
A. Press MENU<br />
B. Open the Controls Menu (the Pencil)<br />
C. Choose f1 "Assign timer/Fn button"<br />
D. Select Bracketing (last item in the scroll list)<br />
E. Press MENU, MENU to return<br />
<br />
<br />
<b>Using the Fn button:</b> <br />
<br />
1. Press and hold Fn<br />
2. Spin the thumb-wheel to set the spread (+/- EV) <br />
<br />
Set to 0 to turn off Bracketing<br />
<br />
<br />
<br />
<span style="font-size: large;">Visual Indicators for Auto Bracketing:</span> <br />
<br />
With Auto Bracketing ON, there are several subtle indicators.<br />
<br />
* In the View Finder, note the "BKT" indicator near the ISO setting. Note: This does not show you which exposure you are at, nor does it show if you are in the middle of a series.<br />
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiN-4VcBlgAW1Py33byBWs0TWeIEC9y1m5r7ILQceeiVNNWLlviogN2kUuuZ-qDZdeP-UcL01mPq27WweJgsUonpbNSilqoC1tL2m2Ca8tpcG_5IHvLLmxOI2XDqeL83VmaEVxa6kiO92s/s1600/1109_Nikon_ViewFinder_BKT.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="135" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiN-4VcBlgAW1Py33byBWs0TWeIEC9y1m5r7ILQceeiVNNWLlviogN2kUuuZ-qDZdeP-UcL01mPq27WweJgsUonpbNSilqoC1tL2m2Ca8tpcG_5IHvLLmxOI2XDqeL83VmaEVxa6kiO92s/s200/1109_Nikon_ViewFinder_BKT.jpg" width="200" /></a></div>
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<br />
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<br />
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<br />
* The LCD Panel shows "BKT" in the lower-right corner. <br />
Illustrated, "BKT Off" or BKT AE0.7, etc.<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhassWKO9UlLsj5fMoAKfNo90EvdTzy-ZKl6spQlvaKjY94l-zViwOHWbG8d4qNsGC1xdMSxhFtrPoU4hjLz3U6CN3g7SLXFH0IkhmQS1zw24TuQQ5Prw6PpRjq-x67-t-qEWbnN6ZoeLw/s1600/1109_Nikon_InfoDisplay_BKT.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="189" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhassWKO9UlLsj5fMoAKfNo90EvdTzy-ZKl6spQlvaKjY94l-zViwOHWbG8d4qNsGC1xdMSxhFtrPoU4hjLz3U6CN3g7SLXFH0IkhmQS1zw24TuQQ5Prw6PpRjq-x67-t-qEWbnN6ZoeLw/s320/1109_Nikon_InfoDisplay_BKT.jpg" width="320" /></a></div>
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<br />
<br />
<br />
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<br />
<br />
<br />
<br />
<br />
* The LCD panel shows an Exposure Compensation bar-graph, telling you which exposure in the series you are on. <br />
<br />
The graph shows 3 markers at the beginning of the sequence; each marker represents where the <u>next</u> photo will be taken. In the illustration, the center marker is at "0". Marker 2 is at -AE0.7
(EV -0.7 stops) and marker 3 is at +AE0.7. Widths are adjustable.<br />
<br />
The markers show the remaining exposures and they disappear as each
photo is taken. The second-half of the illustration shows one exposure
remaining of the original three. <br />
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjODiUqch74N5ijibioFVgwka-ONK5_qSJ7_AgmjYG8jUvCgyGwry1uFCM5UQhtTfEIMjM6c-HRLtALFKXX3AGF5k1dvwv-CbNMAnZDXh8lY9SsOcsyQ_OObBpXpPsPlk4A6h2GRzFCVp0/s1600/1109_NikonAutoBracket_ECGrid.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="201" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjODiUqch74N5ijibioFVgwka-ONK5_qSJ7_AgmjYG8jUvCgyGwry1uFCM5UQhtTfEIMjM6c-HRLtALFKXX3AGF5k1dvwv-CbNMAnZDXh8lY9SsOcsyQ_OObBpXpPsPlk4A6h2GRzFCVp0/s400/1109_NikonAutoBracket_ECGrid.jpg" width="400" /></a></div>
<br />
<div style="color: #666666;">
<span style="font-size: x-small;">Note how the Information
Display shows the horizontal graph, but the internal View Finder does
not show +/- Exposure Compensation is active (<i>this is inconsistent with the normal +/- functionality</i>).</span></div>
