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Most likely, if you are passionate about photography (and I assume you are because you are reading the Canon Digital Learning Center’s blog), you have come across High Dynamic Range (HDR) photography. HDR photography is the process of taking multiple exposures of the same high-contrast scene at different levels of brightness, then combining them into one image. This single image with a wider range of detail, from the darkest to the brightest areas, is typically impossible with a single exposure. HDR photography is most often used to produce photos that mimic what the human eye is able to see. Now, I say “most often” because there is also a fun and creative side to HDR photography that allows for a lot interesting experimentation, something worth trying out. Back to the actual purpose of this blog entry: to help you get started with HDR photography. So what do you need, besides a camera and a lens, you might ask? - Tripod: Tripods are not absolutely necessary, but when you are starting off, it will make your life a lot easier. With small lens apertures (high f-numbers) and low ISO settings, there is a good likelihood that you will use slow shutter speeds, which will make handholding very tough and may result in blurry photos. Tripods are also great at making sure that your camera does not move between several exposures. - A Contrast Rich Scene: What you photograph is totally up to you. If I may, I would suggest that when you start off in HDR photography, you should find a landscape scene that has a strong contrast between its shadows and highlight areas. This will allow you to better see the effects HDR can achieve. Your Camera Manual: Find your camera’s manual. There, I said it. Find your camera manual! I know we all hate manuals, but they are the best way to get the most out of your camera. You should know where your manual is and read it -- or even better, study it. This will teach you a ton about your camera as well as how to use its different features, some of which we will explore now. Quick note: look up HDR in your camera manual. Many cameras now offer an in-camera HDR function. If yours does, find the section in your manual and follow the instructions. Then read through below for additional tips and directions. In-camera HDR settings will normally incorporate an exposure bracketing function and then process multiple source images into one final High Dynamic Range finished image file. If your camera doesn't have built-in HDR, or if you prefer to use 3rd-party computer software to produce HDR images, you'll need to set Auto Exposure Bracketing and other features independently. Exercise number one with your newfound camera manual is to discover your Auto Exposure Bracketing (AEB) mode. Why is this necessary, you might ask? AEB is the main component in creating an HDR photo. Let me try and explain why. A bracketing sequence will shoot a series of images that will be over and under exposed, compared to the shot you have set up in your camera. Together, these images will give you a series of photos that are correctly exposed for the brightest, darkest and for the mid-tone areas. Depending on your camera the AEB mode will either shoot 3, 5, 7, or 9 shots. The more images you can get, the better because the potential of capturing all the light in your scene increases. Follow your manual’s instruction on how to turn on and set your AEB mode. - Aperture Priority Mode: If you do not regularly shoot in Manual mode, I would highly suggest setting your camera to Aperture Priority mode (Av on Canon EOS cameras). This mode gives priority to the aperture setting (allowing you to pick it and lock it in) and let the camera determine shutter speed for you. Remember that aperture controls depth of field, so the higher the aperture, the greater the depth of field. In the case of landscape photography, just about any aperture value over f/11 will have your entire frame in focus. Start at f/11 and experiment your way up from there. - Metering Mode: In a nutshell, metering mode is simply how your camera samples light to determine the proper exposure. For the purpose here, it suffices to say that Evaluative Metering will work just fine for you. - White Balance: White balance is incredibly important in photography and getting it wrong can throw an entire image off. Again, for what we are learning here, we can go with Auto White Balance (AWB). But I do highly suggest you look into and learn more about how to use White Balance. - ISO: ISO determines how sensitive your camera is to light. The higher the number, the more sensitive it becomes. There is a downside to ISO though -- the higher the number, the lower your image quality can become. This drop in quality comes from what is referred to as "noise" or the graininess in images. So set your ISO as low as possible. In this case, go with ISO 100. - Self-Timer: Learn how to use the self-timer feature on your camera (another great use of your camera’s manual). The self-timer will get rid of any possible movement caused by holding down the shutter with your finger because you won't be touching it when it snaps. Personally, I prefer to use the 2-second timer. With this setting, you simply press the shutter release, let go of your cameras and 2 seconds later, the camera will take the 3, 5, 7, or 9 exposures in sequence. As you compose your shot, switch your lens to manual focus. While Auto Focus (AF) is an amazing technology, it is not always the best for landscapes. Using manual focus, set your focus point to infinity on the lens. This setting will average out the entire framed scene and bring all into focus. If you have a very important subject within your scene, at this point, my suggestion would be to switch your camera over to “Live View” and use the display’s zoom feature (do not zoom with the lens; zoom with the magnifying button) and zoom all the way in on your subject and focus manually. This will allow you to make sure that your subject is tack sharp (please note that there is a possibility that some of the image might be a little softer). If your lens does not have a "focusing index," which will allow you to manually focus your lens to infinity, I would suggest using your AF to focus, then switching the lens to manual focus and preventing the camera to refocus with each shot. Now that you have your shots, what's next? If your camera can do in-camera HDR and you followed your manual, then you should now have a finished HDR JPEG image. If your camera does not offer in-camera HDR or you chose not to use that feature, then you will have 3, 5, 7, or 9 images that need to be combined. A solid choice would be to use Adobe Photoshop, which has a robust and easy to use HDR feature. There are also plenty of other programs out there that will help you put these images together into an HDR photograph. Definitely plan ahead and look into what you will use to process all the images into HDR composites before going out to shoot. Have fun, experiment and try different setting combinations and processing techniques. There's more detail to see than you thought. - eos 5d mark ii - eos 7d - eos-1d mark iv - white papers - autofocus modes - autofocus techniques - cheat sheets - cinema eos - cmos sensors - eos 50d - eos 5d mark iii - eos 60d - eos c300 - eos c300 pl - eos-1d mark iii - eos-1d x - eos-1ds mark iii - non linear editing - product tutorials - speedlite 580ex ii - speedlite 600ex-rt - xf 305

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Many cameras now offer an in-camera HDR function.

