The EXPOSURE Mistake I See All BEGINNERS Make with Landscape Photos
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- Опубликовано: 27 июл 2024
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In this week’s episode, we discuss the exposure mistake I see all beginners make with landscape photos. This mistake is something I'm all too familiar with as well as this is something I did for the first few years of my photography journey. And this exposure issue isn't just something that beginners fall into, but it also impacts all levels of photographers whether you're a beginner or a professional, but like many photography mistakes this is simple to resolve once you understand what the issue actually is. I really hope you enjoy this week's video and as always thanks so much for watching! - Mark D.
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Anyone else use the LCD method?
Histogram is always solid way to know what’s cookin exposure wise
I use the Sony A1 and use the zebras set to the secret setting for exposure 😎
I always use the evf and use the slider to guard my exposure, but I am most definitely guilty of under exposing all the time. I’m going to try ettr and see what results I get. I’ll have to use the screen so I can see the histogram!
@@paulachapman2711 the funny thing is if we are shooting RAW then we can over expose a tad and that can be recovered no problem. I’m bad about underexposing too.
@@KenToney Got to love the Blinkies!
After being a full time photographer for over 36 years and teaching photography for 30 plus years I can tell you that most photographers have no idea what a correct exposure is to begin with. People need to know what the subject of the scene is, then start exposing for that. No point in exposing for a overall scene if the subject is or in shadows. Likewise no purpose in exposing for the shadows if the highlights are the subject.
I would always under expose due to the phobia of blowing out the highlights. Didn't know the histogram is based on jpegs! Will implement ETTR more in the future.
That’s correct. The embedded jpeg is what you see on the LCD.
If you are shooting in raw, then a good (and quicker than the histogram) method of increasing the exposure without clipping significant (to you) highlights is to use the "blinkies" overexposure indication on your LCD display. If only small, insignificant (to you) areas are blinking, you have gone as far to the right as reasonable. On my Canon, I find that areas that are just at a level to blink are still recoverable from the raw file, but you don't want large areas of blinkies, as then some portion of the blinking area will probably be clipped even in the raw file.
The histogram implementation differs in each camera brand. In some brands, it counts the pixels based on the final JPEG, which means it takes in user defined art filter, highlight shadow correction, film simulation etc. But in other brands, it would be measured based on the pixels before going into the software pipeline. And the histogram can completely stop working or showing bogus value, if the parameters dialed in cause significant over exposure or under exposure in some brands (e.g. Olympus). On the other hand, the exposure meter tends to be more accurate, and I find it helpful to do spot metering to make sure the range of the scene falls in the dynamic range that I'm comfortable with.
I also find trying a bit astrophotography with deep sky objects helps me to be more comfortable with camera controls for a few reasons: 1. it's mostly about photographing objects that cannot be seen by naked eye so it makes me more comfortable working with non-precise preview and replay; 2. it helps me understand more about signal to noise ratio and sources of noise, so that I can make more informed decision on exposure parameters.
Great video Mark, I've recently started to use ETTR much more frequently, and with my entry level camera it makes such a difference in the final result, much cleaner image, and I use a neutral picture profile to give me a more accurate histogram, thanks Mark!
Thank for the detailed explanation and rational for ETTR. Another very helpful video. I think you made the case for exposure bracketing, even though it's not your preferred technique. However, the best and most helpful part of the video was the cut-away when you talked about your frustrations during the shoot. We've all been there on days when nothing seems to work or everything we try seems to work against us. Thanks for sharing. Much appreciated.
One of the reasons I went to mirrorless was to see the histogram in the viewfinder. Helps a lot. BUT, I do make a call whether or not I think I will be doing post processing or not. Sometimes, I want to use the images straight out of camera. Then I expose that gives me the best image without editing. Thanks Mark.
This is something I had to figure out on my own, so its great your pointing it out. Alway over expose what you see on the camera just a little. Your camera screen is a bright light source and will always look brighter than what the pic will look like. You helped me so much in learning how to use a real camera thanx!!! PS I helped my dad convert a 95 econoline van back in the day so I appreciate your van conversion!
