Upper Blue Mountains Camera Club Inc.
Newsletter
“A photograph never grows old. You and I change, people change all through the months and years, but a photograph always remains the same.
What is HDR Photography?
How do you create successful HDR photos? It’s a question that I’ve asked of myself from time to time and no doubt, you
have too. It would seem that HDR photography is one of those never ending battle grounds in the photography world.
It’s much like the Windows vs Apple battle of the PC world, HDR vs non-HDR is a battle that continues to stir the pot.
H
igh Dynamic Range
Photography has
grown in popularity
over the years with the
term High Dynamic Range
Photography becoming
more widely used among
photographers. However
figuring out exactly what
High Dynamic Range (HDR)
Photography is can be a little
tricky . . . a HDR image is
commonly made by taking
three photos of the same
scene, each at different
shutter speeds. The result is
a bright, medium, and dark photo, based
on the amount of light that got through
the lens. A software process then combines
all the photos to bring details to both the
shadows and highlights. This helps to
achieve the same task in the final photograph that the human eye accomplishes on
the scene.
HDR is essentially a technique or process
whereby an image can display a broader
dynamic range between the darkest and
lightest areas of your photo. The human
eye can see a greater range of contrast
versus what the digital camera’s image
sensor can create under normal circumstances. This is why the scene the camera
records may not look exactly like you think
it should . . . especially when the camera
loses details in areas of darker shadows
or the brighter lit areas. The image sensor
can struggle in these extreme areas of the
scene.
Photographers use a series of bracketed
exposures of the same scene to create the
larger dynamic lighting range that you’re
going to find in an HDR photo. A camera
that can shoot in an HDR mode is going
to perform this bracketing automatically,
creating greater contrast in the image as
well as more detail throughout the scene.
Other times the advanced photographer
will perform the bracketing manually
and then combine the results using HDR
capable image-editing software. To me, the
HDR process helps the photos look more…
let’s say . . . evocative!
I can talk a little bit more about the
philosophy behind the photography style
here for just a quick moment. You might
consider that the way the human brain
keeps track of imagery is not the same way
your computer keeps track of picture files.
There is not one aperture or one shutter
speed, etc. In fact, sometimes when you
are in a beautiful place or
with special people and you
take photos — have you ever
noticed when you get back
and show them to people
you have to say, “Well, you
really had to be there!” Even
great photographers with
amazing cameras only very
rarely grab the scene exactly
as they saw it. Cameras, by
their basic machine-like
nature, are very good at
capturing “images”, lines,
shadows, shapes — but they
are not good at capturing
a scene the same way your mind remembers and maps it. When you are actually
there on the scene, your eye travels back
and forth, letting in more light in some
areas, less light in others, and you create
a “patchwork-quilt” of the scene. Furthermore, you will tie in a lot of emotions and
feelings into the imagery as well, and they
are associated right there beside the scene.
Now, you will find that as you explore the
HDR process, that photos can start to evoke
those deep memories and emotions in a
more tangible way. It’s really a wonderful
way of “tricking” your brain into experiencing much more than a normal photograph.
To learn more about HDR and how you can
use it in your photography here are some
tips . . .
• Using HDR requires some experimentation on your part, in terms of bracketing
the exposure to make use of the HDR
technique.
• Bracketing the exposure is a process by which you shoot an
initial photo, with the exposure settings based on the light meter
readings of a scene. The initial exposure settings can also be
automatically determined by your camera, too. You then shoot one
or two photos that are slighting underexposed, using negative
exposure settings versus the initial setting, and one or two photos
that are slightly overexposed, using the positive exposure settings.
Bracketing the exposure helps ensure you shoot a properly
exposed photo.
• Some photographers use three bracketed exposure photos
to create the HDR photo, while others will use five or even seven
bracketed exposure photos. Using more photos creates a more
accurate HDR image, but incorporating more photos into your
HDR image also will require more work to put together the final
product.
• Because you want to shoot the exact same scene every time, it’s
a good idea to use a tripod. You don’t want to have any variations
in your image, or the HDR technique will not work, so it’s very
important to keep the camera steady throughout the whole
shooting process.
• To maintain the same depth-of-field from photo to photo, some
photographers creating an HDR photo will set the camera to an
aperture priority mode or will lock in a certain aperture, ensuring
that this setting doesn’t change as they shoot the bracketed
exposure photos.
• Once you’ve shot a series of photos that are exposed
correctly, or at least based on the light meter readings, slightly
underexposed, and slightly overexposed, you can begin working
with the images.
