
Introduction
When shooting HDR photography, not every scene we approach will have a dynamic range broad enough to require using the bracketed HDR sequence. Instead, we can take single-shot HDRs of scenes that have a more limited dynamic range. A single-shot HDR is when all or most of the tonal range of the scene can be captured with one single image. With single-shot HDRs, we have all of our shadows and highlights within that one image. However, when you take a single-shot HDR, you need to expose in such a way that all or most of the detail is captured in one shot. To do this, we use a technique known as “exposing to the right.” In this article, we will explain what exactly “exposing to the right” is. We will also discuss the advantages and disadvantage of using single-shot HDRs when compared to bracketed HDR sequences.
SINGLE-SHOT HDRS VS. BRACKETED HDR SEQUENCES
There are two main advantages of single-shot HDRs when compared to bracketed HDR sequences. First, single-shot HDRs are easier to deal with when we get into post production because we only have one image to work with. This cuts down our workflow significantly, which saves us a lot of time. Second, we can shoot moving objects without having to worry about movement issues like ghosting or motion blur because we are not using a bracketed sequence. Instead, you can freeze the motion of moving objects because you are not taking multiple exposures. This is impossible to do with a bracketed sequence because the moving object will be moving through each frame in the bracketed sequence. When we process the image, the moving object will be at different points within each frame. This is known as “ghosting.”
The biggest disadvantage of a single-shot HDR is that we need to capture all of the tonal range in one image, which makes the exposure rather difficult. In many cases, it is impossible to capture the entire range in a single image. We are limited in dynamic range to the actual DSLR body itself. For example, if your DSLR can capture a 12-stop dynamic range with one single image, then you can only capture 12 stops, which limits your dynamic range. Any scenes that have a range broader than 12 stops cannot be captured with a single-shot HDR. If you have a full professional DSLR, you will get better single-shot HDRs. For example, the Nikon D800 can capture up to 14 stops. So, essentially the dynamic range you can capture will come down to the DSLR body itself as being the capability when you are shooting a single-shot HDR. With single-shot HDRs, the exposure becomes absolutely critical. A single-shot HDR that is incorrectly exposed will not turn out in post production at all.
WHAT IS “EXPOSING TO THE RIGHT?”
To get the proper exposure for a single-shot HDR, we use a technique known as “exposing to the right.” Most people think that “exposing to the right” means that you are exposing to the right of the histogram. In other words, you are overexposing your image. However, that is not necessarily the case. Whether the image looks overexposed or underexposed will depend on the scene itself. For example, if your scene is super bright, your image will look different with the “exposing to the right” technique than when you are shooting a darker scene. Therefore, whether the scene looks underexposed or overexposed has nothing to do with whether you have correctly exposed to the right. “Exposing to the right” means that we adjust the exposure of the image so that the entire tonal range is shifted to the right of the histogram, but not to the point where we are blowing out detail. The goal of a single-shot HDR image is to capture the exposure in a way where all or nearly all of the tonal range is captured in one single shot. This means that if your highlights are blown or your shadows are clipped, you will not be able to pull out all of the detail when you get the image into post production.
Whenever you are exposing to the right, you are always better off blowing out more of your highlights than clipping more of your shadows. If you are clipping shadows, you will have many problems when you try to bring out the detail in the shadows. These problems include noise, grain, green dark shadows, and more in your images. On the other hand, if you blow out some of the highlights, we can generally recover the m. In addition, the image will look more natural with the highlights slightly blown out rather than having the shadows clipped. For example, if you are in a situation where the dynamic range is broader than what can be captured in a single shot, but you have no choice but to shoot a single-shot HDR, you need to expose so that your shadows are basically touching the left side of the histogram. However, these shadows cannot be clipped. From there, you are retaining as many highlights as possible but you will still blow out some highlights. However, this is fine because you will get a cleaner looking image. As mentioned earlier, the image will look overexposed or underexposed depending on the scene itself. However, as long as your highlights are pushed to the right and you have retained the shadows and detail, you have correctly exposed to the right.
EXAMPLES OF HISTOGRAMS
In the histogram below, you can see a significant amount of shadows that are clipped. This would be referred to as “exposing to the left.” We are going to run into issues as we try to bring out detail in the shadows, where details do not actually exist.