Most likely, if you are passionate about photography (and I assume you are because you are reading the Canon Digital Learning Center’s blog), you have come across High Dynamic Range (HDR) photography. HDR photography is the process of taking multiple exposures of the same high-contrast scene at different levels of brightness, then combining them into one image. This single image with a wider range of detail, from the darkest to the brightest areas, is typically impossible with a single exposure. HDR photography is most often used to produce photos that mimic what the human eye is able to see. Now, I say “most often” because there is also a fun and creative side to HDR photography that allows for a lot interesting experimentation, something worth trying out. Back to the actual purpose of this blog entry: to help you get started with HDR photography. So what do you need, besides a camera and a lens, you might ask? - Tripod: Tripods are not absolutely necessary, but when you are starting off, it will make your life a lot easier. With small lens apertures (high f-numbers) and low ISO settings, there is a good likelihood that you will use slow shutter speeds, which will make handholding very tough and may result in blurry photos. Tripods are also great at making sure that your camera does not move between several exposures. - A Contrast Rich Scene: What you photograph is totally up to you. If I may, I would suggest that when you start off in HDR photography, you should find a landscape scene that has a strong contrast between its shadows and highlight areas. This will allow you to better see the effects HDR can achieve. Your Camera Manual: Find your camera’s manual. There, I said it. Find your camera manual! I know we all hate manuals, but they are the best way to get the most out of your camera. You should know where your manual is and read it -- or even better, study it. This will teach you a ton about your camera as well as how to use its different features, some of which we will explore now. Quick note: look up HDR in your camera manual. Many cameras now offer an in-camera HDR function. If yours does, find the section in your manual and follow the instructions. Then read through below for additional tips and directions. In-camera HDR settings will normally incorporate an exposure bracketing function and then process multiple source images into one final High Dynamic Range finished image file. If your camera doesn't have built-in HDR, or if you prefer to use 3rd-party computer software to produce HDR images, you'll need to set Auto Exposure Bracketing and other features independently. Exercise number one with your newfound camera manual is to discover your Auto Exposure Bracketing (AEB) mode. Why is this necessary, you might ask? AEB is the main component in creating an HDR photo. Let me try and explain why. A bracketing sequence will shoot a series of images that will be over and under exposed, compared to the shot you have set up in your camera. Together, these images will give you a series of photos that are correctly exposed for the brightest, darkest and for the mid-tone areas. Depending on your camera the AEB mode will either shoot 3, 5, 7, or 9 shots. The more images you can get, the better because the potential of capturing all the light in your scene increases. Follow your manual’s instruction on how to turn on and set your AEB mode. - Aperture Priority Mode: If you do not regularly shoot in Manual mode, I would highly suggest setting your camera to Aperture Priority mode (Av on Canon EOS cameras). This mode gives priority to the aperture setting (allowing you to pick it and lock it in) and let the camera determine shutter speed for you. Remember that aperture controls depth of field, so the higher the aperture, the greater the depth of field. In the case of landscape photography, just about any aperture value over f/11 will have your entire frame in focus. Start at f/11 and experiment your way up from there. - Metering Mode: In a nutshell, metering mode is simply how your camera samples light to determine the proper exposure. For the purpose here, it suffices to say that Evaluative Metering will work just fine for you. - White Balance: White balance is incredibly important in photography and getting it wrong can throw an entire image off. Again, for what we are learning here, we can go with Auto White Balance (AWB). But I do highly suggest you look into and learn more about how to use White Balance. - ISO: ISO determines how sensitive your camera is to light. The higher the number, the more sensitive it becomes. There is a downside to ISO though -- the higher the number, the lower your image quality can become. This drop in quality comes from what is referred to as "noise" or the graininess in images. So set your ISO as low as possible. In this case, go with ISO 100. - Self-Timer: Learn how to use the self-timer feature on your camera (another great use of your camera’s manual). The self-timer will get rid of any possible movement caused by holding down the shutter with your finger because you won't be touching it when it snaps. Personally, I prefer to use the 2-second timer. With this setting, you simply press the shutter release, let go of your cameras and 2 seconds later, the camera will take the 3, 5, 7, or 9 exposures in sequence. As you compose your shot, switch your lens to manual focus. While Auto Focus (AF) is an amazing technology, it is not always the best for landscapes. Using manual focus, set your focus point to infinity on the lens. This setting will average out the entire framed scene and bring all into focus. If you have a very important subject within your scene, at this point, my suggestion would be to switch your camera over to “Live View” and use the display’s zoom feature (do not zoom with the lens; zoom with the magnifying button) and zoom all the way in on your subject and focus manually. This will allow you to make sure that your subject is tack sharp (please note that there is a possibility that some of the image might be a little softer). If your lens does not have a "focusing index," which will allow you to manually focus your lens to infinity, I would suggest using your AF to focus, then switching the lens to manual focus and preventing the camera to refocus with each shot. Now that you have your shots, what's next? If your camera can do in-camera HDR and you followed your manual, then you should now have a finished HDR JPEG image. If your camera does not offer in-camera HDR or you chose not to use that feature, then you will have 3, 5, 7, or 9 images that need to be combined. A solid choice would be to use Adobe Photoshop, which has a robust and easy to use HDR feature. There are also plenty of other programs out there that will help you put these images together into an HDR photograph. Definitely plan ahead and look into what you will use to process all the images into HDR composites before going out to shoot. Have fun, experiment and try different setting combinations and processing techniques. There's more detail to see than you thought. - eos 5d mark ii - eos 7d - eos-1d mark iv - white papers - autofocus modes - autofocus techniques - cheat sheets - cinema eos - cmos sensors - eos 50d - eos 5d mark iii - eos 60d - eos c300 - eos c300 pl - eos-1d mark iii - eos-1d x - eos-1ds mark iii - non linear editing - product tutorials - speedlite 580ex ii - speedlite 600ex-rt - xf 305

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If yours does, find the section in your manual and follow the instructions.

Most likely, if you are passionate about photography (and I assume you are because you are reading the Canon Digital Learning Center’s blog), you have come across High Dynamic Range (HDR) photography. HDR photography is the process of taking multiple exposures of the same high-contrast scene at different levels of brightness, then combining them into one image. This single image with a wider range of detail, from the darkest to the brightest areas, is typically impossible with a single exposure. HDR photography is most often used to produce photos that mimic what the human eye is able to see. Now, I say “most often” because there is also a fun and creative side to HDR photography that allows for a lot interesting experimentation, something worth trying out. Back to the actual purpose of this blog entry: to help you get started with HDR photography. So what do you need, besides a camera and a lens, you might ask? - Tripod: Tripods are not absolutely necessary, but when you are starting off, it will make your life a lot easier. With small lens apertures (high f-numbers) and low ISO settings, there is a good likelihood that you will use slow shutter speeds, which will make handholding very tough and may result in blurry photos. Tripods are also great at making sure that your camera does not move between several exposures. - A Contrast Rich Scene: What you photograph is totally up to you. If I may, I would suggest that when you start off in HDR photography, you should find a landscape scene that has a strong contrast between its shadows and highlight areas. This will allow you to better see the effects HDR can achieve. Your Camera Manual: Find your camera’s manual. There, I said it. Find your camera manual! I know we all hate manuals, but they are the best way to get the most out of your camera. You should know where your manual is and read it -- or even better, study it. This will teach you a ton about your camera as well as how to use its different features, some of which we will explore now. Quick note: look up HDR in your camera manual. Many cameras now offer an in-camera HDR function. If yours does, find the section in your manual and follow the instructions. Then read through below for additional tips and directions. In-camera HDR settings will normally incorporate an exposure bracketing function and then process multiple source images into one final High Dynamic Range finished image file. If your camera doesn't have built-in HDR, or if you prefer to use 3rd-party computer software to produce HDR images, you'll need to set Auto Exposure Bracketing and other features independently. Exercise number one with your newfound camera manual is to discover your Auto Exposure Bracketing (AEB) mode. Why is this necessary, you might ask? AEB is the main component in creating an HDR photo. Let me try and explain why. A bracketing sequence will shoot a series of images that will be over and under exposed, compared to the shot you have set up in your camera. Together, these images will give you a series of photos that are correctly exposed for the brightest, darkest and for the mid-tone areas. Depending on your camera the AEB mode will either shoot 3, 5, 7, or 9 shots. The more images you can get, the better because the potential of capturing all the light in your scene increases. Follow your manual’s instruction on how to turn on and set your AEB mode. - Aperture Priority Mode: If you do not regularly shoot in Manual mode, I would highly suggest setting your camera to Aperture Priority mode (Av on Canon EOS cameras). This mode gives priority to the aperture setting (allowing you to pick it and lock it in) and let the camera determine shutter speed for you. Remember that aperture controls depth of field, so the higher the aperture, the greater the depth of field. In the case of landscape photography, just about any aperture value over f/11 will have your entire frame in focus. Start at f/11 and experiment your way up from there. - Metering Mode: In a nutshell, metering mode is simply how your camera samples light to determine the proper exposure. For the purpose here, it suffices to say that Evaluative Metering will work just fine for you. - White Balance: White balance is incredibly important in photography and getting it wrong can throw an entire image off. Again, for what we are learning here, we can go with Auto White Balance (AWB). But I do highly suggest you look into and learn more about how to use White Balance. - ISO: ISO determines how sensitive your camera is to light. The higher the number, the more sensitive it becomes. There is a downside to ISO though -- the higher the number, the lower your image quality can become. This drop in quality comes from what is referred to as "noise" or the graininess in images. So set your ISO as low as possible. In this case, go with ISO 100. - Self-Timer: Learn how to use the self-timer feature on your camera (another great use of your camera’s manual). The self-timer will get rid of any possible movement caused by holding down the shutter with your finger because you won't be touching it when it snaps. Personally, I prefer to use the 2-second timer. With this setting, you simply press the shutter release, let go of your cameras and 2 seconds later, the camera will take the 3, 5, 7, or 9 exposures in sequence. As you compose your shot, switch your lens to manual focus. While Auto Focus (AF) is an amazing technology, it is not always the best for landscapes. Using manual focus, set your focus point to infinity on the lens. This setting will average out the entire framed scene and bring all into focus. If you have a very important subject within your scene, at this point, my suggestion would be to switch your camera over to “Live View” and use the display’s zoom feature (do not zoom with the lens; zoom with the magnifying button) and zoom all the way in on your subject and focus manually. This will allow you to make sure that your subject is tack sharp (please note that there is a possibility that some of the image might be a little softer). If your lens does not have a "focusing index," which will allow you to manually focus your lens to infinity, I would suggest using your AF to focus, then switching the lens to manual focus and preventing the camera to refocus with each shot. Now that you have your shots, what's next? If your camera can do in-camera HDR and you followed your manual, then you should now have a finished HDR JPEG image. If your camera does not offer in-camera HDR or you chose not to use that feature, then you will have 3, 5, 7, or 9 images that need to be combined. A solid choice would be to use Adobe Photoshop, which has a robust and easy to use HDR feature. There are also plenty of other programs out there that will help you put these images together into an HDR photograph. Definitely plan ahead and look into what you will use to process all the images into HDR composites before going out to shoot. Have fun, experiment and try different setting combinations and processing techniques. There's more detail to see than you thought. - eos 5d mark ii - eos 7d - eos-1d mark iv - white papers - autofocus modes - autofocus techniques - cheat sheets - cinema eos - cmos sensors - eos 50d - eos 5d mark iii - eos 60d - eos c300 - eos c300 pl - eos-1d mark iii - eos-1d x - eos-1ds mark iii - non linear editing - product tutorials - speedlite 580ex ii - speedlite 600ex-rt - xf 305

