Eagle - Highlights

[MalcolmP]

As Shot with D850, 500 PF 5.6 + 1.4 Teleconverter. Cropped with PS Curves contrast adjustment. Interested in any ideas, particularly the highlights. I have been experimenting with Center Weighted, Spot, and Highlight Weighted Metering. This metadata indicates Metering Mode "Other" & I don't remember what I used but think Spot most likely. Thank you in advance.

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[JAS]

Great captures. Always love eagles.

 

[Woody Meristem]

Nice photo. Backlit white subjects aren't easy but it looks like you did well. I'd try darkening the bright yellow strip with a darkening brush, you might not like the result, but it would be worth a try.

 

[Patrick M]

you certainly nailed the exposure!

 

[agrumpyoldsod]

Malcolm - nice shots but it is unclear what you are asking.

The challenge you faced with a back lit the bald eagle is it is very easy to blow out/clip the white feathers on the head. I cannot see if there is clipping or not - the last imager looks like it might be.

Art Morris - perhaps the best and certainly on of the most famous bird photographers always preached that he set his exposure for the subject and the background would sort itself out and he has only a few million shots to prove he is right. Well I don't have his lifetime of experience and I tend to switch subject as the arise -- which is why shooting Manual with Auto-iso, using matrix metering and adjusting exposure compensation when I had time became my preferred option with the D800. On my D810 and then D850 after attending a Nikon training event I switched to using Highlight-Weighted Metering Mode (basically matrix metering but with exposure reduced automatically to ensure that the majority of highlights do not clip). NOW Highlight Weighted is not perfect (particularly when there are specular highlights) and I found many images to be very dark -- but recoverable, but I suspect it would have helped you with the challenge you had with the back lit bald eagle.
With a D850 one tends to be able to recover more shadow in post than pull back highlights. It depends on the lighting of the scene. but sometimes it is better. I still also used exposure compensation when there is a white bird and a dark background and vica versa.

 

[gpsman]

As Shot with D850, 500 PF 5.6 + 1.4 Teleconverter. Cropped with PS Curves contrast adjustment. Interested in any ideas, particularly the highlights. I have been experimenting with Center Weighted, Spot, and Highlight Weighted Metering. This metadata indicates Metering Mode "Other" & I don't remember what I used but think Spot most likely. Thank you in advance.
View attachment 46797
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Beautiful. I love when they cooperate like that.

 

[MalcolmP]

Nice photo. Backlit white subjects aren't easy but it looks like you did well. I'd try darkening the bright yellow strip with a darkening brush, you might not like the result, but it would be worth a try.

Malcolm - nice shots but it is unclear what you are asking.

The challenge you faced with a back lit the bald eagle is it is very easy to blow out/clip the white feathers on the head. I cannot see if there is clipping or not - the last imager looks like it might be.

Art Morris - perhaps the best and certainly on of the most famous bird photographers always preached that he set his exposure for the subject and the background would sort itself out and he has only a few million shots to prove he is right. Well I don't have his lifetime of experience and I tend to switch subject as the arise -- which is why shooting Manual with Auto-iso, using matrix metering and adjusting exposure compensation when I had time became my preferred option with the D800. On my D810 and then D850 after attending a Nikon training event I switched to using Highlight-Weighted Metering Mode (basically matrix metering but with exposure reduced automatically to ensure that the majority of highlights do not clip). NOW Highlight Weighted is not perfect (particularly when there are specular highlights) and I found many images to be very dark -- but recoverable, but I suspect it would have helped you with the challenge you had with the back lit bald eagle.
With a D850 one tends to be able to recover more shadow in post than pull back highlights. It depends on the lighting of the scene. but sometimes it is better. I still also used exposure compensation when there is a white bird and a dark background and vica versa.

Thank you all. As you can see, I tried darkening the yellow strip which makes a huge difference. And I'm gaining confidence in the Highlight Weighted Metering Mode. Like many things, within it's limits it's very good. It's a matter of learning when it can help and when there is more contrast than it can compensate for and it goes too underexposed. It's good when they strike a pose long enough to allow for changing modes as this guy did.

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[EricBowles]

The real question for me is whether you have any completely blown out highlights on the eagle's head. The image looks good, but on my monitor I can't see any image detail in the sunny white area on the head. That indicates that portion is blown out highlights and needs to be fixed. Blown highlights on the subject are never okay.

My goal when making the image is to have a small amount of blinking highlights with the Standard Picture Control on my Nikon camera. Different cameras have different degrees of recovery possible with slightly blinking highlights. I know from experience that I can recover 1-1.5 stops with no problem with cautious local editing.

When editing, to recover highlights I avoid any global edits that increase contrast. That means no auto, clarity, contrast, texture, dehaze, whites, or blacks. If I have a problem image, I switch to a Neutral or even Flat Profile in LR. These profiles give me a starting point with less contrast. All of my edits are done in a way that recovers or preserves the brightest (and darkest) areas.

My edits when I am trying to preserve highlights place an emphasis on local edits - sometimes with a brush at 200-300% to refine a selection.

