T2i gets some HDR love according to Canon themselves.  The quote from their press release reads:

“”"The new Rebel T2i also has an expanded ± 5 EV exposure compensation range allowing for much more versatility when shooting in extremely bright or dark environments; or when shooting HDR (high dynamic range) images.“”"

My question is… does the camera shoot 3 AEB and allow +/-5.0EV? Because their language says exposure compensation range.  So is it a capture “range” of 5EV or how it reads preceding those words which shows ± 5 EV with the focus on the Plus or Minus.

Currently they have no user  manual available for download so this is a mystery at the moment.  CanonUSA.com doesn’t show a line item for AEB (Auto Exposure Bracketing) like they usually do for their cameras so again… no definitive answer as of yet.  The fact they made a point to comment on the expanded range for HDR capture makes me believe they jumped up significantly here.  I can’t wait to hear the actual specs.

I’ve pre-ordered one through Amazon already.  The manual controls of full HD video, an external mic input, frame rates, etc… make this a no brainer backup body and video workhorse for certain shoots.

HDR Video is something I started toying around with in 2007.  The post production side of it was a challenge and a whole series of blog posts to touch on what I’ve found to be “best practices” for me.  The image below shows one single frame of the video. Each frame actually consists of 7 shots taken on continuous shutter release at 9fps on a D3.  Each frame was merged to HDR and tonemapped and then laid down in Final Cut Pro’s timeline.  The D3 was on a tripod with a fluid head and it was a manual (not perfect) tilt move.

I started doing the HDR Video segments for architectural shoots for builders, architects, realtors, rental companies, vrbo … the kitchen sink.  I had exported them out for video CD-Roms and marketing DVDs. The problem then was that the whole HD-DVD versus Blu-Ray DVD was a battle that had not been fully settled yet.  So I didn’t bother exporting out the segments to high definition.  I’m going back to old hard drives and bringing that footage back online into Final Cut Pro and doing that now so that I can export out to 720p for Vimeo and 1080p for YouTube.

The first one I converted to HD was not an architectural interior, but rather a segment I shot near the back yard of a client’s home for sale that happens to bump up against a state park here in North West Florida called “Eden Gardens”.  I’m still exporting and uploading the YouTube 1080p version and that won’t be done until later tonight after the Super Bowl, but the Vimeo 720p version is live now.  I’d let it cache and watch it full screen.  There is also a link to the right and below that allows you to download the video to your computer if you want to see it in much greater detail.  It is 720p, H.264 quicktime at 30fps.

I’m not even going to embed it. You really need to view this at full rez.  Here’s the link:
HDR VIDEO on VIMEO – 720p HD

I’ll be uploading more videos in the coming weeks.  All were shot from 2007 to 2009.

HDR for Real Estate Photography is my world. The comparison below is to show you the difference between trying to use just one RAW image to process versus bracketing multiple shots from a tri-pod to later merge to HDR, then tonemap.  Now this is not the most dramatic high dynamic range image I’ve faced, but it is one that realtors and architectural photographers face from time to time.  A property where the sun rises behind it and never hits the front face of the home even at sunset.

The image on top was the final shot delivered to the client.  It was a bracketed series that got merged and tweaked then sent to Photoshop CS3 for final tweaks.  In Photoshop I removed some clutter on the ground and the dead tree sticking in frame at the top left of the shot.

The image just below the top image was the best single image of the bracketed series. I took that one single RAW into LightRoom and jacked highlight recovery all the way up to the max of 100% to try and get back as much sky detail as possible.  I also took the fill light slider all the way up to nearly 50% to attempt to raise shadows as well.  The  challenge when doing this is that it not only flattens the image (reverse contrast per se), but you pull up noise in shadows badly and in some cases you get strange color hue shifts. That bottom image was tweaked as heavily as I could in RAW before then taking it to Photoshop.  In photoshop I then used the Highlight/Shadow filter to try and further tame the highlights and help bring up shadows.

More details after you view the two images below

Some agents would be perfectly happy with the picture below, but my clients would shoot me if I delivered a photo like that. It is not that the lower image is horrible, it is just not showcasing the property as well as it can be shown.  The top image reduces the overblown sky and driveway.  The lower image has your eye drawn to those bright regions which detracts from the home itself (the focal point of the shot).

Just so you know, this was for a builder, not an agent. The builder chose this exact location to shoot from after we tried finding various angles.  The sign which covers a piece of the home he was not willing to pay extra for me to photoshop out… so I tried to aim it to land in between the windows.  Also, this was taken later in the afternoon and as the sun goes down the sun nails that metal roof and windows and reflects towards where I’m standing thereby making that angle impossible later in the day even though a smidge more light gets to the front of the home.  The sun rises behind the property and to the left so this house never has light shining on it from the front.  Hence HDR to the rescue.

