How do you usually correct blown out skies?

[wedding photographer]

How do you usually correct blown out skies? I know there are so many tutorials on youtube but I want to know which method you prefer the most. Which is the fatest, etc.
I mainly shoot weddings so HDR doesn't really work for me. People just move all the time...

[daq7]

Well, you can implement what is essentially a graduated neutral density filter by taking the shot in raw. In fact you can HDR *any* shot if you shoot in raw, but tone mapping often is not flattering to flesh so it isn't clear you want to do that anyway, but if you have the raw file, you can make an exposure a stop or two below the one for the people and then use a gradient to tame the sky. Or you can hand paint the mask if you want more finesse than a pure gradient.

For most shots I do, I will do an aggressive tone mapping and then blend that back in with one or more of the original exposures...

[wedding photographer]

Well, you can implement what is essentially a graduated neutral density filter by taking the shot in raw. In fact you can HDR *any* shot if you shoot in raw, but tone mapping often is not flattering to flesh so it isn't clear you want to do that anyway, but if you have the raw file, you can make an exposure a stop or two below the one for the people and then use a gradient to tame the sky. Or you can hand paint the mask if you want more finesse than a pure gradient.

For most shots I do, I will do an aggressive tone mapping and then blend that back in with one or more of the original exposures...

Thanks! You are awesome!

[GB1]

I'm not sure about your equipment WP, but an unfortunate answer would be to get a very new DSLR that is rated for better dynamic range than the ones released just a few years ago. I'm seeing a fairly significant reduction in blow out on my new Nikon D700 compared to the D200 I had before. An expensive option of course, just thought I'd throw that out there.

[mjs1973]

My first thought is to make your exposure so the sky isn't blown out in the first place. If you don't capture any detail to begin with, there isn't much you can do to get it back.

Processing your RAW files multiple times like daq suggests will very often work, but only if you have a little detail in they sky to begin with.

For portrait work I think you would be better off trying to balance the ambient light with fill flash. Set your camera to expose for the ambient light and keep the detail in the sky, and use your flash to properly expose your subjects.

If possible, you can always try to frame your images so the sky isn't included.

Another more time consuming option it to mask out the sky, and add a sky from a different image.

[wedding photographer]

My first thought is to make your exposure so the sky isn't blown out in the first place. If you don't capture any detail to begin with, there isn't much you can do to get it back.

Processing your RAW files multiple times like daq suggests will very often work, but only if you have a little detail in they sky to begin with.

For portrait work I think you would be better off trying to balance the ambient light with fill flash. Set your camera to expose for the ambient light and keep the detail in the sky, and use your flash to properly expose your subjects.

If possible, you can always try to frame your images so the sky isn't included.

Another more time consuming option it to mask out the sky, and add a sky from a different image.

Thanks a lot!

[wedding photographer]

I'm not sure about your equipment WP, but an unfortunate answer would be to get a very new DSLR that is rated for better dynamic range than the ones released just a few years ago. I'm seeing a fairly significant reduction in blow out on my new Nikon D700 compared to the D200 I had before. An expensive option of course, just thought I'd throw that out there.

Yes, I know. I have two D700. Big difference! Better than Canon for sure!

[ianjenn]

Yes, I know. I have two D700. Big difference! Better than Canon for sure!

Multiply layer and just gradient out the area U dont want darkened.! My Canon's works fine BTW.

[GB1]

Multiply layer and just gradient out the area U dont want darkened.! My Canon's works fine BTW.

Everybody knows Nikon beats Canon!

[drg]

My first thought is to make your exposure so the sky isn't blown out in the first place. If you don't capture any detail to begin with, there isn't much you can do to get it back.

Processing your RAW files multiple times like daq suggests will very often work, but only if you have a little detail in they sky to begin with.

For portrait work I think you would be better off trying to balance the ambient light with fill flash. Set your camera to expose for the ambient light and keep the detail in the sky, and use your flash to properly expose your subjects.