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Then read through below for additional tips and directions.

Most likely, if you are passionate about photography (and I assume you are because you are reading the Canon Digital Learning Center’s blog), you have come across High Dynamic Range (HDR) photography. HDR photography is the process of taking multiple exposures of the same high-contrast scene at different levels of brightness, then combining them into one image. This single image with a wider range of detail, from the darkest to the brightest areas, is typically impossible with a single exposure. HDR photography is most often used to produce photos that mimic what the human eye is able to see. Now, I say “most often” because there is also a fun and creative side to HDR photography that allows for a lot interesting experimentation, something worth trying out. Back to the actual purpose of this blog entry: to help you get started with HDR photography. So what do you need, besides a camera and a lens, you might ask? - Tripod: Tripods are not absolutely necessary, but when you are starting off, it will make your life a lot easier. With small lens apertures (high f-numbers) and low ISO settings, there is a good likelihood that you will use slow shutter speeds, which will make handholding very tough and may result in blurry photos. Tripods are also great at making sure that your camera does not move between several exposures. - A Contrast Rich Scene: What you photograph is totally up to you. If I may, I would suggest that when you start off in HDR photography, you should find a landscape scene that has a strong contrast between its shadows and highlight areas. This will allow you to better see the effects HDR can achieve. Your Camera Manual: Find your camera’s manual. There, I said it. Find your camera manual! I know we all hate manuals, but they are the best way to get the most out of your camera. You should know where your manual is and read it -- or even better, study it. This will teach you a ton about your camera as well as how to use its different features, some of which we will explore now. Quick note: look up HDR in your camera manual. Many cameras now offer an in-camera HDR function. If yours does, find the section in your manual and follow the instructions. Then read through below for additional tips and directions. In-camera HDR settings will normally incorporate an exposure bracketing function and then process multiple source images into one final High Dynamic Range finished image file. If your camera doesn't have built-in HDR, or if you prefer to use 3rd-party computer software to produce HDR images, you'll need to set Auto Exposure Bracketing and other features independently. Exercise number one with your newfound camera manual is to discover your Auto Exposure Bracketing (AEB) mode. Why is this necessary, you might ask? AEB is the main component in creating an HDR photo. Let me try and explain why. A bracketing sequence will shoot a series of images that will be over and under exposed, compared to the shot you have set up in your camera. Together, these images will give you a series of photos that are correctly exposed for the brightest, darkest and for the mid-tone areas. Depending on your camera the AEB mode will either shoot 3, 5, 7, or 9 shots. The more images you can get, the better because the potential of capturing all the light in your scene increases. Follow your manual’s instruction on how to turn on and set your AEB mode. - Aperture Priority Mode: If you do not regularly shoot in Manual mode, I would highly suggest setting your camera to Aperture Priority mode (Av on Canon EOS cameras). This mode gives priority to the aperture setting (allowing you to pick it and lock it in) and let the camera determine shutter speed for you. Remember that aperture controls depth of field, so the higher the aperture, the greater the depth of field. In the case of landscape photography, just about any aperture value over f/11 will have your entire frame in focus. Start at f/11 and experiment your way up from there. - Metering Mode: In a nutshell, metering mode is simply how your camera samples light to determine the proper exposure. For the purpose here, it suffices to say that Evaluative Metering will work just fine for you. - White Balance: White balance is incredibly important in photography and getting it wrong can throw an entire image off. Again, for what we are learning here, we can go with Auto White Balance (AWB). But I do highly suggest you look into and learn more about how to use White Balance. - ISO: ISO determines how sensitive your camera is to light. The higher the number, the more sensitive it becomes. There is a downside to ISO though -- the higher the number, the lower your image quality can become. This drop in quality comes from what is referred to as "noise" or the graininess in images. So set your ISO as low as possible. In this case, go with ISO 100. - Self-Timer: Learn how to use the self-timer feature on your camera (another great use of your camera’s manual). The self-timer will get rid of any possible movement caused by holding down the shutter with your finger because you won't be touching it when it snaps. Personally, I prefer to use the 2-second timer. With this setting, you simply press the shutter release, let go of your cameras and 2 seconds later, the camera will take the 3, 5, 7, or 9 exposures in sequence. As you compose your shot, switch your lens to manual focus. While Auto Focus (AF) is an amazing technology, it is not always the best for landscapes. Using manual focus, set your focus point to infinity on the lens. This setting will average out the entire framed scene and bring all into focus. If you have a very important subject within your scene, at this point, my suggestion would be to switch your camera over to “Live View” and use the display’s zoom feature (do not zoom with the lens; zoom with the magnifying button) and zoom all the way in on your subject and focus manually. This will allow you to make sure that your subject is tack sharp (please note that there is a possibility that some of the image might be a little softer). If your lens does not have a "focusing index," which will allow you to manually focus your lens to infinity, I would suggest using your AF to focus, then switching the lens to manual focus and preventing the camera to refocus with each shot. Now that you have your shots, what's next? If your camera can do in-camera HDR and you followed your manual, then you should now have a finished HDR JPEG image. If your camera does not offer in-camera HDR or you chose not to use that feature, then you will have 3, 5, 7, or 9 images that need to be combined. A solid choice would be to use Adobe Photoshop, which has a robust and easy to use HDR feature. There are also plenty of other programs out there that will help you put these images together into an HDR photograph. Definitely plan ahead and look into what you will use to process all the images into HDR composites before going out to shoot. Have fun, experiment and try different setting combinations and processing techniques. There's more detail to see than you thought. - eos 5d mark ii - eos 7d - eos-1d mark iv - white papers - autofocus modes - autofocus techniques - cheat sheets - cinema eos - cmos sensors - eos 50d - eos 5d mark iii - eos 60d - eos c300 - eos c300 pl - eos-1d mark iii - eos-1d x - eos-1ds mark iii - non linear editing - product tutorials - speedlite 580ex ii - speedlite 600ex-rt - xf 305