Blowing up the highlights is much more severe than underexposing the shadows! If I have delicate higlights in the frame I always underexpose the shot by 1-2 stops - it almost always gives me the best file for postprocessing! But yes - if there are no higlights prone to loose details I expose to the right.
If you shoot at 800iso on Fuji and totally ignore the sky when you set exposure it's practically impossible to lose the highlights. Even fully white sky can be recovered beautifully. It's too risky to ettr at low iso, higher iso will protect you.
It works with jpeg too, just remember to set DR to 400%
Really helpful video Mark. Thanks so much for investing your time in this great content for all our benefit!!
I absolutely have used the lcd method and then usually end up under exposing by about 1 stop. This is super helpful and I will start trying this method for sure!
Once again, you taught me something useful. Thanks Mark
Thanks, Mark. I have been taught and recomend to under expose for landsxape, but what you are saying, it can make sense, as you definately show not to go too far to blow out highlights. I normaly make up my mind on screen, sometimes check the histogram, but go minus 0..3 to minus 1.0 and choose what looks best. Now I will try to about plus 0.3, particularly in the wodland with some sky in the top half. On the other hand, I don't have a noise issue in bringing up the exposure on the darker areas. Highlight to the left, shadow to the right on post sliders works without noise isues, but ISO is never higher than 100 most of the time. Worth trying ETTR though. By the waa y, my camera is Sony A9II full frame, so I think that helps with no noise issue. Cheers from down under
Useful insights and suggestions in re exposure and dynamic range. Thanks for a fairly clear explanation.
This totally solved a lot of questions for me! Thank you so much for posting this one!
In Digital World I follow one rule - "Collect quality Data in the field and Expose in computer" and ETTR helps me to do that since farthest stop of the Histogram on right end (Highlight) is capable of collecting 50% of data. For example if you shoot 14 bit RAW, the brightest stop (farthest to the right on the histogram) can hold 50% of 16,384 levels (2^14=16,384) and each subsequent stop to the left (darker) can hold half the previous stop. So ETTR helps you saturate the sensor - fill with plenty of data.
Nice video! ETTR is almost always a great idea in terms of data collection.
And that's also really good advice about not sacrificing fast enough shutter speed or enough depth of field just in order to get it. But I am different in that I am not even the LEAST afraid of sacrificing the base ISO. Not with modern cameras and post anti- noise software (like DxO, etc.)
People interested in ETTR and using an automated metering mode could look into using their camera's version of Highlight-Weighted Metering. +/- some compensation.
Excellent Video Mark! I’ve heard of ETTR, but you provided an excellent description of what is it and how to use it - thank you!
Phenomenal video again Mark! Love your tutorials, how to's, and just real would advice you give so often!! I will definitely be experimenting with this technique in different scenarios the next time I get out shooting!
Thanks so much - means a lot!
I use an old slide film technique and use the spot meter for my brightest important highlight and place it into zone 7 or 8. The rest falls where it lands. If you’re having a hard time finding the important highlight…SQUINT at your scene and knock down detail. The important highlight value will be evident this way.
Side note: I genuinely feel the lack of dynamic range in old slide and even early DSLRs forced photographers into maintaining good shadow/highlight relationships that tended to make for better Notan structure in their images, thus making them more interesting. Sometimes lack of choices = more creative choices.
Excellent comment Christopher! That’s coming from an old Slide film shooter here! I’ve taken nightscape shots with cable release and just counted off the time in my head, and was fortunate to get good results. Newer Photographers today with all these sophisticated cams don’t know how lucky they have it! I do think that can lead to ‘lazy photography,’ to tie into what you were conveying.
Until they develop a sensor that can closely mimic the human eye/brain, we all will struggle with this. Thanks for the great comment! Peace! 👍😄
@@georgedavall9449 thanks George. I am an oil painter, so the zone system actually works in painting as well. Knowing exposure basics and WHY is fundamental basic photography. I think the better cameras get, you’re paying for the ability to cover your butt when you make mistakes. If you learned and exposed properly there likely won’t be the NEED to boost shadows by 4 stops.
