Photo Hifx Pg [1]
Shutter Multi Exposure
F1. THE ASPECTS Related to Multi-exposure:
You would have noted that my technique is built on rather unassuming & mundane aspects of photography, namely multi-exposure and flash-sync, especially at this ‘Digital Era’. For any-one it seems he would easily be misled to under estimate the potentiality of these functions .But for a photographer of certain type of specialization they are their beard-winner...the Saviour.
F2. But We should consider ourselves as privileged photographers these days, for no other reason, but for an inbuilt facility of multi-exposure in a camera. More and more Camera manufacturers are now treating the Multi-exposure as an important feature to be incorporated in their latest models of 35mm, and digital cameras. This surge could be attributed to an unavoidable present trend of upgrading of film camera to a Digital one and due to the versatility and more features you find in DIGITA-PHOTOGRAPHY, IMAGE EDITING as in the case of the last adoptation of HDR and COMPOSITING in ADOBE PHOTOSHOP CS-3 version also the motor driven mechanism in the earlier film camera has had proved to be indispensable.
F3. Multi exposure is suppose to be a familiar one, you would happen to know as they influence your photography either directly or indirectly. It is more adopted at printing stage with the, profusion of services of digital photo-finishing service out-lets as cut & paste job. In cinematography it is known as composite imagining which are pre-organised multiple images of different subjects at suitable location for chroma-key etc.,. But I wish to implement the multi or multiple exposure many a times on a same subject, executed while you have been doing a shoot (on-stage) . My intension is also to do a shoot...in a better way in terms creativity,…economization of film usage (if you are still be using film camera)…..The Investment, maintenance and transportation of flash units. These are ones I believe that a professional photographer concerns more .Have you taken note, by now ... isn't it sufficiently proves to your mind the multi exposure as a modern concept?
F4. What I stress here by multi-exposure that to it's basic, there should at-least be a provision of mode button located for easier operation (some thing similar to Panasonic Lumix L1k SLR model is it?) Yes.... but with as soft as a feather touch activation, than earlier it was. But now a days in digital parlance we are simply used to call, it as Logging-in. In the Earlier nut&bolt era even as of late as the 90's it was a difficult process, with a manual camera to execute multi-exposure. There one should have to resort to ‘T’ or ‘B’ setting on the Camera which must be mounted on a sturdy tripod for fear of image mis-registration. What we also did then was, making the whole studio space darkened.
F5. Multi or call it multiple exposure is a method by taking many exposures of a subject on separate frames or one over the other on a single frame.
F6. Please note multiple exposure means taking so many frames but essentially a variation occurs to the subject content or it could also is like the exposure as in the case of Auto-bracketing of same subject. In the case of multi-exposure any or all-of the subject content, the lighting or the exposure may vary between the shots but the entire sequence exposure essentially are made on the same(single)frame.
F7. You may notice on many occasion , I have used the word multi where as in it's truest sense should mean multiple-exposure. Pardon me for I am used to call it in that way of expression.
F8. It is naturally a professional technique and such a magnificent creative tool for constructing an image more systematically, in a situation where to shoot in a regular photographic method is either difficult or cannot otherwise be done, at all.
F9. Difficulty of such a one may manifest in the form of either as the required lighting power is too high to match with the existing lighting and contrast, There by to make a given situation suitable for photography that an ordinary photographer could not afford. For example in a situation of Industrial photography the sufficiency of prevailing lighting may be good for a normal working condition, but it may usually have a improper lighting ratio and colour temperature.
F10. The lighting ratio, inside a factory would be much less than 10,000:1 that our eye could accommodate, But imagine that the capacity of a Digital SLR that camera may have a capability of capturing a ratio something like 400:1.
F11. The HDR way is; How that the range as seen could be captured, a great task isn’t it? But note that the area of specialization of HDR is probably at out-door scenarios, where you cannot have your control on lighting, you know it for sure-otherwise. It is an approach where, compromise is the key player.
