2 fold question.
As I composed this shot, it never occurred to me about the inevitable imbalance between the 2 carriages whiteness's, with the one on the right out in the sun a bit. The sensor captured what my eyes didn't see. I salvaged what I could with my limited skill set in Capture NX-D. The two issues: what would the astute hogger have set his camera settings to in anticipation of the imbalance and do I need to watch more YT in regards to using Capture NX-D and correcting for blown highlights? Thanks in advance. MM
Can you return to your post and update the attachment to store the original? It might help to see the unprocessed original, again with the file stored.
To your question, you'd spot meter on the white of the car in the light. Or, chimp your exposure and determine the exposure that was 1/3 stop less than blinking on the white, any metering mode. If you're confident in your highlight recovery in RAW, you'd find the exposure at 1/3 to a full-stop over where the highlight alerts begin to blink on the back the camera.
The eye expects the one in the shade to be darker, so I don't see an issue. I know several ways in Photoshop to adjust the white balance and brightness selectively, but not sure if you have Photoshop. Also do you have a raw file? Those whites might not be blown.
moosus wrote:
As I composed this shot, it never occurred to me about the inevitable imbalance between the 2 carriages whiteness's, with the one on the right out in the sun a bit. The sensor captured what my eyes didn't see. I salvaged what I could with my limited skill set in Capture NX-D. The two issues: what would the astute hogger have set his camera settings to in anticipation of the imbalance and do I need to watch more YT in regards to using Capture NX-D and correcting for blown highlights? Thanks in advance. MM
As I composed this shot, it never occurred to me a... (
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I would bracket and see what I liked then adjust accordingly similar to what you did.
Architect1776 wrote:
I would bracket and see what I liked then adjust accordingly similar to what you did.
That's what I'd do. There's nothing moving so exposure bracketing should work fine. However, if the OP's skills or software don't include bracketing as an option or using spot metering as CHG Canon suggested, the scene as shown is a fairly typical candidate for exposure compensation. There are large, dark areas and a small, very bright area that you don't want blown. The camera will meter for the predominance of dark areas leaving the highlights vulnerable to being blown. Not being familiar with the OP's camera's capabilities I couldn't suggest a suitable value of EC, but if I had to guess I'd say about -0.7 since the carriage on the right is reflecting the direct light down towards the ground as opposed to reflecting it straight to the camera.
abc1234
Loc: Elk Grove Village, Illinois
If you shot raw, then you might be able to brighten the other car to your liking. Bracketing is an excellent suggestion you can stack the photos and select what you want. However, I do not think the brightness difference between the two cars is that large based upon what you posted.
Thanks for posting this good question. I hope we have helped you out.
I found the strip lighting (or slot windows?) more distracting that the mismatched whites. Also I would crop the white object at left center or clone it out
Thanks to all for your responses. It never occurred to me lighten the darker carriage. And I'm not at the "bracket level" yet even though my D7200 would let me do that. Yeah, those slots are annoying but the whole scene has lots of distractions, what caught my eye was the sign and the carriages. It is heavily cropped. I do know how take the overhead wires out. Missed those. Thanks. MM
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