The Dance of the Shooter 9529
Watching a ton of muscle and sinew saunter up to the edge of a 25-foot cliff can be hair raising. But trying to estimate the exposure compensation when shooting into the shadow side of a dark animal on a bright snowy background is nothing short of shuttering. I always choose to try to most properly expose my darks in the subject, in that way preserving the details in the shadows. You risk “blowing out” your highlights but this the dance of the wildlife shooter. Post processing has become intricate enough to allow a certain amount of rebalancing of shadow and light. I prefer not to have to “overwork” an image. Of course, the art of photography is creating the image that pleases you the most, and as long as you are not shooting journalistic photos, the canvas is yours to manipulate.
The Dance of the Shooter 9529
Watching a ton of muscle and sinew saunter up to the edge of a 25-foot cliff can be hair raising. But trying to estimate the exposure compensation when shooting into the shadow side of a dark animal on a bright snowy background is nothing short of shuttering. I always choose to try to most properly expose my darks in the subject, in that way preserving the details in the shadows. You risk “blowing out” your highlights but this the dance of the wildlife shooter. Post processing has become intricate enough to allow a certain amount of rebalancing of shadow and light. I prefer not to have to “overwork” an image. Of course, the art of photography is creating the image that pleases you the most, and as long as you are not shooting journalistic photos, the canvas is yours to manipulate.