Histograms: When weird is OK

HazardHistogramIn the last couple of lessons I showed you what a histogram is, and talked about what a good histogram looks like for a typical image. I also showed you a few bad-looking histograms for overexposed and underexposed images.

Sometimes, a strange-looking histogram is actually OK. This happens if the image that you’re capturing has an unusual distribution of levels, such as a lot of very light or very dark areas. It can also occur if you have a very narrow range of colors, or several other things that are out of the ordinary.

Look at the histogram above. It doesn’t look at all like a bell curve, but rather has several fairly well-defined peaks. There might be a little bit of clipping on the left and right, but there might also just be some solid black and solid light-color areas. It’s hard to know for sure from the histogram whether the image is well-exposed or not, but because there’s a good distribution across the range I would guess that it’s probably not too far off.

VegasHistogramAt first glance, this looks like a massively-underexposed image. There’s a huge amount of clipping on the blacks, and what looks like a little bit of clipping of whites as well. On the other hand, it could be an image with fast swaths of black and very dark colors, and a few bright spots.

As luck would have it, both of these images are within shouting distance of being well-exposed.

Hazard Vegas

When we look at the actual images, it’s pretty easy to see why the histograms were weird. The image with spikes has a very distinct color breakdown. I probably could have done a slightly better job with the exposure, but it’s not far off. The image on the right does indeed have vast swaths of black in the form of the night sky and the ground. A few of the highlights are blown out, as we can see at the far right of the histogram, but that’s really hard to avoid when taking pictures of lights against a black background.

What did we learn from this? Well, if I’m any good at all, we’ve learned that you need to consider your subject matter when you’re looking at a histogram and use that to judge what the histogram should look like. I know that sounds impossible, but most of the time it’s actually rather easy to do once you get the hang of it. In fact, here’s one to think about. If you were taking a picture of the full moon at night, what should the histogram look like?

DarkImage

Oh yes. The other day I showed you a histogram with almost all of the pixels left of center and asked what you thought about the exposure. Both Sarah and TJ had excellent things to say about the image, but TJ completely nailed it– “the object… is mostly black.” In fact, it was my black camera bag shot against a dark carpet. There’s a blip at the far right for the embroidery on the logo, but other than that the image is just naturally dark. It was perfectly reasonable to guess that the image was underexposed, but it was sort of a trick question. I’m just mean like that.

Do you feel like you have a good basic understanding of how the histogram works?

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What is a good histogram?

In my last entry, I introduced the histogram and described its basic function. I even showed a couple of examples. If you read the entry you should have a good understanding of what a histogram is, but there’s probably a great big question in your mind right now: “What is a good histogram?”

The short answer is that there’s no such thing.

You don’t like that answer much, do you? Nope, me either, so even though I could save myself a bunch of typing I won’t leave it at that. I don’t want people running around saying that I’m a meanie.

GoodFlowerHistogramThe longer answer is that what a good histogram is depends on the subject of your photo. For “typical” images, those with an average range of light and dark areas, a good histogram will basically look like a bell curve that’s centered around the center of the graph. And look! Here’s one now. Isn’t that convenient?

Looking at that histogram, you might conclude that there’s nothing in the image that’s 100% bright white, and a very tiny amount that’s pure black. The photo has a good range of tones from light to dark, and there are more moderately-light pixels than moderately dark ones. Let’s look at the image and see if we’re right.

GoodFlowerHey, we guessed pretty well. The flower has a range of tones from black to nearly-white, and there are pretty big light-colored areas.

Note that the exposure looks pretty good to our eye and on the histogram. There are no areas where it looks like we’ve cut off dark colors and made them black, or lost information because the pixels have become pure white. If we had, you’d see spikes at the left or right side of the histogram.

In general, that’s the mark of a good histogram for a typical, average photo. You generally want the majority of the pixels to be somewhere in the center of the graph, without a lot of stuff piled up on one side or the other. If you’re shooting something that has a significant amount of pure black or pure white in it, you’ll sometimes get a spike on the left or right side. That’s OK, but you’ll probably be OK if most of the pixels are somewhere near the center.

When I shot this flower, I took a bunch of pictures with the lighting changed slightly, and most of them didn’t turn out as good as this one. Let’s look at a couple of bad ones now.

DarkFlower LightFlower

If you’re like me, you’re probably thinking about the three bears right now– “This one is too dark. This one is too light. And this one is juuuussstttt right.” If you look at the bottom right corner of the images, you can see the histograms for them. (Or click for larger versions of the dark and light ones respectively.) The histogram for the dark flower has the whole graph left of center, and there’s a big pile of pixels right up against the left edge.  That means that all of the colors in the image are dark, and the part against the edge shows that there’s a bunch of solid-black pixels.  That’s not good– it means we cut off a bunch of information.

