So a new week begins. Last week, I was on a training course in lovely Slough. A week off from my computer, and evenings spent waiting for the course to finish.

However, it didn’t stop my photography though, and whilst I wasn’t prepared to lug my 50D all the way down south, I did take my iPhone.

The thing about using a phone camera, is that all of a sudden, you lose control, and are presented with something where the results are somewhat unpredictable. I must confess, I was always someone who looked at iPhone users with disdain. “Never catch me having something like that… All I need to do is make calls with my phone”… Oh how hypocritical now.

The truth is, the camera phone really does free up creativity. All you need to do is look at the various Flickr groups, and sections of photographic forums devoted to “iPhoneography”. It’s popular, and it’s something I always snorted at with derision. The snob though, has now fortunately gone, and I’m a happy iPhone snapper.

The basic camera that comes with the iPhone is pretty… well… basic. However there are a ton of apps out there – some paid, some free, that can really transform your experience. I’m going to walk through a few here and illustrate how they can really transform your photography from the technician, to the artist.

Standard caveat: “I don’t know about art, but I know what I like”, said the late great Lux Interior. Art is subjective. If I like my shots, that’s good enough for me. If you don’t like them… Well… that’s your prerogative.

Also. These aren’t the “5 best apps you NEED”, but more the 5 apps I’ve actually kept on my iPhone.

So let’s start with the freebie.

Instagram for the iPhone (free)

Instagram does two things, and I’m not sure which it’s trying to promote more… In my mind, the primary aim of the app is to allow you to automatically share your photos on Facebook, Flickr, Twitter and other social networking sites as well as Instagram’s own site . However before it does this, it asks whether you want to modify your image with a range of pre-processed filters. And these filters are really quite professional in appearance. Currently, the app has approximately 14 filters that can apply varying effects to your photo.

Instagram is a social network almost all to itself, but it is completely photographically driven. You can upload any photos to Instagram, not just ones taken through the app, or even on your iPhone. Some nefarious individuals have been known to upload DSLR images to their iPhone for onward forwarding to Instagram,  (presumably with the aim of garnering more followers), but it’s all just a bit of fun. In fact, Instagram has no website to speak of (only a registration page) so the only way to follow people is through the app itself. It’s a very phone orientated social network in those terms. Be aware though, that you do need to register before you can use the app. Registration is painless, and so far, I’ve had no spam-mail from them. However, there have been some sites that have used the Instagram API to create their own online websites displaying Instagram user images. Instagram have since privatised their API, but I keep reading that Instagram “online” galleries do pop up occasionally.

Actually posting your images to Facebook, or Flickr  is all set up very easily, and is pretty much a “one-touch” solution for getting your images from your phone onto the web.

So – why would you have Instagram installed?: It’s a great solution for posting your images to your favourite social networking site, and if you have lots of iFriends, you can follow each others Photographic journey with consumate ease.

Best of all… It’s free! I’ve tried a lot of free apps for the phone, and generally always been dissapointed. For the price of half a pint, there are many other apps that do things better. Instagram though, has no real downsides apart from the registration requirement, and the fact that the images aren’t that secure. Considering the resolution I’m uploading at, I’m not overly bothered if someone decides to use my image. Let’s face it. If they wanted to, they could lift if from Flickr.

CameraBag for the iPhone (paid)

I’m not too sure about this app. As the reviews state, there are other apps out there that apply better looking filters for free (Instagram above for a start!) but this app doesn’t require registration, and has no ads that are usually associated with free apps.

So what does it do? Well it takes an image from your image library (or you can use the camera in-app) and apply 13 different filter sets to it. From B&W conversions to fisheye views as well as authentic-ish looking antique effects. You can then save the image as a new file without over-writing your existing pic.

It does what it does simply, efficiently and quickly. In my humble opinion, it just doesn’t do it very well…

TiltShift Generator for the iPhone (paid/free)

This little app is a great toy. The free version has limited functionality, and doesn’t allow you to use an image from your camera roll. You can only apply the effect to a photo taken through the app. It’s certainly good enough for you to trial the software though and decide whether you want the paid version.

So what does it do? If you’re familiar with tilt-shift photography, you’ll know that it’s when the lens is moved on various planes whilst the camera remains stationary. Tilt-shift lenses are extremely expensive normally (unless you opt for something like a Lensbaby Composer) but this app allows you to simulate it for a ridiculous fraction of the cost.