One thing that is significantly different from shooting chromes is the ability to pull detail out of shadow, especially with RAW files.
Thanks Mark. Very well explained.
Thank you Mark, great informative video. 🙏
Mark I want to thank you so much for all your tips! You are one of my favorite content creators. Your advice has helped me so much as a beginner.
Thanks a million Anthony! Really appreciate this!
Great tip, Mark! Thanks :)
Great video and tips, I come front slides and the first thing I learned was that the slighter underexposed photos would look great in a projector but too dark when printed on paper due to the lack of a light source "behind" it. Same goes for a monitor as well I suppose.
I have been relying on "zebras" more and more. It's sort of ettr but shows me where i may blow out highlights. Better info =better decisions.
It is something that I should keep in mind more often than I currently do.
Most of the time I just look at the LCD or histogram, but I use ETTR when I expect to need the best possible data for post processing. Wish manufacturers would make an auto ETTR-mode to make the process easier. I also find that autobracketing with one stop increments often give an exposure close to ETTR for the brighter one in the series, but that will depend on the metering of each camera. Another way too optimize data (again depending on how the camera implement it) is to use the extended ISO available on many models. If you go for 1 or 2/3 stop lower ISO than the base then you increase the amount of light reaching the sensor. But like ETTR you have to be careful to avoid blown highlights.
This is such a great video Mark. You raised some really interesting and valid points in this video. Such a interesting video. Thanks for sharing!
Spot on video Mark. Thanks. Just what I needed.
Awesome to hear John!
I totally agree. I mostly use ETTR. And as you mentioned about the small spike at the end... You need to know the limitations of your camera. It took a while for using the ETTR method to render useful in my case because I bought a new camera 6 months back (D780). It took some trial & error to know exactly how far I could go with that small spike in the highlights & still recover the detail in the highlights in post processing. Every camera is different so depending on the gear you use, you could go a bit further or perhaps not as far.
this really is the best ETTR explenation i've seen i never fully understood how it worked until now thanks a lot! i love your videos, inspiring, educational and entertaining keep it up!
Music to my ears - thanks Sam!
@Mark Denny, good job, especially when things don't go as planned!
Great advice, and the creation of more tools for us to use.
Thanks a million Ed!
Snow coming for us this weekend. ETTR gonna be fun Sunday for sure!!
I do use the expose to the right method, seems to work well but if in any doubt I bracket either side at 2 stops for post. The really useful lesson I learned though is to check the histogram until it becomes second nature, just part of the unconscious peripheral vision.
BTW , I believe that on the Fuji system the histogram does represent the raw file provided you have live view turned on, that's how I use it on the XT3 and I imagine its the same on the GFX?
Another great tutorial video Mark, I have read and watched several about ETTR, but never really understood until I watched your explanation. I unfortunately don’t have live histogram on my D610 but I will now be watching the histogram after exposure to try to expose more to the right. Thanks again.
Thank ya John!
For landscapes I use "ETTR preset" on my camera: overexposure by default by 1,7 stops at base ISO.
If there is an "overexposure warning" in the viewfinder, it is enough to change exposure down until it disappears.
I think cameras should have ETTR metering mode to make it automatic.
Hey Mark, Jose from Puerto Rico. I had read quite a while back on the ETTR method and to be honest, I started using it for quite some time now. I try to discipline myself to not go with my eyes, but to keep an eye on the histogram pushing it to the right as you described, just enough so as not to clip the highlights. It definitely has worked for me. I'm using an Olympus OMD EM-1 M2 body and a 12-40 mm pro lens. I enjoyed this video and your detailed explanation on the subject.
