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I too was once a beginner and I completely understand that how difficult it is to move into using Manual Mode directly from shooting Automatic. Thankfully camera manufacturers have also thoughtfully provided us with Aperture and Shutter Priority modes. These two camera shooting modes are possibly the best ways you can understand the nature and role of aperture and shutter speed.
Aperture and Shutter Priority are semi-automatic, or we can call them semi-manual camera modes. These two modes can help you get away from the fully automatic modes (P, Auto) and at the same time get you a step closer to using Manual Mode.
The Aperture Priority shooting mode allows you to take control of the aperture, whereas the shutter speed and ISO (if you are set on Auto-ISO) are still controlled by your camera. This means that you can adjust the amount of light entering into the camera through the lens. So using Aperture Priority you can set the aperture value as per your need and control the depth of field.
Unlike the automatic modes, this mode gives you the freedom to adjust the aperture value and set the amount of blur effect that you want in your photo.
As we discussed, Aperture Priority mode allows you to control the aperture value, which ultimately affects the depth of field. This shooting mode is ideal if you wish to adjust the depth of field as per your desire, whereas leaving the shutter speed and ISO value selection up to the camera.
While taking portrait or close-up shots, I am sure you would want to keep the subject in focus and blur out the background by choosing a large aperture (small aperture value). Using Aperture Priority Mode you can manually choose the required aperture value such as f/1.8 or f/2.8 to achieve a shallow depth of field.
While shooting landscapes or cityscapes, you might want to have both the foreground and the background very much in focus. This is only possible if you manually choose a small aperture (high aperture value). Aperture Priority Mode gives you the freedom to select desired aperture value such as f/16 or f/22 to get deep depth of field, while your camera takes care of the shutter speed and ISO value.
Suppose you are in a dim lighting condition and your photos are coming out underexposed. By increasing the size of the aperture opening (selecting a smaller aperture value like f/1.8), you can allow more light into the camera and capture a better-exposed photo. Read: 6 Tips for Getting Consistent Results Shooting in Low Light
If you are shooting in broad daylight and are getting overexposed photos while shooting in automatic mode, you can close the aperture opening. This means that by using a higher aperture number (like f/16), you can minimize the amount of light entering the camera through the lens.
As the name suggests, Shutter Priority mode allows you to take charge of the shutter speed. Just to brainstorm, shutter speed is the duration for which the camera shutter remains open for the light to enter the camera and ht the sensor. The slower the shutter speed is set on the camera, the more the light is received by the image sensor. Similarly, the faster the shutter speed the less light would hit the image sensor.
While you are shooting in Shutter Priority mode, you have the freedom to adjust the shutter speed as per your requirement while the camera chooses the aperture and ISO value on its own.
As we just discussed, if you want to take full control of the shutter speed and experiment with your camera then this is the ideal camera mode. Let’s look at two situations when you are most likely to shoot in Shutter Priority mode.
If you want to freeze a fast moving bird, animal, or car in your photo, using Shutter Priority mode will allow you to do so by setting a fast shutter speed. A shutter speed of anything faster than 1/500th of a second is considered ideal for freezing an object, but this may vary depending on the speed of the subject. Your camera will judge the required aperture and ISO values as per the available light.
If you are out and planning to capture star trails, light trails, or blue hour photos, you would have to select a slow shutter speed so that the subject’s movement is well captured in the single photo. To capture long exposure photos, you must carry a tripod along to avoid any kind of shake.
If you are in dim lighting conditions you might get underexposed photos while shooting in automatic mode. By simply reducing the shutter speed (e.g. from 1/200th to 1/50th), you can allow more light into the camera and capture a well-exposed photo.
Note: Watch out for the shutter speed going too slow as to introduce camera shake into your image;
Let’s suppose you are shooting in broad daylight and your camera is capturing overexposed photos while shooting in automatic mode. Here you can increase the shutter speed. This means that by using a faster shutter speed (e.g. from 1/200thh 1/1000th), you can minimize the amount of light entering the camera sensor.
Using Aperture and Shutter Priority camera modes enables you to get familiar with how the lens’s aperture and the camera shutter works. These modes ensure that you get well-exposed photos with your desired selection of aperture value or shutter speed, unlike automatic mode (where the camera makes all the choices for you).
So if your utmost priority is to manually choose the desired aperture value in order to get a particular depth of field, then you must shoot in Aperture Priority Mode. Otherwise, if your priority is to choose a specific shutter speed to capture something creative with the available light (freeze or blur motion), then you must go with Shutter Priority camera mode.