• Depending on your model of camera, it may have an automatic
exposure bracketing setting, sometimes shortened to AEB, which
greatly simplifies the process of using HDR. An automatic setting
allows you to shoot three, five, or even seven photos of the same
scene, some of which are underexposed and overexposed, and
one of which is shot with the exposure setting as determined by
the camera’s light meter. So rather than manually changing the
settings after each image to create the exposure bracketing, the
camera shoots each of the images one after the other, creating
the exposure bracketing automatically. If you prefer full manual
control, AEB may not be for you, but using AEB does allow you to
shoot the series of photos more quickly, which may be helpful if
you’re concerned about the scene changing while you’re adjusting
the settings.
Lexophile” is a word used to describe those that have a love for words, such as “you can tune a piano, but you can’t tuna fish”, or
“to write with a broken pencil is pointless.” A competition to see who can come up with the best lexophiles is held every year in
an undisclosed location. This year’s winning submissions are . . .
… When fish are in schools, they sometimes take debate.
… A thief who stole a calendar got twelve months.
… When the smog lifts in Los Angeles U.C.L.A.
… The batteries were given out free of charge.
… A dentist and a manicurist married. They fought tooth and nail.
… A will is a dead giveaway.
… With her marriage, she got a new name and a dress.
… A boiled egg is hard to beat.
… When you’ve seen one shopping center you’ve seen a mall.
… Police were summoned to a daycare center where a three-year-old was resisting a rest.
… Did you hear about the fellow whose entire left side was cut off? He’s all right now.
… A bicycle can’t stand alone; it’s just two tired.
…When a clock is hungry it goes back four seconds.
…The guy who fell onto an upholstery machine is now fully recovered.
…When she saw her first strands of grey hair she thought she’d dye.
… Acupuncture is a jab well done. That’s the point of it.
Upper Blue Mountains Camera Club — November Newsletter Page 2
NOVEMBER’S DIGITAL PRINT OF THE MONTH
S P O T T E D C A T B I R D Ailuroedus melanomas maculosus
Lots of folks enjoy watching and taking pictures of birds. One of
the great things about these animals is that you can usually find
birds to photograph most anywhere—in your backyard at a bird
feeder, or resting on a tree branch, at a wildlife sanctuary, a zoo or
even in an aviary. Many birds are made up of beautiful colors and
their plumage makes them ideal subjects.
Graham writes . . . This photo of the Spotted Catbird was captured
at Paluma, Queensland, in October 2016. There are two races of
Spotted Catbird, this one is Ailuroedus melanomas maculosus
found in the Wet Tropics of North Queensland. ie the more
southern race. The common name, catbird, refers to these species’
“wailing cat-like calls”. Ailuroedus likewise is from the Greek for
“cat-singer” or “cat-voiced”.
Ailuroedus is a genus of birds in the Ptilonorhynchidae family
more commonly known as Bowerbirds.
Mid morning light on the edge of the rain-forest emphasized the
bird’s spectacular plumage and the moss growing on the partially
burnt tree limb. The rain-forest did impart some lighting issues in
this scene with the sunlight filtering through the canopy casting
highlights on the birds flight feathers and lower left leg. These
two areas required localised ‘burning’ to restore colour and detail.
Highlights in the background foliage received a similar treatment.
Upper Blue Mountains Camera Club — November Newsletter This photo was one of several captured at the time with the new
Nikon D500 and Nikkor 80-400 @ 400mmm, VR ON,
ISO 500, f7.1, 1/200 sec., on tripod with Wimberley Head.
Bird photography is one of the most popular genres of nature
photography and it is my biggest passion.
Photographing birds is very interesting and also challenging.
As Graham has said before you do need some special skills and
equipment to capture attractive avian images. It is very unlikely,
but not entirely impossible, to make great bird photographs with
a general purpose zoom or point-and-shoot camera. However,
having the World’s best photographic gear for the task does not
ensure success either. It would seem the most successful bird
photographers are not only skilled in photographic techniques,
they also have an in depth understanding of bird behavior
and habitat. Most importantly, they are all in a deep love with
their subjects. As I have said before the astonishing beauty and
diversity of our Australian birds is really quite well known and
while it’s often been said that photographers, like Graham, see
the world differently in their endeavours to capture the essential
essences of their subject it can also be said that it requires that
special connectivity. Congratulations on a great pic Graham . . .
and I know what you’re about to say . . . “It’s in the planning!”
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NOVEMBER’S PRINT OF THE MONTH
Empress Falls in the Valley of the Waters at Wentworth Falls—see page 5
Upper Blue Mountains Camera Club — November Newsletter Page 4
NOVEMBER’S PRINT OF THE MONTH
Empress Falls in the Valley of the Waters at Wentworth Falls,
would have to be one of the most photographed falls, on one
of the most popular walks in the mountains. Hundreds, if not
thousands of people go past it every week.
