I decided to try the inevitable, combining my two current loves: my new 100mm f/2.8L macro, and, of course HDR photography. Macro HDR is harder simply because your field of view is so much narrower than a wide angle (…duh) that you end up having much fewer subjects with high contrast, as macro shots tend to be evenly lit and do not include the sky. Because of this, I decided to shoot at midday, in an area where the sun directly hit the flower but the background was in complete shade.
An HDR of a flower on my porch, done with the 100mm Macro.
That came out ok. Not the “oh wow!” that HDRs usually give me, but I do like how much punch it gives the flower. I will try more of this “straight” macro HDR stuff later. I say “straight” because of what I did tonight. I was bored, and house-locked due to the awful humidity/storms/grayness/grossness that was located outside. I wanted to make it over to the Jimmy Carter Center to shoot their rose garden and get some overall HDRs of the place, but I’m saving that for a day with good clouds… hopefully soon. Today was not that day. So, I decided to make a still life that would have the ultra high contrast I’d need for HDR, while being minute enough and having enough detail to be done with the macro. I decided that since I was bored, I would combine this with another technique I’d been considering: taking a series of macro shots from a tripod of the same scene, focusing on a different part of the image in each shot, and then editing together all of the shots in Photoshop in a way that would create an impossible depth of field. So, I shot four 3-shot brackets of the same scene, focusing on a different aspect of the scene in each bracketed set. This was the result, after (very quickly because I am tired and want to eat some ice cream) compositing them together in Photoshop:
A macro-HDR composite; 4 different HDRs with different focal planes all fused into one image.
For this, I shot an HDR focusing on the 9 in the LCD, one focusing on the upper right screw on the clock, one focusing on the America on the gold dollar, and one focusing on the teeny brass elephant. The 3 HDRs were processed with similar settings in Photomatix (not identical, I did change some things as the images varied a bit in exposures and obviously what I wanted to be in focus) and then pasted over each other one at a time and erased away with a really soft eraser.
Right off the bat, I can list some mistakes I made, almost entirely due to the fact that I had simply never done this before/wasn’t thinking ahead:
- Shooting at f/3.5. I initially thought, oh, I am editing these together so it won’t matter. WRONG! The extreme bokeh, while nice in a single shot, impedes details when edited together. See for example, the way the coin’s “halo” intrudes in on the elephant, the way the out of focus light from the cup intrudes on both the coin and the elephant… Shooting at f/8 or even f/11 would dramatically reduce this effect and make the editing process easier.
- Simply not shooting enough different planes of focus. I would love to be able to get more of the overall image “in focus,” in other words I wish I had shot one with the orange spot on the cup in focus, one with the lamp in focus, and one with the back of the wall in focus. The room has a great wood panelling pattern that would work well to fill all that white space. The downside of this is of course more time composing, and much more time editing them together.
- Not looking at the clock. The time changed from 9:01 to 9:02 during the bracketing… enough said! My next attempt at this will probably be something similar but exclude the darn clock. It takes so much time between focusing on new areas and waiting for your bracketing to finish (the longer exposures at macro focal length at f/11 are going to be 10-20 seconds; I was already hitting the 1 second mark at f/3.5) that the time is bound to change.
Something else that I found interesting came up immediately, and that is the issue of the Hybrid IS that I have been praising so highly. Don’t get me wrong, it is pure awesomeness when you are handholding shots. Absolutely incredible, allowing tack sharp, 1/30sec macro shots that you just couldn’t do otherwise. But, when I had the 5D on the tripod and Live View enabled so I could accurately compose and focus my shots, I noticed something: I was being perfectly still, and yet the image was “swimming” on the viewfinder. I could hear the IS continually going, something I had noticed and liked when handholding movies, as it helps reduce the shaking of your hands. On a tripod, it seems to be too enthusiastic and correct for motion that just isn’t there. It will be good for me to keep this in mind in the future; it probably wouldnt show up at all with ultra-fast shots but when your exposure times are around the .5-1sec range, it results in very blurry images, something this lens should NEVER do. Turning it off solved my problems.
So, this was an interesting experience. I think I will try more of each side of this separately, doing macro HDRs of flowers and other things I find, and attempting to do varying planes of focus with just straight shots. If I’m feeling ambitious again I will attempt to combine them, and this time I will make sure to shoot more than I think I need, and I will do the photoshop work on my PC with the Wacom tablet instead of on my laptop, half asleep on the couch with my trackpad, bemoaning only having 4gb of ram. Anyway, just wanted to show you what I’d been experimenting with. I feel like, when implemented correctly, it will result in some awesome, totally weird images.