About exposing to the right

If you look at the ARTICLES above, you will see one about “exposing to the right”. Read it. And perhaps remember this as a “take-home” outcome:

Provided you do not actually overexpose any of the channels (Red, Green Blue), you can always reduce brightness in all or part of the image in “post”, and as a result of doing this increase the quality compared to shooting it darker in the first place.

That is why we expose to the right. I am not advocating doing this all the time, mind you: it would mean post-production work all the time, and we are photographers, not graphic artists. But sometimes you simply do not have the time to put up lights.

Like here:

When I shot that, I knew I would want the ambient light darker. But that would have meant getting out the softbox, boom, pocketwizards, and so on; and that simply was not practical at the time. So I shot like in the pic above, knowing that I could reduce—not increase— exposure in part of the image later by way of masking or vignetting.

With a little work, and I mean a little (perhaps a minute or two), that gives me something like this as an end result:

Now again, of course it is much better to actually shoot this way. But when you do not have a choicer, expose as highly as you can without overexposing either of the three primary channels; then, reduce locally later to taste.




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Learning tip

Here’s a learning tip.

When you take a course or read a book (such as my e-books), you get all sorts of ideas. Great ideas that make you think “I must do that, next time I shoot”. Especially when travelling, the ideas can be very useful. Ideas like the use of negative space:

Or of using a close-by object (“close-far”) to introduce depth:

Great ideas. But you forget them, right?

So here’s the idea. Re-read your notes, or the book, and write down the 20 most important learnings. Make a list, whittle it down to about that number. Then write those 20 things down in shorthand, i.e. in simple form, on a piece of paper not much bigger than the size of a credit card. Have that laminated with plastic so it  lasts. Then carry it on you and before you shoot, look at the card for 20 seconds. Just 20 seconds. More is impractical: you’ll never do it. But 20 seconds is doable. That way, you refresh your mind when it matters. Namely, when you are about to shoot.


I made the first shot above in January at Zabriskie Point, Death Valley, California, using my Canon 1Dx camera and my 16-35mm lens set to 35mm. I was at 200 ISO, 1/400th second, f/11.

The second shot was the same except for the focal length (here, 16mm) and the shutter speed (here, 1/100th sec).



Shake it up

As you know, I was talking recently about shaking it up. And I constantly do:  From “drama” to “flash plus lots of ambient and large apertures”, as in this recent picture of the make-up artist and hair stylist at a shoot:

And you need to keep changing styles, or you ossify. I was recently told by a young person that people of my generation (i.e. people older than 30) could not possibly know anything about art. We like that boring grandmother stuff, like sharp subjects and blurred background. Today’s artists produce actual art, meaning edgy, shaky, unsharp, under- or over-exposed, real, imperfect pictures.

I refuse to believe that.

But I do believe that every generation brings in new ideas, and that if you do not shake things up, you will lose out. So while I am not asking you to expect unsharp pictures from me,I do think you will continue to see development.

As you should bring development into your own photography. Force yourself, if you must. Your comfort zone is a, well, comfortable place to be; but it is not where you should aim to spend all your time.

So here is your assignment  for next week: what is the technique, equipment or light you like least? Use that exclusively.


That red jacket

The reminds me. When I was shooting the red jacket, the red jacket ended up, well, not red, at the bottom. More purplish. Look:

The reason: overexposure at the bottom, specifically of the RED pixels, when I expose enough to get the top lit. The model was too far from the window, so the light hit mainly her bottom half. Hard to see in person, but easy to see in the camera.

The solution: In Lightroom, in the DEVELOP module, go to the HSL pane; select LUMINANCE, and drag the RED Luminance slider leftward (minus). Now you get this:

Now that I am not blowing out the reds, I get a red coat!

Then the last step: I brighten the top with a graduated filter with exposure set to +1 stop. Now I get the final result:

This is all a matter of simply recognizing what is wrong. I was not able in time to fix it on site, but I knew I had enough leeway in my RAW files to fix it later. Sometimes, that is how it works.