I've always used the LCD method, and I regularly underexpose on my Leica Q because it so easily blows out highlights... a trait I've read is common with Leica cameras generally. However, I'm often surprised and disappointed to see noise in the shadows at low ISOs, and I've been blaming the camera, which is supposed to perform well in low light. It's been driving me crazy. I had never heard the explanation you provided so clearly here, I appreciate your sharing it with us, and I can't wait to try it out.
That's awesome and thought provoking. Thank you
Happy to do it!!
Excellent advice.
Some great advice there Mark. Thanks for sharing your knowledge.
Thanks for watching Ray!
I’ve always tried to use the expose to the right method. As a matter of fact that’s part of the reason I upgraded to Mirrorless. I wanted to take advantage of the live histogram. Of course there are times when I lose focus (ha ha) and forget. It happens much more than I’d like to admit.
Thank you Mark. I’ve watched the ideas on ETTR from yourself and one other but I’ve never implemented it myself. As from tomorrow I will ETTR and see the benefit.
Great info, thanks!
Thanks Frank!
Thanks Mark,
For your induction into the mysteries of E. T. T. R.
Regards Newell
I tend toward ETTR...what convinced me was when I noticed the increased file size, so I knew I was collecting more data. No question about it!
One thing it did take me a while to learn though is that it's also important to check the color channel histograms, too. I've noticed my camera can readily blow out the reds in sunrise/sunset shots, even though the overall histogram is looking good (for ETTR). Live and learn!
I like that idea of ETTR and I try to use it where can. But I also find when I am trying to tone down the exposure of the sky when the trees (fine limbs, leaves, etc) are involved, I get an abundance of halo. So, my guide is...if you have to adjust more that 2 f-stops to correct for over exposure (in post processing) it is better to not expose as much to the right.
Totally agree Mickey! I do the same, anything over 2 stops could be problematic in post.
Modern cameras have wonderful and useful information about exposure. Using it to your advantage is up to the shooter. This is very good advice.
I began photography with all manual cameras and a Gossen Lunasix light meter. I shot thousands of Kodachrome and Ektachrome transparencies where proper exposure is critical. The incident metering method worked very well most of the time. I could not have imagined what is commonplace now. No post-processing back then, just yellow Kodak mailers for developing (remember those?). I've seen lots of changes, made lots of mistakes, learned a lot and had (am having) lots of fun. It's been my primary hobby for 60+ years.
Thanks for this
Great video. Very helpful thanks!
Thanks for watching Jim!
Great video, Mark. Well explained, why it works and when not to use ETTR. Thanks.
Thanks Michael!
A very useful video Mark, thankyou!
Thanks Steve!
Thanks!
I generally expose about a shade underexposed but I do what you do and take multiple exposures to get the best of all worlds. I’ll definitely have to try the ETTR method.
I think I tend to underexposed too. Partially because I like the look and also because my lcd screen is too bright, in order to see it during the day.
Great stuff, thanks Mark. Do you ever use exposure compensation on your camera? Something I always wondered about but can never really find any videos on that specific topic. Thanks again
Thank you for the video Mark. I use the Histogram on the rear screen all the time and ETTR is something I forget to employ...so heading out today to practice!
Glad to do it Anthony and thanks for tuning in!
Very clear message to watch out for spikes to the right ! Great
Thanks Dennis!
I shot with a crop sensor camera for a long time and can say that ETTR is a wonderful way to lower and in some cases completely eliminate grainy skies that the smaller sensors are known for but does take practice to get good at it.
Very nice in field explanation of ETTR!
Great advice Mark... it's a common mistake. I still like bracketing though. I use a Canon 5DsR and DR is not the greatest, but I can bracket up to x7 frames if I want to, mostly x3 or occasionally x5.
Thanks for the great VLOGS. Sad about your Lens :(
ETTR was always the mantra a few years back and I think still has its place today, but maybe not so critically. I now find with my GFX100 and 50R before it, that its dynamic range is so good I shoot to protect the highlights knowing I can lift the shadows in post with zero effect on IQ. I'd imagine this is the case with most pro bodies today.
that said I also find the GFX and other Fujis I own(ed) to always meter the scene a third to a half stop darker than the Nikons I used to use, which suits my shooting just fine.
