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Thread started 06 Mar 2014 (Thursday) 14:50
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School Auditorium Photo Criticism

 
Alveric
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Mar 07, 2014 13:48 |  #16
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glasllyn wrote in post #16741589 (external link)
Yes, that's what I used, but to no good end.

I'd recommend going easy on that one. It won't recover highlights that are blown out in all three channels; and if pushed too high it will start messing up the mid-tones, whilst muddling the very highlights it's trying to recover. You see, when info in one channel is nuked, the tool will try to bring down detail by 'importing' it from the remaining channels that still contain data: the pink cast might be due to the tool pulling too much from the red channel. You, alas, cannot selectively control this, hence the best approach is to get it right in camera. That being said, in conditions where the dynamic range is naturally high (i.e. where these photographs were made) some highlights will blow out and some shadows will be pure black: that's unavoidable; the only control you have is in deciding how much or how large the highlights should blow out. A tiny white spot on someone's face is hardly a big deal, but the whole cheek nuked is.


'The success of the second-rate is deplorable in itself; but it is more deplorable in that it very often obscures the genuine masterpiece. If the crowd runs after the false, it must neglect the true.' —Arthur Machen
Why 'The Histogram' Sux (external link)

  
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gonzogolf
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Mar 07, 2014 13:53 |  #17

glasllyn wrote in post #16741598 (external link)
I do not use that, and I'm dumb for ignoring the histogram. There's so much to learn.

Go into your menu and turn on the highlight alert option. Do it right now :) And get comfy using the histogram. Dont fall into the trap of using your LCD review image to determine exposure. It's very dependent on viewing conditions and it can fool you. The Combo of the highlight alert (blinkies) and occasionally glancing at the histogram will help. Also I dont know your approach but if you are trying to do the stage shots where the light is consistent, you might want to switch to Manual mode so once you get it right you dont have to worry about the balance between dark uniform and bright face messing up your metering.




  
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glasllyn
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Mar 07, 2014 13:59 |  #18

"Do it right now And get comfy using the histogram."

Roger that. Task completed. Is the brightness histogram the best bet for this type of issue?


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Alveric
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Mar 07, 2014 14:00 |  #19
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glasllyn wrote in post #16741598 (external link)
I do not use that, and I'm dumb for ignoring the histogram. There's so much to learn.

Do use the histogram as a tool to evaluate clipping.

Do not use it as an exposure method. There's no such thing as a 'right' histogram.


'The success of the second-rate is deplorable in itself; but it is more deplorable in that it very often obscures the genuine masterpiece. If the crowd runs after the false, it must neglect the true.' —Arthur Machen
Why 'The Histogram' Sux (external link)

  
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Mar 07, 2014 14:01 |  #20
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glasllyn wrote in post #16741645 (external link)
"Do it right now And get comfy using the histogram."

Roger that. Task completed. Is the brightness histogram the best bet for this type of issue?

The RGB is best. It will tell you which channels, if any, are clipped. The brightness might be quicker to check in rapid shooting conditions, though.


'The success of the second-rate is deplorable in itself; but it is more deplorable in that it very often obscures the genuine masterpiece. If the crowd runs after the false, it must neglect the true.' —Arthur Machen
Why 'The Histogram' Sux (external link)

  
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gonzogolf
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Mar 07, 2014 14:03 |  #21

Keep in mind I said to get comfy with the histogram, meaning read up on how it works and what it tells you. As mentioned above there is no correct histogram, but it can tell you a lot once you start to understand how it works.




  
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glasllyn
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Mar 07, 2014 14:05 |  #22

Thanks to all!


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Mar 09, 2014 20:11 |  #23

The 3rd one, of the conductor, is flippin' great if you ask me!


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texkam
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Mar 09, 2014 22:45 |  #24

The 3rd one, of the conductor, is flippin' great if you ask me!

Hmmmm, I see a neck. Now if he was flipped around the other direction this could be a keeper. Sometimes we fall so much in love with the lighting that we lose track of the intended subject.

Performance pics can be difficult because they involve a lot of patience to get a nice composition and a good expression. The drummer is your strongest image, but he should have the air in front of him. Now if there was a hand with drumstick showing over the cymbal with this crop, you'd have a winner.




  
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shaynec
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Mar 10, 2014 01:02 as a reply to  @ texkam's post |  #25

I believe you can change your settings in flickr to control who has access to them.




  
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CanonVsNikon
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Mar 10, 2014 08:53 |  #26
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Keep in mind Lightroom upgraded their process in version 4. They improved the highlight module and it works a lot better now. You can literally set it at -100 and it won't be nearly as dramatic as your samples.




  
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rivas8409
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Mar 10, 2014 14:04 |  #27

texkam wrote in post #16746956 (external link)
Hmmmm, I see a neck. Now if he was flipped around the other direction this could be a keeper. Sometimes we fall so much in love with the lighting that we lose track of the intended subject.

So are you saying that a persons face has to be in the shot in order for a photo of a person to be a keeper? I'd have to disagree especcially in the context of what was being photographed. Of course it's all subjective but if that were a photo of me conducting I'd be happy to hang a photo like that in my office even if it wasn't a full face shot. There's enough face showing to be recognizable and the B&W conversion is very elegant and appropriate for that photo IMO.


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texkam
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Mar 10, 2014 15:22 |  #28

So are you saying that a persons face has to be in the shot in order for a photo of a person to be a keeper?

No, of course not. In the OP's photo, had the light been illuminating his glasses and facial features along with the hands, and both of those would have been in tack sharp focus with the neck being soft, it could have made for a lovely shot. Unlike a studio shoot where one could just move the lighting, shooting a live performance involves a good eye to see those compositions and the patience to wait for them to present themselves. The OP's 3rd and 4th image are a good start in finding these compositions.




  
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