The resultant photograph taken with this app appears to make the scene look like the image is of a toy landscape, simulating the really narrow depth of field associated with macro photography.

Riu Karamboa with an Iphone and TiltShift Generator app

The above image isn’t the best depiction of what it does, but I do quite like it.

TiltShift Generator has several controls available too.

– You can alter the blur to be circular or on a flat plane.

– You can alter brightness, contrast and colour saturation too.

– Finally you can add a vignette to the image (a darkening of the corners and edges).

All in all, this is a fun little app, that can produce some really pleasing results.

Slow Shutter for the iPhone (paid)

So what happens when you want some manual control over your iPhone (i.e. you get sick of the flash going off when you don’t want it to!). I started searching apps, and came across this absolute gem.

To be fair, operating it is a bit “trial and error” but the results can be very interesting.

What this app does, is give you a degree of control over the shutter speed and aperture of your iPhone camera. This gives you a bit more creative freedom to experiment with a bit of night photography (for nice light trails) or do longer exposures in daylight.

There are three capture modes with this app. Automatic, Manual and Light Trail. Also, in the options, there is the option to set a self-timer allowing you time to find a place to stick your phone so it doesn’t move before the shutter fires.

Automatic seems to allow you to set the exposure time, and it will then capture light for the amount of time the app thinks is right.

Manual allows you to set the shutter speed with no intelligence.

Light Trail allows you to enter both the shutter speed, as well as the “Sensibility” (it’s basically the aperture, or the sensitivity of the camera sensor to light.)

Manual and automatic modes are useful, but don’t have much in the way of creative freedom (especially the automatic mode)

It’s “Light Trails” where things get interesting.

The exposure seems to be close at all times. What you seem to be controlling here is the amount of movement you capture in your scene.

As an example, I was waiting for my train at Euston and balanced the iPhone on my knee (hence not re-publishable here!). What you can see, over a long exposure, is that people move and disappear from the lens.

Shutter speed is self-explanatory, but “Sensibility” seems to refer to “how open” the aperture is. 1 being wide open, and 1/32 being barely open. For more control over your highlights (i.e. not blowing them) you need to set the sensibility to as small as possible and the shutter to as long as possible. It’s really all about experimentation though. The below image is from a glass of water filled over a 4 second period with a sensibility of 1/8. With it set to 1, the water was just completely whited out and with it set t0 1/32 everything was a bit overly grey. This was my middle ground.

Moving Water with Slow Shutter for the iPhone

So you can see how when you arrive at that waterfall, (or crowded tourist attraction that needs the people removing) without your DSLR (or if you forgot your ND’s or tripod) you can now get those moving water shots with your iPhone! You do need something to steady it though, but a rolled up jumper might just do the trick.

Lastly, my favourite app.

Hipstamatic for the iPhone (paid)

Or… Fun With Your Clothes On.

This app basically just applies filters to your images. But it does it in such a cool way, it seems that everything you shoot with this app looks great.

So great in fact, that I’ve put together a gallery at the end of this post. These are just snaps, not great compositions, but they look so good…

Hipstamatic is… well… hip! Everything about it, from the user interface, through to the end product just works so well.

It’s based around toy cameras. Within the app, you can choose to customise your lens type, film type, and flash type. These three combine to give you your final image. It is also possible to set the app so that if you shake your iPhone, all three are set randomly. The descriptions of each of the lenses, flashes and films is useless. There is no attempt to explain anything to help you judge the effect, other than a snapshot of the sort of image you can expect to produce. And even that is unreliable.

Take for example, the “Alfred Infra-Red Film”. This, apparently “picks up the light that other films can only dream about.” Useless.

But things are looking up. There is now a Hipstamatic Field Guide, which is only accessible over the internet, so you’ll need an internet connection on your iPhone to be able to use it (wifi, or 3G).

The only down side to this, is the expense. The app comes with a small amount of free lenses and films, and you then purchase additional “equipment” from within the app itself. For me though, this expense is relative.

It’s a true “fun” camera app for your iPhone, and you’ll probably be very surprised with the results.


In this article I want to talk about hyperfocal distance.

What is Hyperfocal Distance?

Do not let your eyes glaze over, it’s really interesting and can improve your landscape photography over night. I promise. Or your money back?

We’ll also review some cool apps for your iPhone that will help! (I only own an iPhone, and nothing else, but I’m sure these apps are available on other smartphones!). We’ll take a look at some online calculators too.