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In-camera HDR settings will normally incorporate an exposure bracketing function and then process multiple source images into one final High Dynamic Range finished image file.

Most likely, if you are passionate about photography (and I assume you are because you are reading the Canon Digital Learning Center’s blog), you have come across High Dynamic Range (HDR) photography. HDR photography is the process of taking multiple exposures of the same high-contrast scene at different levels of brightness, then combining them into one image. This single image with a wider range of detail, from the darkest to the brightest areas, is typically impossible with a single exposure. HDR photography is most often used to produce photos that mimic what the human eye is able to see. Now, I say “most often” because there is also a fun and creative side to HDR photography that allows for a lot interesting experimentation, something worth trying out. Back to the actual purpose of this blog entry: to help you get started with HDR photography. So what do you need, besides a camera and a lens, you might ask? - Tripod: Tripods are not absolutely necessary, but when you are starting off, it will make your life a lot easier. With small lens apertures (high f-numbers) and low ISO settings, there is a good likelihood that you will use slow shutter speeds, which will make handholding very tough and may result in blurry photos. Tripods are also great at making sure that your camera does not move between several exposures. - A Contrast Rich Scene: What you photograph is totally up to you. If I may, I would suggest that when you start off in HDR photography, you should find a landscape scene that has a strong contrast between its shadows and highlight areas. This will allow you to better see the effects HDR can achieve. Your Camera Manual: Find your camera’s manual. There, I said it. Find your camera manual! I know we all hate manuals, but they are the best way to get the most out of your camera. You should know where your manual is and read it -- or even better, study it. This will teach you a ton about your camera as well as how to use its different features, some of which we will explore now. Quick note: look up HDR in your camera manual. Many cameras now offer an in-camera HDR function. If yours does, find the section in your manual and follow the instructions. Then read through below for additional tips and directions. In-camera HDR settings will normally incorporate an exposure bracketing function and then process multiple source images into one final High Dynamic Range finished image file. If your camera doesn't have built-in HDR, or if you prefer to use 3rd-party computer software to produce HDR images, you'll need to set Auto Exposure Bracketing and other features independently. Exercise number one with your newfound camera manual is to discover your Auto Exposure Bracketing (AEB) mode. Why is this necessary, you might ask? AEB is the main component in creating an HDR photo. Let me try and explain why. A bracketing sequence will shoot a series of images that will be over and under exposed, compared to the shot you have set up in your camera. Together, these images will give you a series of photos that are correctly exposed for the brightest, darkest and for the mid-tone areas. Depending on your camera the AEB mode will either shoot 3, 5, 7, or 9 shots. The more images you can get, the better because the potential of capturing all the light in your scene increases. Follow your manual’s instruction on how to turn on and set your AEB mode. - Aperture Priority Mode: If you do not regularly shoot in Manual mode, I would highly suggest setting your camera to Aperture Priority mode (Av on Canon EOS cameras). This mode gives priority to the aperture setting (allowing you to pick it and lock it in) and let the camera determine shutter speed for you. Remember that aperture controls depth of field, so the higher the aperture, the greater the depth of field. In the case of landscape photography, just about any aperture value over f/11 will have your entire frame in focus. Start at f/11 and experiment your way up from there. - Metering Mode: In a nutshell, metering mode is simply how your camera samples light to determine the proper exposure. For the purpose here, it suffices to say that Evaluative Metering will work just fine for you. - White Balance: White balance is incredibly important in photography and getting it wrong can throw an entire image off. Again, for what we are learning here, we can go with Auto White Balance (AWB). But I do highly suggest you look into and learn more about how to use White Balance. - ISO: ISO determines how sensitive your camera is to light. The higher the number, the more sensitive it becomes. There is a downside to ISO though -- the higher the number, the lower your image quality can become. This drop in quality comes from what is referred to as "noise" or the graininess in images. So set your ISO as low as possible. In this case, go with ISO 100. - Self-Timer: Learn how to use the self-timer feature on your camera (another great use of your camera’s manual). The self-timer will get rid of any possible movement caused by holding down the shutter with your finger because you won't be touching it when it snaps. Personally, I prefer to use the 2-second timer. With this setting, you simply press the shutter release, let go of your cameras and 2 seconds later, the camera will take the 3, 5, 7, or 9 exposures in sequence. As you compose your shot, switch your lens to manual focus. While Auto Focus (AF) is an amazing technology, it is not always the best for landscapes. Using manual focus, set your focus point to infinity on the lens. This setting will average out the entire framed scene and bring all into focus. If you have a very important subject within your scene, at this point, my suggestion would be to switch your camera over to “Live View” and use the display’s zoom feature (do not zoom with the lens; zoom with the magnifying button) and zoom all the way in on your subject and focus manually. This will allow you to make sure that your subject is tack sharp (please note that there is a possibility that some of the image might be a little softer). If your lens does not have a "focusing index," which will allow you to manually focus your lens to infinity, I would suggest using your AF to focus, then switching the lens to manual focus and preventing the camera to refocus with each shot. Now that you have your shots, what's next? If your camera can do in-camera HDR and you followed your manual, then you should now have a finished HDR JPEG image. If your camera does not offer in-camera HDR or you chose not to use that feature, then you will have 3, 5, 7, or 9 images that need to be combined. A solid choice would be to use Adobe Photoshop, which has a robust and easy to use HDR feature. There are also plenty of other programs out there that will help you put these images together into an HDR photograph. Definitely plan ahead and look into what you will use to process all the images into HDR composites before going out to shoot. Have fun, experiment and try different setting combinations and processing techniques. There's more detail to see than you thought. - eos 5d mark ii - eos 7d - eos-1d mark iv - white papers - autofocus modes - autofocus techniques - cheat sheets - cinema eos - cmos sensors - eos 50d - eos 5d mark iii - eos 60d - eos c300 - eos c300 pl - eos-1d mark iii - eos-1d x - eos-1ds mark iii - non linear editing - product tutorials - speedlite 580ex ii - speedlite 600ex-rt - xf 305

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If your camera doesn't have built-in HDR, or if you prefer to use 3rd-party computer software to produce HDR images, you'll need to set Auto Exposure Bracketing and other features independently.