F12. The flash selection way is: like, you are making the condition better or by saying it’s like you replace a new burning light bulb, instead a dead one there, so with the help of its brightness you could properly see an area...an art of making a picture. The HDR is like incarnating the visual abilities of a bionic-man or an Owl. But we know not t con firmly whether they are straining or comfortably seeing to comfortably seeing what is lurking in the Dark ..the art of taking a picture .....any way pun is here intended.
F13. Rendering, the perceived darkness as such, may probably be the truer representation. But the requisite of commercial or in a professional area, is mostly to show Colours & their tones at their true splendor, or in away it could be controlled to express the way your want and the client, who pays you. The HDR doesn't control, but try to capture what it's there as such and as can be accommodated in the available narrow Dynamic Range of Digital capture.
F14. Listen what a fashion photographer has a say, “he prefers to use multiple flash units at out door, so that he doesn’t want to be at the mercy of sunlight, he says he would wish to over power the ambient light of sun, to make a shoot appear with more depth (colour, saturation, shadow etc). To over power sun he prefers his Hasselblad set at 1/500th. sec”.
F15. People in the profession, knows that nothing remarkably a newer message is said above, They understand that, lighting for an Industrial shoot is even more critical,than controlling your light on a human figure.
F16. for details of the good potentials of HDR, you could refer at a splendid site.
http:\\www..naturescape.net.
F17. In the software, front the HDR as a feature is totally inclined to multiple exposure.
F18. When I refer multi exposure (many a times it's on multiple frames) and it necessarily doesn’t mean a shoot to go with fixed / static position of the lights. Because fixed position equally means a requirements of many light units for a given shoot. But means an interplay with non-fixed (wandering) position of few lights, all that a photographer need require and could afford and he also could pack up easily, after a shoot. In the HDR way of compensating this insufficiency of lighting is by subjecting to a more incremental level of exposure by opening up the aperture.
F19. Now a days you have in fact all the convenience to proceed for a multi exposure, thanks to a Digital Camera with all its advancements or in a more professional way with a Digital-Back connected to a Computer on the location with a larger preview that is set side by for better monitoring.
F20. Then with these opportunity that you have of a preview, you can decide on the first Exposure (1) whether it is satisfactory. If not you have equally a good opportunity to revert or undo a shot, and try another exposure. But then with a pursuit of Multi exposure, the second Exposure (2) you would make over exposure(1) should be a well judged one with no error. Because I assume you cannot simply undo the second one alone, but only to recommence and finish the whole shoot.
F21. For a person minded of image editing, the solution is by doing the exposures on separate (Multiple) frames and the images in their negative-form that could be layered to form a composite image. Because an under or unexposed area in its positive form e.g. the image of Exposure(1)May not allow its corresponding area of Exposure (2) to be seen through.
F22. If your think of HDR is as simple as by prolonging the level of exposure on Multiple frames to complete a shoot, you could do similar acrobatics with flash – select ion as well.
F23. You could set the Camera on a tripod, firing as Many flashes randomly on various location of an area in the view of a shoot eg : an interior of a factory. But one need, to be conversant on the aspect of photographic lighting of the either case, is a must.
F24. I expect the soft-ware associated to flash-selection could do the following, to make the work of photography to become much easier.
F25. Routine I : In the conventional way... A Software may help to add up the Density value (Colour information, the luminous value of tone, etc) of pixels stacked in layers lying one beneath the other, corresponding to a specific pixel location of an image. Then it could arrive at, the mean (aggregate) value to form a new composite image, helped by the values so derived. This is a very usual kind of thinking.
