A range of light…


As promised, here’s a low-tech description of a process I sometimes use to capture a wider amount of dynamic range than the camera is typically capable of handling – all within one photograph. Inside a dark cave like this looking out at a bright sky can present significant challenges when it comes to creating a correctly exposed, relatively natural-looking single exposure, and although this is a pretty extreme example, sunrise and sunset scenes can present similar challenges. Here’s a brief description of a process I sometimes use when dealing with a high amount of dynamic range within a scene.

12-8-13 Acadia1

I know I am somewhat over-simplifying things here, but what the hey, there’s nothing wrong with simple. In scenes where there is a high degree of dynamic range, we can use the camera to basically record:

a) an image with a correctly exposed foreground but a bright, overexposed white blob where the sky is located.

b) a correctly exposed view of the sky through the cave entrance with everything else in the scene jet black and devoid of any detail (actually quite cool and a composition that I made).

c) you can settle for something that averages out the need to expose for both the brighter sky and the darker recesses of the cave at the same time, though in this case, I believe that nothing more than a so-so result is produced.

In another scene where the light is more even, such a single exposure might work very well, but in a scene like this where there is a significant degree of dynamic range, my personal choice to get a relatively balanced overall exposure is to shoot several identical frames while the camera is on a secure tripod and then blend them using the puter. By keeping the size of the aperture the same in each bracketed shot – but adjusting the length of time the shutter is open – I can obtain several versions of the same scene. Stating the obvious here… but depending on how long the shutter is open for, some exposures will be darker, and some will be lighter. Then, taking parts of each frame I think best represent what my eyes could see – all in the name of working around the limitations of the camera and trying to create a fairly accurate representation of what the scene looked like – I combine them into one image.

12-9-13 blend

Just for giggles, here are three typical exposures that each captured a different range of the light in the cave more accurately. All shot at f11, iso 100 and at 17mm using a 17-40mm lens, from left to right, the length of the exposures were 1/100th of a second, half a second, and then 2.5 seconds. As you can see, the shortest exposure (1/100th sec), captured the early morning sky fairly accurately, but the rest of the scene is completely underexposed (not necessarily a bad thing, but my eyes could definitely see more foreground detail than is evident in that one exposure). The 2.5 second exposure captures just a little bit of the spectacular pink color my eyes could see in the foreground tidal pool, but the light streaming in through the cave entrance is totally over-exposed and, in this case, I don’t think all that pleasing. In the middle exposure (0.5 seconds), some of the detail in the rocks on the side of the cave is useful, but overall you end up with an exposure which doesn’t do justice to either the brighter or darker parts of the scene.

So… rather than settling for any one of the above exposures as a final image, one potential solution is to take what you need from each, add a little special sauce, and you’ll end up with a blended image like you see at the top of this post. Imagine layering the three versions of the scene shown here on top of each other, and then erasing the bits from each version that are either under or over exposed. I use Photoshop, but any photo-editing software that has “layers” will allow you the precise control to do this.

And then of course, there’s black and white… happy New Year!

Acadia sea cave2

Schooner Head, Acadia National Park


A winding path with a couple of gentle switchbacks meanders down from the overlook at Schooner Head to some of the more rugged and dramatic Acadia shoreline that you can find in the park. The wind was absolutely howling as I explored this somewhat precarious area, and as I carefully peeked over the cliff, I admired the power of the waves crashing below. This photograph doesn’t do it justice, but the color of the Atlantic on this particular day was a deep, almost Caribbean-like green, topped by a layer of fast-moving, frothing whitecaps.

Wandering back up through the forest with trees stripped of leaves, I came across a neat little scene that immediately screamed at me to photograph it. Not in the traditional way though… I switched to TV mode on my camera and selected a shutter speed of half a second. I let the camera decide what aperture would give me a correct exposure, and I started moving the camera through the scene. The colors and lines are of course what initially drew me here, and as always, I personally really dig how this kind of photograph turns out. Luckily the parking lot was empty, and I didn’t have to worry about people giving me those quizzical stares as I waved my camera up and down!