Greetings, volks. Welcome to Hohenfels Volks, THE place for our place! Today’s weather turned out to be quite nice. There is a wide variety of things and places to shoot in our little part of Germany. Clouds and fields are just coming around to being incredibly photogenic.
Today we’re going to take a quick look at contrast and exposure. When we refer to contrast, we’re generally speaking about the range of values within an image or scene. From the brightest areas to the darkest is our range, and the contrast ratios can be quite high for a full range scene to rather low for a lower contrast image, such as a portrait.
As a general rule, higher contrast images tend to be more dramatic, while lower contrast images run toward the softer side. That’s the reason we call lower contrast “softer.” An image’s sharpness is also dependant upon contrast. When you decrease contrast, you can quickly decrease sharpness if your not careful.
Contrast can be varied by exposure. When an image runs toward high key, it loses contrast due the lower values being absent. The inverse is true in low-key images, though to a lesser extent. By adding shadow and decreasing brightness or overall exposure, contrast can apparently be increased. Decreasing exposure by 1/3 stop can be just the trick. The same can be said for color contrast, which is the range of tones in a single color within your image.
Drama can be added through darkening, and tranquility, or stillness, through lightening. Local contrast can be adjusted within a narrow range of tones, improving appearance, detail, and bringing interest to an area within the image. By using levels for general contrast adjustments, and curves for local effects, an interesting image can be created.
Combined with visualizing the desired outcome, or range of outcomes, limitless possibilities exist within each image. By exposing your brightest areas for M+2 and your darkest for M-3, a visual feast can be created from one shot, if done right. Visualize the effect of several adjustments and contrast ranges, and then set the shot so that each one can be accomplished using limited adjustments.
I hope this gives you something to think about and play with. Throw in some work with this week’s exercise, and you’ll be sure to get something that fills with that pride of accomplishment that comes from a shot well made.
Take care and enjoy the rest of the week!
Is there anything you’d like to see here? Do you have a question? Share your thoughts here or at the Hohenfels Volks Facebook page. Of course, commenting on both Facebook and here is always appreciated, too! Don't forget, we're on Google+, too!
Showing posts with label shadow. Show all posts
Showing posts with label shadow. Show all posts
Thursday, June 21, 2012
Friday, February 24, 2012
Digital Density
Greetings, volks. Welcome to Hohenfels Volks, THE place for our place! Let’s start by welcoming a little sanity and quiet, as peace returns to Hohenfels and our surrounds!
The last couple weeks have been trying for everyone, I’m sure, but things are getting back on track.
I went out and shot some film today, and developed 2 rolls this evening. That got me thinking about something that we’ll discuss here today. Before we begin, I should explain that many of our recent references to Ansel Adams are because he was probably the most prolific educational writer on photography. He’s not the only great, but his vast amount of work and writings are the most widely read, studied, and approachable.
Today we’re talking about “Digital Density.” This has nothing to do with being behind the curve on technologies. I’m referring to something that hit me today while developing my film.
When old photographers spoke of their negatives, they spoke in the arcane language of photographers. A negative that was thin was dark in printing and so on. Too dense often leads to blocked, or clipped, highlights. Contrast was a product of your negative’s density. So was tonal range. The density was determined by the thickness of remaining silver, or emulsion, after development. Adams developed for a zone 8 density of 1.25-1.35 for his preferred diffusion enlargers. Density is a logarithmic number, and we’re not going into it here. Generally, zone 8 is where the brightest details can be discerned and identified. Zone 9 results only in very slight variations in tone and 10 is pure white. By exposing to keep the darkest shadow details in zone 3-4 and developing to keep highlight details in zone 8, he was able to make magnificent images.
Most of that is overly simplified, but it gives us a basis for the next part of this post.
First, let’s look at a basic representation of the zone system.
The basic Zones chart
Now, we’re going to convert that to a negative.
When converted to a negative, this is an approximation of the basic zone chart
You can see how things changed. Assuming a pure white light behind the negative strip, you can see that zone 1 is pure white, and so on up the scale. Below are the negative versions of a couple photos, one black and white, and the other color. Looking at them, you can see that the darker parts are actually the lighter areas when the image is returned to original.