The post Aperture Versus Shutter Priority – Which Shooting Mode to Use and When by Kunal Malhotra appeared first on Digital Photography School.
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Teaching our photography workshops over the years, my wife and I have come to recognize there are three things many people do habitually which do not help the advancement of their photography experience. Here are three bad habits for you to break in order to improve your photography.
Most beginner photographers do this. They stand at their full height to take a photo. It’s very natural to stand upright and take photos, but it is incredibly limiting. Sure, you see the world from a standing position most of the time, but it’s not always, (or even often,) the most interesting point of view from which to photograph something.
Climbing up on a chair or lying down on the ground will often give you a far more interesting perspective. Getting low or getting up high will afford you a different view of your subject which may be far more interesting because it is not how your subject is typically seen.
Squat down to make eye contact with your smaller subjects.
I am always looking around for opportunities to get above my subject to make photographs. But you don’t have to go to extremes. Just squatting down or even bending your waist slightly and you will see your subject differently than when you’re standing upright – as will the viewers of your images (that is the key to standing out from the pack).
Getting up higher, above your subject can create a more interesting photo.
Think about it each time you go to make a new photo. Consider getting lower or higher up than your subject. If you can, make a series of photos at each position and compare them all later on your computer. If you do this, pretty soon it will become a new habit.
A lower perspective and using the man’s arm in the foreground created this interesting portrait.
Starting to photograph something new and not knowing anything much about your subject is limiting. If you don’t have some understanding of what you are creating photos of they will be more likely to look like anyone else’s photos of the same subject. Getting to know and understand your subject, even a little, before you take any photos will help improve your photography.
I am often surprised when we begin a day photography workshop here in Chiang Mai, Thailand, how little our customers know about the location. We don’t spend a lot of time teaching about the history or the economy. But some essentials about culture and way of life are so beneficial to help people have some understanding of what they are photographing.
For example, knowing that it’s okay to politely photograph monks, knowing a few phrases in the local language, knowing which direction the traffic moves on the road, etc. These are all simple things that can help you have a richer photography experience if you know about them in advance.
Monks in a morning market in Myanmar.
Getting to know a person before you photograph them will help you relate to one another and certainly alter the type of images you will make compared to having no communication with them beforehand. Photographing someone you already know is often easier, unless they are adverse to having their picture taken. But when you meet a stranger and want to photograph them it’s often best to connect with them first, even on some level (a smile can work too).
It does not often take much to encourage a smile.
A smile and saying “Hello”, (preferably in their language) are the best icebreakers most of the time. Often when I am photographing in the streets or markets I will just smile, say hello, and nod at my camera. If the person smiles back I go ahead and make a few pictures. I will then show them the back of my camera so they can see their photos. If I get a favorable response I will turn the camera around and continue to make some more photos.
When I find a person who enjoys the interaction and the experience I will spend more time. This relationship is valuable. Taking the time to relate to and get to know your subject even a little, will help you to make more creative photographs of them because they will be more relaxed and happy that you are showing an interest in them.
A quick internet search on anything you are want to photograph will provide you with more reading than you’re willing to do in a single sitting. You don’t have to go overboard with it, but do spend some time finding the essential information about your chosen subject so you are more informed and more interested in the location and/or person.
Learning to use Manual Mode consistently when you are photographing will help your photography more than anything. Having your camera set to any of the Automatic or semi-automatic modes means your camera is in control of the exposure.
Photography is so much about light. The word “photography” literally means drawing with light. If you have no light you cannot make a photograph. The more you can appreciate and understand light, the better you can learn to control the exposure settings on your camera, and the more you will develop as a photographer.
I know there are a lot of hard-core photographers who prefer using auto modes, but it’s really not that difficult to learn to master your camera in Manual Mode and gain the maximum amount of control and creativity with your exposures.
Your camera is incredibly intelligent and capable of making even exposures in many situations. But your camera is not creative. You are!
Taking the time to study a little about how cameras function to capture an image will help you to control your camera more precisely. It doesn’t matter that much which camera you study as they have not essentially changed how they make an exposure since they were first invented.
Practicing in Manual Mode, (and not cutting corners and slipping back into an auto mode,) will help you build your confidence and speed every time you come to make photographs.
Stepping out of your comfort zones and breaking some (bad) habits will help you to develop your style and you will come to enjoy your photography experience more and more.
