The best photos happen in the worst weather
Or so famous wildlife and landscape photographer, Moose Peterson, says. And ya know what? I think he’s right. It’s certainly be kind to me. Some of my best photos have been taken under adverse weather conditions.
When the weather got bad this past week, I headed out my front door with camera in hand and took a few pictures and it paid off again. One of the photos I took received Flickr’s Explore (their version of Editor’s Choice) recognition. It’s always an honor to be highlighted on a major photography site, humbling as well.
Here are some more photos taken that day under the stormy skies.
Benjamin Lehman is a Commercial Photographer in the Northeast Ohio, Canton area.
The weather forecast was calling for 3-6 inches of snow, the temp hovering around 33 degrees. If you’ve ever lived on the east coast, then you know it can snow even when the temp is above freezing and this can cause you a few problems.
How to Survive Bad Weather as a Photographer
Whether it’s 36 degrees Fahrenheit , or -10 below, the problems dealing with the cold are pretty much the same; staying warm is your first-most priority. The second priority is staying dry if possible. Anything below 20 degrees and this is relatively easy. The colder the air temperature, the less likelihood the snow will melt upon landing on you and your equipment.
But when temperatures get above 20, especially above 32 degrees, snow can melt on contact and ultimately effect your clothes and equipment in the same way as if you were standing in a rain storm. For the event, we would be standing on the ice, over a frozen lake, right in the middle of the action and subsequently, the weather. I took this into account and set up several shoot-through umbrellas attached to light stands to act as actual umbrellas, keeping the snow off of my speedlites and giving me a dry place to stand. When I had to change location to get a better vantage point for a photo, I would take my photo and then retreat under the umbrella and dab-dry my camera with a soft towel. This meant my camera gear was never in any real danger from water damage.
Another issue with shooting in a blizzard is visibility. I had brought my speedlites so I could stop the action in midair, just as these poor folks were about to take the plunge, as well as to help equalize the exposure between the subject and the near-pure white background. Problem is, when the snow is coming down heavily and you shoot with a flash, all you’ll see is the reflected light bouncing off the snow in the air, ultimately overexposing your photo. Because of this I had to work in two modes. One mode was in shutter priority with no flash. I never use shutter priority, like never ever. But here, where I need around 1/600 of a second to get a crisp action shot, using Shutter Priority was the best bet. For this scenario I also had my ISO bumped up to 800 and my aperture around f/11 (+/- a few stops depending on the changing light).
When the snow would let up a little, I would turn back to using my speedlites. I was using multiple speedlites to help spread the load so as not to overtax the batteries. The lights were TTL, unmodified, zoomed out to their max. When using the lights my camera was set at 1/200 of a second, around f/8 and an ISO of 100. 1/200 of a second works here because the flash is stopping the action, rather than raw shutter speed. You could also have used Highspeed Sync in this case, but the burden on your flashes would mean long recycle times and possible missed photo opportunities due to that recycle time.
The was coming down so thick at times it was hard to even stop and look at my LCD screen to see how we were doing with the photos. The snow and water made everything on the back of the LCD blurry and I just had to trust in my own knowledge and the TTL system.
I was very happy to see that the 5D Mark III’s auto focus system handled the heavy snow amazingly well. There were a few hiccups where it would focus on an area of falling snow, rather than the intended subject, but for the most part it cut through the white stuff and found the target nearly all of the time.
We spent 4 hours on the ice, in the driving snow, in the freezing cold and, to be honest, I started to envy the jumpers who only had to spend 10 seconds in the 33 degree water before being whisked off to a heated tent. But the experience was fantastic. I actually like being in the snow, and there, in the middle of this expansive frozen lake, I found the setting very beautiful.
It should be mentioned that it was because of my great friends at the Akron-Canton Regional Food Bank that I got the opportunity to come and take photos of this thrilling (chilling?) event. I strongly ask you to support ACRBD and other Food Banks by donating food, time, and money. It’s a great cause!
Benjamin Lehman is a Commercial Advertising, Portrait, Event and Wedding Photographer in the Canton, Northeast Ohio area.
Sometimes you just hope the stars align. It can be the talent; are they willing to go along with this crazy idea of mine? Sometimes it’s making the client understand the intricacies of the shot. Sometimes it’s something that’s completely out of your control like the weather.
