Among the remarkable qualities of the Nikon Z cameras is their exceptional exposure latitude.
I don’t set out to make bad photos, but every so often I simply have the camera set incorrectly.
The other day, on our Sunday drive, Kris and I spotted Norfolk Southern’s local freight on the New Holland Branch at Leola, Pa. I pulled over and made a photo using my Nikon Z6 with 70-200mm lens set to 175mm. The problem was that I had the ISO set at 1000 and the f-stop set to f2.8.
The camera gave me the fastest shutter speed, 1/8000th, which still left my photo more than a stop over-exposed. Working with Adobe Lightroom, I was able to recover most of the data from the NEF RAW file and present a decent representation of the image, including considerable sky detail.
I also made a series of properly exposed photos, but I’m aiming to demonstrate that even in situations of extreme overexposure, it is possible to adjust the file to present a decent image if your equipment has captured the data in RAW.
NEF RAW file, converted to JPG without adjustement. This is at least one full stop overexposed.This is the same file as above, but featured my first round of adjustments to correct for the over exposure. In my opinion, the photo still needed some work.NEF RAW file after my second round of corrections.This is my Lightroom work-window that shows the postion of the slider controls and the degree of adjustments necessary to correct for the overexposed photo.
In my days of exposing photos using black & white film, I’d try to capture as much information as possible in my original negatives, then print to taste.
What does that mean? The negative was the means to the end. My final interpretation was in the print. In later years, I’d scan the negative and make adjustments digitally. The point is that to get my result I needed to record as much information in one exposure as possible.
Today, I largely work in the digital realm. In order to record as much data as possible, I expose using the RAW format and then adjust the files to produce a presentable image. Without interpretation, the RAW images often seem dark and somewhat dull. The important thing to understand is that RAW files have captured more information than is immediately evident in a casual glance.
Yesterday, Kris and I waited in the curve at Gap, Pa., for east and west Amtrak Keystones. Below is my first frame of the eastward train taking the curve. I’ve displayed the unaltered RAW, plus two interpretations of the file using Adobe Lightroom, as well as screen shots of the work windows. As a magician, I’m revealing most (but not all) of my tricks.
Scaled and unadjusted JPG of the camera NEF RAW file. The exposure was intended for maximum data capture and not for final presentation.Adobe Lightroom work window showing the unadjusted RAW file. Note the position of the slider controls.First interpretation of the RAW file, showing the results of a variety of small adjustments to exposure, contrast, and saturation.Second interpretation of the RAW file, showing the results of a variety of small adjustments to exposure, contrast, color temperature and saturation.Screenshot of the Adobe Lightroom work window showing slider control postions for the ‘second interpretation’ (as above).Third and most extreme interpretation of the RAW file, showing the results of a variety of small adjustments to exposure, contrast, color temperature and saturation. If this had been a print, I’d probably have pitched it.
A recent visit to Strasburg, found engine 89 working an extra passenger train.
The setting sun had briefly illuminated the clouds of what I call a ‘cotton candy sky’.
As 89 was uncoupled to begin its run-around, I made this silhouette.
Knowing that I’d make adjustments in post-processing, I exposed the photo manually in order to capture the detail in the sky. The enormous data capture afforded by the Z-series cameras allowed for a two-stop lightening of the shadow areas and considerable adjustments to sky while affording global changes to contrast.
Below I’ve included the NEF RAW file (scaled as a Jpg, but without adjustments to exposure, contrast, color etc) and the final adjusted file.
I’ve also included two screenshots of the Adobe Lightroom work windows to demonstrate how I accomplished some of the corrections.
RAW file without adjustment to exposure, contrast, color balance etc.Final adjusted file adapted from the RAW NEF file. Note the high level of detail recovered from the shadow areas. This is a single frame exposure and not an blend of images.
Two weeks ago, Kris and I visited the New England Aquarium before taking a spin on the Blue Line to Revere Beach.
I made this photo at Aquarium using my Nikon Z6 mirrorless digital camara.
I exposed in ‘A’ (automatic) mode using RAW which produces an NEF file.
Scaled, but unadjusted NEF file converted to JPG for internet presentation.
Unadjusted, the NEF file appears dark. This is because the A mode metering compensates for the artifical lighting in an effort to hold detail in the highlights.
To make a pleasing photo, it is necessary to adjust the file in postprocessing to modify contrast, exposure and color balance/color temperature.
This shows the same NEF file following adjustments.
I have included a screen shot of the Adobe Lightroom work-window to demonstrate where I moved the slide controls to make the necessary adjustments.
Friday evening, December 11, 2020, I traveled to Conway, NH on the headend of Conway Scenic’s Santa’s Holiday Express to make advertising photos.
A gorgeous wintery sunset graced the sky.
Working with my Nikon Z6 plus 24-70mm lens, I made a series of photographs, exposing in RAW and JPG simultaneously. I had the JPG profiled using the Vivid preset.
Below are three examples.
The camera RAW file (NEF format), the camera profiled JPG, and an adjusted file made from the RAW using Adobe Lightroom.
