insman, you're very welcome.
--Bob
insman1132 wrote:
Thanks, RM, for all you do!
Thanks bob for the info and sharing your knowledge/skills. always appreciated,jim
Jim, you're very welcome.
--Bob
jimcrna wrote:
Thanks bob for the info and sharing your knowledge/skills. always appreciated,jim
Thanks and you're welcome, rmm.
--Bob
rmm0605 wrote:
Bob,
Good tutorial. Thanks!
rmalarz wrote:
In a previous post,
https://www.uglyhedgehog.com/t-574456-1.html , I was asked to provide a tutorial on how I approached taking these photographs. It's actually quite simple. I spot metered the brightest source of light in both scenes. These are denoted with a red rectangle in the two images posted here. After spot metering the lights, I increased my exposure 4 stops. This places those bright sources of light in Zone IX. This is white without any texture and similar to specular reflections (The reflection of the sun from a chrome bumper, or any shiny surface).
By increasing the exposure for those bright lights I also increased the exposure of the darker areas of the scene as well. This is all well and good, as I can then tone them back down in processing. Additionally, by exposing for the brightest light, the others, such as the neon lights were kept at an exposure that prevented them from being blown out or simply a smudge of color where in reality they are individual tubes of neon light. I attempted to retain that presentation as best I could.
I hope this explains the process sufficiently.
--Bob
In a previous post,
https://www.uglyhedgehog.com/t... (
show quote)
Thanks again Bob, for another good article......I haven't done this in a long time...I took a class about 50 years ago and one of our assignments was something like this, and one showing motion, like tail lights at night of moving cars...... Wish I still had them.
You're welcome, Frank. Thanks for stopping by and commenting. I did some assignments like this about 50 years ago, as well. I'll have to find those negatives again.
--Bob
frankraney wrote:
Thanks again Bob, for another good article......I haven't done this in a long time...I took a class about 50 years ago and one of our assignments was something like this, and one showing motion, like tail lights at night of moving cars...... Wish I still had them.
[Stay tuned, as I'm going to be posting an addendum to the 3 part exposure series I just posted. That is going to cover the ETTR/EBTR concept in a bit more detail.
--Bob[/quote]
Bob, where can I find the 3 part exposure series? Never mind, I just found it!!!
Thanks for the compliment and checking out the other article.
--Bob
Pysanka Artist wrote:
[Stay tuned, as I'm going to be posting an addendum to the 3 part exposure series I just posted. That is going to cover the ETTR/EBTR concept in a bit more detail.
--Bob[/quote]
Bob, where can I find the 3 part exposure series? Never mind, I just found it!!!
What shudder speed and F-stop did you use on the Starlight motel image? This place is in my backyard, so I know that each section of the swimmer or the compleat sign is not lit all at once. I'd like to know how you overcame the exposure difference of the background and the swimmer, since the swimmer sections are lit individually as she falls towards the water, sorta like the way dripping icicles lights work. I would think that it can create an issue on exposure do to the time it takes each section to light up, go off, light the next one, go off, ect, ect. while the background is being lit constant.
Good catch. The exposure was f/11 at .6 seconds. Truth of the matter was I had difficulty envisioning how to represent a moving neon sign with a static photograph. So, I took three images, each catching the diver at a different illuminated position. I then brought the images in as layers and using masking to reveal the diver in each position.
--Bob
potlicker wrote:
What shudder speed and F-stop did you use on the Starlight motel image? This place is in my backyard, so I know that each section of the swimmer or the compleat sign is not lit all at once. I'd like to know how you overcame the exposure difference of the background and the swimmer, since the swimmer sections are lit individually as she falls towards the water, sorta like the way dripping icicles lights work. I would think that it can create an issue on exposure do to the time it takes each section to light up, go off, light the next one, go off, ect, ect. while the background is being lit constant.
What shudder speed and F-stop did you use on the S... (
show quote)
rmalarz wrote:
In a previous post,
https://www.uglyhedgehog.com/t-574456-1.html , I was asked to provide a tutorial on how I approached taking these photographs. It's actually quite simple. I spot metered the brightest source of light in both scenes. These are denoted with a red rectangle in the two images posted here. After spot metering the lights, I increased my exposure 4 stops. This places those bright sources of light in Zone IX. This is white without any texture and similar to specular reflections (The reflection of the sun from a chrome bumper, or any shiny surface).
By increasing the exposure for those bright lights I also increased the exposure of the darker areas of the scene as well. This is all well and good, as I can then tone them back down in processing. Additionally, by exposing for the brightest light, the others, such as the neon lights were kept at an exposure that prevented them from being blown out or simply a smudge of color where in reality they are individual tubes of neon light. I attempted to retain that presentation as best I could.
I hope this explains the process sufficiently.
--Bob
In a previous post,
https://www.uglyhedgehog.com/t... (
show quote)
I was in Phoenix in September, and the diving girl motel sign was fully lit. When did you take your shot?
Both photos were taken Friday, Jan. 18, 2019. Next time you're in the area, let me know. If it's convenient for you we can get together and chat about photography.
--Bob
jcboy3 wrote:
I was in Phoenix in September, and the diving girl motel sign was fully lit. When did you take your shot?
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