Most likely, if you are passionate about photography (and I assume you are because you are reading the Canon Digital Learning Center’s blog), you have come across High Dynamic Range (HDR) photography. HDR photography is the process of taking multiple exposures of the same high-contrast scene at different levels of brightness, then combining them into one image. This single image with a wider range of detail, from the darkest to the brightest areas, is typically impossible with a single exposure. HDR photography is most often used to produce photos that mimic what the human eye is able to see. Now, I say “most often” because there is also a fun and creative side to HDR photography that allows for a lot interesting experimentation, something worth trying out. Back to the actual purpose of this blog entry: to help you get started with HDR photography. So what do you need, besides a camera and a lens, you might ask? - Tripod: Tripods are not absolutely necessary, but when you are starting off, it will make your life a lot easier. With small lens apertures (high f-numbers) and low ISO settings, there is a good likelihood that you will use slow shutter speeds, which will make handholding very tough and may result in blurry photos. Tripods are also great at making sure that your camera does not move between several exposures. - A Contrast Rich Scene: What you photograph is totally up to you. If I may, I would suggest that when you start off in HDR photography, you should find a landscape scene that has a strong contrast between its shadows and highlight areas. This will allow you to better see the effects HDR can achieve. Your Camera Manual: Find your camera’s manual. There, I said it. Find your camera manual! I know we all hate manuals, but they are the best way to get the most out of your camera. You should know where your manual is and read it -- or even better, study it. This will teach you a ton about your camera as well as how to use its different features, some of which we will explore now. Quick note: look up HDR in your camera manual. Many cameras now offer an in-camera HDR function. If yours does, find the section in your manual and follow the instructions. Then read through below for additional tips and directions. In-camera HDR settings will normally incorporate an exposure bracketing function and then process multiple source images into one final High Dynamic Range finished image file. If your camera doesn't have built-in HDR, or if you prefer to use 3rd-party computer software to produce HDR images, you'll need to set Auto Exposure Bracketing and other features independently. Exercise number one with your newfound camera manual is to discover your Auto Exposure Bracketing (AEB) mode. Why is this necessary, you might ask? AEB is the main component in creating an HDR photo. Let me try and explain why. A bracketing sequence will shoot a series of images that will be over and under exposed, compared to the shot you have set up in your camera. Together, these images will give you a series of photos that are correctly exposed for the brightest, darkest and for the mid-tone areas. Depending on your camera the AEB mode will either shoot 3, 5, 7, or 9 shots. The more images you can get, the better because the potential of capturing all the light in your scene increases. Follow your manual’s instruction on how to turn on and set your AEB mode. - Aperture Priority Mode: If you do not regularly shoot in Manual mode, I would highly suggest setting your camera to Aperture Priority mode (Av on Canon EOS cameras). This mode gives priority to the aperture setting (allowing you to pick it and lock it in) and let the camera determine shutter speed for you. Remember that aperture controls depth of field, so the higher the aperture, the greater the depth of field. In the case of landscape photography, just about any aperture value over f/11 will have your entire frame in focus. Start at f/11 and experiment your way up from there. - Metering Mode: In a nutshell, metering mode is simply how your camera samples light to determine the proper exposure. For the purpose here, it suffices to say that Evaluative Metering will work just fine for you. - White Balance: White balance is incredibly important in photography and getting it wrong can throw an entire image off. Again, for what we are learning here, we can go with Auto White Balance (AWB). But I do highly suggest you look into and learn more about how to use White Balance. - ISO: ISO determines how sensitive your camera is to light. The higher the number, the more sensitive it becomes. There is a downside to ISO though -- the higher the number, the lower your image quality can become. This drop in quality comes from what is referred to as "noise" or the graininess in images. So set your ISO as low as possible. In this case, go with ISO 100. - Self-Timer: Learn how to use the self-timer feature on your camera (another great use of your camera’s manual). The self-timer will get rid of any possible movement caused by holding down the shutter with your finger because you won't be touching it when it snaps. Personally, I prefer to use the 2-second timer. With this setting, you simply press the shutter release, let go of your cameras and 2 seconds later, the camera will take the 3, 5, 7, or 9 exposures in sequence. As you compose your shot, switch your lens to manual focus. While Auto Focus (AF) is an amazing technology, it is not always the best for landscapes. Using manual focus, set your focus point to infinity on the lens. This setting will average out the entire framed scene and bring all into focus. If you have a very important subject within your scene, at this point, my suggestion would be to switch your camera over to “Live View” and use the display’s zoom feature (do not zoom with the lens; zoom with the magnifying button) and zoom all the way in on your subject and focus manually. This will allow you to make sure that your subject is tack sharp (please note that there is a possibility that some of the image might be a little softer). If your lens does not have a "focusing index," which will allow you to manually focus your lens to infinity, I would suggest using your AF to focus, then switching the lens to manual focus and preventing the camera to refocus with each shot. Now that you have your shots, what's next? If your camera can do in-camera HDR and you followed your manual, then you should now have a finished HDR JPEG image. If your camera does not offer in-camera HDR or you chose not to use that feature, then you will have 3, 5, 7, or 9 images that need to be combined. A solid choice would be to use Adobe Photoshop, which has a robust and easy to use HDR feature. There are also plenty of other programs out there that will help you put these images together into an HDR photograph. Definitely plan ahead and look into what you will use to process all the images into HDR composites before going out to shoot. Have fun, experiment and try different setting combinations and processing techniques. There's more detail to see than you thought. - eos 5d mark ii - eos 7d - eos-1d mark iv - white papers - autofocus modes - autofocus techniques - cheat sheets - cinema eos - cmos sensors - eos 50d - eos 5d mark iii - eos 60d - eos c300 - eos c300 pl - eos-1d mark iii - eos-1d x - eos-1ds mark iii - non linear editing - product tutorials - speedlite 580ex ii - speedlite 600ex-rt - xf 305

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Exercise number one with your newfound camera manual is to discover your Auto Exposure Bracketing (AEB) mode.