Nikon camera RAW (NEF) without modifications.Camera JPG in ‘VI’ mode (vivid color)Adjusted camera RAW.
Going back over my Fuji digital files from 2015, I’ve selected this image of a VR Group Stadler railcar working the then-new Helsinki Airport train at Leinelá, Finland.
Below are three interpretations of the same image exposed using my FujiFilm XT1. The first is the In-camera JPG without color correction or alteration except for scaling and watermark.
The second is the Fuji RAW file imported and adjusted strictly using Lightroom.
The third is the Fuji RAW file first converted using Iridient X-Transformer and then imported into Lightroom where I implemented the same color and contrast corrections.
One minor difference with this Iridient interpretation is that I turned off the the feature that automatically corrects for lens distortion, chromatic aberration, and vignetting. So this gives a slightly less invasive digital interpretation and a truer sense of the visual information as recorded by the sensor.
FujiFilm X-T1 in-camera JPG.Fuji RAW file interpreted by Lightroom with my color and contrast adjustments.Fuji RAW file converted to a DNG file using Iridient X-Transformer and then imported into Lightroom. Same color and contrast adjustments as the Lightroom converted RAW file above (2nd photo). However there are no digitally applied corrections for lens distortion, chromatic aberration, and vignetting. Iridient will correct for these lens characteristics but I opted to turn the correction feature off for this comparison.
On cool winter afternoon, three CSX General Electric diesels idle at CP64 in East Brookfield, Massachusetts.
These locomotive had worked an eastward Q264 and are waiting to return with its westward counterpart, working westward across the Boston Line to New York’s Selkirk Yards and beyond.
I exposed these digital images using a Lumix LX7. Working with the camera-RAW files in Lightroom, I lightened the shadow areas improved the contrast and made a slight enhancement to the overall saturation.
Exposed with a FujiFilm XT-1 with 27mm pancake lens. RAW file adjusted using Lightroom to create a Jpg for digital presentation. Photo at West Warren, Massachusetts along the former Boston & Albany route.
Last Tuesday, June 25, 2019, I’d photographed an eastward CSX intermodal train at Palmer, Massachusetts that took the controlled siding at CP83 and then eased up to the east end of the siding at CP79.
I took a chance and drove expeditiously to West Warren in anticipation of a westward freight. I was rewarded for my efforts.
The lighting was tricky but colorful. The sunrise was heavily tempered by clouds rolling in from the west.
To make the most of the contrasty scene, I used a Lee graduated neutral density filter over the front of my lens to reduce exposure in the sky, and then underexposed the entire scene by about two thirds of a stop. I used the in-camera histogram to gauge my exposure by aiming to obtain minimal loss of detail in highlight and shadow areas. To the eye, my RAW files seem a little dark, but this is by intent.
In post processing, I lightened shadow areas while controlling highlights in an effort to replicate scene as I saw it.
Such are the challenges with modern photography. With black and white film, I would have exposed for the shadows and printed for the highlights, but that technique won’t work with digital photography. Where black & white film could hold great detail in dense highlights, but suffered from thin and detail-less shadow regions, digital sensors have the opposite sensitivity range.
In recent months, New England Central’s Willimantic-Palmer freight, job 608, has been largely nocturnal while the railroad undertook a major rehabilitation program.
New rail, ties and crossing protection have been installed. The switches at State Line are improved. And the railroad is in the best shape it’s been in decades.
Monday morning, December 10, 2018, I heard 608 working north through Monson.
That afternoon, I heard the train on its return run. So Pop (Richard J. Solomon) and I headed out to intercept it.
We caught it at both ends of the siding at State Line, then proceeded to Stafford Springs, where I made these views using my FujiFilm XT1 fitted with 12mm Zeiss Touit lens.
High contrast low December sun proved challenging. To make the most of the light, I applied an external graduated neutral density filter tapered and positioned to hold the sky exposure.
Compare the camera produced JPG file with adjusted RAW images. (There is no ‘right’ and ‘wrong’. The JPG reflects a ‘pre-profiled’ camera setting based on Fuji’s Velvia color setting. The RAW’s were adjusted by me to reflect conditions at Stafford Springs.)
In post processing, I worked with camera RAW files by lightened shadows, darkened highlights, and reduced overall contrast while warming color temperature and slightly boosting saturation.
Camera produced JPG using the ‘Velvia’ color profile. Other than scaling, this image was not modified in post processing; color, contrast etc are a result of the pre-profiled JPG setting. This version was adjusted from the Fuji RAW file and reflects the changes discussed in the text.
File adjusted from the camera RAW.
As we departed Stafford, I noticed a better angle to catch the train. Stay tuned!
Last night a damp inky gloom greeted us as we alighted from Amtrak’s Vermonter at the former Pennsylvania Railroad station at Wilmington, Delaware.
A SEPTA Silverliner V electric multiple unit set sat on the opposite platforms waiting to depart for Philadelphia.
I made several exposures with my Lumix LX7. Working with the RAW files in Lightroom, I maximize the amount of visual information in the photos by lightening shadows and darkening highlights while adjusting contrast and color saturation.
