How To Make Day Look Like Night In Your Images

Because both analog film and digital image sensors are not as sensitive in low light as the human eye, night scenes recorded in natural light are typically underexposed to the point where little is visible. However, night scenes can be rendered with daylight.

"Day for night" is a set of cinematic techniques used to simulate the appearance of night while filming during the day. It's often used when it's too difficult or expensive to shoot at night, but it's sometimes selected deliberately because it offers special image qualities. It's not just technique; it's also an aesthetic.

The same techniques cinematographers employ can be used for still images.

Exposure

When shooting day for night, scenes are typically underexposed in-camera or darkened during post-production, reducing saturation and adding a blue tint – though some movies, like Mad Max: Fury Road, deliberately overexpose. There's more than one way to create the impression of night, and each one offers unique qualities.

ND filters are needed only for the brightest scenes or to prolong exposures to create motion blur.

Continue to use ETTR (expose to the right) but use it more cautiously; above all, don't clip highlights. This will offer you more latitude during post-processing. Avoid dramatic underexposure, which can crush shadows, flatten midtone contrast in ways that reduce flexibility during post-processing, and accentuate noise.

Very bright skies can disrupt the effect. If the sky isn't necessary in a composition, eliminate it. If it is, plan your exposure accordingly. Consider making a second, darker exposure for the sky.

Using HDR exposure techniques, even when a normal exposure wouldn't require them, will give you a variety of exposures for shadows and highlights to choose from or allow you to render a lower contrast combination that is more likely to produce convincing effects.

Lighting

Always consider the scene's light and modify your exposure and post-processing accordingly.


Insights Members can login to read the full article.
Email:
or Sign up

How To Avoid Making Viewers Squint At Your Images To See Their Highlights

Highlights are crucial to most images, with a few notable exceptions. If highlights are too dull, the whole image feels flat and suppressed. So, many people try to make them as bright as possible without losing detail. (This is a classic practice that’s part of a style, but some photographers prefer even fuller highlights. Edward Weston and Minor White were two such photographers.) In an attempt to make their images glow more, some people go so far as to make images overly bright, washing out midtone contrast, saturation, and clipping highlights, removing detail at the very top of the tonal scale and producing flat white areas. This is a graphic style more than a photographic style – or at best lo-fi rather than hi-fi solution that often requires additional compromises to image quality to feel convincing. Plus, it renders the frame no longer rectangular.


Don't take ETTR to an extreme.


Do make your exposures light without clipping.


Process your files darker.


If you've got clipping in both shadows and highlights, use HDR bracketing.

Exposure

Good highlight detail starts with exposure. Get it. You have to have it to optimize it. This is one of the two reasons to monitor your histograms during exposure; the other is shadow detail. As long as you don’t “hit the wall” on the right-hand side of the histogram, your file will be fine. Remember, the histogram on your camera is based on the JPEG your camera would produce, while the as yet unrendered Raw file has even more data in the highlights. Don’t take ETTR (expose to the right) to an extreme. At some point, data will be clipped, and just before the point data starts to clip, it will start to lose gradation and shift in color.


Basic Panel


Parametric Curve and Point Curve

Processing

You’ll get more contrast by having something to contrast with; in this case, highlights contrast with shadows. Set them first. The darker shadows are, the more contrast you’ll get. (Losing shadow detail is avoided in a classic style but may be done intentionally for more graphic, gothic, or grunge styles.) Similarly, if you weigh midtones lower, highlights will appear brighter. Every range of tones (shadows, midtones, and highlights) can have its own kind of contrast. To produce more separation in highlights, focus on setting the point where they transition into midtones as low as possible without making the image look too dark. What’s too dark? Subjective. Trust your gut and do it your way.


Insights Members can login to read the full article.
Email:
or Sign up

The Art Of Noise

Download your free copy now!

Control noise in your images with these techniques.

Detail Frequency 
Understanding this term will help you know how to reduce noise in your images.

How To Avoid Noise – 3 Types & 2 Kinds 
Identify the type and kind to find a cure.

5 Ways To Eliminate Noise At The Source 
Eliminate noise at the source.

3 Photographic Noise Reducers Compared
Learn how to choose between Adobe’s AI and Manual Noise Reducers Plus Noiseware.

How To Use Adobe’s AI Noise Reduction 
It’s the next best thing to not having noise.