Areas with no density, other than film base+fog, will have absolutely no detail, and tone. Areas that are pure black will have no detail and will be pure white. Knowing how the density affects photos, you can do a bit of editing on your image after converting it to negative. In Photoshop, this is done by inverting the image, or CTRL-I. In Lightroom, it’s the same. In Paintshop Pro, it’s under the Image Menu- negative image.
Here are 2 conversions of digital photos, taken with a Canon digital SLR, one in color and one black and white.
This is a color photo converted to negative. Look for the original in my works.
The photo we used in our last post about developing for your vision
Once you’ve done your conversion, you can clone out dust, with greater accuracy if you’re messy with the mouse. Another great thing about this feature is the ability to bring out detail in your highlights. Digital doesn’t deal too awfully well with blown highlights, but you can recover small amounts of detail by converting to a negative of your image. This is great for working with skies and snowy areas. It’s possible to recover some in the shadows, also.
The caveat is that there must be information there, or it will be less effective.
You can also increase your control over your tonal range by performing level and curve adjustments on a negative layer, then inverting it. When working on a color image, be aware, that subtle changes to exposure can be localized to perhaps a small portion by extraction that selection as a layer and converting it a negative. It allows you to expand the tonal range of any color, or the whole image, in ways that can be very impressive. You can also diminish some colorcasts! Colors are inverted in a negative, so keep that in mind, or you’ll end up all abstract and disappointed, unless that’s your vision! It’s almost like working with a large negative.
Using the tools taught to us by those who were taking photos when our folks were kids, we can learn to improve our digital art. Using your vision, seeing both the negative and the print, you can begin to get some awesome stuff going on. Give it a try and see how it works with your vision and your exposures. If it's something you're happy with, post the results, we'd all like to see!
Don’t forget to post any of your images you’d like to see here at the Hohenfels Volks Facebook page. Of course, commenting on both Facebook and here is always appreciated, too! Don't forget, we're on Google+, too!
The last couple weeks have been trying for everyone, I’m sure, but things are getting back on track.
I went out and shot some film today, and developed 2 rolls this evening. That got me thinking about something that we’ll discuss here today. Before we begin, I should explain that many of our recent references to Ansel Adams are because he was probably the most prolific educational writer on photography. He’s not the only great, but his vast amount of work and writings are the most widely read, studied, and approachable.
Today we’re talking about “Digital Density.” This has nothing to do with being behind the curve on technologies. I’m referring to something that hit me today while developing my film.
When old photographers spoke of their negatives, they spoke in the arcane language of photographers. A negative that was thin was dark in printing and so on. Too dense often leads to blocked, or clipped, highlights. Contrast was a product of your negative’s density. So was tonal range. The density was determined by the thickness of remaining silver, or emulsion, after development. Adams developed for a zone 8 density of 1.25-1.35 for his preferred diffusion enlargers. Density is a logarithmic number, and we’re not going into it here. Generally, zone 8 is where the brightest details can be discerned and identified. Zone 9 results only in very slight variations in tone and 10 is pure white. By exposing to keep the darkest shadow details in zone 3-4 and developing to keep highlight details in zone 8, he was able to make magnificent images.
Most of that is overly simplified, but it gives us a basis for the next part of this post.
First, let’s look at a basic representation of the zone system.
The basic Zones chart
Now, we’re going to convert that to a negative.
When converted to a negative, this is an approximation of the basic zone chart
You can see how things changed. Assuming a pure white light behind the negative strip, you can see that zone 1 is pure white, and so on up the scale. Below are the negative versions of a couple photos, one black and white, and the other color. Looking at them, you can see that the darker parts are actually the lighter areas when the image is returned to original.
Areas with no density, other than film base+fog, will have absolutely no detail, and tone. Areas that are pure black will have no detail and will be pure white. Knowing how the density affects photos, you can do a bit of editing on your image after converting it to negative. In Photoshop, this is done by inverting the image, or CTRL-I. In Lightroom, it’s the same. In Paintshop Pro, it’s under the Image Menu- negative image.
Here are 2 conversions of digital photos, taken with a Canon digital SLR, one in color and one black and white.
This is a color photo converted to negative. Look for the original in my works.