Dealing with, and planning for weather as a photographer
Weather is the bane of all photographers. At best you can rely on the weather channel to give you the conditions that may exist in, oh, say 2 hours from now. For fairly small time frames, weather predictions are usually in the ball-park of what the reality will be. But, say the shoot is 5 days away, a week, 10 days or more! Well, then you’re stepping into some really iffy territory. Sure, you can probably be guaranteed that it’s not going to snow in the middle of July, but trying to predict puffy clouds against a clear sky at sunset a week from today? Yeah, not gonna happen – most likely. If you’re lucky everything will work out, and if you’re not, you are in for total re-think of how you have to approach your photo.
I’m not trying to get a pretty good photo, I am trying to get THE photo, the one that is in my head. During rainy seasons we’ll often set a primary day and then a back up day just in case the weather is not cooperating at all. This is sort of ‘best-case’ planning for avoiding ‘worst-case’ scenarios. Even then, if your back-up date approaches and the weather still isn’t in your corner, you have to be ready to prepared to make the best of what you’ve been given. Thankfully, bad weather doesn’t mean bad photos. As Moose Peterson says, some of the best photos are made in the worst weather. Even then, however, it’s not a good idea to drag your model into a tornado and just hope she keeps her face to the light as she’s being lifted into the air, on her way to meet the Great and Powerful Oz.
There are also times when a certain type of weather is a necessity in your photo. Your rain jacket product shoot might require a backdrop of storm clouds, or that magazine shoot you’re on depends on a sunny beach while you’re taking photos of surfers. In these cases you have 3 options.
- Take your photo in whatever weather you’re given and then make any needed changes in post.
- Head into the studio and just make the weather you need
- Pay a shaman to keep the bad-weather demons at bay
You wouldn’t be the first photographer who’s had to resort to any of the above options. Personally, in a pinch, I would opt for the studio option if all else fails. But, in my opinion, there’s no substitute for the real thing.
All of this came into play recently when I had a shoot scheduled, several weeks in advance, that called for snow. I wanted the whole sha-bang. Snow on the ground and snow falling from the sky. Why was falling snow important? Well, it would be nice to capture snow falling throughout the image, but more important, nothing beats the look of freshly fallen snow on the ground. So, with my desire for fresh snow firmly in place, so began the anxiety laced waiting game. You know the game, the one where you’re checking weather.com 5 times a day to see if your dreams will come true?
Luck was on my side. As the day approached the likely hood of snow kept increasing. On the day of the shoot snow was forecast to start falling at 4pm, exactly 1 hour before the scheduled shoot – Perfect! We packed up the gear and headed out. Our location was an area next to the Cuyahoga river, deep inside of the Cuyahoga Valley National Park. Less than 15 minutes from our arrival the snow began to fall, heavily. So heavily in fact we lost control of our car for a moment as it struggled to deal with the inch of fresh snow covering the small, windy road. We made it off of the road and into the parking lot without further issues.
There was a new problem however. Remember all that snow I wished for? Well, there was so much snow falling that it caused a white out. Visibility was no more than just 20 feet or so – not so good for a photo that required a river-scape in the background. Hedging our bets we walked down the trails to our final location and began to set up our gear.
In any situation where you’re dealing with wet conditions (snow is, after all, just water) it’s important to take the safety of your gear into consideration. We took extra shoot-through umbrellas and used them as, well, umbrellas, shielding our flashes from the heavy snow. My cameras, a 5d mark II and mark III, are both weather proofed so as long as I took some simple precautions to keep them from being heavily soaked they would be fine.
By the time we finished our set up, the falling snow had slowed down to a workable level. We got the talent in place and started to snap away. Right away, we knew everything was working beautifully. The snow, the light, the location, the river – all of it was playing together just as I had seen it in my head for all of these weeks. It felt so great to have everything come together at the last moment and, pun alert, just click.
Not all shoots will work out this well. The weather is something you can’t predict with any degree of certainty, at least not 100%, so you have to plan ahead – sometimes weeks ahead. Be prepared to be flexible, and make sure your client understands they may need to be flexible too. If it’s a large budget shoot with a lot riding on the final frame, it’s worth taking the time to get it done right in the right conditions.
Benjamin Lehman is a Commercial Advertising, Portrait and Wedding Photographer in the Canton, Northeast Ohio area.
