I've been frightened off by ADL. It is supposed to slow down writing to the SD card, and shift skin tones in subjects.
But Multiple in-camera exposure to render High Dynamic Range seems pretty complex.
Here in Southern California the chamber of commerce may rave about having 300+ days a year of sunshine. But sky effects are flat, monotonous and cloudless. In other words — Boring. I see glorious sky effects posted as examples of HDR and I want that capability without using filters. (I have a great CP and a few others).
Have you tried ADL and seen skin tone shifts? n moderation, ADL can be a real benefit in preserving headroom and lighting shadows. It surely would be faster than taking multiple images to get a similar effect. If you are close enough, the bright sky would be tamed by exposing for the sky and using fill flash to bring up your subject's exposure. A graduated ND is effective in helping bring the bright sky into the DR range of your printer/screen. I use my SB900 on-camera very often on bright days that would otherwise result in too much backlighting. Fill by flash or reflector is needed much of the day for people shots to avoid the dark shadow eyes and harsh creases hard sunlight causes. If they are people shots and there is the option, head over to some sort of shading for more flattering light. HDR might not be as effective since it is hard to expect people to remain still for a 5-9 shot sequence. It is not as effective with people shots as architecture and landscape.
Gee. I didn't think of that. In the days of film, I always carried a little folding flash unit with aluminum fan blade reflectors, and taking those little Acorn flash bulbs to add small amounts of fill. We had a half million circulation at our two magazines --- Trailer Life and MotorHome.
I was a managing editor, and when I took some outdoor camping shots in daylight and used multiple lighting (optical slaves and an onboard and off camera backlight flashes) my publisher couldn't believe it. But in thinking about it, all those tricks seem so complicated with Digital.
Maybe it is my age. But I used to perform fill-flash magic without thinking. Not so easy now. Oh, and where did I put my car keys? And my wife? Haven't seen either for 8 days.
Okay, so the lesson is: 1 -- underexpose for sky 2 -- use ND filter 3) -- fill flash for foreground subjects
Do I have that right? I've never actually seen a color shift using AD-L. I just read about it somewhere.
Here are the images commenting on AD-L with the D7000 (from 'that other forum')
EXIF data doesn't show. ISO 100, f11 at 1/100th on first shot, 1/200th on the shot with AD_L enabled. ISO was 140.
This was obviously too far for a flash to reach the distant end of the railway car. The bright and shadow areas would require another technique to even out the dynamic range.
That kind of dynamic range and spiffy detail in the AD-L shot were commonplace in the '30 & '40s when news cameramen carried a 4x5" graflex press camera. Astonishing dynamic range and crisp, crisp resolution. You could see it often in Life and Look magazines during the WW-II era.
Thanks for the good example images Gary.getting sky detail push shadow detail like that is a real advantage in wide dr scenes. Fill flash is so easy with Nikon, it is one of the reasons to pick the Nikon system over any others. Set a sb910\SB700 on the she to ttl bl mode and forget about it. It is amazing how smart the two independent metering systems are. The camera meters for scene in Matrix mode and the flash meters for subject. Presto......no more blown skies with dark eye socket harsh shadow faces in the foreground. It is like having an automatic assistant holding a 6 foot reflector always in the right spot at the right time. Stan St Petersburg Russia
A weather front is moving in off the Pacific, filling the skies with small clouds. In afternoon, I am going down to cliff above Santa Monica beach to try out some HDR techniques as the sun descends behind the Pier.
I'll post shots here with EXIF data. Using various filters, - EC, AD-L in varying amounts.
ADL can be added post capture but it is not as effective since one element of the process depends on adjustments of exposure automatically to prevent clipping. Another element of ADL is modifying the tone curves to raise the shadows. That latter process can be added post capture but not the more important highlight protection that happens at the time of exposure. You will get full benefit from ADL by shooting with it turned on. Stan St Petersburg Russia
It's been busy around here so I haven't yet taken some AD-L & HDR test shots of the western sky before sunset. I'll post these here. And the variables I use will be those suggested here by other. Specifically, exposing for direct sky, negative EC, ND filters, graduated ND filtration, polarizer.
What I have done, to make this knowledge practical, is add the AD-L setup menu as one of my MY MENU items. So that I can, on the spur of the moment, increase, stop or decrease AD-L factors as dictated by the scene contrast range.
To this point MY MENU has been something powerful, but nevertheless something I haven't really used. I think that adding AD-L setup to the menu will make it far more interactive in my shooting.
You can tell, Stan, by my question about post-AD-L compensation that I don't have any experience with Post Production software or processes. Getting an iMac computer with an Intel CPU will be the first step to learn about it.
> I don't have any experience with Post >Production software or processes. Getting an iMac computer >with an Intel CPU will be the first step to learn about it.
I was very fortunate in that over the last ten years, my business forced me to learn the ins and outs of Photoshop and Illustrator. Applying those skills to digital photography has been a real asset.
You may find the learning curve a bit steep at first, but once you get started, you will be astonished at the level of control you are able to achieve. As an old film guy myself, I'm just amazed at how flexible digital can be.
>Fill flash is so easy with Nikon, it is one of the reasons to >pick the Nikon system over any others. Set a sb910\SB700 on >the she to ttl bl mode and forget about it. It is amazing how >smart the two independent metering systems are. The camera >meters for scene in Matrix mode and the flash meters for >subject. Presto......no more blown skies with dark eye socket >harsh shadow faces in the foreground.
Just wanted to second this.
Nikon fill flash is just like magic. Automatic and perfect. Its almost not fair.