Modern HDR photography, a how-to or Saturday morning relaxation


This article was created on Saturday the 15th of July 2006 at 11:29 AM

This article was updated on Sunday the 16th of July 2006 at 19:18 PM

This article has been read 75000 times since it’s posting this morning at 11:29 AM

…100000 times @ 17:51 PM

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It has made this blog #2 of WordPress growing blogs, it is the #3 post on WordPress right now and The Memoirs are #4 blog on WordPress.

This post is #6 on and #7 on‘s most popular saves for today. Also, and Popurls, sites that aggregate news from sites such as Reddit, have generated traffic towards this post. If you liked this post, please reddit through I am currently writing an analysis on this whole phenomenon and will continue posting articles on HDR and photography.

Any comments, sponsors and inquiries:

memoirs [dot] on [dot] a [dot] rainy [dot] day [at] gmail [dot] com

This article is the first in a series of articles on HDR photography

  1. Modern HDR photography, a how-to <- You are here
  2. How The Memoirs got 167000 hits in a few hours… a photographical HDR revue
  3. The Memoirs got viewed 170000 times in a day, an analysis
  4. Understanding modern HDR Photography, a set of tools, links, examples and explanations


In this Saturday morning post, I explain HDR photography with the help of some articles. This post includes step by step ways to create your own HDR images. Be advised that they can be quite hard for beginners to get interesting results. But where there is a will, there is a way! And by experimenting, you will get some good pictures. Also, remember that to see the end result, you have to get through some initial steps.

I have received some questions about certain photographs, so I’ve decided to include three articles that explains HDR photography in detail. I had added this to the comments, but I felt this deserved to be included in a post by its own. I have found a few different articles to explain this to everyone. The first one dwelves in the theory behind. The second one is an easy way to to HDR and the third one goes in to more detail on the process of HDR photography. The source of the first article is from cybergrain. The second article is from HDR 101. And the third is from Cambridgeincolour.This post also include step by step ways to create your own HDR images.

If you want anymore information, research the sites that I have mentioned or ask questions in the HDR Pool on flickr.

Update @ 17:54 EST, Saturday the 15th of July 2006

This is by no means the only pool on flickr for this type of photography. Check out here for more groups.

To begin using HDR photography, you need a few simple things.

  1. A digital camera, preferably a DSLR but a good point and shoot will do the job. Remember, you need to be able to change the shutter speed manually. The focus can stay auto but if you can set it on manual do so
  2. A tripod; to function correctly, HDR needs to take different pictures of the same scene. If you do not want any motion flow, take pictures of stationary objects.
  3. Latest edition of Photoshop
  4. Photomatix, available free here through their new beta release for Windows. A Mac version is also available on their website.
  5. For simple step by step instructions, scroll down to the second article and follow the steps.

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The following article is by Jon Meyer from one of his articles on HDR Photography. You can find the source article here. Due to the interest, he has updated his article as of Sunday, the 16th of July. I have made the changes accordingly. Thanks Jon Meyer!


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The Future of Digital Imaging – High Dynamic Range Photography


Today’s digital cameras match or slightly exceed the performance of silver halide film. Computer graphics has achieved the goal of photorealism. Now the goal is to go beyond simply matching paper and silver halide – to create display technologies which can present any visual stimuli our eyes are capable of seeing.

One area of rapid development is in dynamic range. A new crop of technologies using High Dynamic Range imaging (HDR or HDRI) aim to extend the dynamic range of digital imaging technologies way beyond traditional media.

In this article, I’ll look at recent advances in the field of high dynamic range imaging. I will cover the basic concepts of dynamic range, and talk about new HDR technologies.

The Problem

Here’s the problem in a nutshell:

  • Real-world scenes contain light ranges that exceed a 50,000:1 dynamic range.
  • For over a thousand years, media has been limited to around a 300:1 dynamic range.
  • So you have a mapping issue: how do you represent light values in a scene using a much more limited set of light values for a particular media?

If you are not careful, you end up with results like this:

You can see the chair but nothing out of the window.

Old Solutions

Master painters were very clever about mapping scene intensities to canvas. They used a large number of tricks. Look at El Greco’s La Agoria en el Jardin from 1590:

El Greco used saturated colors of opposing hues to increase the apparent dynamic range of the scene. He also painted black or white lines around the edges of contours. Our eyes determine contrast locally, so increasing the contrast at local edges increases the overall perceived contrast of the scene.

(Generally, the phrase “dynamic range” in imaging refers to the measured ratio between high and low extremes in a set of intensity values. The word “contrast” is often used interchangeably with dynamic range, though I prefer to use “contrast” to refer to the perceived contrast of a scene, which may be different from the measured dynamic range. For example, El Greco’s edge contours increase perceived contrast but don’t change the actual dynamic range of canvas).

Here is an example from Monet. The red sun in his famous Impressions at Sunrise really leaps off the canvas (maybe not on your web browser!). The sun is actually the same brightness value as the surrounding clouds. However, since the sun is a saturated red placed over a saturated blue cloud, it creates a color vibration, and the sun looks much brighter than it is:

Check out webexhibits way-cool Flash illustration of this.

Dynamic Range in Photography

Photography involves a capture device (the camera), a storage medium (e.g. film), and a display or output device (e.g. paper).

The dynamic range of each stage (capture, storage and output) plays a crucial role in the quality of the results. In general, technologies with greater dynamic range produce more realistic results. But photography is a compound process, and the dynamic range of each stage must be considered. When the dynamic range of the source scene is too great for any one stage of the process, something must be sacrified: you must either give up detail in the shadows or the highlights. Photographers have to know and work withing the limitations of their camera, storage and output devices.

W. Eugene Smith spent five days in the darkroom until he came up with a print of Albert Schweitzer that he was happy with:

Smith was dealing with the issue that silver halide negatives have a greater dynamic range than photographic paper – so he had to “dodge and burn” different areas of the image to get a result where both the lamp and sitter are visible.

Perhaps the greatest master of dynamic range in photography was Ansel Adams. He was the first to systematically measure the sensitivity range of all of the equipment he used. His “zone system” let him predict precisely what details he could capture on film and paper, so he could make decisions before pressing the shutter:

Color Photography

Color negative films have less dynamic range (or “latitude”) than black and white films. My understanding is that the multiple layers and dies in color film result in reduced sensitivity. The first color films had very poor latitude, so film manufacturers added more layers – each color layer was split in two, a high-sensitivity and a low-sensitivity layer, using different crystal formations:

(I’m not an expert, but maybe color positive film doesn’t use this trick, hence the difference in latitude between positive and negative film?)

One way to get really great dynamic range with color film photography is to use black-and-white film together with color filters. You have to take three exposures on separate sheets of black and white film: one with a red filter, one with a green, and one with a blue – and then composite the three images together. If you use glass plate negatives, you end up with images that have incredible colors and resolution. See below:

The most amazing thing about this image is that it was taken in around 1915 by Prokudin Gorskii. While it is true that this image was digitally enhanced in Photoshop, in my own experiments with a 4×5 and red/green/blue filters I achieved an extended non-kodachrome tonal scale.

The Next Horizon: Digital HDR

Over the next decade, the imaging industry will inevitably transition to high dynamic range (HDR) imaging, creating devices that provide a latitude range far greater than traditional silver halide film. This change will affect all aspects of image making. Each of the systems in the image workflow will be modified, including capture, storage, editing and output.

Let’s look at each of these workflow stages in turn.


Today’s cameras have ample resolution. So the next area of product differentiation for camera manufacturers will be the quality of the pixels, rather than the number of pixels. This shift is starting to happen already.