Most likely, if you are passionate about photography (and I assume you are because you are reading the Canon Digital Learning Center’s blog), you have come across High Dynamic Range (HDR) photography. HDR photography is the process of taking multiple exposures of the same high-contrast scene at different levels of brightness, then combining them into one image. This single image with a wider range of detail, from the darkest to the brightest areas, is typically impossible with a single exposure. HDR photography is most often used to produce photos that mimic what the human eye is able to see. Now, I say “most often” because there is also a fun and creative side to HDR photography that allows for a lot interesting experimentation, something worth trying out. Back to the actual purpose of this blog entry: to help you get started with HDR photography. So what do you need, besides a camera and a lens, you might ask? - Tripod: Tripods are not absolutely necessary, but when you are starting off, it will make your life a lot easier. With small lens apertures (high f-numbers) and low ISO settings, there is a good likelihood that you will use slow shutter speeds, which will make handholding very tough and may result in blurry photos. Tripods are also great at making sure that your camera does not move between several exposures. - A Contrast Rich Scene: What you photograph is totally up to you. If I may, I would suggest that when you start off in HDR photography, you should find a landscape scene that has a strong contrast between its shadows and highlight areas. This will allow you to better see the effects HDR can achieve. Your Camera Manual: Find your camera’s manual. There, I said it. Find your camera manual! I know we all hate manuals, but they are the best way to get the most out of your camera. You should know where your manual is and read it -- or even better, study it. This will teach you a ton about your camera as well as how to use its different features, some of which we will explore now. Quick note: look up HDR in your camera manual. Many cameras now offer an in-camera HDR function. If yours does, find the section in your manual and follow the instructions. Then read through below for additional tips and directions. In-camera HDR settings will normally incorporate an exposure bracketing function and then process multiple source images into one final High Dynamic Range finished image file. If your camera doesn't have built-in HDR, or if you prefer to use 3rd-party computer software to produce HDR images, you'll need to set Auto Exposure Bracketing and other features independently. Exercise number one with your newfound camera manual is to discover your Auto Exposure Bracketing (AEB) mode. Why is this necessary, you might ask? AEB is the main component in creating an HDR photo. Let me try and explain why. A bracketing sequence will shoot a series of images that will be over and under exposed, compared to the shot you have set up in your camera. Together, these images will give you a series of photos that are correctly exposed for the brightest, darkest and for the mid-tone areas. Depending on your camera the AEB mode will either shoot 3, 5, 7, or 9 shots. The more images you can get, the better because the potential of capturing all the light in your scene increases. Follow your manual’s instruction on how to turn on and set your AEB mode. - Aperture Priority Mode: If you do not regularly shoot in Manual mode, I would highly suggest setting your camera to Aperture Priority mode (Av on Canon EOS cameras). This mode gives priority to the aperture setting (allowing you to pick it and lock it in) and let the camera determine shutter speed for you. Remember that aperture controls depth of field, so the higher the aperture, the greater the depth of field. In the case of landscape photography, just about any aperture value over f/11 will have your entire frame in focus. Start at f/11 and experiment your way up from there. - Metering Mode: In a nutshell, metering mode is simply how your camera samples light to determine the proper exposure. For the purpose here, it suffices to say that Evaluative Metering will work just fine for you. - White Balance: White balance is incredibly important in photography and getting it wrong can throw an entire image off. Again, for what we are learning here, we can go with Auto White Balance (AWB). But I do highly suggest you look into and learn more about how to use White Balance. - ISO: ISO determines how sensitive your camera is to light. The higher the number, the more sensitive it becomes. There is a downside to ISO though -- the higher the number, the lower your image quality can become. This drop in quality comes from what is referred to as "noise" or the graininess in images. So set your ISO as low as possible. In this case, go with ISO 100. - Self-Timer: Learn how to use the self-timer feature on your camera (another great use of your camera’s manual). The self-timer will get rid of any possible movement caused by holding down the shutter with your finger because you won't be touching it when it snaps. Personally, I prefer to use the 2-second timer. With this setting, you simply press the shutter release, let go of your cameras and 2 seconds later, the camera will take the 3, 5, 7, or 9 exposures in sequence. As you compose your shot, switch your lens to manual focus. While Auto Focus (AF) is an amazing technology, it is not always the best for landscapes. Using manual focus, set your focus point to infinity on the lens. This setting will average out the entire framed scene and bring all into focus. If you have a very important subject within your scene, at this point, my suggestion would be to switch your camera over to “Live View” and use the display’s zoom feature (do not zoom with the lens; zoom with the magnifying button) and zoom all the way in on your subject and focus manually. This will allow you to make sure that your subject is tack sharp (please note that there is a possibility that some of the image might be a little softer). If your lens does not have a "focusing index," which will allow you to manually focus your lens to infinity, I would suggest using your AF to focus, then switching the lens to manual focus and preventing the camera to refocus with each shot. Now that you have your shots, what's next? If your camera can do in-camera HDR and you followed your manual, then you should now have a finished HDR JPEG image. If your camera does not offer in-camera HDR or you chose not to use that feature, then you will have 3, 5, 7, or 9 images that need to be combined. A solid choice would be to use Adobe Photoshop, which has a robust and easy to use HDR feature. There are also plenty of other programs out there that will help you put these images together into an HDR photograph. Definitely plan ahead and look into what you will use to process all the images into HDR composites before going out to shoot. Have fun, experiment and try different setting combinations and processing techniques. There's more detail to see than you thought. - eos 5d mark ii - eos 7d - eos-1d mark iv - white papers - autofocus modes - autofocus techniques - cheat sheets - cinema eos - cmos sensors - eos 50d - eos 5d mark iii - eos 60d - eos c300 - eos c300 pl - eos-1d mark iii - eos-1d x - eos-1ds mark iii - non linear editing - product tutorials - speedlite 580ex ii - speedlite 600ex-rt - xf 305

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AEB is the main component in creating an HDR photo.

Most likely, if you are passionate about photography (and I assume you are because you are reading the Canon Digital Learning Center’s blog), you have come across High Dynamic Range (HDR) photography. HDR photography is the process of taking multiple exposures of the same high-contrast scene at different levels of brightness, then combining them into one image. This single image with a wider range of detail, from the darkest to the brightest areas, is typically impossible with a single exposure. HDR photography is most often used to produce photos that mimic what the human eye is able to see. Now, I say “most often” because there is also a fun and creative side to HDR photography that allows for a lot interesting experimentation, something worth trying out. Back to the actual purpose of this blog entry: to help you get started with HDR photography. So what do you need, besides a camera and a lens, you might ask? - Tripod: Tripods are not absolutely necessary, but when you are starting off, it will make your life a lot easier. With small lens apertures (high f-numbers) and low ISO settings, there is a good likelihood that you will use slow shutter speeds, which will make handholding very tough and may result in blurry photos. Tripods are also great at making sure that your camera does not move between several exposures. - A Contrast Rich Scene: What you photograph is totally up to you. If I may, I would suggest that when you start off in HDR photography, you should find a landscape scene that has a strong contrast between its shadows and highlight areas. This will allow you to better see the effects HDR can achieve. Your Camera Manual: Find your camera’s manual. There, I said it. Find your camera manual! I know we all hate manuals, but they are the best way to get the most out of your camera. You should know where your manual is and read it -- or even better, study it. This will teach you a ton about your camera as well as how to use its different features, some of which we will explore now. Quick note: look up HDR in your camera manual. Many cameras now offer an in-camera HDR function. If yours does, find the section in your manual and follow the instructions. Then read through below for additional tips and directions. In-camera HDR settings will normally incorporate an exposure bracketing function and then process multiple source images into one final High Dynamic Range finished image file. If your camera doesn't have built-in HDR, or if you prefer to use 3rd-party computer software to produce HDR images, you'll need to set Auto Exposure Bracketing and other features independently. Exercise number one with your newfound camera manual is to discover your Auto Exposure Bracketing (AEB) mode. Why is this necessary, you might ask? AEB is the main component in creating an HDR photo. Let me try and explain why. A bracketing sequence will shoot a series of images that will be over and under exposed, compared to the shot you have set up in your camera. Together, these images will give you a series of photos that are correctly exposed for the brightest, darkest and for the mid-tone areas. Depending on your camera the AEB mode will either shoot 3, 5, 7, or 9 shots. The more images you can get, the better because the potential of capturing all the light in your scene increases. Follow your manual’s instruction on how to turn on and set your AEB mode. - Aperture Priority Mode: If you do not regularly shoot in Manual mode, I would highly suggest setting your camera to Aperture Priority mode (Av on Canon EOS cameras). This mode gives priority to the aperture setting (allowing you to pick it and lock it in) and let the camera determine shutter speed for you. Remember that aperture controls depth of field, so the higher the aperture, the greater the depth of field. In the case of landscape photography, just about any aperture value over f/11 will have your entire frame in focus. Start at f/11 and experiment your way up from there. - Metering Mode: In a nutshell, metering mode is simply how your camera samples light to determine the proper exposure. For the purpose here, it suffices to say that Evaluative Metering will work just fine for you. - White Balance: White balance is incredibly important in photography and getting it wrong can throw an entire image off. Again, for what we are learning here, we can go with Auto White Balance (AWB). But I do highly suggest you look into and learn more about how to use White Balance. - ISO: ISO determines how sensitive your camera is to light. The higher the number, the more sensitive it becomes. There is a downside to ISO though -- the higher the number, the lower your image quality can become. This drop in quality comes from what is referred to as "noise" or the graininess in images. So set your ISO as low as possible. In this case, go with ISO 100. - Self-Timer: Learn how to use the self-timer feature on your camera (another great use of your camera’s manual). The self-timer will get rid of any possible movement caused by holding down the shutter with your finger because you won't be touching it when it snaps. Personally, I prefer to use the 2-second timer. With this setting, you simply press the shutter release, let go of your cameras and 2 seconds later, the camera will take the 3, 5, 7, or 9 exposures in sequence. As you compose your shot, switch your lens to manual focus. While Auto Focus (AF) is an amazing technology, it is not always the best for landscapes. Using manual focus, set your focus point to infinity on the lens. This setting will average out the entire framed scene and bring all into focus. If you have a very important subject within your scene, at this point, my suggestion would be to switch your camera over to “Live View” and use the display’s zoom feature (do not zoom with the lens; zoom with the magnifying button) and zoom all the way in on your subject and focus manually. This will allow you to make sure that your subject is tack sharp (please note that there is a possibility that some of the image might be a little softer). If your lens does not have a "focusing index," which will allow you to manually focus your lens to infinity, I would suggest using your AF to focus, then switching the lens to manual focus and preventing the camera to refocus with each shot. Now that you have your shots, what's next? If your camera can do in-camera HDR and you followed your manual, then you should now have a finished HDR JPEG image. If your camera does not offer in-camera HDR or you chose not to use that feature, then you will have 3, 5, 7, or 9 images that need to be combined. A solid choice would be to use Adobe Photoshop, which has a robust and easy to use HDR feature. There are also plenty of other programs out there that will help you put these images together into an HDR photograph. Definitely plan ahead and look into what you will use to process all the images into HDR composites before going out to shoot. Have fun, experiment and try different setting combinations and processing techniques. There's more detail to see than you thought. - eos 5d mark ii - eos 7d - eos-1d mark iv - white papers - autofocus modes - autofocus techniques - cheat sheets - cinema eos - cmos sensors - eos 50d - eos 5d mark iii - eos 60d - eos c300 - eos c300 pl - eos-1d mark iii - eos-1d x - eos-1ds mark iii - non linear editing - product tutorials - speedlite 580ex ii - speedlite 600ex-rt - xf 305