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<span style="font-size: large;"><b>Release Modes</b></span> <br />
<br />
The three line segments, illustrated above, indicate 3 exposures are
remaining in the sequence, and in this case, each exposure is 0.7EV
units (2/3's of a stop). The width is adjustable.<br />
<br />
Each time the shutter fires, one less segment displays. <br />
The first exposure is always at "0",<br />
the second is at "-1" (or at your set interval), and<br />
the third is at "+1". <br />
<br />
If the camera's Shutter Release Mode is set to "Single", you will need to manually press the shutter 3 times. (<i>Contrast this with other brands of cameras: Pentax fires three shots automatically with one shutter press.</i>)<br />
<div style="text-align: left;">
<br /></div>
<div style="text-align: left;">
If
the Shutter Release Mode is set to "Continuous," press and hold the shutter and all three shots fire in sequence. At the third shot, the shutter
quits firing. Re-press the shutter to start a new 3-shot sequence. <i style="color: #666666;">Note:
In Continuous mode, it is possible to lightly press the shutter and
only fire one or two shots -- it does not automatically fire all three
shots. If in this mode, press and hold the shutter until the sequence
is complete. </i><br />
<i style="color: #666666;"><br /></i>
<i style="color: #666666;">I recommend using the Single release mode and pressing the shutter three times.</i><br />
<br />
<br />
<b>Stopping a Mid-stream Auto Bracket Sequence:</b></div>
<br />
To stop an Auto Bracket in mid-sequence, do one of the following:<br />
A. Press Info to enter the Video Information Panel<br />
B. Scroll to the lower-right "BKT" menu; set to Off<br />
<br />
If using the Fn menu, described above, follow this alternate path:<br />
A. Press and hold Fn<br />
B. Spin the thumbwheel to zero (0)<br />
<br />
<br />
<br />
<span style="font-size: large;"><b>Picture Preview Mode:</b></span><br />
<br />
Once
the exposures are taken, you can see which frames have exposure
compensation (aka Auto Bracketing). Click the Preview button, then Up-Arrow to view the
picture's statistics. Note the +/- Exposure area, illustrated below.
The first frame is taken at the metered reading and displays as blank
(+0). The next frame is -1, the third frame is +1 (or at the increment
set).<br />
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjObvGDitVqWS4HcUjLLxothRl1rlK-shkpgrLv-PlhaN11iAE9S73vgDgCRI5BE17Zfjv07EU5hKnPNG_ZrABj_NRlkFR2LwAm97Hvg1jumlnLgHxX9Tm6ni0lzSKRg-vt9vGbUQ8mGrI/s1600/1109_NikonAutoBracket_Preview.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="233" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjObvGDitVqWS4HcUjLLxothRl1rlK-shkpgrLv-PlhaN11iAE9S73vgDgCRI5BE17Zfjv07EU5hKnPNG_ZrABj_NRlkFR2LwAm97Hvg1jumlnLgHxX9Tm6ni0lzSKRg-vt9vGbUQ8mGrI/s400/1109_NikonAutoBracket_Preview.jpg" width="400" /></a></div>
<br />
<br />
<span style="font-size: large;"><b>Auto Bracket vs Exposure Compensation:</b></span><br />
<br />
Discounting the special needs of HDR, in practice most photographers know which way they want to bracket (over exposing or under exposing). As you will see, auto-bracketing wastes a frame by going in the wrong direction for one of the three photos. If you are unsure of your exposure, the "Exposure Compensation" control may be a better feature to use. Examples are described below. <br />
<br />
When to use Auto Bracketing vs a simpler +/- Exposure Compensation comes with some experience. <br />
<br />