Early in November I had the opportunity to photograph a wedding for an absolutely wonderful couple; Jim & Leslie. We met Leslie through a previous job, The Akron-Canton Regional Foodbank, where she works in the fundraising department. When we first met to discuss if we would be a good fit for her wedding, (We met in mid summer, several months before her wedding date), she expressed how important it was that the wedding photos shouldn’t staged – she wanted a very sweet, intimate, editorial look to her photos — it just so happens that shooting in an editorial fashion is one of my favorite styles for weddings
When someone says, “Editorial”, it can mean several different things. For the most part, editorial means any photo that happens naturally in the moment without the photographer staging or intervening in the photo in anyway. When I am shooting a wedding I’d suspect that nearly 95% of of my photos are shot in an editorial manner. The last 5% are things like formals where the photographer needs to work hand in hand with the bridal party and family in order to get all of the expected photos.
Before any wedding it’s not uncommon for the bride and groom to prepare in different areas or even completely different venues. For Jim and Leslie’s wedding this meant I would be at 3 different places throughout the day. It started in the early afternoon with the groom and the groomsmen getting ready at the Hilton. The day was overcast, and the room was lit naturally with a large window on one side of the room. The room itself was painted a soft beige on every wall, including the ceiling. These types of situations are always tricky when trying to find your white balance. The best bet would be to set your camera to tungsten – this will help immensely since the colors of the walls will even influence the color of your flash into a warm tone.
The second location I visited was where the bride and her bride’s maids were getting ready, The Bertram Inn at Glenmoor estates in Canton. This location is gorgeous. The Inn itself has a wonderful style to it, a very late 1800’s industrial-age-elegance. The room the bride was preparing herself in was a large suite, soft blue-ish green walls, a large white ceiling and several windows letting copious amounts of natural light in. This was the perfect room for pre-wedding/getting ready photos.
For the formals, my first choice was to use the attached Chapel, and while we were promised by the staff that it would be available to us for photos, we were disappointed to find out that it had been filled with empty tables and broken glass – and since it’s not kosher to have your bride walking through broken chandelier bulbs, I had to move quick and find a second location for formal photos. Luckily the front of the Inn turned out to be a perfect replacement location. We got lucky and the sun started to peek out of the clouds in the distance, which added warmth, and there was still enough cloud cover that the light remained even over the subjects. In total this provided beautiful, natural light conditions.
Once formals were done, we headed to the wedding venue; La Pizzaria, a beautiful, upscale eatery here in Canton. While the outside of the venue is fairly nondescript the inside, however, is a beautiful, open space with wooden walls and a concave ceiling, painted and lit to look like a spring sky. Wooden walls usually mean you’re in for a lighting nightmare. Trying to bounce light off of shiny, dark materials can prove near impossible. However, I knew I could use a tall light stand and hoist one of my studio strobes into the channeled ceiling and still get good light coverage where I needed it without having to worry too much about color balance issues.
The wedding itself was an exquisite affair with both the wedding party and guests filling the room with excitement and smiles. It’s always fun for me when I get to live and document a day in the life of wonderful people and this wedding was just such an experience – something I’ll cherish and remember forever.
Benjamin Lehman is a Commercial Wedding, Portrait and Advertising Photographer in the Canton and Northeast Ohio region.
All my friends know that Autumn is my favorite time of the year. I love the colors, the cooler weather and most importantly — Halloween! So, for this little info-tutorial-lesson I decided to merge both of these beloved concepts.
The defining element of Autumn is the range of colors the season brings. Lush green forests and lawns are replaced by seas of yellow, orange and red when trees begin to drop their leaves as they go dormant for the upcoming winter months.
As photographers with a lot of tools at our disposal, we sometimes spend too much time trying to change the scene so the camera matches what’s in our mind’s eye. When that fails we spend more time changing the scene even more; lighting, gobos, set dressing, camera angles and probably a lot more lighting on top of that. Creating a scene is at the core of what we’re trying to do as commercial photographers – we are trying to make a visual story here, after all. However, one fundamental rule that we often lose sight of early in the process is the practice of trying to get our environment to work with us. What often happens, unfortunately, is we end up nullifying it completely with a bunch of gadgets.
The Fall season is a perfect time for portraits and outdoor photography. The sun sets early, giving us great light and the colors are vibrant. Because of this, when you’re approaching a Fall portrait you are probably thinking of how you can maximum your environment to help create a gorgeous photo, constructed to take advantage of the natural landscape around you. You could probably go with just your camera at sunset and capture a stunning photo, and that would play right into the concept of not-overdoing it with too much equipment. But I think with some very smart choices in gear, mainly 1 flash, one color filter and one corrective flash gel, you can dial the autumnal ambiance up to 11.
