Exploring ETTR/EBTR
Oct 10, 2022 15:02:05 #
GWBELL345
Loc: Allentown PA
Bob - Tremendous explanation of ETTR/EBTR. I will share with my photo group with your permission.
Oct 10, 2022 15:14:01 #
rmalarz wrote:
Scotty, I'm well aware that the Zones refers to th... (show quote)
Not worth your time, Bob!
Oct 10, 2022 15:23:18 #
Oct 10, 2022 16:47:34 #
Oct 10, 2022 16:58:37 #
OK here are my examples of placing tones where I want them, using only curves and highlight and shadow adjustments in PS, which are kind of tricky curve adjustments. No local alterations of any kind, and no selective chroma desaturation. First a desaturated SOOC image, followed by my processing. I'm not into black skies, so my goal is full tonal range without major drama.
Oct 10, 2022 17:03:29 #
Nice work, Toby. I generally get a bit more detail in clouds.
--Bob
--Bob
kymarto wrote:
OK here are my examples of placing tones where I want them, using only curves and highlight and shadow adjustments in PS, which are kind of tricky curve adjustments. No local alterations. First a desaturated SOOC image, followed by my processing.
Oct 10, 2022 17:17:25 #
rmalarz wrote:
And that's where you have a misconception and prob... (show quote)
I don't think anyone is arguing that ETTR does not confer some benefits. The question is how much an image is actually improved in the real world, versus the time needed to get right to the edge, without inadvertently blowing some highlight you did not see. If you look at my image of the storm over Hong Kong harbor, you will notice a bright spot in the very center of the clouds. They were moving very quickly and for just a second they became very thin in that spot. I have exposure brackets of that and other images, and it turns out that in that image the highlight was actually 2EV higher than for any of the other shots. If I had simply set my camera for ETTR ten seconds before, and not been bracketing, that shot would have been toast.
Obviously that is an unusual case, but I have had too many good shots ruined by a change in lighting (since I am often photographing in dramatic and quickly changing light conditions) to want to lose another one because I might have marginally less noise in the shadows, which in the real world no one will ever see. A blown highlight they will see. The fact remains that unlike film, once you blow any highlight with digital the shot is ruined, but there is plenty of signal in the shadows. A little insurance is not a bad thing, and the price is cheap.
Oct 10, 2022 17:28:29 #
kymarto wrote:
OK here are my examples of placing tones where I want them, using only curves and highlight and shadow adjustments in PS, which are kind of tricky curve adjustments. No local alterations of any kind, and no selective chroma desaturation. First a desaturated SOOC image, followed by my processing. I'm not into black skies, so my goal is full tonal range without major drama.
Nice set. There is clearly more in these images than clouds.
Oct 11, 2022 17:02:24 #
I'm not seriously proposing this, but once you get into some of the other adjustments in PS you can really go to town :)
Oct 12, 2022 10:03:14 #
kymarto wrote:
I'm not seriously proposing this, but once you get into some of the other adjustments in PS you can really go to town :)
It should be noted that 1/400s @ f/8 ISO 100 is Sunny 16 (LV 14.7).
The attached image is only 1/3 stop darker at LV 15 (1/2000s @ f/8 ISO 400). I did not use the camera's meter. In it, fewer than 400 specular highlight pixels are blown out of 45.7 MP. I did very little shadow recovery because there was nothing in the deep shadows of any importance.
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