Dynamic range of sensors varies from camera to camera. You might be surprised by the (updated) chart below because the dynamic range of sensors is not as directly related to camera costs as you might think. You’ll notice that some mid level DSLRs are way ahead of the curve over other camera’s pro level cameras when it comes to dynamic range of the sensor.  This test was conducted by DXOmark.com and you can go there to read about how the tests were conducted.

|||—— UPDATED FOR NEW CAMERAS TESTED BY DXOmark.com —–|||

What is important and relevant to HDRI is the dynamic range of your sensor. It really matters.  Unless you taking large and tight brackets of each scene then it really, really, REALLY matters even moreso than you think.  If you are following a technique taught by someone using say a D3x and they tell you all you need is X shots, but you are using a camera at the bottom of the chart below and taking the same number… there is no way you can match that person’s results. Its mathematically impossible.

I get asked all the time how many shots do I take when I shoot, but nobody asks me with what camera.  Everyone assumes they are all about the same for HDR.  They aren’t.

Gear used for capturing brackets for HDR is even more critical if you are only taking 3 shots.  It will directly impact the quality of your HDR file. IF YOU ARE SHOOTING FOR VFX WORK THIS IS SLIGHTLY LESS CRITICAL THAN IF YOU WILL BE TONEMAPPING FOR REALISM (only slightly less though).

I’ve captured and tonemapped over 13,000 images for architecture, real estate and commercial shoots.  I’ve forfeited all my vacation time the last 4 years just to do intensive testing about what works better.  Gear, post production, you name it.

I’m pretty obsessive compulsive about trying to get a realistic looking image for real estate interiors and I’ve bought and/or rented about 40% of the cameras on this list below. DXOmark.com seems on the mark as far as my personal results are concerned.

Dynamic Range of Camera Sensors (I chose to focus on modern day digital models only)

No test is perfect. DXOmark has attempted to do this objectively, but because ISO/Noise and how cameras can handle scenes, colors and other differing factors, this should not be the only way to base your purchasing decision.  For example…

Someone could use the Canon 1000D (also known as the Canon XS) plus a piece of gear to get pro HDR captures.

If you bought that entry level Canon 1000D/XS for $400+ and a PROMOTE CONTROL for $299, (which will soon be adding HDR Timelapse to its functions in addition to HDR capture and standard Timelapse), then you could take very large and tight brackets with the Promote Control attached to your 1000D/XS that will capture well beyond what the in camera AEB capabilities of every single camera on that chart above.  Yes, including a D3x or 1Ds Mark III.  Sometimes the piece of “kit” you add to the mix can make a lower end device perform very well (dynamic range speaking here).  Of course the pixel quality of a D3x/1DsMarkIII is easily better than a Canon XS, but at the cost of $8000 it should be.

Magic Bullet Photolooks 1.0 for Photoshop was announced last week, but I’ve been so busy shooting it slipped right by me. Some of you may already be familiar with Redgiant Software and Magic Bullet Looks which runs in Adobe After Effects, Adobe Premiere Pro, Apple Final Cut Pro, Apple Final Cut Express, Apple Motion, Avid Xpress Pro, Avid Media Composer and Sony Vegas.  Well now Adobe Photoshop gets to play too!

So why is a blog that focuses on HDRI (high dynamic range imaging) mentioning a photoshop filter?

Redgiant Software Magic Bullet PhotoLooks 1.0 works in 32 bit space.  That means the looks and tools provided in PhotoLooks 1.0 can be used on your HDRs.  Yeeessssss!

So if you haven’t yet thanked Stu Maschwitz for birthing the original concept and product that became Magic Bullet Looks, we can all thank him again and even moreso for getting that wonderful plugin over into the photo community via Photoshop.  Thanks Stu!!!

I grabbed a handful of shots from a few model shoots I’ve done and threw them into a collage to show how the looks can really change the feel of a shot (reference image linked directly below)

I tried to grab images with different primary colors and different contrast ratios (not a perfect mix, but good enough).  I then created a screen capture as I cycled through the images after launching PhotoLooks 1.0 from the Photoshop CS3 filter menu.  This is a compressed video (vimeo & youtube versions) so the quality is not tremendous, but I uploaded a 720p HD version to both services.  Also noteworthy, some of the presets were meant to be applied to one image, not a collage of images so vinetting for some presets won’t apply perfectly to the collage.

Last and important to remember.  I’m applying these presets on WEB JPEGs.  Results will differ if working in higher bit depth than 8 bit.

I decided NOT to embed the videos here because you really need to see them full screen or in larger format to appreciate Magic Bullet PhotoLooks 1.0 as I apply them to the larger image.  Links to vimeo and youtube below (vimeo generally has higher quality …. generally speaking).