On this day six years ago, Denis McCabe and I were on an exploration of Ireland’s narrow gauge Bord na Mona (Peat Board) operations radiating from the Edenderry generating station located near the village of Clonbullogue, Co. Offaly, when we discovered this view from overhead bridge over the double track narrow gauge line.
I exposed my photo using a Canon EOS7D with 200mm prime lens. Nominal overexposure resulted in a slightly washed out image.
Six years after the fact, I worked with the RAW File in Lightroom, to bring back some of the sky detail not apparent in the camera-produced Jpg, while aiming to improve colour saturation and colour balance.
This is a scaled version of the camera JPG. Notice the washed out sky and low colour saturation.
Working with the camera RAW file, I brought back highlight detail while improving overall colour balance and saturation to more closely resemble the original scene.
I’ve been unusually fortunate to catch Irish Rail’s 071 almost everyday for the last couple of weeks.
This locomotive is the class leader and features a heritage livery based on the as-delivered General Motors scheme.
It is very popular with photographers.
On Saturday 22 September 2018, locomotive 071 worked the Belmond Grand Hibernian cruise train from Dublin Heuston to Connolly Station. Until yesterday, it had been assigned to the Dublin-Ballina IWT Liner container train.
To make this view, I used my FujiFilm XT1 fitted with a Zeiss Touit 12mm lens. To help bring in sky detail, I attached a Lee 0.9 graduated neutral density filter (a physical filter), then made further adjustment to RAW files in post processing using a digitally applied graduated neutral density filter, which allowed me to make adjustments to highlight and shadow detail.
Additional adjustments were made globally (the entire image) to modify contrast and colour saturation to improve the appearance of the photograph.
A view from Dublin’s Conyngham Road above the south portal of the Phoenix Park Tunnel on the branch that runs from Islandbridge Junction toward Connolly Station.
Thanks to Paul Maguire for lending me an SD card! (I’d left mine in the computer, and the spare on my desk, and the second spare in my other bag! Poor show on my part.)
Last week I exposed this view of New England Central 611 (Brattleboro to Palmer) crossing the Connecticut River at East Northfield, Massachusetts.
New England Central 611 crosses the Connecticut River at East Northfields, Massachusetts. Exposed with a Fuji Film XT1.
To compensate for the back lit high-contrast scene, I made a few necessary adjustments in post processing.
Working with the Camera RAW file, I applied a digital graduated filter across the sky and locally lowered highlight density, while altering the contrast curve and boosting saturation.
I then made global adjustment to contrast and saturation across the entire image, while brightening the shadow areas. The intent was to better hold detail in the sky.
To make this possible, it was necessary to expose for the sky, and allow the train and bridge to become comparatively dark. I did this knowing I’d make adjustments after the exposure.
Yesterday evening I was visiting East Brookfield, Massachusetts.
As the sun neared the western horizon it illuminated some clouds from below, the effect that I call ‘drop under’.
It’s a stunning natural phenomena, but can be difficult to capture effectively because of the extreme contrast.
Armed with my Lumix LX7, I made my way to the overpass near the old station location, as per the suggestion of Dennis LeBeau— photographer, musician and long time East Brookfieldian.
As I made a series of exposures, I knew by observing the camera’s histogram that it would be necessary to work with the RAW files to produce the most effective interpretations of the scene.
Below are some examples for your inspection and consideration.
This is the unmodified file. The only change from camera RAW was a necessary scaling and conversion to JPG for internet presentation (the RAW is too large to upload). I made no changes to color saturation, contrast, or other elements of the image.
This is my interpreted image from the above RAW. I’ve used a digitally applied graduated filter to better hold detail in the sky, while improving contrast and increasing saturation with a slight to warming of the color balance to enhance the effect of sunset. Without these changes, the scene would not look as it appeared to my eye at the time of exposure. Admittedly these alterations are mere subtle improvements and may not be evident on some electronic devices.
This is a horizontal view similar to the above images. Using the ‘cut and paste’ feature in Lightroom, I’ve applied the same alterations to this RAW file as described in the image above. This feature not only saves time when adjusting images, but ensures an element of consistency between images made in similar lighting conditions. I use it regularly.
A telephoto view made at the same location, but with slight adjustments to contrast controls to accentuate the clouds and rails. Note the wire crossing the line. I could have taken that out and you’d never have known better, but normally I avoid invasive alterations that physically change the scene.
The other day I made this sequence from the down platform at Mallow, County Cork.
What makes these photo interesting to me was the textures of the sky.
Looking toward Cork from Mallow.
By introducing a digital graduated neutral density filter I was able to make the most of the texture in the sky.
In order to get the most of the sky, in post processing I worked with the camera RAW files and adjusted the contrast, colour saturation and exposure. In this situation my manipulation is a little more heavy handed than usual. I paid special attention to the highlight density.
This image was exposed just a few minutes later, notice how the sky has changed.
Irish Rail 083 was running around the Railway Preservation Society Ireland’s Cravens set (working as Emerald Isle Express.) This view has the most impressive sky in my estimation. I’ve used a slightly wider focal length to make for a more dramatic view.