Below is an image that has been exposed to the left.
In the next histogram below, there is a significant amount of highlights that are blown, meaning that we have exposed too far to the right. We are going to run into issues when we try to recover the details in the highlights because we have lost too much contrast and the shadows will not look like shadows as the details have been lost and blown out.
In the image below, we have exposed too far to the right.
The last histogram below shows the correct exposure based on the “exposing to the right” technique. As you can see, the histogram is pushed to the right, showing that the image is overexposed a bit, but not to the point that the highlights have been blown. We can see that the entire tonal range in the histogram is captured within a single shot.
Below is an example of an image that is correctly exposed to the right. With shots like these, we can process them as a single-shot bracketed HDR or as a single shot faux HDR.
If we go into the Develop Module (hit “D”), we can turn on our Highlight Alert (hit “J”) to see that we have not really blown out or clipped too much detail in this shot.
CONCLUSION & LEARN MORE!
Remember that when you are shooting a single-shot HDR, you need to expose the image to the right. Push the highlights in your frame all the way to the right side of the histogram, retaining as many highlights as possible while not clipping any of your shadows. Typically, the histogram of a single-shot HDR that has been correctly exposed to the right should look like a U-shaped, where you have a spike right in the highlights, then a dip in the midtones, and finally another spike right in the shadows. This will usually be what the histogram looks like but remember that it can vary depending on the scene.
CHAPTER 1: INTRODUCTION TO HDR
- 1.1 – Introduction to HDR
- 1.2 HDR Workshop Introduction
- 1.3 What is HDR?
- 1.4 What is a Stop of Light
- 1.5 Boosting Dynamic Range by Combining Exposures
- 1.6 When Do You Really Need to Shoot HDR Images
- 1.7 Improvements in Technology
- 1.8 Installing the Presets
- 1.9 – What you will Need for HDR Photography
- 1.10 – Tripod
- 1.11 – Remote Shutter Release
- 1.12 –Lens Filter
- 1.13 – Memory Cards
- 1.14 – Backpack
- 1.15 – UNDFIND Bag
- 1.16 – Laptop
- 1.15 – HDR Software
CHAPTER 2: HDR CAMERA SETTINGS
- 2.1 – HDR Camera Settings Introduction
- 2.2 – What is Auto Exposure Bracketing
- 2.3 – How Many Exposures Do You Really Need
- 2.4 – Changing Your Cameras Bracketing Order
- 2.5 – Ceteris Paribus (Shutter Speed Changes)
- 2.6 – Capture All Shots by Shooting in Continuous Modes
- 2.7 – Camera Modes
- 2.8 – Metering Modes
- 2.9 – Timer
- 2.10 – Setting the Correct Median Exposure
- 2.11 – Nailing and Locking the Focus
- 2.12 – In-Camera HDR
- 2.13– In-Camera HDR
CHAPTER 3: HDR CONSIDERATIONS
- 3.1 – HDR Considerations Intro
- 3.2 – Using a Tripod
- 3.3 – Optimal Shutter Speedl
- 3.4 – Optimal Aperture Settings
- 3.5 – Optimal ISO Settings
- 3.6 –Moving Objects and Ghosting
- 3.7 – Using DSLRs with Faster Frame Rates
- 3.8 – Using Mirror Up Mode-Mirror Lockup
- 3.9 – Shooting in RAW vs. JPEG
- 3.10 – Macro Mode with Food Photography
- 3.11 – Clean Your Lenses & Sensor!