Before we begin though, I’m assuming you know something about depth of field. This is the term used to describe the bits of a photo that are in focus, and is closely related to the Aperture of a lens. If you have no clue what I’m on about, please consider buying Bryan Peterson’s “Understanding Exposure” which is an amazing resource on understanding how the camera deals with light. In terms of sharpness though, if you imagine refilling your wine bottle with leftover wine (stay with me…) without using a funnel (a wide aperture of say f1.8), you end up with wine everywhere. Mostly over the bottle, the carpet, your hands… If you use a narrow aperture (f22), then all the wine goes in the bottle and nothing is spilled.

Now imagine wine as light, and you can see that with a narrow aperture, we have all the wine where we want it – in focus. Using a wide aperture, we only have a tiny amount in focus, and lots splattered everywhere else (out of focus, known also as Bokeh).

That’s the simple view.

But there is a way to measure how much of the front-back area of an image will be sharp in relation to where you are focussing. By understanding this relationship, and being able to calculate it, you can very roughly know how much of your image will be in focus.

Let’s explain further. The below image shows our cat – Oscar, as a playful kitten (rather than the miserable lazy curmudgeon he is now)

Cat demonstrating depth of field

As you can see, his eyes are nice and sharp, but his front paws and the carpet at the back of the image are blurred. If you’ve been photographing a while, you’d expect this. What I can tell you from a mathematical point, is that if I assume his nose (my point of focus – it’s an old photo and should have been his eyes) were half a meter away from the lens… I have 39mm (millimetres!) of focus beyond the nose, and 33mm of focus in front of it. So his nose, whiskers and eyes are in focus, the rest is blurred.

Had I used f1.8 instead of f4, I would have just a 30mm of sharp focus and the eyes would probably be out of focus… Conversely if I’d have used f11, I would have 79mm in front of the focal point, and a massive 131mm beyond.

So you can see that from a creative standpoint as well as a technical one, knowing the rough hyperfocal distance gives you an idea of where to focus. In terms of portraiture and sports, it’s not something everyone has the time to calculate. Also, some people are limited by available light. Aperture after all is a key component in getting light onto the sensor, and in dark lighting, a wider aperture often is neccessary.

However for landscapes, the term Hyperfocal Distance is used to represent the distance at which you need to focus in order to ensure everything beyond that point (out to infinity) and half that distance back towards the camera is in sharp focus.

So, let’s look at this scene.

An example of hyperfocal distance

Where would you focus in this image? Before I learned about proper focussing techniques I would have aimed for the tree on the left. Maybe the “middle” of the picture.

Let’s look at the setup. This was taken at f14 with a focal length of 35mm. That tree is about 80m away from me. My Hyperfocal distance extends from about 5m in front of me, off to infinity. So those reeds in the bottom right hand corner are only a few meters away, but they would be blurred and out of focus.

So where do I focus?

I focus at the Hyperfocal Distance. I know, that if I focus there, everything beyond it, and everything (roughly) halfway between me and it will be sharp. I also know that that is the best place to focus for maximum sharpness through the depth of field. With the settings above (35mm, f14, 70m to my main subject), I can focus at 4.6m and still get everything sharp. So instead of 5m to infinity, I now have 2.3m to infinity. Sounds ridiculous doesn’t it? But it’s true.

Imagine these distances multiplied by kilometres as you focus on that big mountain in the distance, and you’ll begin to understand what I mean.

How Do I Calculate Hyperfocal Distance?

You don’t. You let something else do it for you. This is where the iPod, iPad, iPhone (and other smartphones) come into their own. They are portable, and handy for little applications such as this. There are many online free hyperfocal distance calculators, but out in the field, you tend not to have a computer to hand. So these apps are very useful.

And they’re cheap!

A Paid Hyperfocal Distance Calculator

Hyperfocal distance calculators are common. It’s a mathematical equation, so there are many free apps out there. However the ones I tried had little niggles that left me wanting more. But I couldn’t complain – they were free! So I plumbed for a paid app, and PhotoBuddy was the one I went for. Not only did it have the Hyperfocal distance calculator with a handy visual guide (that you can drag with your finger), but it has a host of other little functions too. Sunset/Rise times, phases of the moon, a bulb timer for your long exposures, WB lists etc etc. The list goes on… Just click the link and read “More”…

Other paid apps just didn’t have the functionality and/or useability of this app, (to be honest, all the little extras did it for me) and since downloading it, it’s been worth every penny.

