1. A picture you would never have thought possible, because of extreme contrasts between brightness and darkness, is now accessible to you through HDR.
2. For a good HDR picture, you need at least 1) an interesting subject 2) an appropriate setting or background 3) the appropriate light and 4) a wide range in contrasts. That seems basic, but HDR will not save a picture that was not thought through.
3. You need a software like Photomatix, to transform several pictures taken at different exposures into one HDR picture. But this is only the first step. You will also need another editing software to improve the general result after Photomatix has been used.
4. A tripod is required to help Photomatix align the pictures and create the HDR effect.
5. As with your normal pictures, it is always better to try to use the lowest ISO as possible.
Gruyères, Switzerland, 2013.
6. It is safer to work with manual focus. This way, none of your shots will have been influenced by external objects without you noticing. It will always be the exact same focus throughout the HDR photo session. With automatic focus, you generally notice your blurred pictures when you’re back home and then it is too late (it will often happen under low light conditions).
7. The greater the contrast, the more exposures you need to take (up to nine) in order to match the dynamic range of your eyes.
8. The idea is to take each exposure at a different exposure setting. If you need seven exposures, an example of settings would be: -1, -2/3, -1/3, 0, +1/3, +2/3, +1. You might decide that three exposures only are necessary and go for -2, 0, +2 or -1, 0, +1. The choice is yours but you must take only the required number of exposures to avoid including too much noise in your shots.
Canon, 16-35mm, HDR format.
9. Throughout your HDR exposures of a specific scene, always keep the same aperture.
10. A scene is rarely perfectly balanced with light and shadows. If there are many shadow areas in the photo you want to take, then take more exposures over the recommended settings to ensure that you caught the whole dynamic range of the scene.
A house in Sainte-Pétronille, on Île d’Orléans, autumn 2012. HDR picture.
11. Inversely, if your scene has lots of highlight areas, take more exposures under the recommended settings.
12. Setting your camera to “automatic bracketing” is preferable because all the pictures are taken quickly thus avoiding to show any blurred picture in the final HDR picture. But if you want to show the movement of water in a creek, you don’t need bracketing: just take few shots with different time of exposure (in number of seconds). Just don’t overdo it otherwise it will give place to an uninteresting undefined white surface.
13. Check your LCD monitor so that none of the highlights are blown out. There would be a loss of details. For the same reason, you must avoid to block the shadows.
14. Always work with RAW files, it gives you better results. The RAW file already provides you with more f/stops then the JPEG file, and this before the transformation in HDR has even started).
15. Of all the lenses I’m using, the wide angle lens is my preferred one with it comes to HDR photography.
Spring light in the lower town of Quebec City
16. To improve the composition or enhance the general impact, crop the picture.
17. Not all pictures are appropriate for HDR transformation. If you want a dramatic silhouette as the final result, for example, HDR will not be appropriate. It will reveal too many details in the shadows and you will lose the high contrast effect that you were looking for. With practice, you will recognize where HDR is the most effective.
18. Whether you want a realistic picture or not, you can obtain surprising results with the combined effects of softwares like Photomatix, Topaz, Photoshop, Nik Software, Lightroom, Lucis Pro and so on. It’s only a matter of taking your time to experiment.
19. If you have only one picture on hand, like a shot you took years ago, and you would like to give it an HDR effect, you can use a software likeTopaz Adjust. There is an HDR effect section in that software that allows you to get a wide range of effects. But this is not going to be nearly as good as the real HDR resulting out of many pictures. The final editing step is, most of the time, done using Photoshop.
20. An unpretentious book about HDR is “Rick Sammon’s HDR Photography Secrets for Digital Photographers”. It is simple, colorful, well written and loaded with practical informations.
Eiffel Tower at night with HDR effect
Note: All the photos were taken with a Canon 5D MKII
Cumuliform clouds add energy to any photo. Even photos in black and white benefit from them largely, whether it is for a normal or an HDR photo.
Cumuliform clouds add dynamism to this Abbaye du Mont St-Michel scenery. France (1978)
Black and white HDR picture of lamp posts installed along the St-Lawrence, Quebec City 2012.
The stratiform clouds add to the tranquillity and the stability of a photo.
Daytona Beach under stratus clouds in 2011. The end of the afternoon allows the fresh air from the sea to move over the heated land, which helps create few cumulus fractus, visible near the buildings.
Clouds including a stratiform and cumuliform components (stratocumulus) produce an effect that is more energizing than the simple stratus, while avoiding the explosion of energy of the cumuliform clouds.
A stratocumulus adds to this otherwise peaceful scenery captured on board the Lyria train between Paris and Geneva in 2013.