Reduce Noise With Adobe Camera Raw And Lightroom 
Adobe Camera Raw and Lightroom both offer easy-to-use noise reduction controls…

Reduce Color Noise with Photoshop 
You can easily reduce the color component of noise using Photoshop.

Reduce Noise With Photoshop Filters 
Despeckle, Dust & Scratches, Median and Reduce Noise…

Noiseware – The Best Plug-In 
Noise happens. When you have it, there’s a lot you can do about it.

Multiple Exposures 
Make many exposures and watch the noise disappear.

How To Use Noise Creatively
Use Noise to reduce banding and create texture fx.

Sign up for Insights for full access and new content!

Use HDR Techniques To Get The Best Image Detail

Download your free copy now!

 

Use high dynamic range techniques to capture detail in highlights and shadows even in scenes with extreme contrast.

 

Why Everybody Needs HDR … Sometimes | Coming Soon

What In The World Is HDR ?

What Is Exposure Value ?

Using Histograms – ETTR

Why Your Camera’s Auto HDR Feature Is Inferior 

How To Set Your Camera To Auto Bracketing 

How Many Exposures Do You Need For HDR Merges ? 

Making HDR Merges Is A Four Step Process

5 Photoshop Tools To Make The Most of Shadows & Highlights Without HDR

3 Ways HDR Software Can Benefit Single Exposures | Coming Soon

Using HDR Software To Sharpen Photographs

HDR With One Exposure

HDR With Two Exposures

HDR with Lightroom | Coming Soon

HDR With Photoshop | Coming Soon

HDR Panoramas | Coming Soon

Refine HDR With Photoshop Layer Blending | Coming Soon

7 HDR Artifacts & How To Avoid Or Cure Them 

8 HDR Myths Debunked 

Quick Answers To The 5 Most Asked HDR Questions 

 

Get Optimum Image Quality – Shoot & Process Raw Files

Download your free copy now!

 

Get the best image quality by optimally exposing and processing Raw files.

 

What In The World Are Raw Files?
Dive in to the strange and wonderful world of Raw files.

Why You Should Shoot Raw
Get highest quality images from your digital camera.

Why You Should Profile Your Camera
Improve the clarity and saturation of the color your digital camera creates.

How To Get More Than The Maximum A Slider Allows
Get 150%,  200%, 500% or more out of sliders.

 

Sign up for Insights for news of new content!

How To Achieve Optimum Exposure

Download your free copy now!

 

Achieve optimum exposures.

 

Use The Exposure Triangle Creatively | Coming

Setting Your Digital Camera’s File Format

Setting Your Digital Camera’s Color Space 

Using Histograms

Evaluating Histograms 

8 Essentials To Achieve Perfectly Focused Exposures

13 Essential Tips For Low Light & Night Photography

Lens Profiles 

Creating Camera Profiles

Test Camera – Dust | Coming

Test Camera – ISO  | Coming

Test Lens – Sharpest Aperture | Coming 

Get Better Exposures Using Hyper-Focal Distance | Coming

How To Hold Your Camera Steady | Coming

What To Do When You Don’t Have A Tripod | Coming

Shoot In Bursts To Reduce Camera Shake | Coming

Use Camera Motion Creatively | Coming

Crop, Distort Or Retouch ? 

 

Multi-Shot Techniques

 

Multi-Shot – Extending Format – Panorama

Multi-Shot – Extending Depth Of Field – Focus Stacking

Multi-Shot – Extending Resolution – 3 Ways Increase Resolution

Multi-Shot – Extending Bit Depth – 32 Bit Tone Mapping

Multi-Shot – Extending Dynamic Range – HDR

Multi-Shot – Remove Or Multiply Moving Objects

 

Sign up for Insights for news of new content!

Extending Format – You Can Use It For More Than Panoramas

1_Left

Left

2_Right

Right

11_Antarctica_2009-CIX

Panoramic stitches combine both

Think Outside The Frame

No one needs to learn to “think outside the box” more than photographers. The frame, literally a box, is often our greatest ally. Learning to see photographically is in part learning to see within the limits of this box and use them creatively. But there are times when this limits our vision unnecessarily. Once we’ve learned to see within the box, we then need to learn to also see outside the box – and start extending the frame with multiple exposures to perfect select compositions. Extending format techniques aren’t just for panoramic image formats. They can be used to give you the extra inch that can make all the difference in the world for your compositions.

