![]() So underexposing a bit to preserve the highlight detail in the dress would be a safe decision. For a wedding portrait, the details of the bride’s dress are likely more important than the details of the groom’s tuxedo. In the field, you will often have to decide what is most important and skew your exposure to protect that portion of the image. We call this blowing out the highlights and crushing the shadows. When the difference between the highlights and the shadows is beyond the dynamic range of the camera, then either some of the highlight details will be captured as pure white, some of the shadow details will be captured as black, or both will happen. By adding fill flash, the contrast is reduced into the dynamic range that the camera can record. At the other end of the dynamic range are the shadows-in this case, the treads of the tires just where they meet the asphalt.įigure 1.17. The glints of light coming off the chrome are the brightest highlights-in fact, they are so bright that we call them spectral highlights, meaning that they are direct reflections of the light source (in this case, the sun). A car outdoors on a sunny day has a huge dynamic range. Here is a quick example of how lighting can adjust the dynamic range of a scene so that the camera can record it more faithfully ( Figures 1.15 and 1.16). In the meantime, as this is a book on lighting, throughout the many pages ahead, we will discuss how to manage these differences by adding light to and, in some cases, subtracting light from our shots. Eventually, I expect that this gap will become a non-issue. Every generation of gear narrows the gap between what we see and what it can capture, display, or print. ![]() Likewise, our cameras can record a wider dynamic range than our monitors can display and, typically, our monitors can display a wider range of light than printers can print. The human eye can see a wider dynamic range than our cameras can record. The dynamic range of a scene describes how much brighter the brightest spot is than the darkest spot. ![]() So, you could say that this image has too much contrast. This meant that the details in the shadow are too dark (at least too dark for a perfectionist). You will see that I noted that I exposed the image such that the details of the hair highlights would not blow out to white. In between, the image will have lights, midtones, and darks.Ĭheck out the Poring Over the Picture spread on pages 2–3 (the one of Tony at the lake). The brightest areas of the image are the highlights. Is the transition from the highlights to the shadows subtle or sudden?Ĭontrast describes how the highlights transition into the shadows. Lighting for Digital Photography: From Snapshots to Great Shots (Using Flash and Natural Light for Portrait, Still Life, Action, and Product Photography)
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