The cold front
The approach of a cold front enhances the possibility of interesting photos. If it is a fast moving cold front of moist and unstable air, the photos will probably be more spectacular, as some thunderstorms will be associated with the system. A dew point of more than 15 C indicates the presence of a lot of water vapor which can be transformed into precipitation, thus releasing a lot of energy. When these conditions are combined with a really strong contrast between the new air mass which approaches and the one which goes away, the produced meteorological phenomena will certainly be intense.
In the photos below, the meteorological system approaching the Quebec Jean-Lesage international airport also had to cross a small mountain range.
A roll arcus cloud in development ahead of a thunderstorm approaching the Quebec Jean-Lesage airport in 2012.
A roll arcus cloud in development ahead of a thunderstorm approaching the Quebec Jean-Lesage airport in 2012.
View under a developing arcus cloud at the Quebec Jean-Lesage international airport (2012)
An arcus cloud ahead of a thunderstorm approaching the Quebec Jean-Lesage airport in 2012
A roll arcus cloud ahead of a thunderstorm heading for Quebec City in 2012
The morning fog
The morning fog offers many opportunities for interesting photos. You can choose an isolated tree and capture the combined effects of the morning sun and fog. Or you may choose a cluster of trees, for a completely different effect. Both photos below were taken in Domaine Cataraqui, Quebec City.
Trees in fog at Domaine Cataraqui, Quebec City 2009
Sun and fog provide for a special atmosphere at the Domaine Cataraqui, Quebec City 2009
A morning fog resulting from a cold cloudless night will persist for hours if there is no wind. The cold morning air, motionless over a slightly hotter stretch of water, creates a fog that will finally disappear just before noon, when the atmosphere has been heated enough. If there had been an overcast sky during the night, chances are that the air over the water would have remained at a higher temperature, preventing the formation of fog.
The opportunities for more interesting photos arise when you witness the first holes in the fog layer.
The Ocean tugboats during a dense fog in the Bassin Louise in Quebec (2012).
We can take into account the season to estimate the speed of the diurnal reheating of the lower atmosphere. A morning fog will need more time to dissipate from late autumn to early spring: that leaves more time for the photographer to prepare. The forecasts can announce the disappearance of fog while it will not be the case if, over your sector, there is an invading layer of stratocumulus preventing the morning sun from reaching the ground.
To determine if the fog is going to dissipate as expected or will remain and possibly intensify, watch the difference between the temperature and the dew point on the hourly meteorological observations issued by weather stations near your place of residence. If the temperature and dew point spread increases, the fog is going to lift. If the difference between those two decreases, the fog is going to persist and possibly intensify.
The mist
The mist can be qualified as such when the visibility is superior to ½ mile, but do not exceed 6 miles for an observer on the ground. If the visibility is of ½ mile or less, it is called fog. This photo of the Bic National Park, near Rimouski, shows the interesting effect that the mist adds to a beautiful landscape.
Mist in the Bic National Park, Province of Quebec (2009)
Hot and unstable air in winter
When there is a warm and unstable air advection (about 0 degrees) while winter has already settled, there are good opportunities for photos. A moderately developed cumulus produces significant snow showers and this snow sticks on all the surrounding objects. All that snow would have begun to melt on contact of objects if the latter had had a temperature superior to zero degree. But, the winter being already settled, the snow persists. It gives enough time to capture some souvenirs.
A Quebec City street after a snow shower
The local effects
A photographer might benefit from learning about the meteorological local effects influencing the regions he intends to visit. The local effects are often simple to understand and they repeat themselves regularly, according to wind and season changes. The knowledge of these effects allows the photographer to be ready and position himself even before the phenomenon occurs. It limits the comments like: “If I had known that it would occur, I would have settled down here one hour earlier!“
The local terrain as well as large size bodies of water produce predictable meteorological phenomenon that can be used by a well prepared photographer. It can consist of persistent fog, repetitive snowstorms over a small sector, strong winds, cumuliform clouds alongside the mountain summits, etc. By being positioned at the right place, at the right time, the desired photo can be realized.
A change in the wind direction
A change in the wind direction suddenly increases the opportunities of interesting photos. It might announce the approach of a cold front, a warm front, a sea or land breeze, etc. In the photo below, a bit of fresher air suddenly began crossing the St-Lawrence seaway at the end of the day, thanks to the approach of a weak cold front. The water was still relatively warm and the moisture which was present over the surface became visible due to the cool air supply. The conditions were now ideal for a short-term thin fog, as long as the wind speed would not increase. Just in time for a photo.