Yep, too much to lose if you make the mistake of just overdoing it, small areas of specular highlights aren't well represented on the camera back histogram. If in doubt bracket, then you have a lot more flexibility in post in any case.
Great tip about ETTR! Haven’t really considered it much apart from some astrophotos, will use it more.
Thanks for the tutorial and will use it. I also heard that you must set your white balance to daylight to brighten up your screen.
The snow is coming, they're currently calling for 8" here in Brevard this weekend. Hope to see snowy WNC in a future video!
🙏🙏🙏
That.... makes sense. Probably solves more of my issues than I'd care to admit as well.
Nice info Mark... great learning experience 👍
Thanks so much!
Great information. Thanks
Thanks Brad!
I'm only an amateur/enthusiasts when it comes to landscape photography. However, my engineering logic would tell me to use a grad filter. I know it won't be ideal for every composition, but surely, if you can correctly expose for shadows and highlights before the light hits the sensor, then you'll will be receiving the best signal to noise ratio. Therefore a less noisy image. I understand that Iso simply as amplification, so the less amplification from the base Iso the better. Your lightroom adjustment logic made perfect sense.
I didn't know any of this, I will give it a try thanks.
👍👍
IIRC back in the film days there was an observation that slide films tended to better handle underexposure whereas print films tended to better handle overexposure. This ETTR rule looks similar to the latter. Thanks for sharing this idea - I didn't know that
In my testing, while in natural live view, the blinkies would represent exactly where the highlights would be lost in raw. In fact, if I recall correctly, the natural live view setting would give a histogram that represents a raw histogram. If you wanted to take it a step further used the larger RBG for even better results.
I use the same techniques. It takes some getting used too and can give you some very bright looking images (jpg’s) on the back of the LCD started out bracketing but most of the time the brightest image is best there seems to be more space on the HL side R to recover than even the natural view is showing in the histogram.
Well, thanks for sharing that very useful test you did with the blinkies. I'm a fan of the RGB histo as well. With it, I feel I have a more accurate idea of what is going on--even if it is based on a jpeg as is the other type of histo.
Thanks again Mark for a great video. Always good tips..!11 I personally use this technique as often as possible and it really work.
Greetings from cold Switzerland
Glad to do it and I appreciate you checking it out Gabriel!
Since the JPG is the source of the information on the LCD, different JPG Picture Styles (Canon) / Controls (Nikon); i.e. Landscape, Vivid, Portrait, etc., affect the live histogram. I've found that a setting of Neutral gives the best results when relying on the accuracy of the histogram.
Thanks for replying with this. As there are countless numbers of people who only shoot Jpgs, for whatever reason, I was going to ask how they can achieve the results RAW shooters can. If Mark or anyone else can instruct these people, I think it would be great. I shoot both, depending on my needs!
I agree but that natural at least on Fuji makes the picture look yuk so I stopped using it. On GFX it doesn't make much difference if you are off somewhat from that perfect exposure.
@@andyblessett1282 ETTR is not appropriate for shooting jpg in-camera. ETTR deliberately brightens the image such that the image requires dialing the exposure back in the raw post processor to get the desired image brightness; with the advantage being that it also dials back the shadow noise.
Thanks 🙏 Mark , very useful video . Always enjoy your content , helped me an awful lot . Happy shooting , cheers Gary
Thanks Gary!
@@MarkDenneyPhoto you’re welcome ☺️
Very informative video Mark. I would like to add, and I hope I didn't miss this information in your video, that your camera style settings also affect the histogram. As you said, the histogram on the back of the camera is based off of the jpeg image and settings such as contrast and color space add to an inaccurate histogram when compared to the actual raw histogram in your raw processor. So, reduce the contrast all the way and make sure you shoot in Adobe RGB if possible. Of course, these settings have absolutely no effect on the raw file, but they will make the image look terrible on the back of the camera. Some people even turn sharpness and saturation down as much as possible since they will also have an effect on the camera histogram. Michael Reichmann wrote a lot about this (ETTR) back in the early 2000's. Yes, I am a raw file nerd from way back and I am proud of it. Thanks again for another excellent video.
