May 13, 2012

2

Gavin Seim, HDR Photography, Lighting, PPS Photography Tips, ProPhotoShow

Tone Control – Focusing Your Light

The Forest Pool - In this split, we see the base toneapped merge and the final edited burns, dodges and detail work side by side. Not all images are this extreme, but tone control used well will always give your image that finishing touch.

by: Gavin Seim. Tone mapping and image processing without tone control is like having a lens without focus. It’s nothing new. Good shadows & contrast make an image. Without them we often get what I call the Flickr HDR. And trust me, you don’t want that 😉

Leveraging tone to keep the subject the subject and the supporting cast, supporting, is critical. Good tone control is what separates the men from the boys in the world of imaging and we can’t talk about it too much. I think we sometimes get distracted with the latest techniques. But generally they’re not really that new. They’re just new ways of doing things people have done on film for decades. Take HDR. On film, every image you made was HDR if you managed your light and processing well.

So then HDR. It’s not a style and it’s not judged on how many images you use, or whether you tonemap in Photomatix or Nik. It’s simply the management of a high range of light. You can do that with film, layers, tonemapping, channel mixing, brushes or in the camera.

In this example of a three exposure tone mapped image, you can see how much work I had to do to reign in the tone values. A tonemapped merge shows this more than a single file would. It tends to push everything to mid tones. After which, those tones have to be managed. Either that or you have mid-tone chaos. This is one reason I often manage dynamic range manually with layers, rather than tonemapping, but both are fine as long as you have a plan.

What I’m getting at is that an image must have a subject. Just one. Everything else needs to support that and it doesn’t matter if you have a single RAW or a tonemappped HDR with loads of range. Tonal control helps the eye focus. Without that focus you’ll nearly always have an image failure.

I’ve studied tone for years now with the legendary Ken Whitmire and even more on my own. It’s taught me to see light. Not simply that there is light. But what it’s doing for me. I see a lot of potentially great images that fail without any tone control. It generally means no cohesive subject. No one is talking much about tone. But if you do it right, the viewers eye is lead right to the subject, every time, no matter how many elements are in the scene.

Using the Zone System really helps with this as it quickly teaches you to manage tones better and make things as good as they can be in camera. See this article. On the editing side often a burn & dodge, brushes, or layering of lighter and darker frames makes the diffence. The bottom line is that while there is no rule on how we control tone, it must be done if we want a focused image that draws the viewers eye and showcases our subject.

This is something I go into at great length in my Lights & Shadows workshop and my EXposed DVD. But the main thing is to keep working with it. Cameras, the latest software and the latest techniques are useful things to study. But tone control is timeless and is never superseded. Without it we can expect our images to fail or to be little more than snapshots. Every time.

Happy tones… Gavin Seim

King of the Valley - Valley of the gods Utah, Spring 2012. A gentle tone controlled single exposure. See more of Gavin's American Pictorials on f164.com

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October 10, 2011

4

inspire, special effects, tips

3 Core Elements of Controlling Tonal Value.

By Gavin Seim

I’m amazed how often the control of light and dark is ignored in today’s photography. Our tools are more powerful than ever, but most images lack the subtle tonal control that made photographers like Ansel so famous. Such control is essential to making an image look as good as it can.

“Tone” may be the least understood and least utilized factor in composing and finishing images.” That’s a quote from master photographer, Ken Whitmire. He’s eighty-two and one of the world’s most renowned pioneers of wall portraiture.

I wrote an article called 5 Essential Keys to Photographic Perfection on Pro Photo Show. One of these keys is arguably the most important, and that is tonal control. Lights and shadows and how they look in the final image are critical. To best achieve them, you should have a “visualization” for your final image and be a master of essential tone control elements.

Morgan's Song, 2011 - This is an environmental scene so we have a lot of "supporting cast" to deal with. By placing the subject at Zones 6-8 in the final process and the supporting cast mostly in Zones 2-4, I was able to keep the subject dominant and show the scene I had envisioned.

An image can look good with just a quick global correction process, but not nearly as good as it could be with proper tonal control. It starts in camera as you see the scene in your mind’s eye . The way you expose and set up your image can control those values. The best way I have found to see this in my mind is by using the Zone Scale (see Fig. 1).

For example, a perfect light is splitting through the clouds and shining on your subject. You expose for the subject’s skin, visualizing it for Zone 6. Perhaps that bumps the foliage and other elements (the supporting cast) of your scene down to Zone 4. That could be perfect because it makes your subject dominant. Perhaps the light is more even, however, and to achieve that visualization, you need to do tonal corrections later to bring that foliage down to Zone 4. It could be done in many other ways, but you get the initial idea. For an in depth look at Zones check out, Why You Need the Zone System for Digital.

Following are three things to watch for when visualizing and mastering an image to control tonal values. If you understand and apply these principles at every step, your images will improve by giant leaps. Follow through on tonal values and your images will sing.

Figure 1: The Zone scale from 1-10. Middle grey is Zone V (5). This shows the darkest dark to the lightest light and is invaluable for simple visualizing and exposing a scene. Each step represents a stop, making it easy to move your exposure up or down and place an element in a given zone.

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October 10, 2011

1

Gavin Seim, Lighting, PPS Photography Tips, ProPhotoShow

5 Essential Keys of Amazing Photographs.

By Gavin Seim

Simplicity is key to a great photograph. It turns even complex scenes into stunning beauty by controlling elements, light, and tone.

It’s not about how much is in a photograph. It’s about how we showcase our subject in relation to that supporting cast of elements. Now I’m not suggesting the images I show are “perfect.” It’s rare that I get everything dead on, and I can always find something I should have done better. But truly understanding and mastering these elements WILL raise the bar on our images and allow us to see in a new way.

1. Visualize.
Everyone says they’re doing it, but few actually are. You should truly “see” the scene in your mind’s eye; not what’s in the viewfinder but the finished image after the exposure, even after editing. You should see the image you want after the process is finished. It’s fairly simple, but in the rush we often fail to slow down and think carefully about the lines, elements, and tones in our scene. That’s one reason why I love working with a tripod. It takes my focus away from holding a camera and puts it on the scene in front of me.

Ansel Adams said, “The whole key lies very specifically in seeing it in the mind’s eye which we call visualization.”

Sunsets Hidden Falls, Yosemite 2010, Gavin Seim - I used a layer based HDR process on this, processing my light and dark frames as silver and layer blending in Photoshop. I spent a good deal of time on the composition and tonal control to try and keep the scene simple while still showing all the elements. You can see the stone faces on Zones 6-7, with the foreground elements falling drastically all the way down to Zone 1, keeping them as supporting cast from becoming too distracting.

 

2. The Light & The Zones.

Expose for what you want in your image, not what the camera sees. This goes right along with visualization, and the Zone scale is the best way I know of, both to visualize and to control values. It allows us to see in our mind’s eye the Zones in a scene and place them where we want, using exposure, and finally tonal edits. For more on detailed tonal value control, see the counter article to this one, 3 Critical Elements of Controlling Tonal Values.

The Zone scale from 1-10. Middle grey is Zone V (5). This shows the darkest dark to the lightest light and is invaluable for simple visualizing and exposing a scene. Each step represents a stop, making it easy to move your exposure up or down and place an element in a given zone.

 

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