F26. Routine II : But I want to differ here in that with yet another approach that calls for a new type of routine and computation.
a) A relatively brightest pixel of luminous / colour value among the layers stacked, corresponding to a specific image location is picked up, In a similar way the entire brightest pixel-point among all the images stacked in layers are located. Finally in it's completed form, the resultant is the mapping of a composite image, comprising of the bright pixel, each coming from all the points of an image area.
b)Then the luminous value of a brightest pixel specified to a image location is compared with its aggregated (mean) value we so arrived with Routine I.
F27. an abnormality of a sudden difference on such comparison, at a image location may inter-predates the presence specular reflection. In that case the next immediate lower value is transposed replacing the earlier brightest one or an interpolation is done . In that way the specular reflection at Multiple locations due to a multi set up of lights or by the few lights employed moved into various positions in a shoot could be erased from the composite image i.e., in effect it is, as if you have accomplished a tedious image manipulation called for in the removal of secular reflection with one single swipe of a sward.
What are the other side line benefits?
F28. Helps one get relieved of planning hard, of a lighting scheme by disregarding specular reflection that might be caused due positioning of a light in a particular area was un-avoidable to get a specific lighting effect. The elimination of hard shadow, because the lights are moved into various position during a shoot instead of being static, which in turn simulates as if lighting was done with a huge source of light (impressed if I had mentioned a huge soft box?). Then you have few lights that is suffice for.... a work ..or ..to work with etc.,
.....again a little come-back on the subject of multi-exposure.
F29. Time has changed, ever since the days of mechanical, film based camera with regard to provision of multi exposure functionality, that you find now in a Digital camera. Film based camera were not so conducive to multi exposure, due jerk that may be caused due to physical interaction, or vibration due to mirror mechanism, and you don’t have a preview or a easier way of image registration and such things that you could find in a Digital counter part. Those were the days when I was really complaining of these inconvenience at my website, and they were a period when the accommodation of the concept of multi exposure in an image editing software was not in sight at all all-together.
F30. Now you have prosumer camera (more suitable than SLR type) incorporating multi- exposure as well as a moderately high flash sync at 1/1000th.sec with a feature called forced-flash as in Fuji Finepix9500 or in 9600,thanks to leaf shutter (a come back of a older Rolliflex period mechanism) and absence of mirror mechanism....the fundamentals that, my flash-section requires. I wish to express my part of keeness, that they were to be retained as long a time in time in the future. Sympathetically these specs were deep buried in the literature,so that you would need to dig deep into the user manual. Some times the user manuals them-self don’t mention any thing about them. The manufacturers,and publishers of magazines on this related subject must please take a note of it. Try your luck typing key-word like flash-sync,forced-flash in the respective official web-sites of the Camera manufactures .But you find no help forth-coming ..really maddening,you simply would get exhausted.
F31. For the observation of a common reader and as a stern warning aimed at the Copy-cats Please note:
In this so called arena of Digital arena I could closely on some of the developments of copying acts (infringements to the novelty & plagiarism of my idea) is in progress by the developers of Image -Editing soft-ware and the other participants of photography...also most likely a camera manufacture.
I could observe a move that may ultimately reach a stage that the whole entity of my concept is just plagiarised by calling in different names by a process of segregation of menus or themes by them the way is already paved.
I sternly believe by the merits of it's novelty, it would enable it's self to become popular, sustain and to defend it's forte of specialisation . Further it has it's capacity to subjugate other techniques in event of the other ones trying to compete with it in the future.
F32. Please note flash selection always has stressed and guided a photographic routine on multi or multiple exposure from a much earlier time.
F33. Multi-exposure mentioned here in the following pages is in the context of an execution, which necessarily is, as smooth as a feather touch.
Look at the image below, the top view of Panasonic Lumix L1k a SLR model .Is that what is all the grudges I intend to expressed verbally so-far? Yes some what like....I pray GOD that this kind of interface should be retained till time I could able to buy one such.