Jan and I got to see it at it’s best on a morning walk a week or so
back. What you see is a stream, the Valley of the Waters Creek,
that’s taken millions of years to cut a deep but narrow canyon
through the upper layers of Blue Mountains sandstone as it
gushes from its gorge and spills over fern-fringed ledges as
Empress Falls. The falls drop 30 meters into a deep pool where
locals swim. The water is so deep and cold that it’s not easy to
find the bottom. The falls themselves are majestic, a 30m cascade
of water that pours down, amongst boulders and surrounded by
ferns over several large steps as the water enters the Jamison
Valley. With light mist, filtered soft light and nobody else around
. . . it was 6.15am after all . . . and it was a scene you would
normally see when you don’t have a camera.
However . . . this day I was packing!
I had the tripod, a lovely old Zeiss manual focus 28mm and the
K1. When you are there on the right day, at the right time with
the right gear, everything seems easy. I just set up on the path,
framed it to avoid some rocks and snapped a few shots off.
Back at home, some vignetting was added, some of the
foreground was dulled a bit and some exposure adjustments
were made using Lightroom, then I printed it onto Illford Gold
Fibre Silk.
To capture beautiful waterfalls, while it seems like a simple task,
and make the water look silky smooth can be a little challenging.
In order to make the water look smooth, you do need to use
an extremely slow shutter speed of several seconds or longer.
Slow shutter speeds create the “ghosting” effect, making the
subject appear smooth and blurry, which is exactly what Alan
has done. Alan’s photograph provides testament to the growing
enthusiasm and recognition of the blue mountains as a natural
realm and conservation area. One of the greatest challenges
facing their natural integrity now is the number of people
wanting to experience the joy of them.
Well done Alan, a really great result!
“It
“It isis more
more important
important to
to click
click with
with people
people than
than to
to click
click the
the shutter.”
shutter.” –– Alfred
Alfred Eisenstaedt
Eisenstaedt
People pictures fall into two categories—
Those of portraits and candids. Either of them can be made with or
without your subject’s awareness and co-operation.
Whether they’re near or far, your subject, however intimate or
distant the gaze your camera casts, you always need to keep in
mind the elements of composition and the technique that will best
help you communicate what you are trying to say.
Get in Closer
Generally the most common mistake made by
photographers is that they’re not physically close enough to their
subjects. In some cases this means that the centre of interest — the
subject — is just a speck, and too small to have an impact. Even
when the subject is big enough to be decipherable, it usually
carries little meaning. Viewers can always sense when a subject is
small because it’s supposed to be and when it’s small because the
photographer was too reticent to get in close.
So . . . don’t be shy! If you approach people in the right way,
they’re usually happy to have their picture taken. It’s up to you to
break the ice and get them to cooperate. Joke around with them.
Tell them why you want to make the picture. Practice with people
you know so that you are comfortable; people can sense when you
aren’t.
The Other Subject — Settings
The settings in which you
make pictures of people are important because they add to the
viewer’s understanding of your subject. The room in which a
person lives or works, their house, the street they walk, the place
in which they seek to relax — whatever it is, where ever it is, the
setting provides information about people and tells us something
about their lives. You need to seek a balance between the subject
and the environment. Include enough of the setting to aid your
image, but not so much that the subject is lost in it.
Upper Blue Mountains Camera Club — November Newsletter Being Unobtrusive — the candids You may want to make
photographs of people going about their business—vendors in
a market, a crowd at a sports event, the line at the theatre. You
really don’t want them to appear aware of the camera. Many
times people will see you, then ignore you because they have to
concentrate on what they’re doing. With candids you want the
viewers of the image to feel that they’re getting an unguarded,
fly-on-the-wall glimpse into the scene.
There are several ways to be unobtrusive. The first thing, of course,
is to determine what you want to photograph. Perhaps it’s a stall in
a market that is particularly colourful, a park bench in a beautiful
setting — whatever has attracted you. Find a place to sit or stand
that gives you a good view of the scene, take up residence there,
and wait for the elements to come together in a way that will make
your image.
If you’re using a long lens and are at some distance from your
subject, it will probably be a while before people in the scene
notice you. You should be able to compose your image and get
your shot before this happens. When they do notice you, smile
and wave. There’s a difference between being unobtrusive and
unfriendly. Another way to be unobtrusive is to be there long
enough so that people stop paying attention to you. If you are
sitting at a café order some coffee and wait. As other patrons
become engrossed in conversations or the paper, calmly lift the
camera to your eye and make your exposure. In most cases, people
either won’t notice or won’t mind. But be judicious. Don’t keep
firing away and become a nuisance. Then they will mind! You can
also set the camera on the table with a wide-angle lens pointed at
your subject and simply press the remote release when the time
is right. Modern auto focus and auto exposure cameras make this
easy to do as well.
Page 5
I really don’t want to hear about this being good luck right now!
(Image: Tom Stables/comedywildlifephoto.com)
Upper Blue Mountains Camera Club — November Newsletter Page 6