<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: right; margin-left: 1em; text-align: right;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj1WXHy0ZOAhfS5bFUSU4UCHuHJ2ULTNxn-mPXWd6FLXt6cZp7ZwMQSWnqQizRQrf4z0Olz2a32HEOS1z74npt_C7mscuzQB7ODTViUrCGLDLNBKG3XZLtQDNVYe3rw9aP9WQXbE7P2KD0/s1600/TreesInSunlight_ByNancyAHenry.jpg" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj1WXHy0ZOAhfS5bFUSU4UCHuHJ2ULTNxn-mPXWd6FLXt6cZp7ZwMQSWnqQizRQrf4z0Olz2a32HEOS1z74npt_C7mscuzQB7ODTViUrCGLDLNBKG3XZLtQDNVYe3rw9aP9WQXbE7P2KD0/s1600/TreesInSunlight_ByNancyAHenry.jpg" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Photo: Nancy A. Henry</td></tr>
</tbody></table>
Consider Auto Bracketing when the light source is in the photo and you are unsure whether to capture shadow or highlight details.<br />
<br />
For example, with sun-beams streaming through the trees, the camera will likely meter the scene incorrectly -- and a correct meter reading is up for interpretation. If over-exposed (from the meter's point of view), shadow-details will be better. If under-exposed, the shadows may be more interesting and ominous and more details would be visible in the sunlight. It could go either way.<br />
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjLCwrrbOr0OsPcZ04Uc78Zkqqeoq1mLpLY9zRM5c0KmFP2kxnichB5fg6umibezvjhMwWsJRRwnsdySlKo7ByTplrRtVdZSXXSF3rhnHjhvHmvMH6tf_FvEYVs7fc2jrNSSar_2oHTwyA/s1600/WindowBackLight_example.jpg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjLCwrrbOr0OsPcZ04Uc78Zkqqeoq1mLpLY9zRM5c0KmFP2kxnichB5fg6umibezvjhMwWsJRRwnsdySlKo7ByTplrRtVdZSXXSF3rhnHjhvHmvMH6tf_FvEYVs7fc2jrNSSar_2oHTwyA/s1600/WindowBackLight_example.jpg" /></a></div>
Auto Bracketing is somewhat pointless if the subject against a bright window (strong backlighting) or against a bright (snowy) background. Because you are after foreground detail (the person standing against the window/snow). Use a simpler +/- Exposure Compensation and over-expose by +1.5 or +2 stops. The -1.0 auto-bracketed exposure will be a wasted frame, with even darker shadows, and you would have been better served by multiple exposures in the other (+) direction.<br />
<br />
Colorful sunsets may benefit from Auto Bracketing, but likely, the over-exposed frame will be wasted. In this instance, using +/- Exposure Compensation and under exposing by -0.5, -1.0 or -1.5 emphasizes the colors while deepening the shadows, giving a more dramatic effect.<br />
<br />
<br />
HDR<br />
High Dynamic Range photographs (HDR) are different and they must have three (or more) bracketed exposures to work properly. In some photographs, especially landscapes, where there are large contrasts between the highlights and shadows, the camera or software can blend the three images into one properly exposed photograph. See this article: <a href="http://imageliner.blogspot.com/2012/12/technique-for-stanley-forest-burn.html" target="_blank">HDR Photo Techniques</a>.<br />
<br />
A decision needs to be made. If you intend on using your computer photo editor to build the HDR, then you must shoot (three) bracketed exposures, using either the bracketing discussed here or using manual exposure compensation. If you are using the camera's built-in HDR function (using only the camera and not a computer), then the HDR function automatically brackets with no action on your part, except to set the bracket width. <br />
<br />
Because Nikon's Auto-Bracket is limited to 3 frames, I seldom use Auto-Bracketing and instead choose to manually set Exposure Compensation and I shoot 5 exposures at +2, +1, 0, -1 and -2. Then using software (Paintshop Pro, Photoshop, etc.,), I build the HDR manually, with better results than the camera. See related articles, below, for details.<br />