Please note: The information /guidance provided and my suggestions as above or from any of my web page, of similar content published in my other web-sites are prohibited for commercial usage or for publication purpose ,without the consent of the ,author s.kalaivanan the proponent of the idea/ concept
F1. THE ASPECTS Related to Multi-exposure:
You would have noted that my technique is built on rather unassuming & mundane aspects of photography, namely multi-exposure and flash-sync, especially at this ‘Digital Era’. For any-one it seems he would easily be misled to under estimate the potentiality of these functions .But for a photographer of certain type of specialization they are their beard-winner...the Saviour.
F2. But We should consider ourselves as privileged photographers these days, for no other reason, but for an inbuilt facility of multi-exposure in a camera. More and more Camera manufacturers are now treating the Multi-exposure as an important feature to be incorporated in their latest models of 35mm, and digital cameras. This surge could be attributed to an unavoidable present trend of upgrading of film camera to a Digital one and due to the versatility and more features you find in DIGITA-PHOTOGRAPHY, IMAGE EDITING as in the case of the last adoptation of HDR and COMPOSITING in ADOBE PHOTOSHOP CS-3 version also the motor driven mechanism in the earlier film camera has had proved to be indispensable.
F3. Multi exposure is suppose to be a familiar one, you would happen to know as they influence your photography either directly or indirectly. It is more adopted at printing stage with the, profusion of services of digital photo-finishing service out-lets as cut & paste job. In cinematography it is known as composite imagining which are pre-organised multiple images of different subjects at suitable location for chroma-key etc.,. But I wish to implement the multi or multiple exposure many a times on a same subject, executed while you have been doing a shoot (on-stage) . My intension is also to do a shoot...in a better way in terms creativity,…economization of film usage (if you are still be using film camera)…..The Investment, maintenance and transportation of flash units. These are ones I believe that a professional photographer concerns more .Have you taken note, by now ... isn't it sufficiently proves to your mind the multi exposure as a modern concept?
F4. What I stress here by multi-exposure that to it's basic, there should at-least be a provision of mode button located for easier operation (some thing similar to Panasonic Lumix L1k SLR model is it?) Yes.... but with as soft as a feather touch activation, than earlier it was. But now a days in digital parlance we are simply used to call, it as Logging-in. In the Earlier nut&bolt era even as of late as the 90's it was a difficult process, with a manual camera to execute multi-exposure. There one should have to resort to ‘T’ or ‘B’ setting on the Camera which must be mounted on a sturdy tripod for fear of image mis-registration. What we also did then was, making the whole studio space darkened.
F5. Multi or call it multiple exposure is a method by taking many exposures of a subject on separate frames or one over the other on a single frame.
F6. Please note multiple exposure means taking so many frames but essentially a variation occurs to the subject content or it could also is like the exposure as in the case of Auto-bracketing of same subject. In the case of multi-exposure any or all-of the subject content, the lighting or the exposure may vary between the shots but the entire sequence exposure essentially are made on the same(single)frame.
F7. You may notice on many occasion , I have used the word multi where as in it's truest sense should mean multiple-exposure. Pardon me for I am used to call it in that way of expression.
F8. It is naturally a professional technique and such a magnificent creative tool for constructing an image more systematically, in a situation where to shoot in a regular photographic method is either difficult or cannot otherwise be done, at all.
F9. Difficulty of such a one may manifest in the form of either as the required lighting power is too high to match with the existing lighting and contrast, There by to make a given situation suitable for photography that an ordinary photographer could not afford. For example in a situation of Industrial photography the sufficiency of prevailing lighting may be good for a normal working condition, but it may usually have a improper lighting ratio and colour temperature.
F10. The lighting ratio, inside a factory would be much less than 10,000:1 that our eye could accommodate, But imagine that the capacity of a Digital SLR that camera may have a capability of capturing a ratio something like 400:1.
F11. The HDR way is; How that the range as seen could be captured, a great task isn’t it? But note that the area of specialization of HDR is probably at out-door scenarios, where you cannot have your control on lighting, you know it for sure-otherwise. It is an approach where, compromise is the key player.