For example, Fuji’s SuperCCD S3 Pro camera has a chip with high and low sensitivity sensors per pixel location to increase dynamic range (the same trick as used in color film to achieve broader latitude).

Although the resulting chip has lower overall resolution, it captures greater dynamic range. This tradeoff of resolution for dynamic range is the beginning of an important trend.

A second alternative is to merge multiple images to increase dynamic range. Paul Debevec at SIGGRAPH 97 showed how to take multiple photographs at different exposures and merge them together to create a single high-dynamic range image. This technique is now incorporated in products such as Photogenics and Photoshop. For now, the technique works best if the camera is mounted on a tripod. But researchers have already built HDR image “stitchers” which merge multiple images and automatically account for camera motion between snaps.

For most consumers, “HDR” will simply mean that the camera records more details in shadows and in highlights. Just as RAW images extended the detail held in digital images, HDR will further increase the available tonal range.

Consumers will benefit from the true point-and-shoot ability that broader latitude offers, because HDR cameras will produce usable images from a much wider range of lighting situations.

Eventually point-and-shoot cameras will lose their built-in flash. Anyone who uses a camera with a cheap flash soon learns that the pictures generally look better if you turn the flash off. Sensors are becoming more sensitive, cameras are getting smaller, and light metering is getting smarter. Add three or four stops of dynamic range, and the flash becomes a creative ad-on rather than a requirement.

Professional photographers will also benefit from HDR. With HDR technologies, photographers can really push the creative envelope, exploring the extremes of high-key and low-key effects.

Professional cameras will offer a multitude of HDR image-taking modes. For example, they will automatically blend multiple images taken with different exposures, with and without flash, possibly using multiple light sources, to produce a single and extremely maliable master image.


All image file formats have range limitations. Formats such as JPEG and GIF provide eight bits per color channel (often referred to as 24 bit color). Using 8 bits, you can represent 256 different intensities per channel. Most 8 bit formats use a “perceptual” mapping, meaning that they use a gamma (exponential) curve rather than a linear map of intensities. See Human vision and tonal levels or the venerable Gamma FAQ for an explanation of this. While JPEG and GIF are great for moderate dynamic range images, banding becomes apparent if you edit the image extensively, and the formats cannot store high-dynamic-range scenes.

Newer formats including JPEG2000, RAW and PNG offer up to 16 bits per color channel, which is plenty for most purposes. However, there is no support for “underage” or “overage” – these image formats state that “0” should be mapped to the darkest black of the display, and “65536” (or the equivalent) should be mapped to the whitest white. If you want to represent images that contain brightnesses beyond what your monitor can currently display (e.g. as produced by HDRShop), you need to look elsewhere.

The most exciting HDR image format today is OpenEXR, developed by Industrial Light & Magic.

I say this partly because their documentation includes photos from Star Wars (see above). But it also supports both 16-bit and 32-bit float representations, lossy and lossless codecs, and has a great definition for underage and overage.

Other examples of High Dynamic Range formats include SGI’s TIFF LogLuv format, Floating Point TIFF format, Radiance’s RGBE format, and Portable Float Maps (PFMs).

HDR image formats are especially significant for archival and stock uses, since they store data with enough precision to record what we can see, rather than what our displays can show.

There are a range of proprietary formats that offer medium or high dynamic range. The various RAW formats support whatever dynamic range the underlying device associated with the RAW file uses. Personally, I am not a fan of RAW formats for long term image stoage, since they are too device and vendor specific. However, that’s a whole other debate.

I don’t yet know if OpenEXR will become a consumer standard, or if it will remain a file format used only by Hollywood. Microsoft, Apple, Adobe, Canon and others will no doubt have a big hand in shaping that decision.


Of all imaging tasks, editing is the one that demands the highest dynamic range. Editing operations need high precision to avoid aliasing artifacts such as banding and jaggies.

Audio professionals know this. Editing tools like ProTools already use 48 bits per sample internally, even though the common CD output format only supports 16. Why should we image makers accept anything less?

Recently, Adobe announced supports for 32-bit-per-channel HDR images in Photoshop CS2, a great step forward.

Idruna Software is another company doing interesting HDR software. I played with their PhotogenicsHDR when it first came out, but I found it a little hard to use. Perhaps the newest PocketPC version is different…

Photoshop users are familiar with the issues of low dynamic range today. With 8 bit channels, if you brighten an image, information is lost irretrievably: darkening the image after brightening does not restore the original appearance. Instead, all of the highlights appear flat and washed out. To avoid this problem, you must work in a carefully planned workflow.

With a true HDR tool, if you brighten an image and then darken it, you should see something very close to the original image. True HDR editing tools will enable image workers to follow a much more flexible and simplified workflow, using fewer adjustment layers, with fewer aliasing artifacts. I expect HDR software will lead to increases in productivity and greater expressiveness.

It will take the imaging software industry some time to retool and retrain. There are plenty of unsolved issues.

With HDR, for example, you run into the issue of representing brightness values present in the image but beyond what your current monitor can show. Do you clamp to the monitor’s gamut, show zembra stripes, map the colors some other way?

Another issue is how to create graphical user interfaces for HDR editing. Many designers are familiar with the RGB 0-255 color values, and can type in RGB color numbers directly using this system. e.g. 128,128,128 is a mid gray. But what happens when intensities go from 0 to several million? Where is mid gray? And how do you represent that in a graphical interface? If the tonal range goes from 0 to something close to the brightness of the sun, where is “white” on that scale? Do you mean monitor white, paper white, 3200k white, 5600k white …?

A third unsolved issue is image size: If each channel of an image is 32 instead of 8 bits, the image becomes four times larger. Switching to HDR therefore makes a 100mb image take up 400mb. Not surprisingly, editing operations take about four times longer. Software will need to become smarter about scheduling work. Live Picture, an early image compositing tool, did a good job of this, but is no longer available. I expect to see a revival of these techniques as people grapple with 10GB images.

Tone Mapping

Most LCD/CRT displays (and of course printed paper) have low dynamic range.

So if you want to output an HDR image on paper or on a display, you must somehow convert the wide intensity range in the image to the lower range supported by the display. This process is called tone mapping.

One old tone-mapping method is the manual dodge-and-burn technique familiar to photographers – where you manually select different tonal ranges for different regions of the image, using a dodging or a burning tool. HDR software will of course support manual dodge and burn.

Another solution is to use an automated tone mapping filter to reduce the dynamic range of an HDR image. There are already several filters to choose from.

The left image above shows what you get if you display Paul Debevec’s HDR photo of Stanford Memorial Church using a very basic tone mapping technique (simply clamping to the nearest available color on the monitor). Some areas of the image are “blown out”, and the shadow areas are muddy and lack detail.

The right image show’s Fattal, Lischinkski, and Werman’s tone mapping algorithm, which uses a more sophisticated adaptive approach – you see more details in the shadows and the highlights (look at the stained glass windows), though the image also has a somewhat “flat” or “computerish” quality.

Tone mapping is a hot area of research in computer graphics. As with HDR file formats, there is currently no clear winner. Several techniques are listed in the resource section. I expect the major companies to each champion their own tone-mapping technologies in service bureaus and print finishing.


Over the past decade, display companies have steadily improved the dynamic range of LCD and DLP displays. Today many digital displays have a 2000:1 dynamic range, unheard of ten years ago. This trend of increasing dynamic range will continue.

A few displays available today indicate where the market is going. The most astonishing is the BrightSide HDR display with a claimed contrast ratio of 60,000:1, good enough to reproduce the effect of a sunlit scene. They achieve this using high-power white LEDs.