If possible, you can always try to frame your images so the sky isn't included.

Another more time consuming option it to mask out the sky, and add a sky from a different image.

This is generally the best advice I think which is to avoid the problem to start! With Nikon and the D700's (I also have been using the D3 alongside the D700's for a year plus at weddings) the flash controls are more than sophisticated enough using various fill flash combos to rarely have a blown out background.

Consider using the auto FP mode as it doesn't eat the batteries like full on flash and has the advantage that if you are shooting up close controlling DOF is much easier!! As an example you can shoot with the aperture wide open and up close to an individual or group and still get a great exposure. Regardless of the background.

Another good technique in crowds or outdoors is to use a longer lens and let the SB-900 (or the new SB-700) zoom to the appropriate zoom length and let the light spread out to 'wash over' the subject. This in one variation or another is what Joe McNally calls the 'killer flick' of light. I call it in some cases, the full power flash fill. You have to learn where the flash loses oomph to get the best effect.

Meter the entire scene and avoid spot or usually Center Weighted when shooting at a bright sky. The FX Nikons have more than enough dynamic range to usually soak up the difference from light to dark. You might want to play with the ISO rating to be able to turn up or down your flash capability. A higher ISO also gives you a lot more flexibility in exposure combos for different effects plus allowing the exposure to be more effectively shifted to prevent overexposure of the highlights and still have control over motion and depth of field/focus/etc.

Off camera, diffusers, gels, bouncing the strobe, and multiple lights or an added out of scene reflector can make event photographer 'happen'. Most of it you don't even need an assistant.

One word of caution/warning/experience: The natural camera bias in the D700 will result in some very funky White Balance that usually shows up as a greenish tinge in shifting light. Custom White Balance will fix it quickly, so just reset your Custom WB ever 10-15 minutes when shooting outside. Clouds, setting sun, outside lighting, reflections can all alter what is going to happen and strangely enough effect the end result when using flash!!

[Marc2B4]

By taking the proper exposure to start with usually helps....

[Anbesol]

sometimes a sky just blows completely out, and the only way to save it is crush the heck out of the rest of the exposure, which is just worthless. So, personally, I either A) frame pics without sky, or B) use a light blue gradient on a new layer to impose a pseudo sky.

Marc - 'proper exposure' bologna, there is properly exposing different parts of a scene, it is quite common that the exposure value of a sky is extremely higher than the ground or subject or whatever. Blown out skies are often times just a fact of life, avoid by not shooting in harsh sun, otherwise - its there.

[Frog]

I just crop them out

[Medley]

WP, since you posted this in the software and pp subforum, let me offer my advice on those situations that that require this (assuming you have PS CS2 or later).

File> Place.

That is, rather than opening the image, create a new document with the same dimensions. Then go to File> Place, and select your file. This 'places' the file on the layer as a smart object. Then create a new (blank) layer and repeat the process a second time. The main advantage of using a Smart Object in this case is that, at any point, you can double-click the icon in the layers palette to bring up the ACR dialog box again- and you can use separate ACR settings for each layer. It allows you to fine-tune the ACR settings while previewing the image.

You can even crank the exposure and shadow settings on the top layer to create a black/white image, copy one of the RGB channels to create an Alpha channel to use as a layer mask, then change the ACR settings on the top layer again to reflect the correct exposure for the image. Any fringing can be handled by right click the layer mask icon, applying the layer mask, then adding either an Inner Glow or Outter Glow Layer Style (depending on which layer you're masking). Sky is usually pretty easy to reduce fringing on using this method.

- Joe U.