The new wood pellets silos in Anse au Foulon in Quebec City en 2014
Familiarization with weather radars
It can be useful to get acquainted with weather radars which, for the needs of photography, remain simple to interpret. Multiple echoes of small dimension with a steep gradient of various colors indicate precipitation resulting from cumuliform clouds. The showers associated with these clouds are often moderated or strong and will be the result of approaching towering cumulus or cumulonimbus (thunderstorms). A towering cumulus presents a dark base and a white summit to the photographer. At sunset, their vertical development can be used to emphasize the last rays of light.
The side of a towering cumulus (TCU) is benefiting from the remaining sunlight over Quebec
Large echo areas of similar colors of low intensity indicate a relatively stable air generally producing steady light rain or drizzle. This should be understood as a possibility of increased humidity limiting the visibility through mist or fog.
Hoar frost
Hoar frost is a short-term phenomenon. It is thus necessary to capture the scene before the sun melts everything. The photo below shows some small twigs on which hoar frost has settled. It was taken at the beginning of the seventies. Although the quality of the photo is not exceptional, the meteorological phenomenon is well demonstrated.
A combination of snow and hoar frost observed on a Quebec field in 1976.
Forest fires
Wishing to make photos of western Canada during summer 2014, I came up against a season where hundreds of forest fires were raging. The smoke was covering some parts of Alberta and British Columbia. Some fires were important enough to require the closure of the sole highway connecting Lake Louise to Jasper. I thus decided to include the effects of those fires in the holiday souvenirs.
A visibility reduced in forest fire smoke allows a photographer to obtain, without special editing, sunsets with interesting colors.
Sunset and smoke from forest fires in Kamloops in 2014
The smoke also produces an effect similar as fog, but a fog which would be impossible to obtain at the end of a summer afternoon while the sun shines and there is a 38 degrees Celsius temperature.
An area near Kamloops, Canada, that was touched by forest fires in 2014
At dusk, the residual smoke is visible near tree tops while the setting sun strikes the mountain side. The effect is of two horizontal lines of complementary colors, blue and orange.
Forest fire smoke and sunset combined in Lake Louise, Alberta en 2014
You must decide the ideal combination between the following: aperture, speed and ISO. All three are interrelated and choosing one has a direct influence on the other two.
You are facing a beautiful landscape in which you want everything to be in focus: you decide that the aperture is what matters the most. Choosing aperture as the priority is a very popular choice. Let’s consider that you choose F16, which should give you a very interesting depth-of-field but will demand a lot of light. You have to compensate somewhere. If there is not much movement in the scene, and you have access to a tripod, you might decide to choose a slow speed, which allows more time for the light to enter the camera. Doing so, you won’t need to crank the ISO and you will avoid adding useless noise to your picture.
In the picture below, aperture is set at F16. The vegetation in the left corner draws the viewer’s eye toward the pedestrians, and then progressively to the quai des Cageux. We finally see the Quebec bridge, the longest cantilever bridge in the world.
Quai des Cageux, Québec 2012.
If you decide that speed is a priority, you will have to compromise ISO or aperture. ISO will have to be increased to improve light sensibility, but doing so will increase the size of the grain in the picture. Depth-of-field will have to be adjusted as well since a higher speed does not let much light enter the camera. You won’t be able to pick F16 this time. So you will eventually find that there are some out of focus areas in your picture. With a bit of practice, you can be less demanding on the speed, providing you can follow the subject with your camera (it is like if you were slowing down the subject, so less speed is required).
The picture below was a bit particular: it was taken when I was on a boat rocked by waves. The eagle was far away and was traveling in the opposite direction, thus increasing the relative speed of the subject. The Canon 5D MKII was hand held and 400mm focal was necessary. Speed was crancked at 1/1600 and the ISO required was set at 5000. Naturally, the grain in the picture being larger, slightly diminishes the quality. This was a necessary compromise if the eagle was to be taken in flight.
Eagle observed in the Campbell River region. Summer 2012.
It is getting dark and you want a photo with absolutely no noise and you decide that the aperture is what matters the most. You make no compromise and choose ISO 50. This setting requires a lot of light, because the lower the ISO, the higher the demand for light. In order to make sure that your picture will not be blurred, a tripod will be necessary, since there will be an extended exposition time. In the picture below, the shutter has been opened for ten seconds, with a 9.0 aperture, 200mm focal and 50 ISO. Only the small branches in the foreground are blurred.
Note: in general, it is better to use a tripod as often as possible, even in daylight, in order to optimize quality. Choose a heavy enough tripod to prevent vibrations under windy conditions. A light tripod is easy to carry but does not allow for acceptable pictures in adverse weather. It’s obvious that this Queen Mary II photo would not have been as precise if a light tripod had been used. In this case, it would have meant that continual vibrations would have been recorded during 10 seconds. The boat would have been totally blurred.