The too-light flower has almost all of its pixels on the right side of the graph, which usually indicates that the image has been overexposed. However, if you look closely you can see that there’s nothing against the right edge of the graph. That’s a good thing– it means that you can probably use an image editing program like Photoshop to fix the image and get something pretty good. The dark image might be recoverable as well, but it will never be as good because some of the information got lost when the picture was taken.

If you’re taking a picture of something that’s mostly black or very bright, or something with a narrow range of brightnesses, a correct histogram may look strange. In my next lesson I’ll show you some examples of those, and answer the question about the all-on-the-left histogram at the bottom of my last entry.

And here’s something for you to practice: get into the habit of looking at your histograms. Take a few pictures, and review them on the camera. Check your manual to see how to view the histogram, but on my Canons I get it by pressing the “Info” button while viewing an image. The best way to get familiar with it– pretty soon you’ll have a good eye for what’s right and wrong.

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Histogram: What is it?

I confess… I’ve been neglecting Stop Shooting Auto! for a while.  I’ve been traveling constantly for the last couple of months, and that plus a full-time job has kept me quite busy.  In fact, I’m writing this while sitting at SFO while I wait for my delayed flight to take off.

AverageImageHistogram I promised I’d address the histogram next, so let’s do it.

Maybe you’ve seen something that looks like this, either in Photoshop or other image editing software, or on your camera when you reviewed an image.  Maybe you even took a guess at what it is and how it works, and if you did you probably guessed right.  That’s the histogram.

Histogram is a scary, technical-sounding word, but it’s actually a really simple concept.  The histogram is just a graph of how many dark and light pixels there are in your image.  At the far left you’ll see how many dark pixels there are, then moving to the right you’d see count of lighter and lighter pixels until the far right was pure white pixels.

AverageImageIn the histogram above, you can see that there are a very few solid black pixels, lots that are a little bit darker than average, a bunch that are a little lighter than average, and a chunk that are pure white. Let’s look at the image and see what it looks like.

There are a few pure black or very close to black pixels, mostly around the trash can and along the left wall– that’s the tiny hump on the far left.

The pure white pixels are mostly on the sign, in particular the words “San Francisco Marketplace” are pure white, and a tiny bit overexposed.  That’s the vertical bar right along the far right edge.

The dark of the sign, the dark carpet, and the dark part of the wall are the peak on the left. The peak on the right is the lighter part of the walls.

Most histograms that you will see don’t take color into account, only brightness.  That means that a very bright blue will look just like a very bright white.  Some cameras have the ability to do histograms with the colors separate, and of course most postprocessing software can do so as well.

DarkImageHistogramThis one is kind of fun. Without seeing the image, what can you tell me about it?  Obviously you can’t tell me what it’s a picture of, but can you make any guesses about what the image looks like?  Is it light or dark?  Does it have lots of different shades or only a few?  Are there any pure black or pure white areas in the image?

Do you think this image is well-exposed, underexposed, or overexposed?

OK, they’re calling my flight now.  Ciao!

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April Homework Extension

Very few people did the April homework assignment, so I’m extending it until the end of May.  Grab your cameras and go capture something in motion!  There’s a prize, of course– a signed Flower Porn print, and two if enough people participate.

If you’re new to Stop Shooting Auto! or you haven’t done so before, you’ll want to start by going through the exposure lessons in order.  That will give you a gentle, beginner-friendly introduction to the principles of exposure and the way your camera’s controls work.  Don’t be afraid to ask questions and leave comments… I love getting them, and I’m happy to answer as many questions as I can.

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Action Shots– A Quickie

IMG_8742I promised to write about histograms, but I’ve been pretty busy. However, here’s something quick I wanted to share. I went whale watching today with a couple of friends, and so of course I took the camera along. The thought process that I used here is pretty much my standard way of thinking about what I want to shoot.

Packing the camera bag was easy– the Canon 70-200 f/4L IS was the perfect lens choice, since it was long enough to bring the whales in close, and as a bonus image stabilization would help a little bit with the motion of the boat. Well, maybe, but it couldn’t hurt.

What about settings? I didn’t really care about depth-of-field other than wanting to have enough to get my subject in focus, so I set the camera to aperture priority mode and f/8. I realized that I was going to be shooting moving animals from a moving boat on choppy waters, and so shutter speed would be critical. I set the ISO to 100 and pointed the camera at the water, looked through the viewfinder, and pressed the button halfway to see what the camera would want to do. It picked 1/320 for a shutter speed. Under normal circumstances that would be fast enough, since it was faster than one over the focal length of the lens (1/200 in this case), but with all of that motion I wanted something faster. I took a wild guess and thought that 1/800 was a good minimum.

