You just don't blow out the sky. You know the drill: expose for the
highlights, post process for the shadows. <g>
Of course I don't recall now if we were talking film or digital, but
if shooting digital, push that histogram all the way to the right--
after experimentation to see when stuff really does start getting
blown out. It's my understanding that the histogram you see on the
back of the camera is generated from the in-camera .jpg, and does not
necessarily closely relate to the actual RAW file. Without
experimentation, it's not terribly reliable. I've messed with the D3
enough now to pretty well tell when I've pushed to the limit. There is
an incredible amount of information in those highlights that is
recoverable with the proper post-processing approach.
And watch that "fake filter" talk, Bub. <g> ACR's graduated filter is
no more fake than a piece of glass hung out in front of your lens.
It's just different.
--Bob Whitmire
www.bobwhitmire.com
On Jun 1, 2010, at 8:45 PM, Sue Pearce wrote:
>
>> If you use ACR, you've got a built-in grad filter that's infinitely
>> customizable. Add the gradient feature in Photoshop and you can leave
>> the filters at home. Not necessary.
>>
> I'm having trouble understanding how this is suitable. If a sky is
> blown
> out, no amount of curves or fake filters can get info that was never
> there.
>
> Bill Pearce
--
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