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NATURE € SHALLOWS OF THE GREAT SALT LAKE, UT To keep the high-key effect, the graph was placed to the right side of the histogram. Same equipment as previous spread; 1/250 sec at f/22, ISO 100. Photoshop. Photoshop versions CS3 and higher offer automated HDR blending, as do other programs such as Photomatix Pro from HDRsoft. With automated HDR, combining fi ve to nine exposures taken at 2/3-stop intervals works well. nFine-tuning tips Expose to the right: Digital sensors can distinguish between much fi ner variances in highlights than in shadows, capturing more detail on the right side of the histogram. And there’s a greater risk of visible noise on the histogram’s left, where an incorrect reading will be more pronounced. So by exposing to push the curve as far to the right side as possible, without going over the edge, you can maximize detail while minimizing noise. When you do this, the image on the camera’s LCD may seem much brighter than you want, so you may need to fi x this later. I highly recommend shooting RAW images and correcting exposure during conversion. When you shoot JPEGs, exposing to the right boosts the risk of lost highlight detail. Silhouettes and high-key images: You shouldn’t always fi t both tails of the histogram neatly within the horizontal axis—for instance, if you want deep blacks or pure whites in the fi nal image. For a silhouette, where the foreground object is rendered completely black while the background maintains detail, shift the exposure so that the histogram is clipped on the left side but retains detail throughout the rest of the range. Conversely, when you want very bright objects to appear pure white, allow the histogram to be clipped on the right side. The image (bottom left) of the sun rising through a foggy shroud is a good example: Although a fairly large portion “SUBWAY” POOLS IN ZION NATIONAL PARK, UT Highlight and shadow detail could not both be maintained in a single exposure. So two exposures, one for the highlights (8 sec at f/16, ISO 100) and another for the shadows (25 sec at f/16), were combined in Adobe Photoshop CS4, resulting in the histogram shown. Tripod-mounted Canon EOS 5D with 14–40mm f/4L Canon EF lens, with circular polarizer to suppress water refl ections. € MORNING FOG, CARBON COUNTY, UT In this instance, the histogram graph was allowed to spill over on the right-hand (overexposure) side to render the sun as a spectral highlight. Tripodmounted Canon EOS 5D with 24–105mm f/4L Canon EF lens; 1/250 sec at f/16, ISO 100. 26 POP PHOTO MAY 2009
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