Move around, look for alternative locations to make your photos. Learn about your subject. The more interested you are and the more knowledge you have will enhance your experience and you will therefore also produce more interesting photographs. Take the time and practice in Manual Mode. You may be frustrated at first because it is more difficult, but the results you will achieve will be well worth your effort.
The post 3 Bad Habits You Need to Break to Improve Your Photography by Kevin Landwer-Johan appeared first on Digital Photography School.
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In this article (I don’t want to call it a review because) I’ll share my thoughts on why I picked up a Fuji X100F as a second camera alongside all my Nikon gear. And why I love this little camera!
My journey into serious digital photography began in the spring of 2012 when I realized my little pocket camera wasn’t cutting it anymore. After consulting with some friends, my wife and I picked up a Nikon D200 and 50mm prime lens and the rest, as they say, is history.
Over the years our collection of gear has grown to include three Nikon bodies, several lenses, and a host of accessories all of which have come in handy with our family/child/high school senior photography hobby we run on the side. However, after much research and soul-searching (or perhaps you might say goal-searching), I recently added a Fuji X100F to my collection of gear and I thought I’d share some of my reasons why in case you might be going through the same thought process we did.
The Fuji X100F might just be my favorite camera of all time. (Note the camera also comes in retro silver)
Almost any time a club, business, or other organization sets out to improve a particular aspect of its operation the key stakeholders involved perform what’s known as a needs assessment. This is a formal process that aims to help organizations understand gaps or areas of deficiency which can be addressed. They help to guide the improvement so that it is done in a way that matters most. In similar fashion, a needs assessment can make all the difference in the world to photographers as well.
When my wife and I bought that D200 years ago we weren’t exactly sure what our needs were, other than that we wanted better pictures of our newborn son. That camera and lens worked beautifully for a while but soon we started to realize that it had some issues which were hard to overlook.
We learned that the 50mm lens was too restrictive indoors and images that were taken at ISO 800 and above were quite noisy which limited our ability to use this set of gear in challenging lighting conditions. These deficiencies led us to buy a Nikon D7100 and a 35mm lens which enabled us to take pictures at wider angles and in lower-light conditions, and once again our needs were met. For a while.
The Nikon D200 + 50mm lens worked fine, but before too long its limitations started becoming much more apparent and I wanted something more. And as this photo shows, I also needed to work on my photography skills such as composition and light!
As time went on and we became more invested in the Nikon system, I started to once again see some significant limitations of our camera gear. My wife and I were doing more portrait sessions which necessitated the purchase of an 85mm lens and external flash. But at the same time, we felt as though we didn’t quite have the right gear to take the type of pictures of our kids with which we were really happy.
The 35mm lens was nice, but on a crop-sensor body like the D7100 or D200 it wasn’t wide enough for everyday casual use and I often found myself in low-light situations where the high ISO performance of the D7100 just didn’t cut it. Enter the full-frame Nikon D750.
Bear with me, I’m getting to the Fuji X100F!
As we examined our own particular photographic needs we realized that the D750 ticked all the boxes that we had at the time: great low-light performance, superb image quality for portraits, tougher build quality, a larger image buffer, and the list goes on. The D750 seemed like a good logical choice and over time it has only grown more useful. Even my 35mm lens specifically designed for crop-sensor Nikon DX cameras works fine as long as I shoot at about f/4 and don’t mind a bit of vignetting in the corners.
The D750 and a 70-200 lens make family portraits like this possible.
Ironically, despite getting more gear, the more limited I still felt in terms of taking everyday photos of our kids – which was the whole reason my wife and I got into digital photography in the first place!
My favorite camera/lens combination quickly became the D750 + 35mm and I found myself using that particular setup almost every time I wanted to just go out and shoot candid pictures of my wife and kids. I took that camera and lens whether we were on vacation, in the backyard, or even on a visit to the park.
The problem was that it is so big and heavy I often found myself leaving it at home and using my iPhone instead, which works fine as long as there’s plenty of light. As soon as the sun goes down or you move indoors, the quality difference between a mobile phone and a larger camera quickly becomes apparent.
The Fuji X100F with 23mm lens is almost exactly the same as a Nikon D750 and 35mm lens, but the sheer size and weight of the Nikon meant I often left it at home. The Fuji gives me almost the same image quality and I can literally take it almost anywhere.
Professionally, our growing collection of gear brought with it some headaches too. I found myself using the D750 + 70-200mm f/2.8 lens on most of my paid client shoots, but it is really heavy and not at all conducive to close-up shots in small spaces. I had other cameras and lenses but nothing that gave me really good shots with a wider field of view, so for a while, I contemplated getting another D750 and a true full-frame 35mm lens.
