Handheld high-speed bracketing
Exposure bracketing helps recover details in shadows and highlights when dealing with high-dynamic-range subjects. When shooting handheld, using a sequential shooting mode can minimize framing shifts, which can be problematic during post-production.
Purists often criticize bracketing, considering it “a sign of lack of confidence,” as noted by Ansel Adams. With a view camera using film holders, quickly capturing a series of shots while varying aperture and shutter speed settings can lead to missing that perfect moment when the light changes or the subject moves. Additionally, the cost of each film shot adds to the stakes. In large format photography, the general rule is to expose correctly on the first try.
Burst Mode
Modern digital cameras offer greater flexibility than film, both during shooting and in post-production, so it’s important to take advantage of this. Most cameras now provide burst rates of up to ten frames per second. The bracketing functions record multiple views at different exposure value (EV) increments. Taking 2 or 3 shots at ± 2 EV compensation is typically sufficient for capturing highly contrasted scenes.
In terms of subject brightness range, less advanced sensors usually have a dynamic range of 12 to 13 EV, while the best ones range from 14 to 15 EV. Capturing 3 views at ± 2 EV can effectively extend a basic dynamic range of 12 EV to 16 EV. If needed, a variation of ± 3 EV is also possible. The final step is to merge all or part of the images using your preferred software.
All digital cameras (here, a Nikon D850) have a bracketing mode compatible with all exposure modes (PSAM). The number of recordable views and the increment in EV values vary from one camera to another, but the principles remain the same.
Combined with bracketing, the continuous shooting mode allows the camera to record a series of images in a fraction of a second. Bracketing setting with a Nikon D850.
Minimal Shift Between Views
When the bracketing function is used in conjunction with a sequential shooting mode that captures at least 5 or 6 frames per second, the camera can record a series of images in a fraction of a second without significant shifts, even when shooting handheld. This method captures all the necessary details in both the shadows and highlights. By continuously pressing the shutter button, the sequential shooting mode simply strings together the number of shots specified by the bracketing sequence, without exceeding that limit. This approach eliminates the risk of recording unnecessary images that could otherwise clutter the memory card.
Exposure Presets
When setting up your camera, consider the lighting conditions, the movement of the subject, and your aesthetic choices, such as depth of field and whether you want the subject to appear “frozen.” You need to determine the appropriate aperture, shutter speed, and ISO sensitivity for your shot. In situations where exposure bracketing is necessary, especially for high-dynamic-range photography, it’s crucial to act quickly.
For reportage or street photography, set your camera to exposure bracketing mode and adjust the burst rate to save time. User settings (often labeled as U or C, depending on the camera brand) can be extremely helpful in these scenarios. Some cameras can memorize settings for either bracketing or burst mode, while others, particularly mirrorless cameras, allow you to combine both functionalities.
Mirrorless bodies can combine a bracketing sequence and a burst rate in their menu. Here, with an Olympus camera E-M1 MkII, three pictures will be recorded at ± 2 EV and a burst rate of 15 frames/s.
Advantages of Mirrorless Cameras
On our Olympus OM-D E-M1 Mark II, the button that controls shooting speed and bracketing is located on the top of the camera body. This button displays the bracketing preset menu. For example, we can choose the high-speed setting (15 frames per second). Other settings can also be configured, such as aperture or shutter priority, with a minimum shutter speed of 1/250 seconds, an aperture of f/5.6, and ISO set to auto.
Once these choices are made, we can select one of the user settings in the custom modes menu—let’s say C3. C1 and C2 are configured for different shooting presets. With these custom settings, the camera is quickly ready for any situation, adapting to varying lighting conditions and the type of subject being photographed.
The settings established in the previous step can be saved in the camera menu (here, Shooting Menu 1) in the custom modes section. Saving them is useful when you regularly need specific basic settings.
Depending on the camera, there are 2, 3 or even more custom modes. Here, we have C1, C2, and C3. They correspond to the modes accessible on the main dial on top of the body.
The three custom settings on the mode dial complement the classic PSAM, video, etc. C1 and C2 are programmed for current shots without bursts or bracketing. If a high-contrast scene occurs, switch to C3.
Discover the photography courses at Spéos
Spéos offers various training courses ranging from simple one-week photography workshops (initiation and advanced level) to 3-year courses. The long courses to become professional photographers allow you not only to master all the photographic techniques and its vocabulary (blurs, hyperfocus, sharpness zone, depth of field, backlighting, focal length, shutter release, autofocus, wide-angle, rule of thirds, etc.), but also all the stages of shooting and image processing.
Visiting the school allows you to discover the premises, the studios and the equipment, and is undoubtedly the best way to familiarize yourself with your future way of working. This is why, in addition to the open days, Spéos offers throughout the year personalized visits by appointment to come and discover the school with a member of the team.
Text and photos: Philippe Bachelier, teacher of Printing techniques at Spéos