If I got 1/320 at ISO 100, then at ISO 200 I should be able to shoot 1/640. That still wouldn’t be enough, but at ISO 400 I should be able to shoot 1/1250. (Note: shutter speeds don’t always change in precise multiples of two. It’s confusing until you get used to it.) Since 1/1250 was well above my arbitrarily-chosen 1/800 threshold, ISO 400 should be perfect.

The sky was gray when we left the harbor, but I expected some of the fog to burn off over the course of the trip. I knew that I would have to doublecheck the settings if it started getting sunny– the fastest shutter speed my camera could do was 1/4000, which meant that I only had around two stops of room before my camera would be forced to overexpose the image. Sure enough, the sun came out a few hours later, but I was still able to shoot at around 1/2000. Otherwise, I would have either dropped down to ISO 200 or changed the aperture to f/11.

The thought process for this is one that you should use whenever you pick up a camera. What do I want this image to look like? What range of apertures and shutter speeds will get me the results I want? What camera settings should I use to get the right apertures and shutter speeds? As a novice you won’t always know all of the answers to those questions, but you can start guessing. “Do I want the background blurry or sharp? Do I want to capture or freeze motion?” Just answering those two questions before you pick up the camera will give you a huge leg up in getting the image you want.

Oh, yeah, a quick note about the gull. When I first looked at this picture on the camera’s LCD, I was rather shocked– the image looked blurry! It was taken at a shutter speed of 1/2500, so that hardly seemed possible. Either I’d seriously misjudged what shutter speeds would work, and I didn’t think I had, or something else was amiss. I zoomed in on the image and realized that the fuzziness I thought I was seeing was really the transition in feather colors at the rear edge of the wing. The image was actually so sharp that I could pick out individual feathers quite clearly.

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Someone did their homework!

Someone at SFGate.com seems to have done their homework and captured something in motion.   Why haven’t you?

I’ll extend the deadline for a little while, but the challenge is simple– capture something in motion.  Go here for full details of the homework assignment.

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The Histogram

Hist0873Digital SLRs have a really cool feature that’s often overlooked by novice photographers, but is heavily-used by professionals. It’s the histogram, and it can tell you a lot about how well your image is exposed. I’ll be writing more about it soon.

This histogram came from Photoshop, but your camera should provide you with a similar though probably simpler display on the LCD.

Do you ever use the histogram? Do you know how it works? Have you even noticed that it’s there?

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What Is Bulb Mode?

I’ve touched on this briefly a couple of times, but it bears a little bit more discussion.

Bulb mode is kind of a special manual mode on your camera. On some cameras there’s a B mode on the exposure mode dial, but on others bulb is just a shutter speed– set the camera to M mode, change the shutter speed to 30 seconds (not 1/30, but half-a-minute 30 seconds) then go one step further. Once you’re there, set the aperture that you want to use.

Now what? Press the shutter button, and the shutter opens. Let go and it closes. You can keep the shutter open for as long as you want to, until your finger gets tired or your camera runs out of battery.

In order to make effective use of bulb mode, you really need another piece of hardware– a remote shutter release of some sort. I’m pretty sure that there are wired shutter releases available for all dSLRs and probably all film models too. In the simplest version, you plug the cable into the side of the camera, and when you press the button on the cable it activates the shutter. (This works in all camera modes, not just bulb.) In bulb mode, holding the button down holds the shutter open. Slightly fancier models have a shutter lock so that you can activate the shutter and then walk away for a while.

Many cameras also have wireless shutter releases available. These basically function the same way, except that they sometimes have two-press operation– press the button once to open the shutter. Press it a second time to close it. If you have a Canon Digital Rebel (original, XT, or XTi) the Canon RC-1 is a valuable addition to your kit. It lives on your camera strap and is completely unobtrusive when you don’t need it. If you want to release the shutter remotely, you just pop the RC-1 off of the strap and it’s ready to go. When you’re done, pop it back onto the strap and it’s out of your way. It’s not just for long exposures– it’s valuable whenever you want to be away from the camera, such as when you want to be in the photo. When I used a Rebel XT all the time, I was always reaching for the RC-1.

Some cameras may require you use the self-timer setting in order to use a remote shutter release.  Consult your manual for the details of your specific model.