The only bad thing about the BrightSide display is that once you look at it for a few minutes you just assume that this is how images are supposed to look – it is such a transparently great technology that until you see a normal image on a normal display you don’t really think of the HDR display as that exciting. The display is still in the very-expensive bracket, but this will change quickly.

Of course, HDR displays work best if you have lots of HDR images. I anticipate a huge market for stock HDR imagery. See the Flickr HDR group for starters.


Today, the main users of HDR imaging devices are specialized professionals working in the film, animation and VR industries. Some applications are listed below (see the Resources page for links).

Film – Tools such as HDRShop by Paul Debevec enable you to convert a series of photographs into a light probe – a special image that represents the lighting environment in a room. You can then use the light probe to light virtual objects, so that the virtual objects actually appear to be lit by the light from the room. This technique is especially useful for compositing computer graphic objects into images of real scenes. Hollywood films use light maps extensively to blend CGI into a scene.

Panoramas – Another use for HDR is in panoramic images. Panoramas often have a wide dynamic range, e.g. one part of the panorama may contain the sun, another part may be in deep shadow. Online web panoramas constructed from HDR images look much better than non-HDR equivalents.

Games – A third use for HDR is in computer games. Recent computer graphics cards support HDR texture maps. With HDR texture maps, you can render objects using light probes, in real time, yielding much more dynamic and interesting lighting effects. “High Dynamic Range Lighting Effects” are now all the range in high-end games.

As more consumer-oriented HDR products arrive, I believe the largest application of HDR will be in consumer photography, though the term HDR is unlikely to be seen – instead you will see branding terminology, e.g. companies will make up words like “DynaChrome”, “MaxBright”, “SuperColor” etc.

Do we really need HDR?

I recently read this comment from Sam Berry:

… the whole article has no mention of the fact that the reason most controlled lighting is almost always done to ratio of less than 8:1 even with neg film /modern digital capable of much more is because that’s what looks good. HDR technology now means you can reproduce your harsh midday sunlit scene perfectly, and it will look identically awful compared to the original.

The debate boils down to this: Does an image with a 300:1 dynamic range look good because it represents a physical sweetspot — something to do with our perceptual system that works well at that ratio? Or is it that all we’ve had access to for hundreds of years are reflective images with a roughly 300:1 dynamic range, so we are accustomed to that?

I had a similar question in my mind before seeing the BrightSide HDR display. Now, after looking at a HDR image on a 50,000:1 HDR display, I am no longer concerned about over-brightness, 50,000:1 is still way less than the brightness of looking directly at the sun. It wasn’t blinding. It isn’t a question of harsh. Images simply looks better when they look more real.

In the coming decade, HDR digital imaging technology will arrive, and change how we take, manipulate, store, use and display images forever.

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This next article explains how exactly to do an HDR image with digital technology. It is written by Fabo from hdr101. His site contains further HDR resources.


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HDR Tutorial (Photomatix) (English)

This is a basic, standard, step by step tutorial of how to make an HDR Image.(Note: this tutorial is based on building an HDR image from 7 differents shots. My camara doesn’t shoot RAW. More on building an HDR image from a single RAW file, soon!)

The materials for this process are as follows:


* Digital Camera (Obvius, but hey you never know ) )

* Tripod


* Photomatix (used for Generating HDR and Tone Mapping)

* Photoshop CS2. (But for this tutorial any version of Photoshop will do. We’ll be using it for retouching only)

Ok, let’s get going!

Taking the pictures:

Put your camera in the tripod. Place it firmly because you’ll have to touch the camera to change the speed and this can make you move it, and then, well you wont be able to get the HDR you were hoping for.

After selecting the subject you wish to shoot, prepare everything as if you were only going to take one picture. Prepare it to your taste or what ever is you want to acomplish.

Set your primary exposure and speed. We are going to call this master setting 0. After this is complete and you have everything set up you are going to take let’s say 7 pictures:

3 pictures up from 0 and 3 pictures down.

Dude what do you mean?? Don’t panic is quite easy:

If the settings for picture 0 is: 1/125 and f/4.5

The settings for the remaining pictures are as follows:

* Picture +3: 1/250 f/4.5

* Picture +2: 1/200 f/4.5

* Picture +1: 1/160 f/4.5

* Picture 0: 1/125 f/4.5 (YOUR MASTER SETTING)

* Picture -1: 1/100 f/4.5

* Picture -2: 1/80 f/4.5

* Picture -3: 1/60 f/4.5

You’ve may noticed that the F/ stays the same. This is quite simple: if that value changes also will you Depth of Field which will cause you focus to change also.

Now that you have taken all your pictures is time to go and kick some Photomatix but!

Ok, so you got to your computer, opened up Photomatix, and oh well you have no idea what to do. No problem becouse this part of the process has litle pictures in it, so you wont have any excuse not to make HDR pictures!!


Open Photomatix and look for the HDRI tab. Click on it. After you will see GENERATE HDR. Go ahead click some more.

When you do that something like this comes up:


Now you click on the BROWSE button and select the pictures you want:


After you you click the SELECT button a screen like this come along:


Ok. Now your pictures are selected and you click OK. Now you have to choices: to Align Input Images or not to let the software do it. I personally always let the software do it. Is up to you:


Now you’ll get this screen. Depending on you computer memory this may take a while, but not to long. I’ve notice that when one of the picture is to dark or to bright, in Auto Align, Photomatix has a hard time aligning the images. I usually cancel and deselect the image I think is causing the problem:


If everything is ok, this should come up:


After Photomatix is done, it shows you your new Generated HDR Image:


But you want it like does cool ones out there! Wait, there’s more: ToneMapping!

Now you go to the HDRI tab and select Tone Mapping. Here is where the fun begins!


The first thing you may notice is the difference in the picture. Here you have 7 important options:

  • Luminosity
  • Strength
  • Color Saturation
  • White Clip
  • Black Clip
  • Smoothing
  • MicroContrast

I could go on and explain what all those sliders and buttons do, but we’ll do something better: You try!

Move them up, down, put some more here, take some less there. The idea is for you to experience it for yourself. Trust me, is really fun that way!


So after moving around the sliders i get to a point where i like the results:


I go click on OK, and we go back to the first screen but with the final version of the photo:


Now i want to take it to Photoshop for aditional retouching but first i have to save it. I preffer TIFF format:


Choose your name, location and format:


Now go open Photoshop, and open the TIFF you just saved:


Now go to the IMAGE tab, ADJUSTMENTS. Now you have to play and have fun with each and every other option in there. Try everything and if you do something you don’t like, don’t worry UNDO! (Also play with some filters, they can help to!)


After playing a litle bit, i got to this point which i like:


Now save it again in any format you like. I always save them on TIFF:


Voila! Your first HDR Image. Kind a cool, insn’t?



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And the last one is by Sean T. McHugh from his photographic tutorials located on Cambrigdeincolour.


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High dynamic range (HDR) images enable photographers to record a greater range of tonal detail than a given camera could capture in a single photo. This opens up a whole new set of lighting possibilities which one might have previously avoided—for purely technical reasons. The new “merge to HDR” feature of Photoshop CS2 allows the photographer to combine a series of bracketed exposures into a single image which encompasses the tonal detail of the entire series. There is no free lunch however; trying to broaden the tonal range will inevitably come at the expense of decreased contrast in some tones. Learning to use the merge to HDR feature in Photoshop CS2 can help you make the most of your dynamic range under tricky lighting—while still balancing this trade-off with contrast.