The photo we used in our last post about developing for your vision
Once you’ve done your conversion, you can clone out dust, with greater accuracy if you’re messy with the mouse. Another great thing about this feature is the ability to bring out detail in your highlights. Digital doesn’t deal too awfully well with blown highlights, but you can recover small amounts of detail by converting to a negative of your image. This is great for working with skies and snowy areas. It’s possible to recover some in the shadows, also.
The caveat is that there must be information there, or it will be less effective.
You can also increase your control over your tonal range by performing level and curve adjustments on a negative layer, then inverting it. When working on a color image, be aware, that subtle changes to exposure can be localized to perhaps a small portion by extraction that selection as a layer and converting it a negative. It allows you to expand the tonal range of any color, or the whole image, in ways that can be very impressive. You can also diminish some colorcasts! Colors are inverted in a negative, so keep that in mind, or you’ll end up all abstract and disappointed, unless that’s your vision! It’s almost like working with a large negative.
Using the tools taught to us by those who were taking photos when our folks were kids, we can learn to improve our digital art. Using your vision, seeing both the negative and the print, you can begin to get some awesome stuff going on. Give it a try and see how it works with your vision and your exposures. If it's something you're happy with, post the results, we'd all like to see!
Don’t forget to post any of your images you’d like to see here at the Hohenfels Volks Facebook page. Of course, commenting on both Facebook and here is always appreciated, too! Don't forget, we're on Google+, too!
Monday, December 5, 2011
Tiny or Big, it's Bubbles!
Greetings, Hohenfels, welcome to Hohenfels Volks, THE place for our place. I hope everyone is having a great weekend. Today is definitely a Monday; if ever there were one, this would be it. Hohenfels, complete with cold, rain, sun, hail, and whatever else came our way. Don't worry, though, Christmas will soon be here in our little Hohenfels area, and all the joys that come with it!
Well, this week one person submitted for the theme. Thanks to Jennifer for your submission, I’ll try to get it up here tomorrow after discussing it with her. Then, there is the news that the 6 votes are counted. Our theme for the week will be Bubbles (... Of Light, DUH!) This is more advanced than last week’s; so let’s get this ball rolling.
This one may make you think, it may make you scream, or it may make you rise to the challenge and create something magical. Of course, it may make you do all 3! A bubble of light? What is it? What does it do, and what’s it look like? How am I supposed to do this without any knowledge of this bubble thing, and if this one bursts and ruins the economy, who gets the blame?
Relax; it’s nothing like that. Creating a bubble of light is a trick that can be seen by looking back at our post on chiaroscuro, which can be found here. The biggest secret is that light moves and bounces according to your light source. One of the easiest ways to create the bubble for this week’s theme is to use off camera flash and a semi-translucent half dome. The effect can be even more apparent with subjects cloaked in dark and shrouded in light, with nice transition between the two. Of course, it’s not really like a bubble, but presents the illusion of one.
By examining the image from that post, you can see how it seems as if the ladies are surrounding a glowing orb. By knowing how and where light falls, Van Honthorst was able to create the magical lighting in his image. It seems as if the matchmaker is closer than the older ladies are, almost like she’s showing a treasured globe. The lighting here, and the resulting bubble, come from the shape of the candle flame. Another type is to make it seem as if your subject is encased in a bubble of light, almost like a snow globe. Examine some rounded shapes, balls, bubbles, footballs, and other items to see how the light falls on them. Knowing that can help you figure out how the light radiates from them, and what kind of bubble you might expect.
For those without a flash or the ability to trigger it remotely, you can use lamps of any kind, LED flashlights, anything that will create the type of bubble you want to make. The important thing to remember is the shape of your light source and how the light will radiate from it. Flash or other types of light will produce almost identical results in that department. You can also work some more of this type of magic with multiple lights, and colored gels. When you shoot in B&W, the color of your light can be changed, and a matching filter added to increase the effect even more. The sharper your transition to dark from light at the very edges, the more abrupt and sharp your bubble will appear. Keep that in mind.
If I get some time this week, I will try to make an example image, but I probably won’t have much time. The new poll for next week’s theme is up, it expires at midnight on Sunday night. Here's hoping we get at least 19 votes this time around! Get your votes in, vote early, and let’s bring volks into this theme.