First, let’s talk about the colored lens filter. Because Fall is filled with reds, oranges and yellows, I like to use magenta filters. Magenta filters at sunset in the middle of Autumn are a magical device. They shift everything in a deeper shade of red. A warm sunset will explode into an almost fantasy-painting skyline. Cooler, green fields of grass will take on a warmer tone, and the leaves that have either fallen or have started to turn on the trees will become even more vivid.
I recommend the Tiffen 77mm 30 Filter (Magenta). It’s nothing fancy, and at $60 it’s cheap enough to fit in your camera bag without breaking the bank. I’ve used it for a while now and it does the job it’s intended to flawlessly.
The next piece of gear is a color corrective gel that you’ll place over your flash. For this, we’re using a green corrective gel. Most gel sets you buy have a corrective gel for any lighting situation, and for our purposes the green gels normally used for florescent color correction should work well. If your gel kit has more than one shade of corrective green, you may have to test each one out to find which yields the best result.
The last piece of gear is a flash – any flash will do, speedlite or studio will work. Here we using an older canon 430ex II.
The set up for all of this is pretty simple: Place your filter on your camera, the gel on your light, position and frame your subject and start taking photos. The only trick here is that you’re trying to light the subject solely with your flash, and not so much with ambient light. The flash, with it’s corrective gel cancels out the magenta lens filter. The end result is your background will be bathed in a vivid magenta color while your subject should retain their natural skin tones.
Here to the right, as an example (and to fulfill my promise of merging a Halloween theme into this post) is Tim the Zombie. We’re using the set up described above, making sure the light from the flash covers the main focus of our Zombie model. The background, out of reach from the flash’s output, is saturated in a glorious shade of magenta – bringing the colors of the fall landscape to life. My settings for this photo: 1/60 shutter speed, 200 ISO @ f/7.1. These settings allowed me to underexpose the background by 1 stop, thus deepening the effect of the magenta filter even more. The flash has +.6 flash compensation dialed in to expose correctly for our zombie.
To give you a better idea of the interaction between ambient light, gelled flash and filtered lens, here is a series of photos illustrating the effect each element has on your photo.
Here is our Zombie without lights, gels or filters. This is pure natural lighting. Notice the colors of the background. You can tell it’s Fall and the richness of the leaves is evident.
When we put all of these elements together we achieve a much more striking photo – combining great color on both the foreground subject as well as increasing the drama in the background. One great side effect of this technique is that the subject of your photo really lifts away from the background, giving them a strong visual POP from the rest of the photo.
One question that may come up while reading this would be, “Can’t I just do this effect in post?” The obvious answer is yes. But considering that it took me less than 20 seconds to screw a magenta filter onto the lens and even less time to fit a gel onto a speedlite it’s pretty clear that approaching this photo in a more analog fashion will both save you time and give you an authentic result. And remember, this is coming from a guy who lives half of his life in post production.
And don’t forget that you can different results by combining different combinations of filters and gels. For example, a magenta gel with a green filter will push your photos into a realm of deep green – something to consider when shooting in a lush forest setting. A blue filter in tandem with an orange gel will turn your ocean portraits an even deeper shade of blue. So just get out there and play around!
Benjamin Lehman is a Commercial Portrait, Wedding & Advertising photographer in the Canton, Northeast Ohio area.
I was tickled when the Hall of Fame asked me back this year to cover the events of their 2014 Pro Football Hall of Fame Enshrinement. Enshrinement week covers a lot of activities and from start-to-finish, but the total event last nearly a month. It starts with several smaller festivals in the Canton, Ohio area – fairs, hot air balloon lifts, food-festivals and fireworks all happen throughout the month. The last week covers the events directly related to the Enshrinements. Those events are dinners, activities for families and visors to the HoF, ceremonies, and the Hall of Fame game that kicks off the year’s preseason. My task was to cover the events that happened inside of the Hall of Fame and the VIP parties. It’s a wonderful job with thousands of opportunities for photographs; portraits of football stars, photos people having fun, and landscapes of beautiful events.
Below are a handful of photos taken from this year’s event.
Benjamin Lehman is a Commercial Event, Portrait, Wedding, and Advertising photographer in the Northeast Ohio Area.
Shooting action shots, at night, with available light used to send photographers to the highest ledges – talking them down could be a tricky proposition. We all know that low-light and action photography don’t really go hand-in-hand.