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A bracketing sequence will shoot a series of images that will be over and under exposed, compared to the shot you have set up in your camera.

Most likely, if you are passionate about photography (and I assume you are because you are reading the Canon Digital Learning Center’s blog), you have come across High Dynamic Range (HDR) photography. HDR photography is the process of taking multiple exposures of the same high-contrast scene at different levels of brightness, then combining them into one image. This single image with a wider range of detail, from the darkest to the brightest areas, is typically impossible with a single exposure. HDR photography is most often used to produce photos that mimic what the human eye is able to see. Now, I say “most often” because there is also a fun and creative side to HDR photography that allows for a lot interesting experimentation, something worth trying out. Back to the actual purpose of this blog entry: to help you get started with HDR photography. So what do you need, besides a camera and a lens, you might ask? - Tripod: Tripods are not absolutely necessary, but when you are starting off, it will make your life a lot easier. With small lens apertures (high f-numbers) and low ISO settings, there is a good likelihood that you will use slow shutter speeds, which will make handholding very tough and may result in blurry photos. Tripods are also great at making sure that your camera does not move between several exposures. - A Contrast Rich Scene: What you photograph is totally up to you. If I may, I would suggest that when you start off in HDR photography, you should find a landscape scene that has a strong contrast between its shadows and highlight areas. This will allow you to better see the effects HDR can achieve. Your Camera Manual: Find your camera’s manual. There, I said it. Find your camera manual! I know we all hate manuals, but they are the best way to get the most out of your camera. You should know where your manual is and read it -- or even better, study it. This will teach you a ton about your camera as well as how to use its different features, some of which we will explore now. Quick note: look up HDR in your camera manual. Many cameras now offer an in-camera HDR function. If yours does, find the section in your manual and follow the instructions. Then read through below for additional tips and directions. In-camera HDR settings will normally incorporate an exposure bracketing function and then process multiple source images into one final High Dynamic Range finished image file. If your camera doesn't have built-in HDR, or if you prefer to use 3rd-party computer software to produce HDR images, you'll need to set Auto Exposure Bracketing and other features independently. Exercise number one with your newfound camera manual is to discover your Auto Exposure Bracketing (AEB) mode. Why is this necessary, you might ask? AEB is the main component in creating an HDR photo. Let me try and explain why. A bracketing sequence will shoot a series of images that will be over and under exposed, compared to the shot you have set up in your camera. Together, these images will give you a series of photos that are correctly exposed for the brightest, darkest and for the mid-tone areas. Depending on your camera the AEB mode will either shoot 3, 5, 7, or 9 shots. The more images you can get, the better because the potential of capturing all the light in your scene increases. Follow your manual’s instruction on how to turn on and set your AEB mode. - Aperture Priority Mode: If you do not regularly shoot in Manual mode, I would highly suggest setting your camera to Aperture Priority mode (Av on Canon EOS cameras). This mode gives priority to the aperture setting (allowing you to pick it and lock it in) and let the camera determine shutter speed for you. Remember that aperture controls depth of field, so the higher the aperture, the greater the depth of field. In the case of landscape photography, just about any aperture value over f/11 will have your entire frame in focus. Start at f/11 and experiment your way up from there. - Metering Mode: In a nutshell, metering mode is simply how your camera samples light to determine the proper exposure. For the purpose here, it suffices to say that Evaluative Metering will work just fine for you. - White Balance: White balance is incredibly important in photography and getting it wrong can throw an entire image off. Again, for what we are learning here, we can go with Auto White Balance (AWB). But I do highly suggest you look into and learn more about how to use White Balance. - ISO: ISO determines how sensitive your camera is to light. The higher the number, the more sensitive it becomes. There is a downside to ISO though -- the higher the number, the lower your image quality can become. This drop in quality comes from what is referred to as "noise" or the graininess in images. So set your ISO as low as possible. In this case, go with ISO 100. - Self-Timer: Learn how to use the self-timer feature on your camera (another great use of your camera’s manual). The self-timer will get rid of any possible movement caused by holding down the shutter with your finger because you won't be touching it when it snaps. Personally, I prefer to use the 2-second timer. With this setting, you simply press the shutter release, let go of your cameras and 2 seconds later, the camera will take the 3, 5, 7, or 9 exposures in sequence. As you compose your shot, switch your lens to manual focus. While Auto Focus (AF) is an amazing technology, it is not always the best for landscapes. Using manual focus, set your focus point to infinity on the lens. This setting will average out the entire framed scene and bring all into focus. If you have a very important subject within your scene, at this point, my suggestion would be to switch your camera over to “Live View” and use the display’s zoom feature (do not zoom with the lens; zoom with the magnifying button) and zoom all the way in on your subject and focus manually. This will allow you to make sure that your subject is tack sharp (please note that there is a possibility that some of the image might be a little softer). If your lens does not have a "focusing index," which will allow you to manually focus your lens to infinity, I would suggest using your AF to focus, then switching the lens to manual focus and preventing the camera to refocus with each shot. Now that you have your shots, what's next? If your camera can do in-camera HDR and you followed your manual, then you should now have a finished HDR JPEG image. If your camera does not offer in-camera HDR or you chose not to use that feature, then you will have 3, 5, 7, or 9 images that need to be combined. A solid choice would be to use Adobe Photoshop, which has a robust and easy to use HDR feature. There are also plenty of other programs out there that will help you put these images together into an HDR photograph. Definitely plan ahead and look into what you will use to process all the images into HDR composites before going out to shoot. Have fun, experiment and try different setting combinations and processing techniques. There's more detail to see than you thought. - eos 5d mark ii - eos 7d - eos-1d mark iv - white papers - autofocus modes - autofocus techniques - cheat sheets - cinema eos - cmos sensors - eos 50d - eos 5d mark iii - eos 60d - eos c300 - eos c300 pl - eos-1d mark iii - eos-1d x - eos-1ds mark iii - non linear editing - product tutorials - speedlite 580ex ii - speedlite 600ex-rt - xf 305