Tonight, take the time to check out some spheres, globes, bubbles, and balls. Take a little time to visualize your own shot; even it’s an exact copy of Van Honthorst’s painting. Write down some ideas. Then during the week, refine your visions and your notes. Once you’re ready and your vision is fully fleshed out, set up your scene, blow your bubble, and get the pics posted at the Hohenfels Volks Facebook page. Of course, commenting on both Facebook and here is always appreciated, too!
Well, this week one person submitted for the theme. Thanks to Jennifer for your submission, I’ll try to get it up here tomorrow after discussing it with her. Then, there is the news that the 6 votes are counted. Our theme for the week will be Bubbles (... Of Light, DUH!) This is more advanced than last week’s; so let’s get this ball rolling.
This one may make you think, it may make you scream, or it may make you rise to the challenge and create something magical. Of course, it may make you do all 3! A bubble of light? What is it? What does it do, and what’s it look like? How am I supposed to do this without any knowledge of this bubble thing, and if this one bursts and ruins the economy, who gets the blame?
Relax; it’s nothing like that. Creating a bubble of light is a trick that can be seen by looking back at our post on chiaroscuro, which can be found here. The biggest secret is that light moves and bounces according to your light source. One of the easiest ways to create the bubble for this week’s theme is to use off camera flash and a semi-translucent half dome. The effect can be even more apparent with subjects cloaked in dark and shrouded in light, with nice transition between the two. Of course, it’s not really like a bubble, but presents the illusion of one.
By examining the image from that post, you can see how it seems as if the ladies are surrounding a glowing orb. By knowing how and where light falls, Van Honthorst was able to create the magical lighting in his image. It seems as if the matchmaker is closer than the older ladies are, almost like she’s showing a treasured globe. The lighting here, and the resulting bubble, come from the shape of the candle flame. Another type is to make it seem as if your subject is encased in a bubble of light, almost like a snow globe. Examine some rounded shapes, balls, bubbles, footballs, and other items to see how the light falls on them. Knowing that can help you figure out how the light radiates from them, and what kind of bubble you might expect.
For those without a flash or the ability to trigger it remotely, you can use lamps of any kind, LED flashlights, anything that will create the type of bubble you want to make. The important thing to remember is the shape of your light source and how the light will radiate from it. Flash or other types of light will produce almost identical results in that department. You can also work some more of this type of magic with multiple lights, and colored gels. When you shoot in B&W, the color of your light can be changed, and a matching filter added to increase the effect even more. The sharper your transition to dark from light at the very edges, the more abrupt and sharp your bubble will appear. Keep that in mind.
If I get some time this week, I will try to make an example image, but I probably won’t have much time. The new poll for next week’s theme is up, it expires at midnight on Sunday night. Here's hoping we get at least 19 votes this time around! Get your votes in, vote early, and let’s bring volks into this theme.
Tonight, take the time to check out some spheres, globes, bubbles, and balls. Take a little time to visualize your own shot; even it’s an exact copy of Van Honthorst’s painting. Write down some ideas. Then during the week, refine your visions and your notes. Once you’re ready and your vision is fully fleshed out, set up your scene, blow your bubble, and get the pics posted at the Hohenfels Volks Facebook page. Of course, commenting on both Facebook and here is always appreciated, too!
Thursday, October 20, 2011
I've Seen the Light!!
Welcome back, Volks! Winter is lurking just around the corner, and Hohenfels is starting to feel its presence! I hope you’re prepared for it!
Hallelujah! I have seen the light! I say that about several things, but in this case, I mean something unexpected. Today we’re going to talk about how to see the light. I plan to keep this somewhat short, so let’s get this train moving.
Seeing the light is something that we photographers need to do to get the most from our art. There is more than one way to skin a cat, and more than one way to see the light.
Light isn’t just white. We learned a little bit about that when we discussed color balance. We need to see the effects that color may have on our subject. Color is just a part of it, but it’s important to look at. You can use your white balance card and camera to see that color. There are times of day that photographers know are generally colors by the atmosphere. About sunrise and sunset are prime examples and called the golden hours, for two reasons. The first is that this is one of the best times to shoot photos outside, and the second is that the light takes on an almost golden tint. Just before sunrise and after sunset, the light becomes bluish, and some call these times the blue hour.
Another part of seeing the light is seeing it’s impact on your subject’s tones and exposure. Remember your triangle here, you’ll need to see the light to offset or maximize its impact.