Modern digital cameras have opened up the field for low-light shooting, but a lot of photographers are reticent to push their ISOs above 800, let alone 1600. The noise you have to deal with once you reach ISOs of 1600+ can make you feel like the picture won’t be worth it in the end. Labeling a noisy picture as worthless, I think, is a misnomer. Noisy pictures (we’re talking ISO noise here) are as good as any other picture you could possibly take given the circumstances of available light and the speed of the action in front of you. There’s never a reason not to resort to turnin’ the dial up into the thousands if that’s the only way you’re going to get the picture you need to take. Along with camera sensor improvements, there are wonderful new software tools that can reduce noise and turn a grainy picture silky smooth – ready for print.
Not to mention a little ‘grunge’ in your photo is a bit en vogue at the moment. Think of how many photos you’ve probably taken at 50 or 100 ISO that you later processed with a little film grain to boost its mood? A little noise is a good thing, and when it’s your only option, embrace it.
Below are a few photos I took at a stunt bike show. It was so dark out that the riders had to move some lights around so they could see their own ramp. Regardless of the low-light conditions I was still able to snag some moody and sharp images by balancing my shutter and ISO, (aperture was wide open, obviously). What about the noise? Well, you should be able to tell in the photos below that it wasn’t much of an issue.
One trick to remember is that ISO noise lives in the mid-tones and shadows. If you overexpose by a stop or 2 you’ll actually reduce overall noise, even if it means you’re actually dialing up the ISO a few more notches to achieve over exposure.
Benjamin Lehman is a Commercial Wedding, Portrait and Advertising Photographer in the North East Ohio area.
I’m always looking for beautiful, ethereal places to take wedding, engagement or fashion photographs.
While I’ve lived in Northeast Ohio for nearly 5 years, I am still amazed by how little of the area I’ve explored. Because I am a rather restless person, this is works out in my favor — I love exploring new places for possible photographic locations.
My most recent scouting excursion was to an area within Cuyahoga Valley National Park known as the Virginia Kendall Ledges. Formed millions of years ago when much of Ohio was a great inland sea, the ledges were most likely the walls of a large island formation. What’s left now are beautiful ledge and cliff faces made up of a sandy, rocky material known as “Sharon Conglomerate.” What was once a scene of fast moving rivers is now a serene and tranquil forest with a thick canopy and graceful hiking trails.
I arrived a few hours before sunset, when the sun was starting to get low in the sky. The result was a forest floor with a gorgeous level of ambient light and equally wonderful spots of deep red, dappled sunlight peaking through the tops of the trees. I can’t overstate just how red that sun light really was — the areas where the sun’s rays hit the ground were lit up with a laser-pointer red that was so unnaturally vibrant it took me a few moments to realize it wasn’t something else just laying on the ground and was, in fact, the sun’s setting hues.
It didn’t take much imagination to realize this would be the perfect backdrop for gorgeous, empyrean photos. A wedding, engagement, or any other type of portrait session here would instantly take on a ghostly, magical quality. The surrounding area has no end of possible backdrops. There are small patches of open ground looking up at the cliffs, areas on the cliffs that look over the forest, and still more areas with stone stairways carved out of the rock face itself. Everywhere you looked there was a photograph waiting to happen.
I look forward to suggesting this area to my clients in the future, and I know when they see it, they will be overcome with how exquisite the location is.
Benjamin Lehman is a Commercial Wedding, Portrait and Advertising Photographer in the Northeast Ohio area.
Edit: 7/23/2014 – More Awards added for my Balloon Liftoff Photograph!
When I moved from San Francisco to Canton the challenge was made to find things, people and events to put in front of my lens. San Francisco is a feast for your camera. In most areas of the city, every direction holds a great picture waiting to be captured. Canton, and Northeast Ohio is a different type of beast. There are pictures to be found here too, you just have to seek them out, rather than having them come to you. San Fran taught me to love photography, but North East Ohio has taught me how to be a better photographer.
One of these photographic searches lead me to the Foodfest, Balloon Lift Off, and Hall of Fame fireworks that’s held every year at Kent State University’s Stark county campus. It’s the perfect event for photographers. It has a slight carnival feeling to it. Food vendors line the streets and field. People from all walks of life mill around the attractions. There are VIP venues that hold smiling faces and wonderfully prepared food. As evening starts to creep in, one of the large fields there becomes home to hundreds of trucks hauling their cargo — hot air balloons.
The Balloon Lift Off is the highlight of the weekend’s festivities with balloons from all over the nation converging to celebrate the kick off of the Pro Football Hall of Fame’s larger enshrinement celebrations. In the 5 years I’ve lived here I’ve never caught an actual lift off – the weather has always been to windy or wet for safe balloon flying. With the weather this year being a little windy and very cloudy I feared I’d have to wait another year for a chance to actually see these things soar. So I was rather caught off guard, left scrambling back to the car for my tripod, when I noticed a balloon lofting over a hill – ack! Time to move!