I actually took another image the following morning which made for even more dramatic HDR needed.  The ramping in post caused for it to end up being what I consider “over cooked” for my taste.  I gave it to him and to my surprise he LOVED it.  He actually freaked out about how much it looked like an architectural rendering of sorts and gladly took that one as well as the afternoon shot.

That morning shot I overcooked is this one.

HDR Portrait of a friend and her niece below. I have done a couple dozen portraits like this the last few years, but don’t advertise it per se.  Prior to the shoot she asked if it would be possible to “photoshop” the image to look more like a painting than a photo.  Enter HDR.

Knowing that’s what she wanted, HDR was going to make creating that look quite easy.  I could have toned down the colors or not tried to crush so much dynamic range into an 8 bit range, but I ramped it in there because she LOVES color. If you saw her home you’d be a believer.

Could I instead just have blasted them with flash from the front to try and balance the blazing sunset? Yes, but if you’ve shot directly into the sun like this yourself then you know I would have had to have HAMMERED them with flash and the shot ends up having an entirely different feel to it.

Here is a larger version linked below (hosted on my photography website):
http://www.digitalcoastimage.com/hdr_portrait.html

The technique is a bit tricky.  This is what I do.  There may be a better way, but without a tri-pod and because I’m dealing with humans not a static subject, this is what I’ve managed to piece together.

It’s hand held, I’m shooting with a heavily back lit subject directly into a blazing sun.  I say tricky because I am firing off flash on the first image of the bracketed sequence.  The D3 allows you to choose the order of an automated exposure bracketed series and I chose to have it shoot “normal” for the first frame, then move to under exposed to over exposed. The D3 shoots at 9 frames per second and the SB-800 can’t recycle fast enough so the flash only has true power on the first blast so when the second frame fires the speedlite is spent momentarily so the camera is rapidly ripping through the under to over exposed shots before the flash can fully recycle.  Now depending on your camera, and the speed at which it shoots (FPS) + the type of speedlite you are using + the settings you have the speedlite set to, etc…. your results may vary. The camera is set to shoot on continuous shutter release for this automatic exposure bracket.

Post production for these shots can be handled in a ton of different ways, such as either beginning in LightRoom and using the Enfuse plugin to fuse images, alternatively one could take individual frames into Photoshop and layer them and mask in pieces needed, or one could merge to HDR and tonemap the image which will be the background and again mask in the flash image.  Regardless, the editing ends in photoshop brining in the first frame with the flash fired to mask over the properly exposed background (and your subject will be underexposed in that non-flash image).

The biggest issue is whether you were steady when you fired off the burst because the quality of either fusing the image or merging to HDR will depend largely on that.  Even though images can be “aligned” in post, that process does compromise the image quality to some degree.  Movement  also complicates masking in the single/flash frame in post, although you’d be surprised how much wiggle room you actually have if you are pretty good at dealing with layers and masking in photoshop.

I probably would not attempt this technique with a camera that shoots slower than 5fps, but I have not attempted this with a camera that shoots 3fps so I can’t say for certain.  The margin for error with the longer time between frames means either you or your subject is more prone to movement.  I’ve occasional had difficulty holding still even at 5fps on a 40D (some time ago), but I have never attempted this at 3fps and probably would have a higher failure rate with those longer moments between frames.

Additionally, your subjects need to understand how critical it is to remain still.  Good communication and/or with a countdown helps.  Blinking is not as big of a deal after the first shot fires because you’ll mask in that first shot anyway.  However, if they drift at all during the capture, then that movement can be problematic aligning images in post and obviously both you and your suj

I always shoot these sequences in RAW because obviously the white balance of the flash hitting your subject may be an issue with the other shots that follow not synching with whatever ambient lighting exists.  You’ll definitely suffer more if shooting JPEG when dealing with exposure adjustments and color balance issues this technique requires.

If you choose to attempt this in a more normal lighting environment, then obviously using flash might not be needed at all and you would just treat the shot like any hand held HDR capture.

I’m not recommending you should be removing the blur filter (AA) from your sensor yourself of course. However, there are professional services out there that can do this for you.  One such company I have used before to accomplish this on my 5D (original, not mark II) is LDP LLC.