On my A7C, I often have at least a full stop of extra headroom from when I start seeing Zebra lines. In fully utilizing the dynamic range, I seldom see the need to bracket. I’ll still take a few different exposures though, as ETTR can be an imprecise art.
I tend to use my lcd as a reference but also under expose because when I have what my camera calls "perfect" exposure it tends to be too bright and looks washed out
I’ve come to learn how my camera (lumix gx9) deals with highlights in general and now, shooting in priority mode, I’m always exposing at 1 + 1/3 stop and will only decrease if the overall contrast of the scene becomes too extreme and thus challenges the dynamic range
The rule of thumb for photography is very easy. For film expose for the shadows and on digital sensors expose for the highlights. As he explains the latitude to reduce exposure in post is massive in digital.
Thanks Mark- very helpful! Could you talk a bit about checking the histogram of the shot itself (afterwards). Is there a difference between composing (jpeg) and post shot (raw)? Also, I was compositing my shots this past week, and found I still had to dial my exposure back when I depressed my shutter half way and still had some “clipping” highlights. Thanks. Geoff
Enjoy the cool weather, because I'm cooking , so hot, hasn't been in 50c thank god, Thanks for information, enjoyed. Cheers Bevan from Sapphire Central Queensland Australia 🤠🇦🇺
Thank ya Romeo!
Good topic, I'm a bit of a bracketeer, overdoing it a bit, though it is nice to have the extended dynamic range. Now I have to experiment with ETTR to see what results I can achieve. Liked your gloves, looked comfy, do you have a link?
More great content! Are you still happy with your new ball head?? I’m looking to upgrade mine. Thanks!
Hi Mark and many thanks for another remarkable video. As you base your arguments, about ETTP, on landscape photography, I am wondering whether the content of this video also applies to (and, if it does, to what extent) other genres, for example (but not limited to) street photography, cityscape photography, indoor photography, portrait photography. I would be most interested to know your thoughts on this.
I love the old saying, expose for the highlights, print for the shadows. Meaning don't blowout your highlights in exposure, and bring out the shadow detail in the darkroom! Awww.. the good old days! Thanks for another great video Mark!
Thank you - glad you enjoyed it!
This is one good reason why it's good to know how to read the histogram.... make sure you aren't clipping highlights, shadows, and that you're not under exposed. I think part of the reason people are scared to learn histograms is they think they are complex, but they really aren't once you read up on them and understand them. And they can be a very valuable tool, especially if you're shooting with a camera that isn't ML or doesn't have a live histogram of some sort. But just learning how to read them and interpret them is crucial I think for serious photographers. (I'll admit I don't always check mine, but if the lighting is constantly changing, then I do make it a point to check periodically at least to make sure I'm not seriously off).
I've found that using ETTR is helpful, although I don't go overboard. OF course there are some people who feel you should go as far to the right as you can before you start to clip or lose critical detail, but I usually dial it back a bit. I go a bit to the right, but nothing crazy like that. I do this to ensure that I haven't at least underexposed my image and because I have learned that my cameras sometimes will under expose by a small amount even though the exposure meter says it's properly exposed, so I use a little bit of ETTR as a safety (of course, bracketing shots works too). Of course this is camera depending and all cameras will act differently. I know my Fuji's would tend to under expose a bit too as well, and i've found with my Nikons at least, I even if there is a small spike on the right, I can usually recover that in post and would rather have than that an image that severely under exposed by a stop or more.
But it's also important in any scenario or technique, to make sure you haven't clipped anything (highlights or shadows) whether you use ETTR or not.
Thanks for another very instructive video. High dynamic scenes are still a challenge for me. I just recently started using the zebras on my Sony FF Camera in conjunction with ETTR. Still getting the hang of it. Not sure Fuji offers the zebras. Any thoughts on using the two together.