I got my tripod and raced back to the field, where to my relief, most of the balloons were just now being unfurled. Thanks to that one balloon’s early liftoff I knew which direction they would be traveling, so I set my camera up and just waited for the moment when the sky would start to fill with airships. The moment came near the end when many of the balloons had already drifted off into the distance. I framed my shoot and hit the shutter. BAM! I was so happy with the result, and apparently others were as well. Earlier today I noticed my inbox was filling up with new friend requests from Flickr. On closer examination my photo had been selected as the explore/photo of the day honors, wow! The comments left for me were both flattering and humbling and stood as a wonderful cap to an exciting and delightful night.
The celebrations end the next evening when the Hall of Fame hosts a fireworks show on the same field that held the balloons. It’s always a wonderful way to cap off the weekend and it’s something that I’ll always look forward to shooting in the years to come. It’s one of those times where searching for a photo can lead to a new, unique experience that will leave you smiling, and a better photographer.
Pixoto adds a Photography award to the list
Benjamin Lehman is a Commercial Portrait, Wedding and Advertising photographer in the Canton, Northeast Ohio area.
Note: This is a subjective article about photography, adobe lightroom and hdr . Take whatever I say as you wish.
I use Lightroom all of the time, as I suspect many of you do as well. It’s a great tool which has gotten better and better with each iteration. Lightroom 5, with it improved Shadows and Highlight sliders can really make the difference in a photo where, for whatever reason, the exposure got out of control. A master craftsman like Joe McNally would probably just tell you to take a better picture to begin with, but when I am running and gunning it’s not always an option for me to spend 30 minutes to an entire day making sure every zone of a photograph is properly exposed.
One of the bonuses of Lightroom’s Shadow, Highlight and Clarity slider is that you can start to get into the realm of HDR photography with just a single photo. Traditional HDR requires at least two bracketed photos. I’d say 3 would be the average, but I know some people who claim to use as many 11, to achieve better overall zone exposure in their photographs. I guess if they need 11, that’s fine. HDR programs like Photomatix makes merging multiple files into an HDR file fairly easy and straightforward. Even Photoshop has a Merge to HDR function, although I find it’s results to be less than optimal.
Only a few years ago, Photomatix was practically the only game in town; there were and are still other options, but Photomatix seems to be the most widely used. So, when I would take a series of photos for HDR purposes that’s the program I used. Then one day, while playing around with my merged file in Photomatix, I decided, eh, maybe this photo wasn’t a good candidate for HDR after all. So I went back into Lightroom, grabbed my 0.0 exposed photo out of the batch and started to play with it there. What I found was that I was readily able to create an HDR-ish image that kept in line with what I was originally looking for. Then I thought, what if went back into my library and found other images that I had originally merged into HDR? Could I use a single photo out of a series to create a photo that closely matched the file that Photomatix had output? The answer was, yes… sort of.
First off, I was impressed that I could use Lightroom 5’s sliders to change the global tonality as much as I could. And while it never recovered the shadows or highlights as drastically as a true HDR process could, it came close enough and the results were actually more to my liking.
HDR’s main function is to compress the over all exposure in such a way that the tonal quality of the image is pretty much the same across the entire image. The result is a dramatic, if not sometimes flat, image that reveals all types of details from highlights and shadows. The problem with that is the story and the mood of a location are often rooted in those highlights and shadows. It’s great to bring more depth into your photos, but too much is, well, too much and we’ve all seen what too much looks like. Do a Google image search for HDR and you’ll be blitzed with clown vomit colors and images so normalized that they almost hurt to look at it. A great HDR artist, (see my friend Neil Kremer’s stream here on Flickr), puts a lot more work into his HDR images rather than pressing a button in Photomatix and posting the result. He spends a lot of time in Photoshop dodging, burning and blending to make sure his images are both real and surreal. And, honestly, if you’re going to do HDR you should be doing it Neil’s way.
But I think there’s a great middle ground hiding within Lightroom that let’s you bring out these extra details without losing drama — all with a single, well exposed image. The image above is an example of a 3 bracketed photo. merged and output from Photomatix, and then a single photo (the 0.0 exposed photo from the batch) processed in Lightroom. There are differences, no doubt, and some people may still prefer the look of the Photomatix image over its Lightroom cousin, but you can see that there’s a great possibility there in Lightroom to create some dynamically ranged photos that still retain character.