blown highlights


I’m an hour into Horizon: Zero Dawn — on my 4K HDR television, it’s such eyecandy that I feel like my retinas are gonna get cavities. The character art is really great and detailed… check out this close-up shot I took in photo mode.

(unfortunately, the picture has its highlights somewhat blown out, because the PlayStation 4 does not translate from HDR rendering to regular displays properly with its share feature.)


Updated my ReShade page with two new presets that are ported from my TW3 ReShades. They are both darker than the others overall so they’ll suit people who don’t like blown out highlights. I am also working on getting my original Instagram ReShade to be less glowy, detail be damned. I miss it.

The top two are from the “Somber” preset and the bottom two are from the “Dutch School” preset.

 @daimodder if you could please reblog, I’d appreciate.

anonymous asked:

Some time a go i got canon dslr and i have noticed that when i take pictures in which there are highlights and shadows mixed the shadows are very dark. I was wondering if it was canon thing or dslr thing(that is do say some oddity of dslrs). I have whole bunch of compact cameras and shadows always look normal in them.

Hello, Anon!

Hmmm… I can not really say whether this is a Canon or DSLR thing in general, simply because I only worked with DSLRs by Canon so far.
I personally haven’t noticed that the shadows of any of the Canon DSLRs I worked with (550D, 7D, 700D, 5DMkI) were particularly dark though.

The thing us: The human eyes do have a much wider dynamic range than any camera, so we do indeed see more than a camera. We do see detail in very bright parts and detail in very dark parts. Seemingly even at the same time. Very often this is the case because our eyes do adapt all of the time without us even noticing.

Most cameras, when using any kind of automatic mode (full auto, aperture priority, time priority, program automatic, or any kind of scenic mode…), try to expose for the highlights. Or at least give the highlight rendering a bit more weight. Simply because blown out highlights are lost, and there is almost always a way to get at least a bit of information out of crushed blacks. So they will expose your photo in a way that the highlights do not blow out (too much) and therefore the shadows will be darker.
Why do your compact cameras give you brighter shadows? I can only presume here: Compact cameras are made for “final pictures” without much fussing around. Which is a cool thing of course. So there is a lot of processing going on inside the camera to mimic what we saw. There are picture enhancing algorithms working in the background etc.
So what they do is to process your photo without giving you much influence. They just do what they are programmed for. And they are programmed for “final pictures”. They will pull up the darker parts to make you see detail there as well.
Depending on which DSLR you have, which kind of settings you have made, which kind of shooting modes you have, whether you shoot RAW or JPEG, this is also possible with a DSLR.
My EOS 700D (the Rebel T5i) for example has a lot of specialized modes, even a built-in HDR mode which also makes the shadows brighter.

What you could try is to lower the contrast settings for the picture style you use. That will definitely make the shadows brighter and the highlights a bit darker and so even out the photo.
And you can play around with the metering modes, the exposure compensation, and if you have a curves setting in your camera, you can pull up the shadows there.
But the most you will get by shooting RAW and then do the processing yourself. The results will definitely be better of what any kind of camera internal processing does.
And if you found YOUR way of processing, make a preset and apply that already on import. And then just tweak your shots a bit.

Did that answer your question? Someone else wanna chime in here?

Edit: Please also check the comments. Good stuff in there

 This is my entry for the Fishblrscape 2017 competition run by @sans-vertigo-design!

My re-organised endler tank! I tried so hard to get a decent photo, I seemed to have two options- reflections or blown-out highlights. Sigh.

The original inspiration for this tank was a salt water rockpool, done as freshwater! It features a bunch of stones I’ve collected from various holidays (mostly to Cornwall) as well as slatey hardscape and lots of plants. There’s also some 1800s potted shrimp pot shards in there that were recovered from the river Thames.