As digital sensors attain progressively higher resolutions, and thereby successively smaller pixel sizes, the one quality of an image which does not benefit is its dynamic range. This is particularly apparent in compact cameras with resolutions near 8 megapixels, as these are more susceptible than ever to blow highlights or noisy shadow detail. Further, some scenes simply contain a greater brightness range than can be captured by current digital cameras– of any type.

The “bright side” is that nearly any camera can actually capture a vast dynamic range– just not in a single photo. By varying the shutter speed alone, most digital cameras can change how much light they let in by a factor of 50,000 or more. High dynamic range imaging attempts to utilize this characteristic by creating images composed of multiple exposures, which can far surpass the dynamic range of a single exposure.


I would suggest only using HDR images when the scene’s brightness distribution can no longer be easily blended using a graduated neutral density (GND) filter. This is because GND filters extend dynamic range while still maintaining local contrast. Scenes which are ideally suited for GND filters are those with simple lighting geometries, such as the linear blend from dark to light encountered commonly in landscape photography (corresponding to the relatively dark land transitioning into bright sky).

In contrast, a scene whose brightness distribution is no longer easily blended using a GND filter is the doorway scene shown below.


Brightness Distribution Underexposure Overexposure


We note that the above scene contains roughly three tonal regions with abrupt transitions at their edges– therefore requiring a custom-made GND filter. If we were to look at this in person, we would be able to discern detail both inside and outside the doorway, because our eyes would adjust to changing brightness. The goal of HDR use in this article is to better approximate what we would see with our own eyes through the use of a technique called tonal mapping.


Photoshop creates an HDR file by using the EXIF information from each of your bracketed images to determine their shutter speed, aperture and ISO settings. It then uses this information to assess how much light came from each image region. Since this light may vary greatly in its intensity, Photoshop creates the HDR file using 32-bits to describe each color channel (as opposed to the usual 16 or 8-bits, as discussed in the tutorial on “Understanding Bit Depth“). The real benefit is that HDR files use these extra bits to create a relatively open-ended brightness scale, which can adjust to fit the needs of your image. The important distinction is that these extra bits are used differently than the extra bits in 16-bit images, which instead just define tones more precisely (see tutorials on the “RAW File Format” and “Posterization“). We refer to the usual 8 and 16-bit files as being low dynamic range (LDR) images, relatively speaking.

The 32-bit HDR file format describes a greater dynamic range by using its bits to specify floating point numbers, also referred to as exponential notation. A floating point number is represented by a fractional numerical value raised to some power of 10, such as 5.467×103, as opposed to the usual 0-255 (for 8-bit) or 0-65535 (for 16-bit) integer color specifications. This way, an image file can specify a brightness of 4,300,000,000 simply as 4.3x109, which would be too large even with 32-bit integers.

We see that the floating point notation certainly looks neater and more concise, but how does this help a computer? Why not just keep adding more bits to specify successively larger numbers, and therefore a larger dynamic range? Recall that for ordinary LDR files, far more bits are used to distinguish lighter tones than darker tones (from the tutorial on gamma correction, tonal levels and exposure – to be added). As a result, as more bits are added, an exponentially greater fraction of these bits are used to specify color more precisely, instead of extending dynamic range.

The more closely spaced bits for brighter values is a result of the fact that ordinary 8 and 16-bit JPEG files are gamma-encoded, which can actually help increase dynamic range for low-bit files; gamma-encoding just becomes more and more inefficient as the bit depth increases.

HDR files get around this LDR dilemma of diminishing returns by using floating point numbers which are proportional to the actual brightness values of the subject matter (gamma equals one, or linear). This ensures that bits are equally spaced throughout the dynamic range, and not just concentrated in the brighter tones– allowing for greater bit efficiency. Further, the use of floating point numbers ensure that all tones are recorded with the same relative precision, since the base (mantissa) in numbers such as 2.576×103 and 8.924×109 each have the same number of significant figures (four), even though the second number is more than a million times larger.

Note: just as how using high bit depth images do not necessarily mean your image contains more color, a high dynamic range file does not guarantee greater dynamic range unless this is also present in the actual subject matter.

All of these extra bits provided by the HDR format are great, and effectively allow for a nearly infinite brightness range to be described. The problem is that your computer display (or the final photographic print) can only show a fixed brightness scale. This tutorial therefore focuses on how to create and convert HDR files into an ordinary 8 or 16-bit image, which can be displayed on a monitor, or will look great as a photographic print. This process is also commonly referred to as tonal mapping.


Since creating a HDR image requires capturing a series of identically-positioned exposures, a sturdy tripod is essential. Photoshop has a feature which attempts to align the images when the camera may have moved between shots, however best results are achieved when this is not relied upon.

Make sure to take at least three exposures, although five or more is recommended for optimum accuracy. More exposures allow the HDR algorithm to better approximate how your camera translates light into digital values (a.k.a. the digital sensor’s response curve)– creating a more even tonal distribution. The doorway example is best-suited with several intermediate exposures, in addition to the two shown previously.

Reference -1 Stops -2 Stops -3 Stops

It is essential that the darkest of these exposures includes no blown highlights in areas where you want to capture detail. The darkest exposure should show the darkest regions of the image with enough brightness that they are relatively noise-free and clearly visible. Each exposure should be separated by one to two stops, and these are ideally set by varying the shutter speed (as opposed to aperture or ISO speed). Recall that each “stop” refers to a doubling (+1 stop) or halving (-1 stop) of the light captured from an exposure.

We also note another disadvantage of HDR images: they require relatively static subject matter, due to the necessity of several separate exposures. Our previous ocean sunset example would therefore not be well-suited for the HDR technique, as the waves would have moved significantly between each exposure.


Here we use Adobe Photoshop CS2 to convert the sequence of exposures into a single image, which uses tonal mapping to approximate what we would see with our eye. Before tonal mapping can be performed, we first need to combine all exposures into a single 32-bit HDR file.

Open the HDR tool (File>Automate>Merge to HDR…), and load all photographs in the exposure sequence; for this example it would be the four images shown in the previous section. If your images were not taken on a stable tripod, this step may require checking “Attempt to Automatically Align Source Images” (which greatly increases processing time). After pressing OK, you will soon see a “Computing Camera Response Curves” message.

Once your computer has stopped processing, it will show a window with their combined histogram. Photoshop has estimated the white point, but this value often clips the highlights. You may wish to move the white point slider to the rightmost edge of the histogram peaks in order to see all highlight detail. This value is for preview purposes only and will require setting more precisely later. After pressing OK, this leaves you with a 32-bit HDR image, which can now be saved if required. Note how the image may still appear quite dark; only once it has been converted into a 16 or 8-bit image (using tonal mapping) will it begin to look more like the desired result.

At this stage, very few image processing functions can be applied to a 32-bit HDR file, so it is of little use other than for archival purposes. One function which is available is exposure adjustment (Image>Adjustments>Exposure). You may wish to try increasing the exposure to see any hidden shadow detail, or decreasing the exposure to see any hidden highlight detail.


Here we use Adobe Photoshop CS2 to convert the 32-bit HDR image into a 16 or 8-bit LDR file using tonal mapping. This requires interpretive decisions about the type of tonal mapping, depending on the subject matter and brightness distribution within the photograph.

Convert into a regular 16-bit image (Image>Mode>16 Bits/Channel…) and you will see the HDR Conversion tool. The tonal mapping method can be chosen from one of four options, described below.