- 3.12 – Don’t Forget the Photographic Composition
CHAPTER 4: SALTON SEA, CA
- 4.1 – Salton Sea, CA HDR Introduction
- 4.2 – Salton Sea HDR | Pt.1| How it was Shot
- 4.3 – Salton Sea HDR | Pt.2| RAW preparation and HDR Export
- 4.4 – Salton Sea HDR | Pt.3| HDR Processing
- 4.5 – Salton Sea HDR | Pt.4| RAW Processing and Photoshop Import
- 4.6 – Salton Sea HDR | Pt.4| Photoshop Layer
- 4.7 – Salton Sea HDR | Pt.6| Final Image Processing
Chapter 5: PAGE, AZ
- 5.1 – Page, Arizona HDR Introduction
- 5.2 Horseshoe Bend HDR |Pt.1| How it Was Shot
- 5.3 Horseshoe Bend HDR |Pt.2| RAW Preparation and HDR Export
- 5.4. Horseshoe Bend HDR | Pt.3| HDR Processing in Photomatix Pro
- 5.5 Horseshoe Bend HDR |Pt.4| RAW Processing and Adobe Photoshop Import
- 5.6 Horseshoe Bend HDR |Pt.5| Photoshop Layer Blending
- 5.7 Horseshoe Bend HDR |Pt.6| Final Image Processing
- 5.8. Antelope Canyon HDR |Pt.1| How it Was Shot
- 5.9 Antelope Canyon HDR |Pt.2| RAW Preparation and HDR Export
- 5.10 Antelope Canyon HDR |Pt.3| HDR Processing
- 5.11– Antelope Canyon HDR |Pt.4| Final Image Processing
- 5.12 – Antelope Canyon HDR |Pt.5| RAW Processing and Photoshop Import
- 5.13 Antelope Canyon HDR |Pt.6| Final Image Processing
Chapter 6: MOAB, UT
- 6.1 Moab, Utah HDR Introduction
- 6.2 Moab Utah HDR |Pt.1| How it Was Shot
- 6.3 Moab Utah HDR | Pt.2| RAW Preparation and HDR Export
- 6.4 Moab Utah HDR |Pt.3| HDR Processing
- 6.5 Moab Utah HDR |Pt.4| Processing and Photoshop Import
- 6.6 Moab Utah HDR |Pt.5| Photoshop Layer Blending
- 6.7 Moab Utah HDR |Pt.6| Final Image Processing
Chapter 7: SALT LAKE CITY, UT
- 7.1 Salt Lake Union Pacific HDR Location
- 7.2 Salt Lake Union Pacific HDR |Pt.1| How it Was Shot
- 7.3 Salt Lake Union Pacific HDR |Pt.2| RAW Preparation and HDR Export
- 7.4 Salt Lake Union Pacific HDR |Pt.3| HDR Processing
- 7.5 Salt Lake Union Pacific HDR |Pt.4| RAW Preparation and HDR Export
- 7.6 Salt Lake Union Pacific HDR |Pt.5| Photoshop Layer Blending
- 7.7 Salt Lake Union Pacific HDR |Pt.6| Final Image Processing
- 7.8 Salt Lake City HDR Introduction
- 7.9 Salt Lake LDS Temple HDR |Pt.1| How it Was Shot
- 7.10 Salt Lake LDS Temple HDR |Pt.2| RAW Preparation and HDR Export
- 7.11 Salt Lake LDS Temple HDR |Pt.3| HDR Processing
- 7.12 Salt Lake LDS Temple HDR |Pt.4| RAW Processsing and Photoshop Import
- 7.13 Salt Lake LDS Temple HDR |Pt.5| Photoshop Layer Blending
- 7.14 Salt Lake LDS Temple HDR |Pt.6| Final Image Processing
- 7.15 Salt Lake Capital HDR |Pt.1| How it Was Shot
- 7.16 Salt Lake Capital HDR |Pt.2| RAW Preparation and HDR Export
- 7.17 Salt Lake Capital HDR |Pt.3| HDR Processing
- 7.18 Salt Lake Capital HDR |Pt.4| RAW Processing and Photoshop Import
- 7.19 Salt Lake Capital HDR |Pt.5| Photoshop Layer Blending
- 7.20 Salt Lake Capital HDR |Pt.6| Final Image Processing
Chapter 8: SALT LAKE MOUNTAINS, UT
- 8.1 Salt Lake Mountains HDR Introduction
- 8.2 Heber Valley Fishing Bracketed HDR |Pt.1| How it Was Shot
- 8.3 Heber Valley Fishing Bracketed HDR |Pt.2| RAW Preparation and HDR