<br />
<i style="color: #666666;"><br /></i>
<span style="font-size: large;"><b>Nikon Auto Bracket Issues:</b></span><br />
With Auto Bracketing turned on, be aware of these important issues:<br />
<ul>
<li>For normally contrasted scenes, those with normal highlights and
shadows, I like to set the camera's auto-bracketing range at +/- 0.7
stops (2/3rds of a stop, either direction).<br />
<br />
For
night-shots, such as cityscapes, with a mixture of deep, dark blacks and
bright street and building lights, consider +/- 1.0 or 1.3 stops. This
gives you more to play with when using HDR but can result in a stylized
photograph.<br /><br />
</li>
<li>The frames/exposures do not "auto-advance." You must fire the shutter 3 times for all 3 bracketed exposures.<br /> </li>
<li>The camera shutter behaves differently, depending on the "Release
Mode" (Single-frame or Continuous). If you are in "Single" mode,
manually fire the shutter 3 times to advance through the sequence. If
in "Continuous," press and hold the shutter until all three frames are
taken - the camera will automatically stop at the third exposure.</li>
</ul>
<ul>
<li>Auto Bracket does not "reset" when the camera is turned off -- you must take the three frames or manually turn off Bracketing. The camera does not forget the bracketing sequence, even if you turn the camera off or change other exposure settings. <br /><br /><span style="color: #666666;">For example, you take 2 of the 3 shots, turn the camera
off and go home. The next day, you take a photo at the birthday party,
and that shot will be the third in the auto-bracket sequence. </span><br /> </li>
<li>The View Finder does not show where in the 3-frame sequence you are,
however, there is an "Bkt" indicator. The View Finder does not show
the exposure compensation of the current bracket.<br /> </li>
<li>If Auto-Bracketing is on, you cannot select the camera's built-in HDR mode: "<i>This option is not available at the current settings or in the camera's current state.</i>" To resolve this issue, set the Auto-Bracketing AE to zero.<br /> </li>
<li>If you are using the in-camera HDR, Auto-Bracketing is automatic,
including advancing the frames; you do not fire the three frames. The
camera will assemble all three frames, combining them into one final
image. However, software-based HDR (PaintShop Pro, Photoshop, etc.),
will give better HDR results. </li>
</ul>
<br />
Related articles:<br />
<a href="https://imageliner.blogspot.com/2011/11/nikon-d5100-d7000-white-balance.html">White Balancing</a><br />
<a href="http://imageliner.blogspot.com/2011/11/using-18-grey-card.html">Using an 18% Grey Card<br /></a> <br />
<a href="http://imageliner.blogspot.com/2012/12/technique-for-stanley-forest-burn.html" target="_blank">HDR Techniques for Stanley Forest Burn</a><br />
<a href="http://imageliner.blogspot.com/2013/03/newport-bay-bridge.html" target="_blank">NewPort Bay (Yaquina Bay Bridge)</a><br />
<a href="http://imageliner.blogspot.com/2012/03/first-hdr-highway-21.html">Highway 21 HDR</a> <br />
<br />
<br />traywolfhttp://www.blogger.com/profile/06205565591880314520noreply@blogger.com0tag:blogger.com,1999:blog-8552962725094200631.post-57817178313254081942011-09-02T23:00:00.000-06:002012-07-09T21:23:00.396-06:00D5100 ChecklistD5100 Checklist<br />
<br />
I use this checklist to confirm my camera is set properly and this keeps me from making dumb mistakes during a photo shoot. I have this laminated and tied to my camera bag.<br />
<br />
Printing Instructions:<br />
1. Highlight the graphic below, select Copy Image.<br />
2. Start MSPaint<br />
3. Paste<br />