Exposure and Gamma This method lets you manually adjust the exposure and gamma, which serve as the equivalent to brightness and contrast adjustment, respectively.
Highlight Compression This method has no options and applies a custom tonal curve, which greatly reduces highlight contrast in order to brighten and restore contrast in the rest of the image.
Equalize Histogram This method attempts to redistribute the HDR histogram into the contrast range of a normal 16 or 8-bit image. This uses a custom tonal curve which spreads out histogram peaks so that the histogram becomes more homogenous. It generally works best for image histograms which have several relatively narrow peaks with no pixels in between.
Local Adaptation This is the most flexible method and probably the one which is of most use to photographers. Unlike the other three methods, this one changes how much it brightens or darkens regions on a per-pixel basis (similar to local contrast enhancement). This has the effect of tricking the eye into thinking that the image has more contrast, which is often critical in contrast-deprived HDR images. This method also allows changing the tonal curve to better suit the image.

Before using any of the above methods, one may first wish to set the black and white points on the image histogram sliders (see “Using Levels in Photoshop” for a background on this concept). Click on the double arrow next to “Toning Curve and Histogram” to show the image histogram and sliders.

The remainder of this tutorial focuses on settings related to the “local adaptation” method, as this is likely the most-used, and provides the greatest degree of flexibility.


In contrast to the other three conversion methods, the local adaptation method does not necessarily retain the overall hierarchy of tones. It translates pixel intensities not just with a single tonal curve, but instead also based on the surrounding pixel values. This means that unlike using a tonal curve, tones on the histogram are not just stretched and compressed, but may instead cross positions. Visually, this would mean that some part of the subject matter which was initially darker than some other part could later acquire the same brightness or become lighter than that other part– if even by a small amount.

Underexposed Photo Overexposed Photo Final Composite that Violates Large-Scale Tonal Hierarchy

A clear example where global tonal hierarchy is not violated is the example used in the page on using a GND to extend dynamic range (although this is not how local adaptation works). In this example, even though the foreground sea foam and rock reflections are actually darker than the distant ocean surface, the final image renders the distant ocean as being darker. The key concept here is that over larger image regions our eyes adjust to changing brightness (such as looking up at a bright sky), while over smaller distances our eyes do not. Mimicking this characteristic of vision can be thought of as a goal of the local adaptive method– particularly for brightness distributions which are more complex than the simple vertical blend in the ocean sunset above.

An example of a more complex brightness distribution is shown below for three statue images. We refer to contrast over larger image distances as global contrast, whereas contrast changes over smaller image distances are termed local contrast. The local adaptation method attempts to maintain local contrast, while decreasing global contrast (similar to that performed with the ocean sunset example).
The above example illustrates visually how local and global contrast impact an image. Note how the large-scale (global) patches of light and dark are exaggerated for the case of high global contrast. Conversely, for the case of low global contrast the front of the statue’s face is virtually the same brightness as it’s side.

The original image looks fine since all tonal regions are clearly visible, and shown with sufficient contrast to give it a three-dimensional appearance. Now imagine that we started with the middle image, which would be an ideal candidate for HDR conversion. Tonal mapping using local adaptation would likely produce an image similar to the far right image (although perhaps not as exaggerated), since it retains local contrast while still decreasing global contrast (thereby retaining texture in the darkest and lightest regions).


The distance which distinguishes between local and global contrast is set using the radius value. Radius and threshold are similar to the settings for an unsharp mask used for local contrast enhancement. A high threshold improves local contrast, but also risks inducing halo artifacts, whereas too low of a radius can make the image appear washed out. For any given image, it is recommended to adjust each of these to see their effect, since their ideal combination varies depending on image content.

In addition to the radius and threshold values, images almost always require adjustments to the tonal curve. This technique is identical to that described in the Photoshop curves tutorial, where small and gradual changes in the curve’s slope are nearly always ideal. This curve is shown for our doorway example below, yielding the final result.

HDR images which have been converted into 8 or 16-bit often require touching up in order to improve their color accuracy. Subtle use of levels and saturation can drastically improve problem areas in the image. In general, regions which have increased in contrast (a large slope in the tonal curve) will exhibit an increase in color saturation, whereas the opposite occurs for a decrease in contrast. Changes in saturation may sometimes be desirable when brightening shadows, but in most other instances this should be avoided.

The main problem with the local adaptation method is that it cannot distinguish between incident and reflected light. As a result, it may unnecessarily darken naturally white textures and brighten darker ones. Be aware of this when choosing the radius and threshold settings so that this effect can be minimized.


Even if your scene does not require more dynamic range, your final photo may still improve from a side benefit: decreased shadow noise. Ever noticed how digital images always have more noise in the shadows than in brighter tones? This is because the image’s signal to noise ratio is higher where the image has collected more of a light signal. You can take advantage of this by combining a properly exposed image with one which has been overexposed. Photoshop always uses the most exposed image to represent a given tone—thereby collecting more light in the shadow detail (but without overexposing).


Keep in mind that HDR images are extremely new– particularly in the field of digital photography. Existing tools are therefore likely to improve significantly; there is currently, and may never be, an automated single-step process which converts all HDR images into those which look pleasing on screen, or in a print. Good HDR conversions therefore require significant work and experimentation in order to achieve realistic and pleasing final images.

Additionally, incorrectly converted or problematic HDR images may appear washed out after conversion. While re-investigating the conversion settings is recommended as the first corrective step, touch-up with local contrast enhancement may also yield a more pleasing result.

As with all new tools, be careful not to overdo their use. Use care when violating the image’s original tonal hierarchy; do not expect deep shadows to become nearly as light as a bright sky. In our doorway example, the sunlit building and sky are the brightest objects, and they stayed that way in our final image. Overdoing editing during HDR conversion easily can cause the image to lose its sense of realism. Furthermore, HDR should only be used when necessary; best results can always be achieved by having good lighting to begin with.

* * * * *


Next: How The Memoirs got 167000 hits in a few hours…


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116 responses to “Modern HDR photography, a how-to or Saturday morning relaxation”

  1. senapati Avatar

    glad to have ended up here. thanks for the expansive read!

    HDR perhaps involves lots of technical wizardry (until a device making it baby’s toy comes out). I’ll have to be careful, but I see it as something to take photography close to being real art. Until now, the subject in the photograph has been everything, light occupying the lower rug. Maybe because it became to difficult to control it, and not having film or sensors good enough to get such effects without flusing everything else away from the level of aesthetic – well, they still aren’t, but now we have our dear photoshop!!

    I’ve seen games do it decent enough lately. Hope that the actualy camera world chases HDR too.
    [blogging this link on my website 🙂 ]

  2. charles ravndal Avatar

    The effect is neat. Are you using a MAC btw ? Since MACs have more software for graphics and others

  3. range Avatar

    Thanks for you comments. I’m in the process of getting a DSLR. Right now, I’m getting really into long exposures and HDR. It’s quite technical whilst still being very creative, that’s right up my alley. I’ll include a lot more HDR photography in my coming posts.

    And welcome to The Memoirs.

  4. range Avatar

    @Chas: the person who did the photomatrix tutorial was using a mac, but I think that the latest Photoshop with the right add ons should work good as well.

  5. range Avatar

    BTW, as mentioned in the original header of this post, the three articles I have gathered were not written by me. I have included full links and credits where is due.

  6. Michael Avatar

    Great informative post! By far the best intro to HDR imaging that I have seen.

    I have a somewhat related question: Is the differing dynamic range why movies shot on video have such a different look from those shot on film?

  7. range Avatar

    From what I have read, I think it’s related to that. Digital technology for film is getting really fancy. But some still think that there is more detail available to those who shoot on film.

    However, since the advent of Star Wars and George Lucas, digital tech for films is really booming, since 1999. There are some applications for HDR video, however since they take up a lot more space, between 4 times and 7 times more space, it is hard to say when we will see a HDR film in theaters. As someone has mentioned, this technology has been used in some video games.