- 8.4 Heber Valley Fishing Bracketed HDR |Pt.3| HDR Processing
- 8.5 Heber Valley Fishing Bracketed HDR |Pt.4| RAW Processing and Photoshop Import
- 8.6 Salt Lake Union Pacific HDR |Pt.5| Photoshop Layer Blending
- 8.7 Heber Valley Fishing Bracketed HDR |Pt.6| Final Image Processing
- 8.8 Heber Creeper Train HDR |Pt.1| How it Was Shot
- 8.9 Salt Lake LDS Temple HDR |Pt.1| How it Was Shot
- 8.10 Heber Creeper Train HDR |Pt.3| HDR Processing
- 8.11 Heber Creeper Train HDR |Pt.4| RAW Processing and Photoshop Import
- 8.12 Heber Creeper Train HDR |Pt.2| RAW Preparation and HDR Export
- 8.13 Heber Creeper Train HDR |Pt.6| Final Image Processing
- 8.14 Uinta Summit Panorama HDR |Pt.1| How it was Shot
- 8.15 Uinta Summit Panorama HDR |Pt.2| Single Shot Faux HDR Processing
- 8.16 Uinta Summit Panorama HDR |Pt.3| Photoshop Panorama Processing
- 8.17 Uinta Summit Panorama HDR |Pt.4| Final Image Processing
Chapter 9: BRYCE & ZION, UT
- 9.1 Bryce Canyon HDR Introduction
- 9.2 Bryce Canyon HDR |Pt.1| How it Was Shot
- 9.3 Bryce Canyon HDR |Pt.2| RAW Preparation and HDR Export
- 9.4 Bryce Canyon HDR |Pt.3| HDR Processing
- 9.5 Bryce Canyon HDR |Pt.4| RAW Processing and Photoshop Import
- 9.6 Bryce Canyon HDR |Pt.5| Photoshop Layer Blending
- 9.7 Bryce Canyon HDR |Pt.6| Final Image Processing
- 9.8 Road Side Panorama HDR |Pt.1| How it was Shot
- 9.9 Salt Lake LDS Temple HDR |Pt.1| How it Was Shot
- 9.10 Road Side Panorama HDR |Pt.3| Photoshop Panorama Processing
- 9.11 Road Side Panorama HDR |Pt.4| Final Image Processing
- 9.12
Zion River HDR |Pt.1| Location - 9.13 Zion River HDR |Pt.2| How it was Shot
- 9.14
zion River HDR |Pt.3| RAW Preparation and HDR Export - 9.15 Zion River HDR |Pt.4| HDR Processing
- 9.16 Zion River HDR |Pt.5| RAW Processing and Photoshop Import
- 9.17 Zion River HDR |Pt.6| Photoshop Layer Blending
- 9.18 Zion River HDR |Pt.7| Final Image Processing
Chapter 10: LAS VEGAS, NV & LOS ANGELES, CA
- 10.1 Las Vegas and Los Angeles HDR Introduction
- 10.2 Las Vegas Aria HDR |Pt.1| How it Was Shot
- 10.3 Las Vegas Aria HDR |Pt.2| RAW Preparation and HDR Export
- 10.4 Las Vegas Aria HDR |Pt.3| HDR Processing
- 10.5 Las Vegas Aria HDR |Pt.4| RAW Processing and Photoshop Import
- 10.6 Las Vegas Aria HDR |Pt.5| hotoshop Layer Blending
- 10.7 Las Vegas Aria HDR |Pt.6| Final Image Processing
- 10.8 Downtown Los Angeles HDR |Pt.1| How it was Shot
- 10.9 Downtown Los Agneles HDR |Pt.2| Single Shot Faux HDR Processing
Chapter 11: BONUS
- 11.1 Heber Creeper Train HDR
- 11.2 Heber Valley Fishing SIngle Shot HDR
- 11.3 Uinta Summit Bracket HDR
- 11.4 Bryce Canyon Panorama HDR
- 11.5 Zion Entrance Panorama HDR
- 11.6 Las Vegas Cleveland Clinic HDR
- 11.7 Palos Verdes HDR
- 11.8 Shen Zhen Pier HDR
- 11.9 China Street Photography HDR
- 11.10 Stearns Wharf HDR
Total Course Run Time: 13H 6M 50S
ACCESS TO INDUSTRY-LEADING EDUCATION
Let SLR Lounge guide you in your photography journey with the best photography education and resources. Browse our complete, comprehensive solutions and take the next step in your photography.
BROWSE WORKSHOPS