Hand-held Exposure Techniques

While the best way to make exposures for panoramic merges is to use a dedicated panoramic head on a tripod, this may not be practical – or necessary. (There are three significant benefits to using panoramic tripod heads; one, they keep the camera level and without rotation throughout an exposure sequence, two they calculate the number of and overlap between exposures, and three they pivot the camera around a lens’ nodal point minimizing parallax.) Today’s software packages work miracles making what was once impossible possible. Several practices can help you make better hand-held exposures for panoramic merges.

Keep the horizon level in all the exposures; varying rotation can cause improper alignment and/or excessive cropping and/or retouching.

Shoot a little loose. Perspective correction in these types of photo merges often resulting in irregular borders that beg cropping – or retouching, if this is appropriate. The extra wiggle room you gain from shooting loose will allow you to crop the final results more precisely.

Don’t shoot the separate exposures edge to edge. Instead, overlap your exposures by a third for medium lenses, a half for wide-angle lenses, and two-thirds for fisheye lenses.

Make exposures with the opposite orientation as the final image orientation; if you’re making a horizontal composition shoot with a vertical camera orientation and if you’re making a vertical composition shoot with a horizontal camera orientation. This does two things. One, it increases the number of frames, and thus vanishing points, reducing the tendency for the required perspective correction to produce distortion artifacts. Two, it increases resolution – a tendency that becomes compounded with each added pass in multi-column or multi-row exposure sequences.

Once focus is set, turn off auto-focus during the bracketing sequence. Unwanted shifts in focus may ruin an exposure sequence. For this same reason, consider shooting all exposures in a single sequence at the same aperture setting, as significant variances in depth of field between frames may be challenging to merge convincingly.

Consider using manual exposure. While software can convincingly blend exposures with significantly varying exposures, if brightness across a scene remains fairly constant keeping the same exposure settings between different shots can aid the blending process. (The same is true for white balance, which can be set either during exposure or during Raw processing.) On the other hand, if brightness varies dramatically, bear in mind that simultaneous HDR exposure bracketing is not out of the question; it just increases the number of exposures needed.

LR_Start

Lightroom’s Panorama Merge Preview

LR_AutoCrop

Auto Crop checked

LR_BoundaryWarp

Boundary Warp slid to 100

ACR_Start

Adobe Camera Raw’s Panorama Merge Preview

ACR_AutoCrop

Auto Crop checked

ACR_BoundaryWarp

Boundary Warp slid to 100

Stitching / Merging
Merge to Panorama in Lightroom and Adobe Camera Raw

You can perform panoramic merges in either Adobe Lightroom or Camera Raw. Their interfaces may look different but they’re the same.

There are three advantages to making panoramic merges with these Raw converters. First, it creates a new combined file in DNG format and allows future access to the Raw data in the files. Second, they offer simple but powerful post-merge distortion (Boundary Warp) and Auto Crop options that Photoshop’s Photomerge doesn’t. (This means you’d only choose Photoshop when you wanted to use its additional merge projection options Collage and Reposition.) Third, the DNG file takes up less space than the PSD or TIFF file Photoshop generates.
How do you do this?
Read More

Use Multiple Exposures To Remove Unwanted Objects With Photoshop

20090517_NAMIBIAsossusvlei0111

20090517_NAMIBIAsossusvlei0112

20090517_NAMIBIAsossusvlei0113

Combine 3 or more exposures into 1

MergedOut_Mean

Remove moving objects using Photoshop's Smart Objects

Use the Stack Mode Mean

MergedOut_Minimum

Keep moving objects using Photoshop's Smart Objects

Use the Stack Mode Minimum

It’s a perfect shot! If only those unwanted objects (cars, birds, people, etc) in the scene would disappear. As long as the unwanted elements in your frame move, even just a little, you can make them disappear from your image, by taking two or more shots and using Photoshop’s layering and blending capabilities.

You don’t have to retouch your image. Blending is different than retouching. The unwanted elements aren’t covered over with new information, by hiding them with replacement information similar to the surround, either from the same source or another. With blends, the information behind the moving subject is revealed. How? It’s contained in the other shot(s).
You can even do this with exposures that are made with slightly different angles of rotation or framing, so you can use this technique with handheld exposures, not just those made with a tripod. Camera motion may make manual registration difficult, but Photoshop will automatically align and in some cases distort the separate exposures so that they register precisely. In some of these cases, you may need to crop the final result to restore a rectangular frame.

You can even remove stationary objects with blends – if you move. In situations where there is sufficient parallax between foreground and background elements, by varying your angle of view, you can cause significant shifts in position of foreground elements without causing significant changes in position of background elements. Make multiple exposures from multiple angles of view and you can blend out the elements that appear to move. When using this technique, shoot loose, planning to crop more after the merger.