Why would you want to use bulb mode? Mostly it’s for very-long exposures of over 30 seconds, but it has other uses too. I use bulb mode a lot when I’m shooting fireworks– I try to open the shutter just as a rocket is going up, and close it as the explosion fades. You can set the camera on a tripod at night and shoot the path of stars moving across the sky, or capture blurs of cars driving through the city.  Though I have no first-hand experience, bulb mode is also used for taking pictures of lightning strikes.  I’m sure there are plenty of creative uses that I can’t even imagine.

IMG_7804Another cool technique that uses bulb mode is light painting. Light painting involves taking the camera into a darkened room, opening the shutter, and then using light sources (LEDs, flashlights, whatever) to paint light onto an object or just onto the sensor itself. While it didn’t use bulb mode, the image at left was taken by opening the shutter in a dark room then moving an LED glow ball in front of the camera.  As you might have guessed by now, I like playing around in front of a camera with bright objects in a dark room– you just never know what kind of cool image you might wind up with.

Bulb mode is a specialist tool, but it’s a really useful one to know about.  You probably won’t need it very often, but sometimes it’s the only real choice for getting the shot you want.

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April Homework: On The Move (again, with a prize)

I’ve extended the April homework assignment through the end of May.  Have fun!

The March homework assignment worked out so well that I’m doing it again.

We all know that photos are static representations of the world– a moment frozen in time by the camera’s shutter. However, photos can also be dynamic, and show both split-second and slow changes.

JohnInMotionThis month’s homework assignment is both very simple and much harder than last month’s– capture something in motion. It can be a golf stroke, cars whizzing by, the blur of a bird’s wings, anything you choose, but I want to see some nice motion blur.

Like last month, the idea here is to plan the image before you capture it, not just shoot a bunch and hope you get lucky. You can use aperture priority, shutter priority, manual, or bulb modes at your discretion. Bulb mode isn’t something we’ve talked much about, but it’s really very simple– rather than using a fixed shutter speed, the shutter stays open for as long as you hold the button down. Bulb mode is typically used with a remote shutter release of some sort, so that you don’t shake the camera by pressing the shutter button. It’s most commonly used when you want exposures longer than 30 seconds. You probably won’t need it for this, but you can use it if you want to.

One thing to be aware of is that longer exposures are much easier than shorter ones, since it can be easier to get the timing right.

Upload your photo to a photo sharing site (I recommend Flickr but any one will do). Leave a comment on this message with the settings that you used, a link to your photo, and anything else you want to say about the image.

Colors In MotionAt the end of April 2008, I’ll pick one commenter at random and send them an 8×12 signed print from my flower porn collection. If at least 20 people submit entries, I’ll give away a second print to the submitter of the best image. You can enter more than once, but don’t get carried away.

Have a field day! This one should be fun.

Small print: void where prohibited by law. Anyone who clearly violates the spirit of the rules will be disqualified. Don’t put that in your mouth… you don’t know where it’s been. Please make sure your images are worksafe. You can post more than one photo, but you’ll only get one chance at the drawing. It must be a photo that you took specifically for this assignment, not something pulled out of the archives. Play nice. Judging is at my discretion, and is final. SSA might want to show your image in a future entry, but we don’t want any other rights to it– if we want to use it for anything else, we’ll play nice and ask for your permission first.

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We have a winner!

Tyler's FlowerCongratulations to Tyler, who won the drawing for the March homework assignment. For being favored by my computer’s random number generator, he wins a signed print from my Flower Porn series.

I was impressed with the submissions– you guys really understood what it took to blur your backgrounds. There were adorable dogs, jewelry, walls, lots of flowers, and plenty of other interesting subjects. The bell was a fascinating and slightly nontraditional composition. Of all of the submissions, I think the bouillon was my personal favorite for moodiness and interesting lighting.

Everybody seemed to understand that the right way to do this was to use a very wide aperture, and almost everyone shot in aperture priority mode. Several people mentioned changing the ISO to get a better shutter speed. A couple of you even mentioned moving closer to your subject in order to get a more desirable depth of field– that’s an excellent technique!

If you learned just one thing from this assignment, I hope it was this: visualize the image before you shoot, and then figure out how to use your camera to capture the picture that’s in your mind. Digital cameras make it very easy to just shoot lots and lots of images until you get lucky, but just a little bit of skill and forethought will do much better.

IMG_9209A print of this image will be in the mail to Tyler soon. And get ready, because the April homework is on its way. It might be a little bit more challenging, but it will also allow a lot more creativity. I’m really looking forward to seeing what you guys do with this one, since the March entries were all great.

Thank you all for contributing!

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