F12. The flash selection way is: like, you are making the condition better or by saying it’s like you replace a new burning light bulb, instead a dead one there, so with the help of its brightness you could properly see an area...an art of making a picture. The HDR is like incarnating the visual abilities of a bionic-man or an Owl. But we know not t con firmly whether they are straining or comfortably seeing to comfortably seeing what is lurking in the Dark ..the art of taking a picture .....any way pun is here intended.
F13. Rendering, the perceived darkness as such, may probably be the truer representation. But the requisite of commercial or in a professional area, is mostly to show Colours & their tones at their true splendor, or in away it could be controlled to express the way your want and the client, who pays you. The HDR doesn't control, but try to capture what it's there as such and as can be accommodated in the available narrow Dynamic Range of Digital capture.
F14. Listen what a fashion photographer has a say, “he prefers to use multiple flash units at out door, so that he doesn’t want to be at the mercy of sunlight, he says he would wish to over power the ambient light of sun, to make a shoot appear with more depth (colour, saturation, shadow etc). To over power sun he prefers his Hasselblad set at 1/500th. sec”.
F15. People in the profession, knows that nothing remarkably a newer message is said above, They understand that, lighting for an Industrial shoot is even more critical,than controlling your light on a human figure.
F16. for details of the good potentials of HDR, you could refer at a splendid site.
http:\\www..naturescape.net.
F17. In the software, front the HDR as a feature is totally inclined to multiple exposure.
F18. When I refer multi exposure (many a times it's on multiple frames) and it necessarily doesn’t mean a shoot to go with fixed / static position of the lights. Because fixed position equally means a requirements of many light units for a given shoot. But means an interplay with non-fixed (wandering) position of few lights, all that a photographer need require and could afford and he also could pack up easily, after a shoot. In the HDR way of compensating this insufficiency of lighting is by subjecting to a more incremental level of exposure by opening up the aperture.
F19. Now a days you have in fact all the convenience to proceed for a multi exposure, thanks to a Digital Camera with all its advancements or in a more professional way with a Digital-Back connected to a Computer on the location with a larger preview that is set side by for better monitoring.
F20. Then with these opportunity that you have of a preview, you can decide on the first Exposure (1) whether it is satisfactory. If not you have equally a good opportunity to revert or undo a shot, and try another exposure. But then with a pursuit of Multi exposure, the second Exposure (2) you would make over exposure(1) should be a well judged one with no error. Because I assume you cannot simply undo the second one alone, but only to recommence and finish the whole shoot.
F21. For a person minded of image editing, the solution is by doing the exposures on separate (Multiple) frames and the images in their negative-form that could be layered to form a composite image. Because an under or unexposed area in its positive form e.g. the image of Exposure(1)May not allow its corresponding area of Exposure (2) to be seen through.
F22. If your think of HDR is as simple as by prolonging the level of exposure on Multiple frames to complete a shoot, you could do similar acrobatics with flash – select ion as well.
F23. You could set the Camera on a tripod, firing as Many flashes randomly on various location of an area in the view of a shoot eg : an interior of a factory. But one need, to be conversant on the aspect of photographic lighting of the either case, is a must.
F24. I expect the soft-ware associated to flash-selection could do the following, to make the work of photography to become much easier.
F25. Routine I : In the conventional way... A Software may help to add up the Density value (Colour information, the luminous value of tone, etc) of pixels stacked in layers lying one beneath the other, corresponding to a specific pixel location of an image. Then it could arrive at, the mean (aggregate) value to form a new composite image, helped by the values so derived. This is a very usual kind of thinking.
F26. Routine II : But I want to differ here in that with yet another approach that calls for a new type of routine and computation.
a) A relatively brightest pixel of luminous / colour value among the layers stacked, corresponding to a specific image location is picked up, In a similar way the entire brightest pixel-point among all the images stacked in layers are located. Finally in it's completed form, the resultant is the mapping of a composite image, comprising of the bright pixel, each coming from all the points of an image area.
b)Then the luminous value of a brightest pixel specified to a image location is compared with its aggregated (mean) value we so arrived with Routine I.