MaxMax.com is the site if you want to look deeper into it.  [ I have a link below that goes directly to the D700 page showing the difference it makes to sharpness and in Nikon's case, better white balance ]

There are pros and cons to consider before doing this to your camera. The pros are that the blur filter (AA) will no longer impact the sharpness of your images, the downside is that Moiré patterns may appear when an image has items in frame that have certain repeating patterns of their own.  You’ll have to review their site to see what I mean by this, but there is an example on the page linked HERE. Scroll down 3/4 of the page to “AREA 3″ image to see the Moiré pattern.

You see, in order to eliminate or reduce Moiré patterns, the camera manufacturers install an AA filter over the sensor to blur the high frequency information.  The AA filters let the low frequency information through but blocks the high frequency.  What this means is, although you may own a 10 mega pixel camera, it may only be taking an equivalent of 7 mega pixels of resolution.  Any information approaching the resolution of the sensor must be blocked to prevent Moiré, but the cost of this process is loss of resolution.

—-||| On a side note, this is the reason why I like the Sigma SD14.  The foveon sensor has no such blur filter (AA) and captures red, green and blue on each pixel. |||—-

Maxmax.com offers two options. Either a camera conversion whereby you send them YOUR camera and they remove the blur filter and install a high grade glass replacement over the sensor.  -OR- you can buy new from them and they will convert a brand new camera and make the same conversion before shipping it to you.

I actually opted to NOT sell my D3 and instead shipped it off this week for their High Resolution (HR) conversion process.  I was happy with the increased sharpness I got with my old 5D and I’m sure I’ll be pleased with the D3 conversion.  I was willing then and am willing now to deal with that annoying Moiré pattern in order to gain increased resolution / sharpness. I’m a pixel junkie.

For those of you who don’t know, the D700 uses the same sensor as the D3.  So the images shown on their D700 High Resolution (HR) info page (linked below) would be similar findings with a D3.  I’m looking forward to the better white balance myself.  The first thing I noticed when I started shooting with the D3 was it had a color shift towards yellow/brown that was distinctly apparent to me after having shot with a 5D for a couple of years.  You’ll see.  Check the link below for image comparisons of a stock Nikon D700 vs D700 (HR) converted.

http://www.maxmax.com/nikon_d700hr.htm

I’m NOT. I repeat… I’m NOT recommending you do this to your camera or endorsing MaxMax.com here and now. I’m just letting you know these types of things exist and that I’m willing to roll the dice with my gear.  If I only had one camera and no backup bodies, I wouldn’t take a chance with something like this.

HDR PhotoStudio™ Review will have to wait ’til another day sadly.

Despite having 12 gigs of ram, beefy graphics card, etc., etc. I unfortunately fell just shy of system specs to run HDR PhotoStudio because it requires a minimum of an Intel dual-core 2.5GHz, but my MacPro is only Intel dual-core 2.0GHz so I unfortunately won’t be able to review HDR PhotoStudio™ anytime soon.

Having just bought a Canon 5D mark II and about to purchase the $2500.00 Canon TS-E 17mm f/4 Tilt Shift lens, I don’t have the cash flow to buy a new beefy computer to test out HDR PhotoStudio™.  Bummer.  It looks very promising.

HDR PhotoStudio™ Now available for Macintosh!

I’ve been waiting for the Mac version for some time now.  Finally available!  Of course Murphy’s Law… I’m right in the middle of a huge edit and can’t/won’t mess with it to test until later this week, but rest assured I’ll be reviewing this app.  Why do I like this app?.. or at least find interesting?  This paragraph from their website:

HDR PhotoStudio is the only solution capable of creating HDR images that truly unlock the full range of color as perceived by human vision. The software grants complete control over the colors within an image and provides a comprehensive toolbox to address the effects of merging multiple exposures, while simultaneously improving workflow.

Here’s some geeky system/spec info:

Version: 2.15.28 build 4449.
Download size:
Mac OS: 21.9 MB.
Windows 32-bit (x86): 11 MB.
Windows 64-bit (x64): 12.5 MB.

System Requirements:

OS: Mac OS 10.5 (Leopard)/Mac OS 10.6 (Snow Leopard), Windows XP/Vista/Windows 7.
CPU: Intel dual-core 2.5GHz minimum, quad-core, 2.8GHz is recommended for best performance.
RAM: 2GB minimum, recommend 4GB.

LINK = HDR PhotoStudio™ Now available for Macintosh!

More to come once I’ve played with it

The Nikon D700s is probably one of the most sought after Nikon cameras.

The amount of chatter surrounding the Nikon D700s is truly amazing.  In fact I get over a dozen hits a day from a very old blog post from summer 2009 where I said the D3s would likely be released before any D700s simply from a corporate perspective (money flows).