A free App…

I haven’t reviewed all the free apps out there, but if it’s not costing you anything, what harm is there in downloading them all and trying them for yourself. Of the ones I tested, I found iDof Calc to be the best. It has a simple, fast, easy to use interface that does exactly what is says on the tin. No adware, and smooth functionality.

So next time you’re out taking landscapes, have a think about your hyperfocal distance, and focus on something a bit closer than the mountain in the distance. It’s surprising (at middle aperture ranges like f11) how close you can focus and still retain front-back sharpness.


You may be determined to look online, in which case I can recommend the excellent DOFMaster website for further reading and interest as well as an online calculator. As an aside, they also have an iPhone app – cunningly titled DOFMaster.


Posted by: In: Post Processing, Techniques 03 Feb 2011 0 comments Tags: , , ,

This is the final installment in the trilogy of posts regarding HDR. It’s also the most complex (or simple!) depending on your point of view.

Part I: What is HDR? is available here.

Part II: Getting HDR Right In-Camera, is available here.

As a Photographer, I don’t want to spend hours in post processing. I want to get as much right in-camera, then do a minimum of work afterwards. In some cases though, a little more care is required.

The image below was shot at sunset in January 2011 at Castlerigg Stone Circle in the Lake District.

Castlerigg HDR at Sunset

For me, this is a lovely image of an iconic site (I would say that). But as with any photograph, miles of tweaking in HDR won’t help a badly composed  image. In this case, I avoided trying to take in the whole circle, and went instead for an angled view as the sun set with beautiful colours in the sky and on the stones themselves.

So. Where did I start?

I took the images 1/3 of a stop apart. The metering in this case indicated that 1/125sec captured all the wonderful sky detail, but nothing in the shadows. At 1/10sec, all the foreground was lovely and crisp, but the sky was a whiteout. In total, I took 12 exposures. Now this may sound a lot, but when you’re simply rolling the shutter speed wheel one click in between each shot, it doesn’t take long at all. In fact, with the inevitable cloud movement and the speed of the setting sun, haste was probably of the essence.

Which Software to Use With HDR?

Well. This will be down to your own personal choice. Photoshop comes with HDR built-in, and there are numerous software packages both as a free download and as a purchased option. I have tried free, and tried Photoshop, and none give me the level of control I need that Photomatix does. I have not invested any money in other paid HDR software packages, so I cannot comment on those, but if you’re thinking “I’m not going to grab this on one persons recommendation”, I agree completely and suggest you Google “Best HDR Software” or similar. Do it now. If you find a concerted group of people telling you something else is better, the rest of this tutorial won’t help much! However, HDRSoft do offer a free trial, which doesn’t expire or have limited functionality, but does put a watermark on your image. To have a play, download and try it. It won’t cost a cent/penny.

Now there are a LOT of people for whom “sliders” are things that need to be either completely on the left, or completely on the right. You may have seen those images on your search for HDR images. They are not for me, but some people enjoy that first “wow” when they blend those multiple exposures. When I first bought Photomatix, I did the same, and I now cringe at those early images.

It’s my very humble opinion, that if photographers say to you “Is that HDR?” because they’re not sure, then you got your processing spot on. You are trying to portray the full range of tones and colours from the brightest to the darkest areas, mapped evenly across your image.

Which version of Photomatix should you buy? Well that’s up to you. I have the standalone version because my computer is falling apart and can’t handle the RAM needed to run Lightroom, Photoshop CS3 and Photomatix all at once. It forces me to close other applications to get one running, and images bleed through on the screen from Lightroom into other programs. It’s not good… I also worry about having a version of Photoshop that would be incompatible with Photomatix. Having a standalone app, I need not worry. Your mileage may very well vary though. Final caveat: This tutorial is explained using the Photomatix standalone client on a Windows machine (Windows XP at the time of writing). Photomatix is available as a Mac version, and does appear to work under WINE for Linux users. More information on the latter is available under the FAQ heading on the Photomatix website.

Getting Started Using HDR Software

The first step, is to import your images into Photomatix. This is done easily with the “Load Bracketed Images” image button. You should then be presented with an option to browse your computer for the files. In the future, I shall be writing a Lightroom tutorial explaining how to set up the Photomatix import swiftly, as a separate guide around the Lightroom Export function (which is marvellous!). Photomatix can handle RAW files, but my experience is that it’s best to examine your files in a RAW viewer (I use Lightroom) and then export them as .tiff’s to a dedicated Photomatix folder.