Category: Nature Aquarium
Tank size: 23L
Livestock: 8 Endlers, 5 Amano shrimp

Always wanted to do a redraw. Around 2005, I got hold of a photoshop essentials trial and had my first dive into the digital medium. Not only that, but I designed my own character (though not my first). Golly, it’s hard to look at. Especially with the oversaturated colors, blown out highlights, and design choices. Also, for any aspiring artists who follow me, observe. I didn’t start out where I am. It’s a long, arduous road. But it’s fulfilling with the peers you meet, the artists you work with, and the lessons you learn on the road of your own self discovery. Literally my coworkers and I just talked about each of our own journeys to where we are, how we approached the styles and expressions we did. Don’t be discouraged by the amazing artists around you. Be encouraged, ‘cause they’re on the journey with you my friends. I love you all :)


anonymous asked:

you might have answered this before, but do you underline and or write notes in books you love? I used to be very particular about my books, and I still am in the sense that I'd expect someone i lent it to to give it back in good condition but I find I don't mind them getting wear and tear when its me doing the wearing, and being able to flip through it and see where I underlined (in pencil) what I liked etc.

I underline and write in any book, really. Even my beautiful books, bought especially because they were so precious, are smeared with pencil marks. I’m not very particular about my books—I’m even a bit cruel to them; and I don’t mind my friends adding annotations or underlining in pencil when I lend my books to them, if they want to. I feel very uncomfortable when I can’t at least use a pencil in a book; that’s why I seldom borrow them.

Basically, I highlight (in green) any lines that I like/make me think/call to me in a book I read—example here.

When I study a book, I go full-blown crazy bookworm and highlight, circle, underline, annotate—example here.

I even… I admit it, use a pencil in library books—example here.

Here are the details of my highlighting process.

What Is The Zone System: A Practical Guide

If you want us to put it in the simplest words possible, the Zone System is a helps us get the right exposure in all our photos, every time, without fail, even in the strangest light settings, and without a trusty matrix meter. It is a magical system conceived of by none other than Ansel Adams himself, along with photographer Fred Archer in the late 1930s. As the father of landscape describes himself, the Zone System is “not an invention of mine; it is a codification of the principles of sensitometry, worked out by Fred Archer and myself at the Art Center School in Los Angeles, around 1939-40.” These masters of photography created the Zone System to help us expose in tricky lighting situations where the dynamic range is out of whack, or the lighting is fooling your light meter into creating exposures that are too bright or too dark.

The Zone System was originally developed for black and white sheet film, which was the only type used in those days. Sheet film was individually developed on standard exposure papers, but today we have color roll film that can be mass developed on papers with varying exposures. The Zone system is as much applicable to these “modern” methods as they were to the film it was created for, and can even help digital photographers get perfect exposures. And guess what? Digital photographers, the Zone System can work for you too!

Why do you Need the Zone System

Technically you probably don’t. However, for those of you who are exposure perfectionists, the Zone System is extremely effective in measuring different tones and the dynamic range of a frame that you are about to shoot. It helps you make the perfect exposure with just a spot meter to work with. This gives you immense control over what you’re shooting. You don’t just make guesses at what the right exposure might be, or waste film bracketing “just in case”. Thus, you can easily figure out when you require extra lighting, and what kind and amount of lighting that might be, or whether there is need for a fill flash to get the right brightness. It can also help you figure out if you need graduated neutral density filters.

The zone system is highly beneficial in capturing accurate images when the camera is unable to set the exposure to an accurate reading, so that you get to decide what your image will turn out like, and you know exactly how it will look before you make the exposure. 

How does the Zone System Work?

A camera’s metering system measures accurate exposure readings by focusing on the middle grey tones, which is 18% grey. This grey is the average of black and white. So, when you are shooting in a bright area, your camera will try to dim the light by bringing it down to the average and making the image underexposed in the process. Similarly, when you are shooting in a dark area, your camera will try to increase the brightness of the image, making it over-exposed. Understanding this mechanism is crucial to understanding how the zone system can be used.

Keep reading

Okay but consider this: Autistic Hartley Rathaway.

Who’s special interests are music, physics and soundwaves (and Harry Potter but you can’t tell Cisco)

Who stims by tapping out rhythms and chewing on pens and wearing clothes with long sleeves and preferably hoods because A) He can hide when it’s all Too Much and B) The feeling of tugging his sleeves over his hands is Really Nice as is flapping his hands with overly long sleeves. He repeats Cool Words and rocks and flaps and it’s Really Cool.

