{"id":1803,"date":"2011-05-02T08:11:40","date_gmt":"2011-05-02T16:11:40","guid":{"rendered":"http:\/\/ralphnordstromphotography.com\/wordpress\/articles\/how-to-articles\/mastering-exposurehistograms-part-4\/"},"modified":"2018-09-09T20:21:54","modified_gmt":"2018-09-10T04:21:54","slug":"mastering-exposurehistograms-part-4","status":"publish","type":"post","link":"https:\/\/ralphnordstromphotography.com\/wordpress\/2011\/05\/02\/mastering-exposurehistograms-part-4\/","title":{"rendered":"Mastering Exposure–Histograms Part 4"},"content":{"rendered":"

In this series of articles we\u2019ve been exploring the histogram.\u00a0 In the first two articles we discussed what it is.\u00a0 Now we\u2019re looking at different types of histograms and exploring how to work with them both in the field and during the post processing.\u00a0 If you want to review or catch up, here are the links to the preceding three posts.<\/p>\n

Mastering Exposure \u2013 Histograms Part 1: Introduction<\/a><\/p>\n

Mastering Exposure \u2013 Histograms Part 2:\u00a0 A Closer Look<\/a><\/p>\n

Mastering Exposure \u2013 Histograms Part 3: The Rocky Mountain Histogram<\/a><\/p>\n

In this article I want to discuss my favorite histogram, the Mole Hill histogram.\u00a0 I like this one because so much can be done with it in the post processing.\u00a0 Subtle colors and tonalities can be revealed in soft radiant light.\u00a0 It lends itself to some of the most creative and expressive images.<\/p>\n

Read on and we\u2019ll look at what it is, the conditions in which it occurs, how to photograph it and how to work with it in the post processing to reveal the scene in all of its hidden glory.<\/p>\n

<\/p>\n

Description<\/h3>\n

\"molehill0\"<\/a>The Mole Hill histogram is narrow.\u00a0 It does not extend to either end of the graph area but rather is bunched up in the center.\u00a0 Often it will have a single peak although not always.\u00a0 The fact that it fits comfortably within the graph area with room to spare on either side is what actually characterizes this histogram.<\/p>\n

Recall that the breadth of the histogram is a reflection of the dynamic range of the scene you are photographing.\u00a0 The broader the histogram the greater the dynamic range.\u00a0 Likewise, the narrower the histogram the smaller the range.\u00a0 So the mole hill histogram occurs in scenes with limited dynamic ranges or, in other words, low contrast.\u00a0 They\u2019re flat images.<\/p>\n

The most dramatic example of this histogram would be a photograph of a uniformly lit blank wall.\u00a0 There is virtually no contrast in this situation and therefore it produces a very narrow histogram with a single sharp peak.<\/p>\n

Conditions<\/h3>\n

\"\u00a9<\/a>Conditions in nature that give rise to Mole Hill histograms are any low contrast situations, the most notable being a foggy day.\u00a0 But we also have low contrast situations when the sky is overcast, during twilight both before sunrise and after sunset and in open shade.\u00a0 The example here was captured at Zabriskie Point in Death Valley well before sunrise.<\/p>\n

In each of these conditions there is no direct source of light.\u00a0 We think of the light as being soft because there are no hard, strong shadows.\u00a0 Instead, the light envelopes the subject producing diffuse shadows.\u00a0 Studio photographers go to a lot of trouble to get this light using large umbrellas, reflectors, soft boxes and the like.\u00a0 We landscape photographers just have to wait for the sun to go down.<\/p>\n

Photographing<\/h3>\n

When photographing in these conditions the camera\u2019s light meter will place the histogram near the center of the graph area or perhaps slightly to the left, toward the shadow side.\u00a0 This produces a pleasing image on the camera\u2019s LCD screen and later on our computer monitors.\u00a0 But it\u2019s not the ideal exposure for post processing.<\/p>\n

The technique to use in this situation is called \u201cExpose to the Right;\u201d\u00a0 that is, we want the histogram to be positioned a little to the right of the center of the graph area.\u00a0 To do this we need to slightly overexpose the image, being careful that we don\u2019t overexpose so much that we get highlight clipping.<\/p>\n

This results in two things.\u00a0 First, by overexposing slightly we capture more information in the RAW file.\u00a0 Another way to say that is the numbers that represent the three colors (red, green and blue) of each pixel are higher.\u00a0 This pays off in the post processing because this additional information gives us more to work with.<\/p>\n

Second, the image will look washed out.\u00a0 It will probably look horrible.\u00a0 I recall a workshop attendee who came to me after trying this technique and complained she didn\u2019t like it because her images looked so bad.\u00a0 But this will be corrected in the post processing.<\/p>\n

I like to overexpose just enough to position the center of the histogram just to the right of center of the graph area.\u00a0 That is usually anywhere from +1\/3 to +1 stop of exposure compensation.<\/p>\n

Now, if you\u2019re bothered by the fact that the image looks washed out, shoot two images \u2013 one at the exposure determined by the camera and one overexposed.\u00a0 You can use the uncompensated exposure for reference and the \u2018Expose to the Right\u2019 exposure to work on.<\/p>\n

Post Processing<\/h3>\n

The trick to make Expose to the Right work for you is all in the post processing.\u00a0 Just like in the film days, if you had an overexposed negative you would darken the final print.\u00a0 You do the same thing with a digital image.<\/p>\n