4. File, Print, "Page Setup"<br />
5. Set <u>Portrait</u>, Scaling: Fit to 1 x 1 pages; Margins apx. 0"<br />
<br />
Print on 8.5x11 paper.<br />
Cut into a tall, vertical strip; Fold in half; Take it to Kinko's and laminate for $2.00<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgQCzO1fxTUIOv4Lzl4JRjxy9W_s9A4SXHpaO7q0gcQVhz84G18MMKIyqQnP5KPdaIQzRm4V0iRmNmL-zDAugbGgWf13Cel-KCMC-D5SZV_09LMBnUsFHcW-jnbTXlslddbqjUjIe4IN3A/s1600/D5100_Checklist.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgQCzO1fxTUIOv4Lzl4JRjxy9W_s9A4SXHpaO7q0gcQVhz84G18MMKIyqQnP5KPdaIQzRm4V0iRmNmL-zDAugbGgWf13Cel-KCMC-D5SZV_09LMBnUsFHcW-jnbTXlslddbqjUjIe4IN3A/s1600/D5100_Checklist.jpg" /></a></div>
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</div>
<br />traywolfhttp://www.blogger.com/profile/06205565591880314520noreply@blogger.com0tag:blogger.com,1999:blog-8552962725094200631.post-25560236339249253462011-09-01T22:15:00.000-06:002017-11-21T21:43:41.424-07:00Fractional Shutter Speed and Aperture ChartReference: Fractional Shutter Speed and Aperture Chart<br />
<br />
A printable card showing traditional and fractional shutter speeds and apertures (f-stop) common in digital cameras. Both 1/3 (one third stop) and 1/2 (one half stop) charts are displayed. Both a large and small version of this chart is on this page. This is printable (portrait) and suitable for lamination (apx $2.00) at a local copy center. <br />
<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjm2GgYR0qY1oWSM1SPrpbliY0rqcQ2KHopxpMZp30Td5_PNJ5If_Lous0eNH2H0HBdGgcmU_5F36_UIgaI2hcj45JPDUxyou587Mhim-gkrtfW5qNheKiDu2NToqd7s7PGeyoPfXMBhqI/s1600/Fractional_ShutterSpeedApertureCombined.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjm2GgYR0qY1oWSM1SPrpbliY0rqcQ2KHopxpMZp30Td5_PNJ5If_Lous0eNH2H0HBdGgcmU_5F36_UIgaI2hcj45JPDUxyou587Mhim-gkrtfW5qNheKiDu2NToqd7s7PGeyoPfXMBhqI/s1600/Fractional_ShutterSpeedApertureCombined.jpg" /></a></div>
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<br />
Most digital cameras have a menu which allows you to choose between 1/3 and 1/2 stop increments. Set your camera as preferred. I choose 1/3rd stops for more granular control. <br />
<br />
Below is the same chart, in a smaller size: <br />
<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjoxCA1SGILGVUvORXhkqKAFJHMkX-ldKHD5rYIBzrMrsl7WfBMP0tLBeix8xCwvhaM3fG0BtvTg4YivTQnMZt9JvxM1vmZ4LQIhTJeF0cZknZb4Wu-KL8s-Pcqjv8H_cnHAYJa8Ue9i6Y/s1600/Fractional_ShutterSpeedApertureCombinedSmall.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjoxCA1SGILGVUvORXhkqKAFJHMkX-ldKHD5rYIBzrMrsl7WfBMP0tLBeix8xCwvhaM3fG0BtvTg4YivTQnMZt9JvxM1vmZ4LQIhTJeF0cZknZb4Wu-KL8s-Pcqjv8H_cnHAYJa8Ue9i6Y/s1600/Fractional_ShutterSpeedApertureCombinedSmall.jpg" /></a></div>
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</div>
<br />
Related imageLiner Articles:<br />
<a href="http://imageliner.blogspot.com/2011/11/using-18-grey-card.html">Using an 18% Grey Card for Perfect Exposures</a><br />
<a href="https://imageliner.blogspot.com/2011/11/nikon-d5100-d7000-white-balance.html">Setting a Digital White Balance</a> (color correction)<br />
<a href="http://imageliner.blogspot.com/2011/09/nikon-d5100-auto-bracketing.html">Auto-Bracketing with the Nikon D5100</a><br />
<br />
<span style="font-size: xx-small;">Article keywords:<br />Fractional shutter speed chart. Fractional f-stop chart. Shutter speed chart. Aperture list. Common shutter speed increments. shutter and aperture increments. 1/3 chart 1/2 chart 1/3rd table 1/2rd table, third and half speeds, f stops, f-stops</span><br />
<br />traywolfhttp://www.blogger.com/profile/06205565591880314520noreply@blogger.com0