Who struggles to read peoples faces and tones and find the appropriate response. Leading to Bad Misunderstandings when he took something the Wrong Way.

Who was never diagnosed until he started working at Star Labs because his parents simply refused to have an autistic kid. I hate them so much wow

Who was so confused and hurt when his father started yelling when he came out because he couldn’t understand the way his face had changed and formed around his disgust as Hartley spoke.

Who is Utterly Overwhelmed by large groups of people and has to wear noise cancelling headphones when he goes out so he can Think. Who prefers to be alone because then there are no Rules and Faces and Words With Double Meanings, he doesn’t know the People Equation, and they don’t like him enough to teach him.

Who starts working at Star Labs and is immediately isolated for how ‘weird’ he is, how he signs when he’s stressed, how he taps at his desk, how he rocks when he ‘should’ be still. Who notices one day that something is Wrong in his office and spends the whole day fixing it only to look up and see people laughing as they leave, having moved everything a little to the left. Who’s computer starts acting up and hundreds of pop ups, loud, flashing pop ups that just Won’t Go Away or just Shut Up and he can’t cope. Who goes down to the pipeline for the warmth and pressure and Quiet when no one helps. When they just Laugh as he starts Hurting.

Who goes into work the next week to be locked in his office, his computer flashing and blaring and someone has found every newspaper clipping from when he was disowned and highlighted and blown up every nasty thing the papers said and taped them to his wall. Who has a meltdown and tries everything he can think of to Calm Down but nothing is Working and he just Screams until he retreats into his mind, face blank and hands shaking.

Who’s boss is furious, who’s boss fires Jones From Floor Five Who Thought It Was Oh So Very Funny and helps him get rid of the papers. Who lets him play chess with him because its Nice and the way the pieces sound as they move across the board is Really Cool. Who’s boss buys him stim toys and gets him diagnosed and doesn’t tell him off for being ‘wrong’ like his parents would have.

Who’s boss quickly becomes his Favourite Person, even when he brings in another scientist who is everything Hartley is not, even when Hartley has learnt what face means what (he has a notebook, he can’t remember everything) and realises that he no longer has time for Hartley. Who knows now that people only care as long as they think they can fix him. Who thought that Harrison was Different.

Who figures out the problem with the accelerator because he didn’t realise that he was being warned off it. Who doesn’t understand why Harrison has security guards with him until it is too late and he is being dragged away.

Who meets Len Snart and appreciates his poker face because at least now Hartley isn’t Supposed to know what he’s thinking. Who doesn’t realise how fond the rogues are of him until he was nearly killed and he had Shawna sobbing her relief into her ‘Best Friend’s (he’s never had one of those before) shoulder and Lisa taking off her golden sparrow brooch and pinning it to his tee shirt, ‘for luck’ while Len ruffled his hair and Mick told him never to worry them like that again.

Who starts being allowed to wear Len’s parka because he likes the pressure and how big it is on him. Who gets to walk around with the heat gun because the warmth is So Nice even if he had Problems with the design. Who is the only person Lisa will share her jewellery with because its so Shiny and Awesome.

Who Len lets join in on Shawna and Mark’s clause in the Contract for, they never get put in the pipeline. Ever. This being after the first and only time he was. He had a meltdown within minutes, everything was too Small and the textures were Horrible and everything was so Bright and he could hear Everything. Len had had to restrain Lisa from Harrison, who had protested from his spot tied up in his wheelchair as they broke out their shaking friend, stating that Hartley deserved to be there. Len had let Lisa break his nose. Hartley let Mick burn his old, dust covered copy of Harrison’s biography.

Who is Happy with the Rogues.

Just, Autistic Hartley Rathaway.