VIMEO LINK

YouTube LINK

Gigapan Epic Pro announced last week on the 15th of March is now shipping. Initially their site said “Shipping in April”, but it is actually shipping.  I know because UPS tracking shows it’ll be here this wednesday

If weather is good I’ll be shooting with it on Wednesday and will report my initial thoughts as well.  Maybe even a brief video overview. In addition to shooting a full 360 degree image, it also allows bracketing at each stopping point for HDR capture.  It comes with an auto stitch program as well so I’m hoping it is as seamless as the marketing materials make it sound.

I’ve been watching gigapan for some time. Their prior two models would not hold a professional or even semi-pro DSLR so I never bothered to get the prior models.  The Epic Pro now supports a pretty good number of full sized DSLR bodies.  More info about the gigapan epic pro as well as camera compatibility and pricing is on their site: http://gigapansystems.com/gigapan-products/gigapan-epic-pro-product-page.html

I’ve been swamped the past couple of weeks with shoots and edits so I’ve been pretty quiet as of late in terms of new HDRI content.  Speaking of neglect, I haven’t updated my website in well over a year.  Most of the photos are 2 to 3 years old.  A number of them are still my favorites, but MANY of them really gotta go!!!

I’m thankful that I have consistent work coming in the door and my site is not a huge priority, but I should (some time soon) sift through the shoots of the last year and pull the best shots and redo my entire website.  Here are a couple of links from recent shoots for realtor’s MLS listings.  I may have tweeted these ( I can’t keep track ).

http://www.digitalcoastimage.com/30a/wc/index.html

http://www.digitalcoastimage.com/comps/59/index.html

Basically I’d take one or maybe two shots from those links that would ultimately make it on my website portfolio.

I was interviewed by Scott Wyden about a month ago and it just hit is feed this week (blog post).  It was actually a list of questions that I answered and submitted a handful of photos as well.  If you’ve listened to the recent podcasts I was on ( Digital Convergence Podcast – http://hdriblog.com/hdr-and-hdr-video-digital-convergence-podcast/ ) and ( Real Estate Photography Podcast – http://hdriblog.com/real-estate-photography-podcast/ ) then you have heard some of what I covered in this interview.  Scott’s interview went a little deeper in some areas so there is new content/info you didn’t hear on the podcast interviews.

If you wanted a deeper and more in depth look at how I migrated into HDR and Photography, then you can read the interview on his blog:

http://scottwyden.com/a-photographers-interview-with-michael-james/

If you haven’t bought a Promote Control because you own a Sigma or Olympus (those cameas are not supported with the Promote Control), don’t despair… help has arrived.  Surf on over to HDR Labs to check out the Open Camera Control

MAIN INFO PAGE for Open Camera Control
http://www.hdrlabs.com/occ/index.html

HARDWARE INFO
http://www.hdrlabs.com/occ/hardware.html

Adding Apps
(Intervalometer, bracketing, and ASTRO Script for All Night Astro Photography)
http://www.hdrlabs.com/occ/software.html

I’ve recently used the Pentax k-x a bit more to test out the in camera HDR feature.  At first I was under whelmed, but like usual, I messed with settings on my own until I got results I’m happy with.  Maybe not elated with, but happy/satisfied.  First I’ll post a few images, then I’ll explain how I tweaked camera settings to get to a warm, happy place.  Again, these shots were not single frame captures, they utilized the Pentax k-x merge to HDR (in camera) feature and then I tweaked them quickly in post. (They were all taken with the Pentax K-x “kit” lens)

I initially discussed the Pentax k-x some time ago and you can see my comments and test shots from that post: http://hdriblog.com/pentax-k-x-initial-test/

I still do not like the results from using the “HDR Strong” which is also HDR 2 under the two in camera HDR settings.  ”HDR Standard” which is also HDR 1 under the menu settings is less dramatic and the following workflow is what I used to get the image results above.

If you’ve never tried this k-x setting you need to do a few things to your camera settings…

1. Press the MENU button to go into the Menu settings and change file format to JPEG and press the menu button again to get back to the typical LCD settings.

2. Then press the INFO button which is just above the Menu button. On the top line over to the right four squares is the menu option “HDR OFF“.  You can change this option two ways.  You can highlight that option and then use the scroll wheel with your thumb moving it to the right to flip to HDR 1, then HDR 2  –OR– you can highlight HDR OFF and press the OK button and then a screen pops up with the three options and just select the one you want and hit OK again.  Obviously, the fastest way to do this is the first way I described.  Highlight HDR OFF and then use the scroll wheel to change it to HDR 1 or HDR 2.  You’ll see shortly why that scroll wheel is the better option.

Each of the images above are a combination of two captures that I brought into photoshop.  Those two captures which were shot from the EXACT same location on a tri-pod were taken by….

1. First taking a shot using the “HDR-1″ setting (also called HDR Standard).
2. Press and hold the shutter so that it takes the 3 consecutive shots (it is auto bracketing and will then immediately process the three shots over the next 10-12 seconds).
3. Then hit the INFO button & scroll the wheel to the right once to select “HDR-2″ (also called HDR Strong) and again press/hold the shutter to fire off the second bracket.