However the idea of adding even more gear to my bag, while still not really having a good all-purpose camera I could use with my family, threw me into a bit of a mental slump. I had a clear need that was unmet, but I didn’t want the Nikon gear required to solve the problem.
And then I found the Fuji X100F!
The D750 and a 35mm lens are great for more intimate shots like this, but the size and even the clack-clack-clack sound of the shutter make it somewhat conspicuous.
The more I looked at my needs as a photographer the more I realized I was going about things all wrong. Instead of asking myself, “What needs to I have and how can I meet them?” I was stuck in the mindset that I had to stay with Nikon gear because that’s what I already had. I was putting form (i.e. Nikon) over function (what I wanted my gear to do).
Professionally, I had the midrange and telephoto focal lengths covered but I didn’t have anything on the wider end. Personally, I knew I didn’t have a truly portable go-anywhere camera. I was looking for a way to solve these issues with my mind firmly planted in Nikon’s pastures, all the while not realizing that other camera systems might have a much better answer.
When I discovered the Fuji X100F I realized that it ticked off every single box on my list. Professionally it allowed me to get the kind of close, wide-angle, intimate pictures I couldn’t get with any of my other gear. It was also small and light enough that I could be discrete at events and even carry it as a second body with my heavy D750 and 70-200mm lens doing the heavy-lifting.
The 23mm lens paired with an APS-C sensor meant I would have almost the exact same field of view as shooting at 35mm on a full-frame camera. The wide f/2.0 lens aperture meant that I could get great shots in low light, and even the price was right since the cost of the X100F was less than another Nikon D750 and full-frame 35mm lens.
Personally, the Fuji X100F became my go-to camera for almost any situation I found myself in with my family: birthday parties, playing in the yard, going to friends’ houses, taking trips to visit family, and even going on vacations. Prior to getting the X100F, my D750 and 35mm lens were what I used in almost all of those situations. Not only was it heavy and cumbersome, I also felt highly conspicuous taking pictures in casual settings. It’s hard to ignore someone who is wielding a giant DSLR and pointing it in your face!
As an added bonus the leaf shutter in the X100F is almost silent which makes picture-taking in quiet situations much less worrisome. Further, if you want to be really quiet you can enable a fully electronic shutter which lets you take pictures in complete silence. No DSLR can do that, even in Live View, and it’s something I have really come to appreciate about the X100F and other mirrorless systems.
Shot using the X100F’s built-in ACROS black and white simulation mode.
Finally, the wealth of manual buttons and dials on the X100F has been nothing short of a revelation for someone like me who cut his photography teeth long after digital cameras had supplanted most film cameras. Being able to look at my camera and see separate dials for shutter speed, aperture, and ISO means that I no longer have to hunt through menus or assign functions to control dials to get the shots I want.
Add to this the film simulations like Classic Chrome and ACROS, tough-as-a-tank build quality, and the choice to use either an LCD screen or electronic viewfinder and you end up with a camera small enough to take anywhere yet versatile enough to excel in almost any situation.
I often read articles online about switching from DSLR to mirrorless or vice versa, and there seems to be a persistent debate about which one system better. After my experience with adding a Fuji mirrorless camera to my Nikon DSLR kit, I’ve come to the realization that it’s not about which is better but what gear can meet your needs.
I think the problem that some photographers have, myself included, is that we aren’t good at honestly identifying what problems or needs we have and then working from there to find our answers.
Cameras today are so good it’s almost impossible to not get one that doesn’t have great image quality, autofocus, high ISO performance, dynamic range, and so on. What’s much more difficult is finding a camera, lens, or another piece of gear that solves whatever problem you currently have.
There are a time and place for big DSLR cameras, small mirrorless systems, micro-four-thirds models, even mobile phones and computational photography. Each has its own benefits and drawbacks, and each can meet different needs and work fine for you as long as you take the time to find out what your needs really are.
High ISO performance of the X100F isn’t quite as good as a full-frame camera, but it’s not too shabby either.
Going forward I see myself using my Nikon gear for more professional shoots and the Fuji camera as a daily driver that will be more for casual shooting, but it’s not an either/or situation. My old crop-sensor D7100 paired with the 70-200mm f/2.8 lens is fantastic for getting pictures of my kids playing sports, while the Fuji X00F is ideal for indoor family sessions or times when I just don’t want the heft of a DSLR.
