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Campus Wonderland Controlling High Dynamic Range (HDR)

Campus Wonderland Controlling High Dynamic Range (HDR). x. Dynamic Range: Scene grayscale This 10-step grayscale idea is borrowed from the Zone System formulated by Ansel Adams and Fred Archer in 1941. It was originally formulated to determine the optimal film exposure and development.

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Campus Wonderland Controlling High Dynamic Range (HDR)

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  1. Campus Wonderland Controlling High Dynamic Range (HDR) x

  2. Dynamic Range: Scene grayscale This 10-step grayscale idea is borrowed from the Zone System formulated by Ansel Adams and Fred Archer in 1941. It was originally formulated to determine the optimal film exposure and development. The simple 10-step scale is still useful in understanding exposure related to the real world grayscale, tonal range. NSCC Campus: Found Shot Panasonic DMC-FZ-18

  3. Dynamic Range: Sensor chip All sensor chips have dynamic range potential and limitations. Larger sensor chips size usually means larger pixel size. And that combination tend to produce greater dynamic range potential. NSCC Campus: Found Shot Panasonic DMC-FZ-18

  4. Compact Digital: Hitting the limits The sensor chips for the compact digital cameras have gone beyond the practical physical limits of the tiny sensor chip. 6 megapixel was a good megapixel count. With the newer 8 to 10 megapixel digitals, the image quality has gone backward. The overcrowding produces too much heat that result in ‘grain and digital noise’. The electronic filtering to overcome the problems, reduces image resolution and overall image quality. NSCC Campus: Found Shot Panasonic DMC-FZ-18

  5. High Dynamic Range: HDR This scene contains extreme dynamic tonal range far beyond the tonal range capability of the sensor chip. This is a lighting condition not recommended for Art 114 students assignment shoots. NSCC Campus: Found Shot Panasonic DMC-FZ-18

  6. Camera Original: The sky is super over-exposed with minimal detail . The highlight detail is beyond the capability of the sensor chip to hold. The sky, highlight detail, is ‘blown out’.

  7. HDR: Work around If your story ideas requires you to capture this scene faithfully, there is a work- around. Take 2 shots with the camera mounted on a tripod. One as-is and the second shot exposed just for the sky detail. Composite the end results in Photoshop. You’ll be doing this type of image manipulation in Digital Photography 2, Art 115. NSCC Campus: Found Shot Panasonic DMC-FZ-18

  8. Making it Work: Get tight to minimize the store setting. Rotate the camera to activate diagonals. EC to bias -.66 to retain highlight detail. This image is already highly processed but the highlight is still untouched. Before Photoshop Composite: Uwajimaya Found Shot

  9. Detailed View: The image detail must hold up when viewed in Photoshop at 100% ‘actual pixel’ size. Camera Original: After NSCC Campus: Found Shot Panasonic DMC-FZ-18

  10. End x

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