Now here’s the key… Before taking each exposure I forced the exposure compensation to at LEAST +1EV for each of the above outside shots and adjusted the interior shots up by almost +2EV.  That can be changed by using your right index finger and holding down the button just to the left of the shutter then use your right thumb to scroll the wheel to the right to increase the EV number.  Why do this? …

.. because I found if you fire off the camera when in either of the two HDR modes with exposure compensation set at ZERO, the merge to HDR and in camera tonemapping seems to over crush the highlights and you end up with very “dirty” mid tones and darker shadows than you would want ideally.

The camera is of course firing off three images. One under exposed, one middle, one over exposed.  It then merges those 3 bracketed shots to HDR in-camera, it then processes and tonemaps the HDR and saves the result as a JPEG.  You can’t get anything but a JPEG as a final file (unfortunately).

When I got back from shooting, I would then open the first shot (HDR 1 / HDR Standard) in photoshop.  Then FILE>PLACE the second image  (HDR  2 / HDR Strong) over top of the first image. I then drop the opacity of the top layer (HDR Strong) to about 30% as a starting point and then change its blend mode in the layers palette to either OVERLAY or SOFT LIGHT.  Then I just adjust opacity of that layer up or down to get the feel of the image to a satisfying level.  Save and export.

You may find that you like the HDR Strong layer better than the HDR Standard (your call and whatever floats your boat).  If so, simply reverse the layers so that the bottom layer is HDR Strong image and with the standard NORMAL blend mode and then have the top level be the HDR Standard image and change its opacity and blend mode as described above.

GOTCHAS - If you moved the camera slightly when you switched the camera menu settings between shots, you may need to use Photoshop’s align feature.  You click the bottom layer and shift select the other layer so they are both selected.  Then from the file menu EDIT>AUTO ALIGN LAYERS to have photoshop align the pixels.

UPSIDE:
You don’t need to do any MERGE to HDR and tonemapping because the Pentax k-x HDR Mode is doing that for you.

DOWNSIDE:
Fast moving objects make this two pronged approach a challenge and works best with static scenes. You need to use a tri-pod for best results. The time the k-x takes to process each shot can slow you down when shooting like this. You need a program that utilizes blend modes like Photoshop or a free application like GIMP (which is an open source, photoshop “like” app).

Medium format, meet HDR. HDR meet medium format.

PENTAX 40 megapixel 645D Medium Format SLR Camera $9400 US Dollars

HDR NOTES OF INTEREST
1. Shoots a bracket, merges to HDR and merges IN CAMERA
2. Single shot Dynamic Range Expansion to handle highlights and Shadows

Pentax has finally released the Pentax 645D which is a 40mp medium format camera. Rather than list the massive breakdown of the camera specs I’ll simply link the press release below.
http://www.pentax.jp/english/news/2010/201008.html

The in-camera HDR capture/merge function is of course of particular interest to me, but I’ve yet to find what controls one has (for example: amount of bracketing/steps).

Other noteworthy features listed (but no juicy specifics) are:

INTERVAL SHOOTING

EXPOSURE BRACKETING

EXTENDED BRACKETING

I’ll post more if I find specifics, but don’t get too excited.  The release is initially limited to sales in Japan only.

SIGMA SD15

I had previously discussed the new Sigma SD15 and its new 5 AEB feature.  What I just learned is that the SD15 has the following AEB capabilities:

With 3 frames for Auto Bracketing : 1/3EV Stops Up to ±3EV
Maxing the steps between each shot would lead to under exposed to over exposed as follows:
[ -3.0, 0, +3.0 ]

With 5 frames for Auto Bracketing : 1/3EV Stops Up to ±1.7EV
Maxing the steps between each shot would lead to under exposed to over exposed as follows:
[ -3.3, -1.7, 0, +1.7, +3.3 ]

I would have loved to have seen jumps of at least 2.0EV between each shot on the 5 AEB capture mode for some wide dynamic range scenes, but the new 5 AEB setting is a welcome one.  At the price point the Sigma SD15 is set at ($859 through Amazon Pre-Orders), it is the widest bracket you can get for the money.  Nothing even comes close for that price point.

I’ve commented on a few forums and blogs this week after seeing posts about how to remote view your DSLR when you need to place it in a hard to reach spot.  Each has its own options and ability to be able to release the shutter (or not).  Here are a few wireless options as well as a wired version.

WIRELESS

Gigtube Wireless Digital Viewfinder
http://www.aputure.com/en/product/gigitube_wireless_digital_viewfinder.htm

PiXel LV-W1 Wireless Live View Remote Control
http://www.pixelhk.com/en/proview.asp?P_ID=1543

Pro-View
http://www.proviewsite.com/index.html

—————————————————

WIRED

Gigtube Instant Digital Screen Remote Viewfinder

http://www.aputure.com/en/product/gigtube_instant_digita_screen_visible_remote_control.htm

—————————————————