    I think it all boils down to how perfectly the sensors will be able to mimick and outperform the human eye, because that is what HDR tech is doing, using different modes to capture different images of the same thing then blending them together to get a dynamic range of color.

  8. K Avatar

    I think the stats are still screwed up. I’m getting 500 hits everytime I refreshed my page.

  9. range Avatar

    Ok. Because that was a bit weird.

  10. Kristine Avatar

    So, where do I begin? Oh…moy Gawsh!

  11. range Avatar

    To begin, start out with a Digital Camera and a tripod. You will need Photoshop and Photomatrix, to begin with.

    Take a few pics, follow the directions of the second article. Focus stays the same. Shutter speed is the one that changes. You go from very slow to very fast shutter speeds. This enables you to catch a lot of different colors. You then use a software to combine these images. Photomatrix is pretty straightforward. Photoshop takes some getting use to to layer the pictures. I wouldn’t worry about the different ways to store the image. If you can, store it in RAW format, because that will store even more colors.

  12. K Avatar

    Sheesh now it’s 66K hits. What have you done? 😆

  13. range Avatar

    @K. I’ll analyze this whole thing and get back to you. Mainly, it’s the phenomenon of getting reddit. Also a lot of people have saved it on Also, I’ve been appearing on popurls, and some other sites. It’s the viral nature of the blogosphere. It’s giving me some food for thought, I find myself in a similar position as Marc Fawzi from Evolving Trends, who got dugg by digg and had 55000 hits in a day.

  14. K Avatar

    Amazing! You’re now ranking everywhere in’s Top Blogs, Top Growing Blogs and Top Post (this entry). I certainly have no clue behind “digg” or “reddit”. But now I realized your hits are definately legit. In five days it’s going to triple up pretty fast.

    WAY TO GO, Range!

  15. range Avatar

    @K, thanks. Those memediggers are engines that enable users to submit stories. By default, I always submit my posts to NowPublic and Reddit. This is the first time that people have actually pushed one of my stories up to the top.

    I’ll keep you updated and talk about this whole thing, with explanations for digg and reddit for people who aren’t aware of their impact.

  16. K Avatar

    Thanks Range – I’m such a noob to this kind of stuff. I used to have delicious but it seemed like people just collects links & tags so I don’t totally get it. With this in mind, it’s quite an interesting “toy” to play around with.

    Now you’re making eyes widely awake – been reading that links you sent me. Hahaha.

  17. range Avatar

    @K: you should check out the rest of Evolving Trends too. Even if you don’t know that much about it, it explains the whole digg phenomenon. Marc Fawzi was able to manipulate digg to make users digg his story. Though I didn’t think this would happen to me, it has similarities.

    And also, if the memedigger first or second wave hit, you can easily extrapolate that daily traffic on a site that was “dugg” will go up by a certain percentage.

  18. range Avatar

    To quickly return to HDR photography, here is a link to a beta version of Photomatix’s latest version of their software. Beta means free!

    Also, the post was updated at 17:09 PM EST on Saturday the 15th of July 2006. See the post for more details.

  19. Mr Angry Avatar

    Dude, I was 154,001! Way to go for the angry alliance! SO how many in-depth papers like this can you crank out a week? 😉

  20. range Avatar

    @Mr Angry: Shit I don’t know! Seriously, I’m working on a third follow-up article, with more details and more advanced techniques. Looks like BBUK and BBAU took a seat in the back burner! Naw, just joking but this is completely crazy. The counter has trouble keeping up. I refresh it and oups, another 15000 hits. I have to do a vlog about this today too.

  21. rockwatching Avatar

    Unbelievable photo in that cathederal, it just blows me away – beautiful!

  22. range Avatar

    Thanks for your comment Maggie, that image is a kicker. I can’t image how the un resized one looked, it must have been bursting with colors and details.

    Welcome to The Memoirs.

  23. Loki Avatar

    The images are nice, especially the cathedral ones and the painting 🙂 I am not dead 😛

  24. Ja Avatar

    Hey Range!

    I actually got here because I frequent Marc’s site, that’s crazy about the diggathon going on between just the two of you, haha.

    Anyway, question here that I don’t feel like looking up at the moment: HDRI… is it just another way of saying HDR Image? Or is it specific to the light-maps created for 3D renderings/animations. I usually only see HDRI when referencing 3D type stuff whereas HDR is most often used when talking about the photos themselves. If they’re different, what’s the connection? Just the transformation from the HDR photo to the more spherical (or domed) lightmap? Hrm, that was more than one question… but maybe it’ll give you some juice to fuel some writing. 🙂

    Oh, here’s one of my fav HDR images. Check out the rest of his photostream for the rest of his HDR collections… they’re amazing.


  25. range Avatar

    @Loki Hi there, it’s been a while!

    @Ja: Thanks for you comment and welcome to The Memoirs.

    HDR and HDRI are of course related. Where as the principle applies to photography, to capture a lot more colors, the same is applied to computer graphics and 3D applications. It’s the same basic premise, to blend a series of different captures together or mappings in order to produce a composite that has a lot more detail. Computer graphics and 3D models are the perfect applications for HDRI because you can control the contrasts yourself, and HDRI works best with high contrasts so that a lot of details can be distinguished.

  26. Stephen Applegarth Avatar

    Impressive Article – I love the principle

    I had a theory a while back, that i never fully managed to explain in a forum – basically though if you took an intelligent digital camera with reasonable resolution – and had to take a photo – could it not instead of taking a single 1 second exposure – take ten exposures of 1 tenth of a second, then the camera could combine them making the best of the exposures.

    I realise 1 second is a bit long for hand held work, but it could scale down a lot – and would give the best of both worlds

    I have a D70 and its photos are superb but its range is a little limited, so i was keen on this idea.


  27. range Avatar

    @Stephen, welcome to The Memoirs.

    Yes, I am myself quite interested in the possibilities of this principle. I am looking forward to using it with longer expositions, to toy with it. I do enjoy the hyperrealism factor of HDR, though I would like to apply it to night photography to capture different moods.

  28. […] memoirs on a rainy day » Modern HDR photography, a how-to or Saturday morning relaxation (tags: hdr howto photography photoshop) Posted by snowcrash Filed in […]

  29. […] On Saturday, the 15th of July 2006, an article was written and posted on the blog. The blog had a total of 14000 visits until then. By midafternoon, the number of hits were at 50000. Towards the end of the day, the topped 180000, over 170000 hits in a single day, most of them concentrated on the article that was posted. […]

  30. […] If you examine my original post and other of my posts, you will see that I include media in all of them. I have stopped writing plain articles, I illustrate every single one of them. Why? I enjoy photography, being an amateur photographer myself, I like seeing interesting pictures. And since exploring flickr isn’t the easiest process, if someone takes the time to select good photos of flickr, it’s an added bonus. Just look at the site bestofflickr and flickrnation and others that do this. […]

  31. […] memoirs on a rainy day » Modern HDR photography, a how-to or Saturday morning relaxation In this Saturday morning post, I explain HDR photography with the help of some articles. This post includes step by step ways to create your own HDR images. Be advised that they can be quite hard for beginners to get interesting results. But where there i (tags: blog howto photography hdr) […]

  32. […] So, when I read this article: Modern HDR photography, a how-to or Saturday morning relaxation I was really excited, and wanted to start taking all sorts of HDR shots. Doesn’t look easy by any means, but does look like a lot of fun, and a challenge. […]