The logic of a D700s (the naming convention) makes sense from Nikon’s perspective and past.  The D300s was their upgraded D300 adding video.  The D3s followed suit from the D3, but from reports in the field, the D3s sensor is in fact a NEW sensor and explains the dramatically improved high ISO performance.  So we have the D300 ==> D300s and the D3 ==> D3s and the expectations are now to see a D700s follow the D700.

A Nikon D700s if following the chronological order of past releases should release in spring or early summer of 2010 (North America seasons). Logic would also lead one to believe it will be the same D3s sensor with low light sensitivity and of course video capabilities matching the D3s.  I’m not predicting this mind you.  For all I know Nikon jumps right to a D800 with even newer features that warrant moving to the next generation of numbers.

What I can predict with certainty is that the D700s will disappoint everyone when it is priced.  Like the D3s, the D700s will likely be priced HIGHER than you’d think it should be (much like the reaction of the D3s pricing).  You can just go ahead and plan on a price point for the D700s that will piss you off.  And after early adaptors demand dries up in 6-9 months Nikon will lower the D700s price accordingly.  But those who can’t justify the costs of a D3s will consider the D700s despite the initial price tag which will not be “fair” in the eyes of many.

Make no mistake the D700s AEB for HDR capture is a hefty 9AEB and the camera is a solid performer with high FPS bursts.  The D700 line has been compared to the Canon 5D mark II, but I consider that an unfair price/value comparison if you are an HDR shooter.

Yup.  3 AEB Sucks and I’m reminded about this fact because I just got my Canon 5D mark II last week.

The Canon 5D mark II is crippled with only 3AEB (I love the camera, but hate the 3AEB).  I’m pushing 13,000 commercially produced HDRs as I type this and I have owned and shot with half a dozen Canon’s and a few Nikons.  3AEB just sucks (period).  Sure you can twirl a dial to a custom function on say a xxD, 5D, 7D series body, but that means you get two separate exposure series that in post presents problems for certain softwares if you are looking to batch merge, etc.  It just sucks.

I think a lot of people think I’m a canon hater. Let me clarify.  I hate 3 AEB, not canon.  The reason some think I hate canon is because I pick on them for holding back the extended AEB mode for only their $5000-$8000 cameras.  Nikon has 9AEB on models as early as $1699 bodies.

Also, I pick on canon in a round about way on the wide end of their lens selection.  The Canon 16-35mm f/2.8L II is a great lens.  I love using it.  In fact for close range portraits in tight spaces it is a gorgeous lens to use wide open because it is SO SOFT wide open as you move away from the center (oh I can see the hate mail in my inbox now, but this is true).

The Nikon 14-24mm f/2.8G goes wider, is far sharper wide open and deals with glare like a champ.  Rumors have been floated about patents that canon is working on a Canon 14-24mm f/2.8L and if this turns out to be true then I am THRILLED!  I will buy that lens no doubt because their latest and greatest offerings have been wicked sharp… so I’m sure if that new WA lens is real it will be a beauty.

Back to AEB though.  2010 looks to be the year that finally gives HDR shooters what they want and need.  Extended options. Hell, it is just a feature.  The camera already knows how to do all this it is simply a firmware issue.  Look how fast Canon was able to “fix” the firmware for the 5D mark II when the outrage about no full manual control of video was cried from rooftops.  There are less HDR shooters on that rooftop so our cries are not heard.  But this year Nikon and Canon will hear a trumpet…

… because finally this year the limiting AEB range current DSLR models have will be completely shattered.  2009 we saw AEB limits of a camera extended dramatically by the Promote Control and 2010 will be the year that Canon and Nikon get their wake up call.  In camera AEB will go so far beyond 9AEB that using the D3 or 1D mark III will seem limiting to the professional HDR shooter.

(to be continued)

Christian Bloch who runs HDRlabs.com and is a VFX Artist at EdenFX just posted a great overview video on Vimeo. It covers using a high res HDR image as backdrop for an entire green screen scene. “The Advantage is total flexibiliy of viewpoint and exposure, leaving more time for detail enhancements and animations.”

He also posted a video “Demonstrating using Gigapano sized photographic imagery for rapid prototyping shots of city flyovers.”

Both are excellent examples of using images in a video/compositing post production environment. Even if you don’t intend to learn video editing or compositing they are worth watching just to see how the photos were used in concert with 3D/2D compositing.

Christian is the author of The HDRI Handbook which I wish I had found back when it was first released! It would have saved me time figuring out a ton of geeky stuff I found out on my own through various sources online. It is not a beginner’s book by any means, but an amazing reference.  He’s announced he is working on a 2nd edition this year and I’ll definitely be getting that one as well when it releases.