Select your images (shift+click to select a group, or crtl+click to select individual images), and click “OK”.

You’re then given an option screen. Again, my experience with these may differ to yours but here’s what I’ve found.

  • Align Source Images. I now always use a tripod, so I know my images are aligned. If tree branches have moved, the software isn’t going to gobble RAM tying to align things. The only time I tick this box, is if I’ve shot handheld. Otherwise leave this unchecked.
  • Reduce Chromatic Aberrations/Reduce Noise. I always tick these two boxes. Photomatix are the experts, so I let their NR and CA removal tools do their stuff. For Noise, I leave the strength to 100% and set it to “all sourced images”. Depending on your camera, you may want to check the “underexposed images only”. I like to cover all the bases, and have so far experienced no ill effects.
  • Reduce Ghosting Artefacts. I leave this unchecked as a rule. At the “taking the photo” stage, I tend to compose to make sure moving things aren’t in the image. Tree branches swaying in the wind, people, water, clouds etc. If you have any of this in your shot, Photomatix will try and blend them together. For water and clouds, this effect is (in my mind) quite pleasing, but with things like cars and people, you end up with some ghosting that you will have to fix in further post processing. If you have movement in your shot, go ahead and check the box. I then strongly urge you to click “Help” and “User Manual” and read the section on Ghosting Detection. It’s very clever stuff…

Then click “OK”.

Eventually the tone mapped image opens on your screen and you’re ready to go.

The screen is split into three roughly speaking.

the main Photomatix window

On the left, you have the adjustments window, in the centre you have your image, and at the bottom, you have a presets window. A lot of the information on what does what is available in the manual (“Help>User Manual”), so go there in the first instance!

Presets are very straightforward. They consist of a collection of  “settings” to give a desired effect. Once you have found the perfect settings for an image, and especially if you take a lot of images in that style, it’s well worth saving the settings. They might not be perfect for every image, but it will give you a benchmark place to begin. Always save a setting if you like it! You can either save it during the Tone Mapping process, or once you’ve finished, so don’t worry if you forget!

With all the sliders and settings I mention below, one method I’ve found is to swing the slider all the way to the right, then all the way to the left, observing the change in the image. This gives you an idea of precisely what that slider does in terms of your image in particular. Play play play is the advice here. However…

I try to separate my workflow into distinct areas:

  • Tonal range (bright and dark areas as well as the contrast between them)
  • Colour
  • Detail

By concentrating on one thing at once, I find I tend not to get distracted with “slider obsession”. I also tend to look at an image with a fresh perpective when I tackle each area. I tackle “Detail” last, because the details slider can destroy an image, and by the time I get to that section, I’m getting very happy with what I’m doing.

Tonal Range

This is where you need the histogram. You’re looking for a range of tones from white through to black (in brightness terms – not colour!). Unless you have a particular artistic bent, a good rule of thumb is to try and get a good range. The majority of your tones should be in the middle of the histogram (which means they are “mid-tones” in the image) like this…

Example of toning in HDR

The histogram drops off at the left hand edge as you can see, indicating I don’t have much black in the image, so I need to start tweaking! But, out of the box, it’s a pretty good start. And it should be! Don’t forget, you’re blending a load of images with the end result of a perfect tonal range. You exposed for the highlights and you exposed for the shadows, and everything in-between, so when it’s all put together, you have a perfect exposure! (Well… you should have…)

For Tonal Ranges, the best tools are:

Luminosity (under the main header): General tone compression that tends to be an overall brightness modifier.

Smoothing (main header): This is the powerful one. It controls the smoothing of the contrast in the scene, and can be over-used. By all means use the “Light” mode, but this tends to give very surreal results – I prefer having the “Light Mode” box unchecked. It’s interesting to play with, but if you’re looking for an image that closely. By controlling the smoothing, you are varying the range of tones across your image. Every single image has a different look, and I’m sure you’ll find one you like. It’s the Smoothing slider that has a large degree of control over this.


White Point, Black Point & Gamma, under the “Tone Settings” menu.