If you have only two exposures you’ll need to manually mask the top layer. If you have three or more layers Photoshop will automatically blend the layers.

So how do you do this with Photoshop?


Insights Members can login to read the full article.
Email:
or Sign up

Extend Depth of Field With Focus Stacking

2_back2

Foreground in focus

1_front

Background in focus

3_infiniteDOF

Two exposures combined to achieve infinite depth of field

How deep would you like your depth of field to be? The choice is yours. Today, there are virtually no limits. You can extend depth of field beyond the physical limitations of any lens/camera system with multi-shot exposure practices and software – by compositing multiple exposures.

To do this you first need to make a set of focus bracketed exposures, optimizing focus in different image areas. How many exposures you’ll need will depend on how much depth of field a scene contains. At a minimum, make two exposures; one focused on the foreground and another focused on the background. Making three exposures is better; one each for foreground, middle ground and background. When dealing with extreme depth of field, like macro or microphotography, you’ll want to make more exposures, at least three, probably six, possibly more. When in doubt, make more exposures than you think you’ll need; you don’t have to use them all when you stack the separate exposures, but they’ll be there if you need them. Unlike bracketing for HDR, it’s almost impossible to automate these types of bracketing sequences in camera as focus needs to be adjusted for each frame. However, for tethered shooting, you can use software such as Helicon Remote to take control of your camera and automate this process and other bracketed sequences like HDR and time-lapse. Whenever possible use a tripod to make focusing during exposure more precise and registration during post-processing easier. While using a tripod always delivers more reliable results, don’t let this stop you from trying this technique hand-held, especially with simpler sequences, like those used in landscape. You may notice that In cases involving extreme depth of field, you may notice the relative size of objects may change between individual exposures. These effects will be automatically adjusted during the merging process.

Before you combine a set of focus bracketed exposures, make all the Raw conversion adjustments you’d like to make to the final file. It’s quick and easy to process a focus bracketed series of files; process one file in the series ideally and then Sync the other files to it. Once a Raw file is rendered, you can’t re-access the data in it, such as ‘recovering’ highlights or ‘filling’ shadows, without re-rendering it. While, you can adjust lens distortions after stacking with Photoshop’s filter Lens Corrections, it’s much easier, faster and more robust to apply Lens Corrections during raw conversion, before focus stacking 16-bit TIFFs.

Once you have a processed set of focus bracketed exposures you can automate the process of stacking and blending them into a single file in Photoshop. (Unlike HDR and Panorama merges, you can’t make a focus stacked merge in Lightroom – currently.)

6_AutoBlend

Photoshop’s Auto-Blend Layers dialog

7_FocusStackLayers

Photoshop’s auto-masked layer stack

Take these four steps.

1          Using Adobe Bridge highlight all of the files you’d like to combine.
2          Go to Tools > Photoshop > Load Files Into Photoshop Layers
3          In Photoshop’s Layers palette highlight the layers
4          Go To Edit > Auto-Blend Layers, check Stack Images and click OK

You can then further refine these results, including manually adjusting the automated masks or distorting layers, but this is rarely necessary. Photoshop does a fine job for a majority of applications.
.
8_HFmain

Helicon Focus’ main window

9_HFAutoadjustment

Helicon Focus’ Autoadjustment panel

Read More

Crop, Distort, Or Retouch ?

1_top

Top frame of a panoramic stitch

2_bottom

Bottom frame of a panoramic stitch

3_distortedframe

Panoramic stitch

5_filled

Panoramic stitch distorted

4_cropped

Panoramic stitch cropped

5_filled

Panoramic stitch cropped and retouched

6_filled_large area

Panoramic stitch retouched

The strategies above are not limited to panoramic stitches.

We’re responsible for everything that’s in the frame. We’re also responsible for everything that’s not in the frame. Deciding what’s in the frame and what’s out is a critical decision that can make or break an image.

Here are two essential framing strategies.

One. Use the frame to eliminate distracting information around a subject(s). Take extra care with image information that touches the frame, as it will draw extra attention. Do this with significant compositional elements.