Lastly, let’s mention seeing the light in the context of seeing the light that’s not there. Examine your shadows. How do they interact with your light? How do they interact with your subject? Do your light, shadow, and subject, all play well together? Sometimes we judge what we have by what we don’t. Seeing the shadows helps to gauge your light.
Visualize the light you want, make that light happen. Easier said than done, even with lots of equipment, but can make for some shots that reward your effort with some wonderful warm feelings. You can’t always create light, but you can visualize the scene in different lighting conditions, and either wait for the right lighting or return at the right time. Not every shot needs taking.
Take some time over the course of your day to see the light. Examine how it falls on someone or something. See how you can change it by moving an object or the light source. See how you can shape the shadows, watch grow, shrink, and distort. Even if you don’t really learn, it’s a fun exercise!
Seeing the light, it’s more than becoming a convert to something or seeing the error of one’s way! It’s an important part of our creativity, of our art, and of our special part of the world, right here in Hohenfels!
Enjoy your week. Here’s hoping you enjoy the autumn and see the light in your own neck of the woods. See it and use it, create those masterpieces within you and share them with us on the Hohenfels Volks Facebook page. Don't forget to leave your comments and questions here and there!
Hallelujah! I have seen the light! I say that about several things, but in this case, I mean something unexpected. Today we’re going to talk about how to see the light. I plan to keep this somewhat short, so let’s get this train moving.
Seeing the light is something that we photographers need to do to get the most from our art. There is more than one way to skin a cat, and more than one way to see the light.
Light isn’t just white. We learned a little bit about that when we discussed color balance. We need to see the effects that color may have on our subject. Color is just a part of it, but it’s important to look at. You can use your white balance card and camera to see that color. There are times of day that photographers know are generally colors by the atmosphere. About sunrise and sunset are prime examples and called the golden hours, for two reasons. The first is that this is one of the best times to shoot photos outside, and the second is that the light takes on an almost golden tint. Just before sunrise and after sunset, the light becomes bluish, and some call these times the blue hour.
Another part of seeing the light is seeing it’s impact on your subject’s tones and exposure. Remember your triangle here, you’ll need to see the light to offset or maximize its impact.
Lastly, let’s mention seeing the light in the context of seeing the light that’s not there. Examine your shadows. How do they interact with your light? How do they interact with your subject? Do your light, shadow, and subject, all play well together? Sometimes we judge what we have by what we don’t. Seeing the shadows helps to gauge your light.
Visualize the light you want, make that light happen. Easier said than done, even with lots of equipment, but can make for some shots that reward your effort with some wonderful warm feelings. You can’t always create light, but you can visualize the scene in different lighting conditions, and either wait for the right lighting or return at the right time. Not every shot needs taking.
Take some time over the course of your day to see the light. Examine how it falls on someone or something. See how you can change it by moving an object or the light source. See how you can shape the shadows, watch grow, shrink, and distort. Even if you don’t really learn, it’s a fun exercise!
Seeing the light, it’s more than becoming a convert to something or seeing the error of one’s way! It’s an important part of our creativity, of our art, and of our special part of the world, right here in Hohenfels!
Enjoy your week. Here’s hoping you enjoy the autumn and see the light in your own neck of the woods. See it and use it, create those masterpieces within you and share them with us on the Hohenfels Volks Facebook page. Don't forget to leave your comments and questions here and there!
Friday, September 30, 2011
Adding Depth
Greetings, Volks!
Chiaroscuro. What does that mean? What is it and how does it apply to photography? More importantly, what does that have to do with adding depth?
Chiaroscuro is the term used in art for the strong contrast between lights and darks, or highlights and shadows. That’s a generalization of the term, but serves the purpose. By taking that definition, we can understand it to mean contrasting your light areas and shadow areas. Here's an example-
The Matchmaker by Gerrit Van Honthorst
Have you ever noticed a photo taken with a large blast of light? It generally appears flat and lacks contrast. It becomes more noticeable in portraits, especially in shots taken with a built in flash.
Built in flash is about the biggest mistake a photographer can make! When you blast the on camera flash straight on, it takes away the shadows, making the face flat and featureless. Shooting anything with only frontal lighting will make things dull.