White point increases the brightness of the bright areas of your image

Black point increases the darkness of the dark areas of your image

Gamma increases/decreases overall brightess

Initally, I would leave the luminosity slider, and use the tools in the Tone Settings. Keep an eye on the histogram as you make changes, as well as on your image. Remember one thing – if you like the look of it, then the histogram doesn’t matter. But if you aim to get the majority of the tones in the middle, you’ll be in a strong position.


Colour is the easiest to explain and controlled by the “Color Saturation” slider as well as the three sliders under the colour settings tab.

That’s it! I tend to use colour temperature to reign in any over-colour-toned images (shots that look overly warm or overly cool). The key here is not to overdo it. Tinker with the sliders to get the effect you want.

One important note here is for creating black & white. There are a myriad of methods for creating black & white images from colour, and the most common uses the channel mixer in Photoshop (or similar software). This changes the tonal range of every colour, based on the strength of that colour. So if you are going to go B&W with an image, my recommendation would be to increase the saturation to slightly “overcooked” levels . When you then get it into Photoshop, you have a greater degree of control with the conversion. As a quick example, here’s a church door before and after. Note how the “before” version looks very over-saturated, but that is completely lost in the B&W conversion which has a beautiful range of tones.

An image of a church door in HDR before black & white conversion

And after… (This time with cropping, a border and a clone out of the security light)

An HDR image of a church door after B&W conversionSo you can see that you need to keep thinking about your final image and how you want it to look, and not worry too much about how it looks in-between. “Never show an idiot a half finished job”, as my wife says.


On to the final part of the process. The detail slider is covered in many areas, and also has an affect on the tones of your image, so you may need to go back and tweak the tonal settings.

Strength controls the strength of the contrast between light & dark. Further to the right with the slider, and you get a very moody image. To the left, and it’s more ethereal and (in my mind) a little flat. I tend to have the slider on the right, past the half-way mark. But pay attention to what this does to the detail in your image!

Micro Contrast enhances detail by increasing local contrast. To this end, fiddling with this and pushing it too far right can leave you with black shadows. If you like this look, that’s fine, but if you don’t, and you want to keep these micro contrast settings, you may need to go and lighten image to compensate. With Photomatix in particular, it’s a careful balancing act.

And lastly, the Miscellaneous Settings. These all provide smoothing options, so if you want detail, they should all stay to the left. If you’re after a more dreamy look, then begin to push them to the right. However if you’re doing this on a landscape, watch your skies! The “Highlight Smoothness” slider can ruin delicate cloud detail very quickly, so that’s where you should be looking if you change anything here.

Now You’ve Accomplished HDR Processing!

At this stage you need to take a final look at your image and decide where you’ve gone too far. The temptation is to bring out all the colour and all the detail you have, but this can spoil the image. As with everything written here though, if you don’t like the effect, or prefer highly saturated images, it’s your show! After all, you are the artist.

If you like the final image, save the settings. I’ve found that different types of images need different settings as the light balance can change. Landscape and Interior shots benefit from having the presets saved, as well as shots you intend to B&W at a later date (over-saturated in colour). There’s nothing worse than having an image everyone says is wonderful, but losing the settings you had in Photomatix that created it. Save, save save. What’s the harm?

Once you’re completely happy, click “Process” and the software goes off to process your image.

Once that’s complete you now have the option to crop, resize and make other minor modifications to your image. I personally prefer to save it at this, and do that processing in Photoshop as I have more control, but it is good that these tools are offered, especially if all that is needed is a quick crop.

But… Before you shut the image down… (If you have ten more minutes…)

Click on “Process” and “Tone Mapping“. You can re-HDR your HDR image! This can create some really surreal and strong effects. Begin the whole process again! But remember to save before you start this as there’s now way to step back .

So that’s it! You have created your first HDR image. Hopefully this will inspire you to go and take more exposures. The key to HDR is getting the images in the first place. Capture a good range of tones in your original shots, and you’ll have a much easier time in the software afterwards.

Finally, it’s time to read the manual. I’m sure 99% of people load the software, play, then begin to ask questions without ever using the help button. The manual is extremely comprehensive and helpful and is a simple PDF rather than a complex search function that never returns what you’re after.

That’s not it from me on HDR, it’s just a beginning. There are numerous techniques for further post processing, and taking the shots in the first place, and I’ll be adding to this with new posts over time. Bookmark us, or follow us on Facebook (or Twitter once I figure out what to Twit).

At least visit HDRsoft and download the  free HDRSoft trial. Give it a go. You know you want to!