This is a Full-Blown Life Highlight

Here is an interview with Lin-Manuel Miranda, the actual genius behind In The Heights and my current and probably all-time favorite musical Hamilton. The interview is about the Grammy nomination for Hamilton. At around 1:12, they cut to a bookcase and, assuming that’s Lin-Manuel’s bookcase, Lin-Manuel Miranda owns a copy of my book, How to Fight Presidents.

…which means Lin-Manuel Miranda has at the very least seen my name and at the very most read words that I wrote and (if I’m being greedy) laughed at at least a few of them. And, in summation, holyshitholyshitholyshit. (Special thanks to TheWomanIntheTanJacket for pointing this out.)

As many of you know, a few months ago I sent a letter to the creator of Stitchers. Thanks to @camsten-love I was able to share how thankful I was for not only the fandom but also the work that they put into creating their show.

Today, I received a letter from Emma Ishta. Who plays Kirsten Clark on the show. Some of the letter is pretty personal, and so out of respect for Emma I’m not going to include that below. But everything else that I type after the break are her words. Verbatim. She goes on to thank EVERYONE involved in the fandom, and rightfully so. Don’t just think this letter was written to me, it may have my home address on it, but it’s to all of us.

Dear Allie,

A few days ago I received an email from Jeff with some letters from fans of Stitchers including yours. What a privilege it is to be a part of something that brings other people joy, that might help to bring people together as you described. We began working on Stitchers June of last year, over a year ago now, and I am just about to head out to LA this afternoon to begin filming the second season. When you begin a project like this, you have no idea where it will go, if people will like it, if the character you build will resonate with anyone. So thank you for your letter, to know that the work you poured your heart into has connected with even one person and made their life better in some way
makes every minute worth it.

(here’s the personal part that I’m not putting down-just know that she is the definition of inspiration. But this is one particular part meant a lot to me, personally.) Know that your whole self is not just your struggles but the sum of every small part of you.
No matter how bad you feel in that moment, be it minutes, hours, days, weeks, months, or years. It will not last forever.

Allie, thank you for reaching out to us. Thank you for your dedication as a fan. We would not have a second season without all of you. You literally gave us all a job for another year. We are so grateful to each and everyone one of you in the Stitchers community. And you’re right, sometimes family isn’t about blood. The great benefit to getting older is that we get to choose who we surround ourselves with, who we make our family.

Best of wishes for the future and much love to you,
Emma Ishta

Interview: Martin Meijer

- What and/or who inspires you?

I’m inspired by many photographers. Of course I have seen most of the big names. The one I want to name here specifically though, is Daido Moriyama. The man makes great pictures of course, but for me it was very liberating to see how he edited his photos. I was a bit old school with no blown highlights and hence, keeping the gray tones well balanced.


- How often do you go out to capture moments?

I try to go out once a week to go to the city and shoot. I’m not compulsive, at least not anymore, I can wait a few weeks and then go out to shoot.


- What do you look for when you go out on the streets?

It all depends on my mood, the way I’m feeling and how I see the world.


- Do you interact with your subjects?

I very rarely interact with my subjects. Most of my snapshots are taken in stealth mode. I shoot from the hip. If I compose a shot then I will look through the viewfinder to check my composition. But for the raw street photography I just point and shoot.

OK sometimes people would notice it, then I put my thumb up and smile, and in 99% of the cases this works really good. If you interact with people before you take the shot you’re ruining it. People will always act different when they know I’ll take their picture. Sometimes I like the character very much, so first I try to photograph her/him without their knowledge, then I would ask for a portrait, one with a smile and one without. I always keep interaction for a street portrait so I can pick the right moments.


- Do you consider that street portraiture could be a way to make you feel more at ease while in the streets?

Keep reading

you’re already in hell / i wish we could go to hell: Saturn and rings, photographed by Cassini, August 2009.

8 frames, each a composite of a red, a green, and a blue image. The shadow of a large moon, almost certainly Titan, is projected onto Saturn.

The vertical artifacts at right are the result of colour channel over- or underlap. The red fringe intermittently seen left of Saturn is caused by blown-out highlights in the red channel.

Image credit: NASA/JPL/SSI. Animation: AgeOfDestruction. Title: Cat Power.