Two. Eliminate excess space around a subject(s) to focus the attention of the viewer. A lot of surround space between the subject and the frame can be used to use to call on psychological associations with space, such as freedom or isolation. Some space between the subject and the frame can give the appearance of the subject resting gracefully within the frame. Touching the subject with the frame strongly focuses the attention of the viewer and may seem claustrophobic. Cropping the subject with the frame can focus the attention of the viewer on specific aspects of the subject and/or give an image a tense quality, evoking evasion and incompleteness – this often seems accidental if less than half the subject is revealed.
Cropping is extremely simple to practice. (While cropping techniques are simple to practice, the reasons for their application and the choices made about how to apply them as well as the final effects may be exceptionally complex.)

Here are two cropping choices.

One. Reposition the frame before exposure.

Two. Contract the position of one or more of the borders of an image after exposure, generally with software.
Because distorting an image during post-processing, by expanding or contracting one or more sides or corners, is a relatively new possibility, most people don’t think of exercising this option. Ironically, anyone who uses lens profiles distorts their images in post-processing to correct lens distortion. Consider this a creative supplement to and extension of that practice. While cropping potentially changes the aspect ratio of an image, distortion does not.

Here are two distortion choices.


One.
 Use Photoshop’s Edit > Transform to distort an image. Push the areas you wish to crop outside the frame. Move one or more sides by pulling the point in the middle.

Two. Use Photoshop’s Edit > Transform to distort an image. Push the areas you wish to crop outside the frame. Move one or more corners by pulling the corner point while holding the Command key.
Retouching used to be complex. Today it can be simple. Never before, has retouching been so easy to do or the results so sophisticated. (To be certain, not all retouching is simple. You can make retouching as simple or as complex as you choose to make it. Retouching is an art that continues to be elevated on a daily basis. But what once required specialized tools and a Herculean effort can now be done with standard software in seconds.)

Here are four retouching choices.

One. There’s cloning. Simply use the Clone Stamp Tool set to Current and Below on a new blank layer. (This will ensure that any retouching can be removed or redone at a later date.) Hold the Option/Alt key and click to sample information to copy, then move the cursor to the area you’d like to copy the information to and click and drag. Repeat until a desired effect is achieved. Typically, donor information is drawn from the same document but you can also clone from one image or file to another.

Two. There’s healing. Use the Healing Brush Tool as you would the Clone Stamp tool. Or, use the Spot Healing Brush, which will automatically select the information sampled for you and can be used within a selection to contain the results. Or, finally the Patch Tool, which will copy information selected with it from or to (depending on whether you check Source or Destination) wherever you drag it to. Healing can’t be done on a transparent layer, so work on a copy of the layer you’d like to retouch. Click on the layer and select Duplicate Layer from the Layer menu or palette. If you need to heal image material contained on multiple layers, create a new composite layer by holding the Option/Alt key select Merge Visible from the Layer palette.

Three. There’s copying and pasting. Just select a region of an image with any selection tool. Copy it. (Edit: Copy) Paste it. (Edit: Paste) Then move the resulting layer into play and mask as needed. (Click the mask icon at the bottom of the layer palette and use a black brush at varying opacities to hide the information.)

Four. There’s filling. Select a region. Fill with Content Aware fill. (Edit: Fill and select Content Aware from the drop down menu in the dialog.) (This feature was introduced with Photoshop CS5.) Photoshop will automatically create an appropriate random texture in the selected area. Like healing, this feature won’t work on transparent layers/areas so, again, use it on a new merged layer.

Software routines such as lens correction and panoramic stitching may distort the frame, subtly but sometimes significantly distorting a composition, and requiring additional measures to restore a rectangular frame. When solving this challenge, you may get better results if you don’t contract the frame as aggressively as you once did and retouch rather than crop to fill in the gap and/or eliminate distracting elements.

Your choice of practices or their application may or may not change the nature of the artifact that you finally create. And, whether the means you choose is appropriate for your objective, the practices you adopt may or may not be accepted by the community of artists you choose to work within – some are more permissive than others. Nevertheless, you should explore your options. You simply won’t know whether it’s for you until you try it for yourself.

Learning to think within the frame is an essential skill for creating strong photographic compositions. But today, learning to think within the frame is only the beginning. You can learn to think outside the frame as well.

It’s a new mindset. Once it becomes second nature, you’ll not only find you have more options for visual problem solving but you’ll also find your visual horizons will have expanded – significantly.

Learn to see in new ways. Combine them with old ways. You’ll find you’ll make images that you once passed by, leaving them unmade or even unnoticed. As a result, you’ll make many more successful images.

Read more in my Exposure lessons.
Learn more in my digital photography and digital printing workshops.