Who knows, my next camera might be something totally different or it might not be a camera at all and instead be some lessons or even just a trip to see and photograph different places.
Shot using the Fuji X100F’s built-in Classic Chrome film simulation mode.
After hearing my story I’d love to get your input too. What kind of gear do you use, why do you use it, and what steps are you planning to take next to address any issues you might have? Please leave your thoughts in the comments below.
The post Why a Nikon Shooter Bought a Fuji X100F as a Second Camera by Simon Ringsmuth appeared first on Digital Photography School.
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Aurora HDR 2018 has plenty of tricks up its sleeve, and one of those is versatility. It’s not a one-trick pony when it comes to creating your HDR look. The range of different tools really allows you to create a huge variety of looks really easily. Part of that is knowing what your available tools do. The other part is just playing around and exploring your own creative side!
In this article, you’ll see five different looks in HDR and how you can recreate them – but on top of that, you’ll also get them in preset form to use yourself. You’ll also get to see some of the new Lens and Transform options inside Aurora HDR 2018.
Aurora HDR 2018 doesn’t have a way to manage files, but can easily be used from other applications including Lightroom. In fact, you’ll even be able to process the files using Aurora’s built-in HDR processor, so you’re not trying to combine three already rendered files. To run Aurora HDR 2018 from inside Lightroom, you’ll need to run the standalone version first. From the Edit menu on PC or the Aurora HDR Menu on Mac, choose the Install Plugins.. menu item.
From the dialog that appears, choose the host applications that you want to use.
Back in Lightroom, once you’ve selected the bracketed exposures you want to edit, go to the File menu and from the Plug-In Extras menu, choose Transfer to Aurora HDR 2018.
Aurora HDR 2018 will load up with your selected bracketed sequence. I’ve chosen these photos specifically because they have lens distortion and a crooked horizon, which you’ll see how to correct shortly.
Once the files have loaded, you can set about working with alignment and ghosting settings. You’ll see the sequence and the bracketing interval in the photos. To align the photos if you’re not on a tripod, click Alignment. To access the other settings, click the cog you see on the bottom left (see below).
If you’ve got photos with moving objects in them, such as waves, trees in the wind or moving people, turn Ghost Reduction on. Choose your preferred reference image, and how strong you want the reduction to be. Color Denoise helps remove noise but increases the time your HDR takes to render. Finally, turn on Chromatic Aberration Removal to automatically get rid of color fringing on your photo.
In the Filters header, you’ll see two icons. The first is for Perspective corrections or Transform (including rotation) and the second for Lens corrections.
The little odd looking shape is for Perspective and the round one is Lens Corrections.
You can fix rotation here (or using Crop as well) by clicking the Perspective icon. Rotation of 24 and Scale of 50 correct this image nicely.
Transform sliders correcting perspective.
Your penultimate step before going to the individual HDR looks is to fix the bow in the horizon caused by the wide-angle lens. A setting of 18 looks good for this photo. It also reveals that 24 was too much in the previous step, which you can always fix by going back to Perspective correction. 19 looked better zoomed in.
Lens Correction fixing distortion caused by wide lenses.
As the photo is a little underexposed, boosting the Exposure before going to create your looks is probably a good idea. While you may need to change this for each look, an additional stop is a good start here.
For your first look, something photo-realistic is the best approach. You’re not trying to get anything gritty, or super desaturated, or over saturated here. We’ll get to that later.
For this look, use HDR Basic, Color, and HDR Denoise. In HDR Basic, smooth out the dynamic range by reducing Highlights and increasing Shadows. Smart Tone of 44 also helps it along. HDR Enhance (formerly Clarity) brings up some nice detail, 50 is looking well here. Your aim is to get the best looking photo you can before tweaking the look – this will be true of all looks.
The color is a little flat so in the Color panel, you can boost both Saturation and Vibrance to +20. Color contrast, which controls the contrast between the primary and secondary colors looks good around 20 as well. You’re not aiming for extremes here, just to get a good looking photo.
You’ve probably noticed the noise in the clouds at this point. This is where HDR Noise comes in. Setting this to around 25 softens up the noise.
And that makes your first look, a photorealistic HDR photo.
With the basic look out of the way, it’s time for the more surrealistic to take over.
Start by using the History Panel to reset everything to your original starting point AFTER increasing the Exposure +1 and applying your Perspective and Lens Corrections. The History Panel records every action you take in Aurora HDR in chronological order, so simply select the last action after the ones you’d like to save, then begin the next edits. The History Panel will begin recording any edits from there leading to your Gritty HDR look!
