Yes, must learn more about processIng! But the first disturbing fact is that when even when I expose for the dark area, the picture does not turn out lighter. I can see in the playback that there are very dark areas.
Could it be a bad camera setting?
Dynamics5 wrote:
Yes, must learn more about processIng! But the first disturbing fact is that when even when I expose for the dark area, the picture does not turn out lighter. I can see in the playback that there are very dark areas.
Could it be a bad camera setting?
Give a file with the EXIF, and we'll give you some relevant feedback. Otherwise, you'll just get guesses, especially the silly kind.
larryepage wrote:
...We now can know that what we aren't seeing is the underside of something, not the front of something. That informs us that you are simply trying to display too much...
***Correction***
...that what we ARE seeing...
larryepage wrote:
Yes. The second example you posted has nothing to do with your camera, your exposure, raw files, LightRoom, or anything having to do with your photography. It has everything to do with the building, the materials of construction, and possibly the bus windows you said you were shooting through.
Please tell us (or at least me) where this building is located and, if possible, what it is called. I want to do some research on it and determine exactly why it photographs like an alien spacecraft. I have run into this situation once before, about 30 years ago, when I tried to photograph a large steam locomotive and its flat/matte black paint seemed to literally suck light out of the air and obliterate almost all visible detail, even though that detail was clearly visible to the eye.
For those who might care, that locomotive was the Union Pacific 3985 on one of its first excursions to Texas after the merger with the Missouri Pacific. It was almost impossible to capture a decent photograph of that locomotive on that trip.
Yes. The second example you posted has nothing to ... (
show quote)
Glossy black reflects more than flat or matt black paint, metal, rust, etc.
I like trains and railroads so I am going to look up Union Pacific 3985.
Dynamics5 wrote:
.....even when I expose for the dark area...
Could you provide some specifics as to how you're doing that?
lamiaceae wrote:
Glossy black reflects more than flat or matt black paint, metal, rust, etc.
I like trains and railroads so I am going to look up Union Pacific 3985.
They repainted with glossy paint shortly after that summer. I think I may not have been the only one with problems.
I focus on the dark area, keep the shutter halfway down, then reposition the viewfinder and shoot.
Dynamics5 wrote:
I focus on the dark area, keep the shutter halfway down, then reposition the viewfinder and shoot.
Will you export and attach a JPEG?
I'm tiring of offering to help, with no action, nor seeming interest. Guess wild guesses and red herrings are the actual interest of the OP ...
Exported JPEG first imported into LR. Took forever to upload!
Clarification: imported raw file, exported as JPEG
larryepage wrote:
They repainted with glossy paint shortly after that summer. I think I may not have been the only one with problems.
Yes, I noticed the engine had a few paint jobs during its life so far.
Dynamics5 wrote:
The dark part of my raw files look exceptionally dark. Is there a way to correct for that?
Yes.
When you "copy image" and "paste" into PS, there's even recoverable detail in just the thumbnail. When attaching the image and selecting "(store original)", attaching the jpeg, there would be even more to recover and the exif data would be included. With the raw file, which isn't included, it's very likely even more shadow details can be recovered.
In general, this image was taken in very harsh contrasty lighting, so you have a huge dynamic range issue to deal with, unlike the 123RF image that was taken in very diffuse lighting. If the scene's dynamic range exceeds the capability of your specific camera, then for a single image, you'll compromise on either the highlights (sky) or the shadows. The raw file retains more information, but it can't capture information that exceeds the camera's dynamic range capabilities.
In situations like this I take a set of 3 bracketed images, effectively increasing the camera's dynamic range by about 4-stops. This allows me to pick and choose different parts of the 3 different images and blend them together into a well exposure balanced image.
Initially, I thought the underside of the mushroom was blocked up, but after viewing the 123RF image, it's similar but just with better lighting.
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