With this in mind you might think that the first adjustment you\u2019d want to make is to decrease the exposure back to what it \u2018should have been.\u2019\u00a0 However our real goal here is to increase contrast; that is, to expand the dynamic range.\u00a0\u00a0 Therefore, I often find it helpful to leave the exposure where it is and set the black point.\u00a0 This is the first step toward increasing the contrast which is after all what creates the magic with Mole Hill images.<\/p>\n

\"\u00a9<\/a>So the first adjustment I use in Lightroom or Adobe Camera Raw is Blacks.\u00a0 I increase the Blacks adjustment to create a small amount of black clipping but am careful not to overdo it.\u00a0 Most every photograph benefits from a tiny bit of black clipping.\u00a0 With this single adjustment the image is already beginning to come to life.<\/p>\n

If you\u2019re working in Photoshop you have three primary options for adjusting tonality \u2013 Brightness\/Contrast, Levels and Curves.\u00a0 To set the black point Levels and Curves are the two best options.<\/p>\n

\"molehill_bp\"<\/a>It\u2019s helpful to see how this adjustment affected the histogram so here it is.\u00a0 The histogram reflects the expanded contrast in the image.\u00a0 The shadow area of the histogram has stretched out and now extends to he left side.\u00a0 This indicates there are more tonalities in the shadow area.\u00a0 The highlights haven\u2019t changed at all.<\/p>\n

There are exceptions to setting black points.\u00a0 If the image was one of fog then a black point is not appropriate.\u00a0 However, in most situations it is very powerful and provides the tonal foundation for the image.\u00a0 It\u2019s generally one of the first things I do when working on an image.<\/p>\n

\"\u00a9<\/a>The next step might be to further increase the contrast to bring out the highlights more.\u00a0 You can use Contrast or Tone Curves in Lightroom or Brightness\/Contrast, Levels or Curves in Photoshop.<\/p>\n

The image also has a cool cast (because it was shot during twilight) so it can be warmed up a bit.\u00a0 I find the most effective way to deal with color casts is with Temperature and Tint in Lightroom.\u00a0 You can also use Color Balance in Photoshop but it\u2019s not near as effective or easy to use as Temperature and Tine in Lightroom.\u00a0 A little saturation applied here and there brings out the colors even more.<\/p>\n

The photograph has really come alive now and is a far cry from what we started with.\u00a0 The difference is dramatic to say the least.<\/p>\n

\"molehill_final\"<\/a>Here\u2019s the histogram for the final image.\u00a0 The histogram now fills most of the graph area.\u00a0 We have taken advantage of most of the tonal range available to us.\u00a0 You can clearly see a black point.\u00a0 But the histogram does not extend to the right side; there is no white point.\u00a0 My personal experience is that there are very few situations in color landscape photography where a white point works.\u00a0 (However, in black and white photography white points and black points are usually both appropriate.)<\/p>\n

Let\u2019s take a look at the before and after, both in terms of the images and the corresponding histograms.\u00a0 First, the images.<\/p>\n\n\n\n
\n

\"\u00a9<\/a><\/p>\n<\/td>\n

\n

\"\u00a9<\/a><\/p>\n<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

You can clearly see that there was a lot of information that we were able to pull out of the original image.\u00a0 Increasing the contrast has revealed a lot of rich detail in the tonalities and also uncovered colors that were not at all apparent in the original image.\u00a0 Adjusting hue and saturation further enriched the colors and made them more natural.\u00a0 And because of the soft light of dawn there are no hard shadows.\u00a0 The light caresses the contours of the badlands giving them a luminance you can\u2019t capture in harsh midday light.\u00a0 (Click on the images to get a better look.)<\/p>\n

And now the histograms.<\/p>\n\n\n\n
\n

\"molehill0\"<\/a><\/p>\n<\/td>\n

\n

\"molehill_final\"<\/a><\/p>\n<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

Now that you\u2019ve seen the potential of the Mole Hill histogram, maybe you agree with me that it\u2019s a great histogram to work with.<\/p>\n

Summary<\/h3>\n

So to sum this up, the Mole Hill histogram is characterized by a narrow histogram.\u00a0 It results from low contrast scenes.\u00a0 The best way to capture these scenes is to slightly overexpose them but not so much that you introduce highlight clipping.\u00a0 This gives you more information to work with.\u00a0 Finally, you expand the dynamic range in the post processing to produce a truly dramatic photograph.<\/p>\n

If you want to read more on the \u2018Expose to the Right\u2019 topic here\u2019s a post I did last year.<\/p>\n

Lightroom Tutorial \u2013 Expose to the Right<\/a><\/p>\n

Coming Up<\/h3>\n

In the next post I\u2019ll discuss a truly challenging histogram, the Grand Canyon histogram.\u00a0 This can be difficult to work with but if you know a few tricks you can come up with some stunning images.<\/p>\n

If your find this article interesting and helpful why not share it with your friends.\u00a0 It\u2019s easy.\u00a0 Just click the Share<\/strong> button below.\u00a0 If you\u2019re a Facebooker, click the Like<\/strong> button at the top.\u00a0 And we always like hearing from you so you\u2019re welcome to leave comments and share your experiences with us.\u00a0 Thanks.<\/p>\n

Join me on an upcoming workshop where we work on these and other techniques.\u00a0 Click here for more details.<\/a><\/p>\n

To see more of my photographs click here.<\/a><\/p>\n

(4774)<\/p>\n","protected":false},"excerpt":{"rendered":"

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