Now it’s pretty flat and bleak, so you’re going to take it even further in that direction.
Set your HDR Enhance to +100 to get the bleak and gritty ball rolling. Smart Tone of -50 darkens the photo as well, and a hint of Vibrance (+15) gives color to the sky, while leaving the rest of the photo muted.
To complete your gritty look, go to the HDR Structure panel. In the top section, set Amount to 25 to begin to increase detail in the photo. Increasing Softness (+80) makes the detail more realistic, while Boost accentuates it (+75). The latter two sliders might seem at odds, but a quick play shows they complement each other rather than compete.
HDR Microstructure boosts micro contrast, while Softness makes it more realistic. By increasing Amount to 71 and Softness to 28, you’ll get even more detail. You may even like the noise that this processing adds to the photo. I think it’s a big part of the look.
And now you have your classic gritty HDR look!
At the opposite end of the spectrum is a soft and ethereal look. There are two different variations you can have on this, and they depend on using Image Radiance or Glow (and combinations of each). So with a reset to your basic corrected photo, let’s begin again!
A good beginning would be for a warmer look, so set your Temperature in HDR Basic to 10. While Image Radiance does have a Warmth slider, Temperature is much more effective. This look is all about Image Radiance. Set your Amount to 75 to really give the image a glow. Smoothness affects the softness of the image, and in this case, you’ll probably agree, it’s a little too soft, so set it to -50.
Overall at this point, the photo is too bright, so a reduction in Brightness to -76 helps. Darkening Shadows also helps. Finally, for Image Radiance, an addition of +61 Vividness to boost the saturation, while Warmth just adds another hint of yellow tones in a more controllable way than with Temperature.
There’s a lot of warmth in the photo (in a good way), but you may want to add a little contrast of color into it. By using the Polarizing Filter, you can add more blue to sky, emulating a real circular polarizer.
The final thing for this look is for you to introduce a little global detail using HDR Detail Boost. As you can guess Small affects the fine detail, Large affects the global contours of the photo, while Medium controls the details between Small and Large.
To sharpen the global edges, you can push Large. This firms up the edges while retaining the softness that Image Radiance has created. Protection protects fine detail while Masking controls where the effect is applied with 30-70 being optimal.
So that’s your first ethereal look.
Warm Ethereal
Your second ethereal look uses Glow. Reset your photo again to the settings at the start of the looks. Because Glow works on the Highlights, it’s probably a good idea to reduce your Exposure down to 0.60. Now, go to Glow and set the Amount to 50. A fog settles over the photo. This would work better on a dark evening scene that a sunny day, but you get what it does.
Now that you know what Glow looks like, it’s time to get a little wacky. Start by setting your Smart Tone to -100, and HDR Enhance to 56. This reduces some of the Glow, so set that Amount to 94. You probably want to go a bit wilder with Color, so set Saturation at 50 and Vibrance much higher, at 70. A hint of Color Contrast gives even more of a boost at 30.
For the final part of this look, add +30 Amount from Image Radiance to enhance the glow.
And that’s look #4.
Soft Glow
And now for something completely different – a nice gritty Black & White. Again, begin with a reset. Now, in Color, turn the Saturation down to -100.
Before going for grit, you’ll need to get contrast right. A few tweaks will get it to a workable point. It’s not set in stone at this point though.
And now you get to go for grit! You can use all the tools from previous looks that gave more detail, so HDR Enhance, HDR Structure, and HDR Details Boost apply. Go wild. This is definitely one for your own taste. The settings used here were HDR Enhance 40, HDR Structure Amount 40, Softness 20 and Boost 50. HDR Microstructure is Amount 47 and Softness 50. HDR Details Boost has Small 31 and Large 50.
Here’s the final look.
Nitty Gritty Black & White
And here are the five presets for you to use: HDR-5-Looks-Presets. Download the file and unzip it, then save it on your hard drive.
To install the Presets, open the standalone version of Aurora HDR 2018. From the File menu select Show Presets Folder. Drag the new presets folder (you must unzip it first) into that one. Restart the program to have the presets show up in Aurora HDR 2018 (look under User Presets).
Go out there and have a bit of fun with your HDR images, and post your results in the comments below.
Disclaimer: Macphun, soon to be Skylum, is a dPS advertising partner.
The post How to Make 5 Different Looks using Aurora HDR 2018 by Sean McCormack appeared first on Digital Photography School.