The old Dutch Masters, Golden Age painters like Rembrandt, Vermeer, Hals, Van Honthorst, and Cuyp used chiaroscuro to provide ambiance and reality to their works. If you ever view any of the Dutch masters’ works, you will notice the play of light and shadow. Observe the way the shadows that seem to dance about the image. Notice how the way they worked the light into a scene brought depth and dimension to their work. Notice how your eye is drawn to certain parts of the art you are viewing. It feels almost as if you are compelled to look there! Notice, also how the image lighting creates a sense of space and depth, the space seems open or tight depending on the lighting, the bodies and faces seem almost alive in the shadows and lighting.
Chiaroscuro, the Dutch weren’t the first ones to use it, nor were they the only ones, but it became a hallmark of the Dutch Golden Age of Painting. They even named a style of portrait lighting after Rembrandt!
To give you an idea of its role in photography, I’ve added a couple photos to demonstrate.
Now notice how the back-lit image is alive with depth.
Another shot showing some depth to it.
In the images above, you can see how the light diminishes as you get closer to the camera. Notice how the fingers have lighting on the camera side, as does the face, yet the shadows are stronger there. You get a sense of depth from the relationship between the light and the shadows. Although these pics aren't the best examples, they give you an idea of depth and how to create it.
The next time you are taking a photo, stop, visualize, and look for the play of light and shadow. When you see the combination that gives you the shot you visualized, shoot it. Take more and enjoy the freedom of seeing something different and being open to it. When you get home and load your images, you’ll find some good pics, probably some that aren’t so good, and maybe you’ll find something that stops you in your tracks.
Remember, chiaroscuro occurs naturally, but can be created. Using reflectors, flashes, and shade you can create some great pics without too much difficulty.
Enjoy the weekend, get lots of pics, and have fun!
Ciao!
Chiaroscuro. What does that mean? What is it and how does it apply to photography? More importantly, what does that have to do with adding depth?
Chiaroscuro is the term used in art for the strong contrast between lights and darks, or highlights and shadows. That’s a generalization of the term, but serves the purpose. By taking that definition, we can understand it to mean contrasting your light areas and shadow areas. Here's an example-
The Matchmaker by Gerrit Van Honthorst
Have you ever noticed a photo taken with a large blast of light? It generally appears flat and lacks contrast. It becomes more noticeable in portraits, especially in shots taken with a built in flash.
Built in flash is about the biggest mistake a photographer can make! When you blast the on camera flash straight on, it takes away the shadows, making the face flat and featureless. Shooting anything with only frontal lighting will make things dull.
The old Dutch Masters, Golden Age painters like Rembrandt, Vermeer, Hals, Van Honthorst, and Cuyp used chiaroscuro to provide ambiance and reality to their works. If you ever view any of the Dutch masters’ works, you will notice the play of light and shadow. Observe the way the shadows that seem to dance about the image. Notice how the way they worked the light into a scene brought depth and dimension to their work. Notice how your eye is drawn to certain parts of the art you are viewing. It feels almost as if you are compelled to look there! Notice, also how the image lighting creates a sense of space and depth, the space seems open or tight depending on the lighting, the bodies and faces seem almost alive in the shadows and lighting.
Chiaroscuro, the Dutch weren’t the first ones to use it, nor were they the only ones, but it became a hallmark of the Dutch Golden Age of Painting. They even named a style of portrait lighting after Rembrandt!
To give you an idea of its role in photography, I’ve added a couple photos to demonstrate.
Now notice how the back-lit image is alive with depth.
Another shot showing some depth to it.
In the images above, you can see how the light diminishes as you get closer to the camera. Notice how the fingers have lighting on the camera side, as does the face, yet the shadows are stronger there. You get a sense of depth from the relationship between the light and the shadows. Although these pics aren't the best examples, they give you an idea of depth and how to create it.
The next time you are taking a photo, stop, visualize, and look for the play of light and shadow. When you see the combination that gives you the shot you visualized, shoot it. Take more and enjoy the freedom of seeing something different and being open to it. When you get home and load your images, you’ll find some good pics, probably some that aren’t so good, and maybe you’ll find something that stops you in your tracks.
Remember, chiaroscuro occurs naturally, but can be created. Using reflectors, flashes, and shade you can create some great pics without too much difficulty.
Enjoy the weekend, get lots of pics, and have fun!
Ciao!
Subscribe to:
Comments (Atom)