  33. Quelques liens pour la route

    Modern HDR photography, a how-to or Saturday morning relaxation : je viens de dcouvrir a et a semble tre une fantastique technique pour se sortir des problmes rencontrs lorsque l’on fait des photos avec une grand dynamique…

  34. […] And thanks to range we can now follow a step-by-step process of turning an art, into a science. […]

  35. HDR: High Dynamic Range

    This is something that makes digital cameras really interesting. Rather than try to summarize the info, I’ll just post two links that explain it:

    Blog entry about HDR, with several links, and
    Some sample HDR photos on flickr

    The results are ver…

  36. […] By now most of you have already seen it, but on the off chance that you haven’t, check out the linked entry on High Dynamic Range photography. The effects this technique can generate are incredible. […]

  37. […] Более подробный рассказ — в этой статье. А здесь — еще более подробный рассказ (на английском). […]

  38. […] Разумеется, посетил в первую очередь ЖЖ-сообщество ru_hdr, полистал архивы. Потом углубился в англоязычную блогосферу, благо информации там побольше. […]

  39. […] There is an excellent coverage on HDR photography on the blogpage Memoirs On A Rainy Day. Check out the beautiful images and notice that there are 4 articles. […]

  40. […] Modern HDR photography, a how-to or Saturday morning relaxation « memoirs on a rainy day (tags: photography hdr photoshop) […]

  41. […] Modern HDR photography, a how-to or Saturday morning relaxation « memoirs on a rainy day no reason in the world you couldn’t do this with a film camera, despite what the author claims. You need digital images, yes, but their origin need not be digital. Looks interesting. (tags: photography hdr tutorial) […]

  42. […] When Range wrote his guide to High Dynamic Range (HDR) digital photography, he subtitled it “saturday morning relaxation”.  He didn’t intend for it to be a major “hit”, it was simply one of his areas of interest.  A similar how-to could easily work for you if there’s a particular topic on which you can share your knowledge.  Coincidentally, he timed it with a weekend when WordPress’ stat counting went screwy – he’s since told me the traffic was as high as he thought at first.  It was still good but not astronomical (my stats temporarily showed a boost of 10,000 that weekend too). […]

  43. Juan Carlos Ferro Avatar
    Juan Carlos Ferro

    Are these numbers correct?:

    If the settings for picture 0 is: 1/125 and f/4.5
    The settings for the remaining pictures are as follows:
    * Picture +3: 1/250 f/4.5
    * Picture +2: 1/200 f/4.5
    * Picture +1: 1/160 f/4.5
    * Picture 0: 1/125 f/4.5 (YOUR MASTER SETTING)
    * Picture -1: 1/100 f/4.5
    * Picture -2: 1/80 f/4.5
    * Picture -3: 1/60 f/4.5

    As far as I know f/stops were conceived to double or to halve the amount of light reaching the “emulsion”. So you should consider doing the same with time (exposure) in order to keep the same proportion: DOUBLE or HALVE. If you agree, then I think the figure sholud be as follows:

    * Picture +3: 1/1000 f/4.5
    * Picture +2: 1/500 f/4.5
    * Picture +1: 1/250 f/4.5
    * Picture 0: 1/125 f/4.5 (YOUR MASTER SETTING)
    * Picture -1: 1/60 f/4.5
    * Picture -2: 1/30 f/4.5
    * Picture -3: 1/15 f/4.5

    Thank you. Best regards

  44. range Avatar

    I think you are most probably right.

    But like in most aspects, you have to play with them and see which will give the best results. My guess it also depends on your camera and your lens. For the Nikon D200 the optimal settings might be a bit different than a Canon 5D.

    Welcome to The Memoirs.

  45. Sunil Avatar

    Great post!!
    I use inspiration from a lot of HDR pictures to get the final ‘mood’ for some of my paintings.
    One of these days, I am going to learn how to go about and do this thing…

  46. […] out this blog entry from “memoirs on a rainy day”.  HDR photography is an amazing way to create new views […]

  47. […] High Dynamic Range (HDR) Landscape Photography Tutorial Modern HDR photography, a how-to or Saturday morning relaxation How to Create High Dynamic Range Images The Definitive Guide to Realistic High Dynamic Range Images […]

  48. […] Modern HDR photography – huge guide to creating HDR photos […]

  49. […] Modern HDR photography – huge guide to creating HDR photos […]

  50. Michael Avatar

    Excellent article – thanks for sharing!

  51. Air Raids In Taipei « memoirs on a rainy day Avatar

    […] still haven’t tried using the auto-bracketing feature of my Nikon D200 to take HDR photographs. I have read that it is quite easily possible, it’s just finding the right subject. I am more […]

  52. […] If you want to learn more about HDR photography or get more into the technical details, check out Memoirs On A Rainy Day – it’s one of the best articles I’ve found on the topic. There’s also an HDR […]

  53. […] Modern HDR Photography […]

  54. […] Taken from This Article […]

  55. […] Modern HDR photography, a how-to or Saturday morning relaxation (eine Zusammenfassung mehrerer Artikel) […]

  56. […] our eyes! Anyhow, thanks to thanks to a fellow blogger, I feel awakened. From his blog, Memoirs on a Rainy Day, I learned and even attempted my very own HDR images. Note: My first time HDR experimental […]

  57. […] photography recently and specifically Ryan McGinnis blog entry as well as an extensive read over at Memoirs on a Rainy Day so while on a little trip to Ogmore castle today I though I’d have a go at creating a HDR […]

  58. […] a pic of this upcoming CBD from awesome photographer Humayunn N A Peerzaada, who allows his HDR-styled pics to be posted in SSC India. You can see the Imperials as the rising twins in the center left […]

  59. okinawaphotography Avatar

    That’s awesome stuff. I do HDR photography also, would you be so kind as to reference I have just updated my HDR photo essay showing the amazing ungami festival in northern okinawa. This amazing festival was quite and honor to attend.

  60. […] подробный рассказ — в этой статье. А здесь — еще более подробный рассказ (на […]

  61. nathancolquhoun Avatar

    Amazing and one of the most helpful posts I’ve ever read for HDR photography, thank-you so much for this post.

  62. […] he took late at night. The concept really interested me and I did a bit of research coming up with this post (skip past the first part on how it became so […]

  63. Photography will set your heart on fire or how the Lady In The Water will fare at memoirs on a rainy day Avatar

    […] Today’s featured photographer is Ivan. Check out his beautiful skyscapes. The rest of the photos are mostly from the HDR pool from flickr. Check out my series of articles on HDR if you want to know more. […]

  64. […] January 17, 2008 by jerrycentral  Here is a good introduction to HDR  […]

  65. […] plan on doing some nighttime exposures and maybe a few HDR experiments. The camera hasn’t made it to work with me yet, but it’s going tomorrow.  I’ve […]

  66. […] it just got worse. This time, we get to do HDR (High Dynamic Range) Photography. More info here, here, here, here, and here. That’s for noobs like me, since it is very confusing for me. How […]

  67. […] results you need to invest some time and energy to get the results you’re after. There are a few techniques to get the intended effect. I decided to start with the simplest approach: Take three autobracketed […]

  68. […] – TPB Vanilla Days : HDR Tutorial: How to create High Dynamic Range images using Photomatix Modern HDR photography, a how-to or Saturday morning relaxation memoirs on a rainy day very keen to try this out too! […]

  69. Magdalena Avatar

    Well done my friend!
    I’ve just got myself couple of photo magazines last week and read about HDR stuff first time. This was amazing, but…I was hungry for more info, and this is how I found your site!
    You can be sure, I’ll spend fothcoming weekend on taking pictures around Edinburgh…me, my tripod, my Pentax and your tips 🙂
    Muchos grande!