[Marc2B4]

I know what you're talking about, I've had to correct images that were blown out at weddings I've shot. Shooting RAW isn't practical for a wedding photographer. Too many images to individually correct. When you've got a "select" that the sky, or any other part of the overall image isn't correctly exposed, the simple and quick way to work the image is to simply select the offending part, use your levels control to balance it, save as a copy. That way you've got the original file, and the altered file for the customer to chose from. Quick, simple, it works for me. If a customer wants proofs, I make a ton of money. If I'm helping the couple and they want to save, I prepare the "proofs" on my laptop, and let the couple choose their final prints for their album off of my laptop. That way I can incorporate the corrected shots directly into the Keynote presentation I give the couple. They never see my mistakes, the blown out images. Works for me, as a matter of fact, I've got a wedding this afternoon that I'll leave for in about an hour. Digital isn't the save all it's made out to be, you still have to have the correct expose to start with.

[JETA]

For the most part when doing portrait work I avoid them if I can. It isn't always possibly. What works for me is a graduated filter in niksoftware. It's so easy to use and remove from areas of the pic I don't want the effect. I find PS selections more difficult, but I am a PS idiot.

[drg]

I know what you're talking about, I've had to correct images that were blown out at weddings I've shot. Shooting RAW isn't practical for a wedding photographer. Too many images to individually correct. When you've got a "select" that the sky, or any other part of the overall image isn't correctly exposed, the simple and quick way to work the image is to simply select the offending part, use your levels control to balance it, save as a copy. That way you've got the original file, and the altered file for the customer to chose from. Quick, simple, it works for me. If a customer wants proofs, I make a ton of money. If I'm helping the couple and they want to save, I prepare the "proofs" on my laptop, and let the couple choose their final prints for their album off of my laptop. That way I can incorporate the corrected shots directly into the Keynote presentation I give the couple. They never see my mistakes, the blown out images. Works for me, as a matter of fact, I've got a wedding this afternoon that I'll leave for in about an hour. Digital isn't the save all it's made out to be, you still have to have the correct expose to start with.

RAW is the only way to shoot for a Wedding Photographer!

The photographer can still shoot a JPEG with the RAW file, but when dealing with the wide range of black and white possibilities or those dreaded pastels, the color will probably never be right if you don't shoot RAW!

A workflow management system on the notebook/laptop regardless of brand/type/version lets the photographer quickly sort the images and build a slide show or other presentation, tag, select, and sort the preliminary cut for the client!

Then when printing or otherwise preparing the delivery, the range of images and the ability to correct for a wider variety of products is available from the RAW images.

Not shooting RAW is like proofing with smalll 3x5 prints and then making enlargements from the small prints. Too much can get lost with a JPEG print.

[GB1]

RAW is the only way to shoot for a Wedding Photographer!

The photographer can still shoot a JPEG with the RAW file, but when dealing with the wide range of black and white possibilities or those dreaded pastels, the color will probably never be right if you don't shoot RAW!

A workflow management system on the notebook/laptop regardless of brand/type/version lets the photographer quickly sort the images and build a slide show or other presentation, tag, select, and sort the preliminary cut for the client!

Then when printing or otherwise preparing the delivery, the range of images and the ability to correct for a wider variety of products is available from the RAW images.

Not shooting RAW is like proofing with smalll 3x5 prints and then making enlargements from the small prints. Too much can get lost with a JPEG print.

Drg, I've dorked around with them, I haven't learned the trick, or seen the advantage, of editing RAW files. Can you point me to an online reference?

Wedding Photographer, I shoot Nikon and it has a setting where it can capture/create both RAW and JPEG at the same time. It eats up a lot of mem but since I got a 32 GB card that's not an issue. You might try it and then only worry about editing the RAW when there's an issue with a particular JPEG image.

[OldClicker]

I certainly don't shoot the volume of a wedding photographer, but I really don't see much of a downside to shooting RAW. It takes up more memory, but that's relatively cheap compared to that one shot per wedding that would, "really be great if I'd just nailed the exposure." You can set your software to save the RAW file, render a jpg using a preset that gives you the same thing as an in camera jpg and save/catalog the jpg. That can all be done in the background or when you go do something else. - Terry