F27. an abnormality of a sudden difference on such comparison, at a image location may inter-predates the presence specular reflection. In that case the next immediate lower value is transposed replacing the earlier brightest one or an interpolation is done . In that way the specular reflection at Multiple locations due to a multi set up of lights or by the few lights employed moved into various positions in a shoot could be erased from the composite image i.e., in effect it is, as if you have accomplished a tedious image manipulation called for in the removal of secular reflection with one single swipe of a sward.
What are the other side line benefits?
F28. Helps one get relieved of planning hard, of a lighting scheme by disregarding specular reflection that might be caused due positioning of a light in a particular area was un-avoidable to get a specific lighting effect. The elimination of hard shadow, because the lights are moved into various position during a shoot instead of being static, which in turn simulates as if lighting was done with a huge source of light (impressed if I had mentioned a huge soft box?). Then you have few lights that is suffice for.... a work ..or ..to work with etc.,
.....again a little come-back on the subject of multi-exposure.
F29. Time has changed, ever since the days of mechanical, film based camera with regard to provision of multi exposure functionality, that you find now in a Digital camera. Film based camera were not so conducive to multi exposure, due jerk that may be caused due to physical interaction, or vibration due to mirror mechanism, and you don’t have a preview or a easier way of image registration and such things that you could find in a Digital counter part. Those were the days when I was really complaining of these inconvenience at my website, and they were a period when the accommodation of the concept of multi exposure in an image editing software was not in sight at all all-together.
F30. Now you have prosumer camera (more suitable than SLR type) incorporating multi- exposure as well as a moderately high flash sync at 1/1000th.sec with a feature called forced-flash as in Fuji Finepix9500 or in 9600,thanks to leaf shutter (a come back of a older Rolliflex period mechanism) and absence of mirror mechanism....the fundamentals that, my flash-section requires. I wish to express my part of keeness, that they were to be retained as long a time in time in the future. Sympathetically these specs were deep buried in the literature,so that you would need to dig deep into the user manual. Some times the user manuals them-self don’t mention any thing about them. The manufacturers,and publishers of magazines on this related subject must please take a note of it. Try your luck typing key-word like flash-sync,forced-flash in the respective official web-sites of the Camera manufactures .But you find no help forth-coming ..really maddening,you simply would get exhausted.
F31. For the observation of a common reader and as a stern warning aimed at the Copy-cats Please note:
In this so called arena of Digital arena I could closely on some of the developments of copying acts (infringements to the novelty & plagiarism of my idea) is in progress by the developers of Image -Editing soft-ware and the other participants of photography...also most likely a camera manufacture.
I could observe a move that may ultimately reach a stage that the whole entity of my concept is just plagiarised by calling in different names by a process of segregation of menus or themes by them the way is already paved.
I sternly believe by the merits of it's novelty, it would enable it's self to become popular, sustain and to defend it's forte of specialisation . Further it has it's capacity to subjugate other techniques in event of the other ones trying to compete with it in the future.
F32. Please note flash selection always has stressed and guided a photographic routine on multi or multiple exposure from a much earlier time.
F33. Multi-exposure mentioned here in the following pages is in the context of an execution, which necessarily is, as smooth as a feather touch.
Look at the image below, the top view of Panasonic Lumix L1k a SLR model .Is that what is all the grudges I intend to expressed verbally so-far? Yes some what like....I pray GOD that this kind of interface should be retained till time I could able to buy one such.
Please note: The information /guidance provided and my suggestions as above or from any of my web page, of similar content published in my other web-sites are prohibited for commercial usage or for publication purpose ,without the consent of the ,author s.kalaivanan the proponent of the idea/ concept