Super helpful video, as a beginner there is so much to learn. I never realised that the histogram reflects the jpeg version of the photo versus the raw version. Maybe a silly question, but how does altering the exposure compensation effect the histogram or does it? I was in Kenya last fall and will be going again this May, and was trying to use exposure compensation with elephants as well as birds.
Exposure compensation only effects the modes were the camera is controlling something. The histogram changes with exposure, but it’s always THE histogram for the photo. If you’re in full manual, exposure compensation moves the meter not the histogram. Hope this makes sense.
Mark, Thanks for the detailed info. Also, what is the brand of gloves you’re wearing that expose your finger tips to make it easier to work with the camera in cold weather? Thanks…. Robert
I always expose as far to the right as possible without blowouts... unless those blowouts are specular (and expected). If the shot is critical, then I'll also bracket to either side by 1-2 stops, 1-2 images to each side, to give me some flexibility in post in case my camera histogram is off a bit (remember that it is usually based off a JPG and not the actual RAW data).
Thanx. Thats the case for my shots, of them are underexposed. It took some time to realise where is the problem. But when I post to media I try always to post litle bit underexposed because everyone have difrenct phones and monitors and can increase exposure (mostly applies to phones)
Nice work, Mark. Hope you’re well. 👍🦘🇦🇺
Thanks Peter - Hope you are as well!
@@MarkDenneyPhoto When will I own a book by the nicest guy in landscape photography?
I wasn't aware that the histogram was based on a jpg file. I learned something new. Thanks.
I'm not sure if you mentioned why you expose to the right. For those that don't know, your camera might can recover the shadows but, when bringing up the shadows in Lightroom, you're basically raising the exposure just in the darker tones. That's the same as using a high ISO. You may can bring the shadows up but may also lose detail and then the shadows look muddy. Exposing to the right insures there's enough information in the shadows and also you don't have to bring it up that much. The only time I would use this technique is if everything in the histogram will fit. If you're spiking on both sides of the histogram then you should bracket your shots. Another thing about the histogram, not only is it based on a jpg, it's also based on what picture profile you have selected. I never use landscape or vivid because of how it puts more contrast into what you see on the screen. I use a flat profile. This will give you the best representation of your histogram. As far as what you see is what you get on the LCD screen, that's also based on your screen brightness. That's why you should always watch the histogram. You can get the histogram set right in the middle and then adjust your screen brightness. If it's dark early in the morning but you forgot to turn your screen brightness down from the day before when you had it set on 5, it will effect the way it looks on your screen. Adjust the histogram to the middle and then adjust the brightness. But your light will usually be changing during the day so keep that in mind.
Hi Mark, how does the ISO invariance of the Fuji (and many other sensors) affect this recommendation? I’ve been meaning to experiment a bit with this, but my understanding is on my X-S10 that everything from 160 (base ISO) to 640 (exclusive) uses the same analog gain, and 640 and higher (up through I think 6400) uses another amplifier. Which means that noise within each of those two ranges is approximately the same no matter the ISO setting, the same light hitting the sensor (shutter+aperture) gives the same results in post processing as long as there are no blown highlights.
Very interesting video. Since I live in Minnesota I’m interested in who makes the gloves you are wearing. My fingers get so cold that I can’t feel the shutter button sometimes and the gloves I have are not enough.
I didn’t know what it was called, but I have been shooting with ETTR with my X-H1. RAW files do have a lot room to pull highlights and shadows, and I agree… pushing the shadows can result with more noise. I haven’t run into the problem of not recovering highlights.
With that said, I do ETTL (if there’s such a thing) when shooting SOOC JPEG. Crushed shadows is more of an artistic choice. 😉
Thx Mark. Really enjoyed your channel here. Question: if we shoot one like the example in the video (one where we stop when we see a sharp spike on the right of the histogram), how much reduction on BRIGHTNESS setting in the post-processing: -30, or -50 or more? And is BRIGHTNESS the only parameter we use to optimize / edit after we shoot with this ETTR approach?