If all of these steps are not enough, I still have choices. I can clone in color for some reflections with a low opacity, or I can clone in detail from another area that is not blown out. Cloning detail is usually applied with low opacity - I just don't want to see blank areas.

I've spent a lot of time with Arthur Morris going through images and on post processing. From his standpoint, he tries very hard to have a small amount of zebras (blown highlights) on his Sony A1. He has live zebras, so it is easier to get a correct exposure. Once he has a correct exposure he is either using full manual exposure or specific settings with a floating ISO and exposure comp. If he has a blown out area that can't be fixed, it's a discard.

 

[MalcolmP]

The real question for me is whether you have any completely blown out highlights on the eagle's head. The image looks good, but on my monitor I can't see any image detail in the sunny white area on the head. That indicates that portion is blown out highlights and needs to be fixed. Blown highlights on the subject are never okay.

My goal when making the image is to have a small amount of blinking highlights with the Standard Picture Control on my Nikon camera. Different cameras have different degrees of recovery possible with slightly blinking highlights. I know from experience that I can recover 1-1.5 stops with no problem with cautious local editing.

When editing, to recover highlights I avoid any global edits that increase contrast. That means no auto, clarity, contrast, texture, dehaze, whites, or blacks. If I have a problem image, I switch to a Neutral or even Flat Profile in LR. These profiles give me a starting point with less contrast. All of my edits are done in a way that recovers or preserves the brightest (and darkest) areas.

My edits when I am trying to preserve highlights place an emphasis on local edits - sometimes with a brush at 200-300% to refine a selection.

If all of these steps are not enough, I still have choices. I can clone in color for some reflections with a low opacity, or I can clone in detail from another area that is not blown out. Cloning detail is usually applied with low opacity - I just don't want to see blank areas.

I've spent a lot of time with Arthur Morris going through images and on post processing. From his standpoint, he tries very hard to have a small amount of zebras (blown highlights) on his Sony A1. He has live zebras, so it is easier to get a correct exposure. Once he has a correct exposure he is either using full manual exposure or specific settings with a floating ISO and exposure comp. If he has a blown out area that can't be fixed, it's a discard.

Thank you very much Eric. "Avoiding any global edits that increase contrast" makes so much sense and I have not been doing that. I like the back-to-basics approach of emphasis on local edits. As always, appreciate all you assistance.

 

[Nikondale]

I think your image speaks for itself. The eye of the eagle is sharp. If I took the shot I would be most pleased with the outcome. I would not do anymore post processing. I spoke to Arthur Morris many years ago and let backgrounds alone. I am more concerned with the subject. You have a great shot.

 

[NorthernFocus]

You did pretty well given the conditions. Back lighting can be magical and certainly poses technical challenges. @ajm057 comment about exposing for the subject and sorting out the BG later is spot on. And @EricBowles explained pretty well how to use the blinkies to good effect. Both great advice.

 

[MalcolmP]

I think your image speaks for itself. The eye of the eagle is sharp. If I took the shot I would be most pleased with the outcome. I would not do anymore post processing. I spoke to Arthur Morris many years ago and let backgrounds alone. I am more concerned with the subject. You have a great shot.

I hear what you are saying. Find myself loosing sight of the forest for the trees. Striving to depend on recognizing higher quality shots and less on post processing. Appreciate your thoughts. Thank you very much.

 

[MalcolmP]

You did pretty well given the conditions. Back lighting can be magical and certainly poses technical challenges. @ajm057 comment about exposing for the subject and sorting out the BG later is spot on. And @EricBowles explained pretty well how to use the blinkies to good effect. Both great advice.

Thanks, Dan. Really appreciate your thoughts. To me, this thread exemplifies the quality of Backcountry Gallery and this Forum!

 

[bleirer]

It's a difficult situation with the way the light is hitting the head but at the same time the body being in shadow. Possibly beyond the dynamic range of the camera so needing two exposures.

You could go back to the original raw and see if just that white area can be recovered. Since you already in photoshop for the rest of the shot you could send the one adjusted for the bright spot to photoshop then copy and paste it as a layer above your edited image (ctrl-c, ctrl-v). Apply a hide all layer mask to that layer (hold alt while clicking the mask icon below the layers panel. Then use a white paintbrush with low flow (5 or less), paint over the too bright area to gradually reveal the not blown out feathers.

 

[MalcolmP]

It's a difficult situation with the way the light is hitting the head but at the same time the body being in shadow. Possibly beyond the dynamic range of the camera so needing two exposures.

You could go back to the original raw and see if just that white area can be recovered. Since you already in photoshop for the rest of the shot you could send the one adjusted for the bright spot to photoshop then copy and paste it as a layer above your edited image (ctrl-c, ctrl-v). Apply a hide all layer mask to that layer (hold alt while clicking the mask icon below the layers panel. Then use a white paintbrush with low flow (5 or less), paint over the too bright area to gradually reveal the not blown out feathers.

Thanks, Bill. I'll give that a try as well.