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06/30/2006 01:03:02 PM · #1 |
| Does anybody know anything about tone mapping. Does it start in the camera, or is it all post production? HDR makes a CS2 plug-in, but i'm thinking that there's a camera setting that starts the process too. Anyone? |
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06/30/2006 02:05:16 PM · #2 |
On the D200, there's no function that can do tone mapping or help with tone mapping.
You can tone map a single 16 bit TIFF using software like Photomatix, or you could use bracketed exposures to create an HDR and tone map later.
If you shoot RAW, you can save it as 16 bit TIFF and tone map later or go the HDR route.
edit to say, you can directly create an HDR file from a single RAW file (which would not actually be HDR, but rather LDR) and tone map later.
Message edited by author 2006-06-30 14:06:35. |
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06/30/2006 03:48:06 PM · #3 |
On the HDR site, it shows 3 images that are exposed differently... but those images are EXACTLY THE SAME. Are those 3 different RAW adjustments of the same file? Other wise, the moving subjects in the photo would be out of place when you took the 3 seperate exposures.
I'm obviously new to this concept. Sorry if I sound dumb ;) |
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06/30/2006 04:06:07 PM · #4 |
If you have 3 differently exposed images and they all look the same, you probably changed both exposure and shutter speed for each and the camera receieved the same amount of light OR, the RAW processor is making adjustments to show you the same result.
For HDR, you need to have a constant aperture and different shutter speeds (you can experient other things too). Put your camera on Aperture Priority (A) and shoot a few bracketed images. If the scene is really contrasty, you may need 9 exposures since the max EV on D200 is 1EV. So 9 exposures would be -4 -3 -2 -1 0 1 2 3 4.
You can also use a single RAW and process them at -2, 0, +2 (not really HDR)
If there are moving subjects in the shot, best way to handle the shot would be to use one of the exposures from the bracketed shots on a different layer, and use masking to insert the subject in place so it doesn't appear at different places or blurred. There would be at least one exposure where the moving subject looks OK for the scene.
Once you have that many exposures, you can mix them to create what you wanted.
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