  70. […]… **This is an interesting “how to” article based around the use of Photoshop CS2. In the first 12 ½ hours of being posted, this blog article was read 167000 times! This is just another hint to the importance of this awesome technology. […]

  71. […] cluttered (scroll down), this is a good article on HDR photography. You take several photos of the same (static) scene at different exposures, then […]

  72. HDR With Photomatix « memoirs on a rainy day Avatar

    […] HDR With Photomatix Published March 30, 2008 asides , photos Tags: asides, HDR, High Dynamic Range, photography, photos, tutorial A step by step easy tutorial on how to create HDR photos with Photomatix. HDR explained for anyone. Or check out my one tutorial on HDR. […]

  73. Breff Avatar

    This is the problem with sites like this, you stumble across an article and the fifteen minutes you planned to spend on interent turns into five hours!! No sleep last night. Thanks a lot!! 😉

    Now where did I leave my tripod??

  74. […]… addthis_url = ‘’; addthis_title = ‘HDR+Photography%3A+What+is+it%2C+and+how+can+you+try+it%3F’; addthis_pub = ‘ProudPhotography’; Tags: Posted under Articles (0) […]

  75. […] Modern HDR photography, a how-to or Saturday morning relaxation « memoirs on a rainy day (tags: article guide photoshop photography hdr) […]

  76. […] -… – […]

  77. Nathan Goodfellow Avatar

    I also did some experimenting with HDR photography and posted my results Here

  78. […] Modern HDR photography, a how-to or Saturday morning relaxation […]

  79. Abhilash Avatar

    I too recently started experimenting with HRD images. I have a sony a300 with which i shoot my images and then I use qppfsgui for stacking images and tone mapping them.

    Some of my shots are here:

  80. […] this blog post has all the details about software, […]

  81. Frank Avatar

    Many photographers think HDR photography is a party trick but this is defiantly not true. High Dynamic Range Photography is a major part of the future of photography. HDR photography is a new technology so many photographers are skeptical or unfamiliar with it. Like in any business you have to learn the new technology or trends, ignoring it or being scared to learn something new will just get you left behind. Information is power.

  82. hdr Avatar

    I would love to take pictures of that church, it looks like an awesome place to shoot hdr.

  83. Michael Cerdeiros Avatar

    Great Article thanks so much for sharing!!!

  84. Mark Dunn Avatar

    Now that HDR has integrated into the world of photography,
    there are a few new styles of HDR starting to crop up around
    the internet.

    For those who are interested in trying their hand at one of them I have just finished writing a tutorial for “Dark Style HDR”

    Which you can view with the link below:

  85. How I traveled thus far. « R Tom Sizemore's Blog Avatar

    […] Another photographic breakthrough occurred, the introduction of High Dynamic Range (HDR) photography for the average user. Although introduced in the 1930’s, through today’s software and the use of high-end digital cameras, HDR permits the photographer to capture a much wider range of light than normal photographs display. The photographer can choose (via various software, e.g. Photomatix or Dynamic Photo HDR) to produce a ‘normal’ photo with extended dynamic range — or photographs that look ‘extreme’ and almost as though they were drawn by graphic artists. For a nice article on HDR, please click here. […]

  86. Joe Avatar

    Good article !
    But how to make a HDR timelapse ?

  87. emzoler Avatar

    I just started in HDR photography and love it. Thanks a lot for the very detailed explanation. It has helped me understand the basics better.

  88. osayi idoni Avatar
    osayi idoni

    thanks for sharing,but i want to ask u a qustion concerning my camera

  89. Jason Lavengood Avatar

    This is a great article on different techniques of HDR and simulated HDR photography. I’ve also been experimenting with what I call HDR Hybrids. This is where I use the hdr image compiled of 3-9 bracketed shots and then run a couple of the original shots through lightroom with different effects and brush in parts of those in photoshop to create a little more realistic but still intriguing shot. I have some examples of these under my HDR gallery on my website. Particularly of New York City. Please check them out if you get a chance. A lot of them don’t “look” HDR but I assure you they are. Thanks again for the great article!
    -Jason Lavengood

  90. 365:NINETEEN « Sojourns Avatar

    […] the HDR will be far more dramatic.  I think I’ll try this same shot next week with proper exposure […]

  91. mikaa Avatar

    thank you for chairing all your knowledge
    i learned a lot tonight, i am really impress by
    the picture i saw it’s a great work
    good luke in all you’re doing

    ps: i just remembered there is a site that helps a lot to learn on HDR on hope it can help somebody

  92. didier Avatar

    see a good site to learn some more on HDR i personaly went on it , it’s verry simple and you actually learn a lot ^^ 🙂
    i leave this come for any personne learning HDR 😉
    good luck to all of you

  93. […] How to Create High Dynamic Range Images Memoirs: Modern HDR photography, a how-to or Saturday morning relaxation The High Dynamic Range (HDR) Landscape Photography Tutorial Possibly related posts: (automatically […]

  94. Tutoriales para lograr HDR « Damaris's Blog Avatar

    […] – High Dynamic Range – Workshop. 4. HDR Tutorial – New and Improved for 2008! 5. Modern HDR photography, a how-to or Saturday morning relaxation 6. HDR – High Dynamic Range Photography. Merging HDR in Photoshop CS3 Tutorial 7. How to […]

  95. Captain Kimo Avatar

    Great article and very in depth. Probably the best HDR guide I’ve read yet.

    1. captainkimo Avatar

      Those are some amazing numbers my friend. Congrats on such a popular article. Looking forward to reading your memoir on this phenomenon.

  96. […] followed the blog post on Modern HDR photography, a how-to to start teaching myself how to create something new with my photography. Posted below are my first […]

  97. […] If you want to learn more about HDR photography or get more into the technical details, check out Memoirs On A Rainy Day – it’s one of the best articles I’ve found on the topic. There’s also an […]

  98. Shawn Gilmore Avatar

    Just wanted to mention that we have a very small, affordable beam-splitter rig for 3D, that numerous folks use to shoot HDR photography. I understand it works quite well.

    It’s called the 3D-BS MINI.

  99. […] Huge guide to creating HDR photos […]

  100. Bornefotograf Ocarroll Avatar

    Hi….very nice tutorial., and nice photos. Especially the cathedral one.
    Very interesting w. the history of HDR. Good work.

  101. Art and Entertainment click here…

    […]Modern HDR photography, a how-to or Saturday morning relaxation « memoirs on a rainy day[…]…

  102. Next Photography Challenge « CharleyPie Avatar

    […] that seem quite useful – How to create ‘High Dynamic Range’ images using Photomatix and Modern HDR photography, a how-to or Saturday morning relaxation. By the looks of it, I’m going to need some new software called ‘Photomatix’ (a […]

  103. Jonna Womac Avatar

    I delight in, result in I found just what I was looking for. You’ve ended my 4 day lengthy hunt! God Bless you man. Have a nice day. Bye

  104. akselin Avatar

    Nice and thorough tutorial of HDR! Appreciate it. I would just add that even surreal HDR photos can look great. It’s about who is viewing them 🙂

  105. Avatar

    With having so much content and articles do you ever run into any issues of plagorism or copyright infringement?
    My site has a lot of unique content I’ve either created myself or outsourced but it looks like a lot of it is popping it up all over the web without my agreement. Do you know any techniques to help prevent content from being stolen? I’d genuinely appreciate it.

  106. phillipmathew Avatar

    Not an HDR guy myself but Seems like I gotta give it try after reading your guide. Thanx for this elaborate and well written Article.

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