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Together, these images will give you a series of photos that are correctly exposed for the brightest, darkest and for the mid-tone areas.

Most likely, if you are passionate about photography (and I assume you are because you are reading the Canon Digital Learning Center’s blog), you have come across High Dynamic Range (HDR) photography. HDR photography is the process of taking multiple exposures of the same high-contrast scene at different levels of brightness, then combining them into one image. This single image with a wider range of detail, from the darkest to the brightest areas, is typically impossible with a single exposure. HDR photography is most often used to produce photos that mimic what the human eye is able to see. Now, I say “most often” because there is also a fun and creative side to HDR photography that allows for a lot interesting experimentation, something worth trying out. Back to the actual purpose of this blog entry: to help you get started with HDR photography. So what do you need, besides a camera and a lens, you might ask? - Tripod: Tripods are not absolutely necessary, but when you are starting off, it will make your life a lot easier. With small lens apertures (high f-numbers) and low ISO settings, there is a good likelihood that you will use slow shutter speeds, which will make handholding very tough and may result in blurry photos. Tripods are also great at making sure that your camera does not move between several exposures. - A Contrast Rich Scene: What you photograph is totally up to you. If I may, I would suggest that when you start off in HDR photography, you should find a landscape scene that has a strong contrast between its shadows and highlight areas. This will allow you to better see the effects HDR can achieve. Your Camera Manual: Find your camera’s manual. There, I said it. Find your camera manual! I know we all hate manuals, but they are the best way to get the most out of your camera. You should know where your manual is and read it -- or even better, study it. This will teach you a ton about your camera as well as how to use its different features, some of which we will explore now. Quick note: look up HDR in your camera manual. Many cameras now offer an in-camera HDR function. If yours does, find the section in your manual and follow the instructions. Then read through below for additional tips and directions. In-camera HDR settings will normally incorporate an exposure bracketing function and then process multiple source images into one final High Dynamic Range finished image file. If your camera doesn't have built-in HDR, or if you prefer to use 3rd-party computer software to produce HDR images, you'll need to set Auto Exposure Bracketing and other features independently. Exercise number one with your newfound camera manual is to discover your Auto Exposure Bracketing (AEB) mode. Why is this necessary, you might ask? AEB is the main component in creating an HDR photo. Let me try and explain why. A bracketing sequence will shoot a series of images that will be over and under exposed, compared to the shot you have set up in your camera. Together, these images will give you a series of photos that are correctly exposed for the brightest, darkest and for the mid-tone areas. Depending on your camera the AEB mode will either shoot 3, 5, 7, or 9 shots. The more images you can get, the better because the potential of capturing all the light in your scene increases. Follow your manual’s instruction on how to turn on and set your AEB mode. - Aperture Priority Mode: If you do not regularly shoot in Manual mode, I would highly suggest setting your camera to Aperture Priority mode (Av on Canon EOS cameras). This mode gives priority to the aperture setting (allowing you to pick it and lock it in) and let the camera determine shutter speed for you. Remember that aperture controls depth of field, so the higher the aperture, the greater the depth of field. In the case of landscape photography, just about any aperture value over f/11 will have your entire frame in focus. Start at f/11 and experiment your way up from there. - Metering Mode: In a nutshell, metering mode is simply how your camera samples light to determine the proper exposure. For the purpose here, it suffices to say that Evaluative Metering will work just fine for you. - White Balance: White balance is incredibly important in photography and getting it wrong can throw an entire image off. Again, for what we are learning here, we can go with Auto White Balance (AWB). But I do highly suggest you look into and learn more about how to use White Balance. - ISO: ISO determines how sensitive your camera is to light. The higher the number, the more sensitive it becomes. There is a downside to ISO though -- the higher the number, the lower your image quality can become. This drop in quality comes from what is referred to as "noise" or the graininess in images. So set your ISO as low as possible. In this case, go with ISO 100. - Self-Timer: Learn how to use the self-timer feature on your camera (another great use of your camera’s manual). The self-timer will get rid of any possible movement caused by holding down the shutter with your finger because you won't be touching it when it snaps. Personally, I prefer to use the 2-second timer. With this setting, you simply press the shutter release, let go of your cameras and 2 seconds later, the camera will take the 3, 5, 7, or 9 exposures in sequence. As you compose your shot, switch your lens to manual focus. While Auto Focus (AF) is an amazing technology, it is not always the best for landscapes. Using manual focus, set your focus point to infinity on the lens. This setting will average out the entire framed scene and bring all into focus. If you have a very important subject within your scene, at this point, my suggestion would be to switch your camera over to “Live View” and use the display’s zoom feature (do not zoom with the lens; zoom with the magnifying button) and zoom all the way in on your subject and focus manually. This will allow you to make sure that your subject is tack sharp (please note that there is a possibility that some of the image might be a little softer). If your lens does not have a "focusing index," which will allow you to manually focus your lens to infinity, I would suggest using your AF to focus, then switching the lens to manual focus and preventing the camera to refocus with each shot. Now that you have your shots, what's next? If your camera can do in-camera HDR and you followed your manual, then you should now have a finished HDR JPEG image. If your camera does not offer in-camera HDR or you chose not to use that feature, then you will have 3, 5, 7, or 9 images that need to be combined. A solid choice would be to use Adobe Photoshop, which has a robust and easy to use HDR feature. There are also plenty of other programs out there that will help you put these images together into an HDR photograph. Definitely plan ahead and look into what you will use to process all the images into HDR composites before going out to shoot. Have fun, experiment and try different setting combinations and processing techniques. There's more detail to see than you thought. - eos 5d mark ii - eos 7d - eos-1d mark iv - white papers - autofocus modes - autofocus techniques - cheat sheets - cinema eos - cmos sensors - eos 50d - eos 5d mark iii - eos 60d - eos c300 - eos c300 pl - eos-1d mark iii - eos-1d x - eos-1ds mark iii - non linear editing - product tutorials - speedlite 580ex ii - speedlite 600ex-rt - xf 305

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Depending on your camera the AEB mode will either shoot 3, 5, 7, or 9 shots.

Most likely, if you are passionate about photography (and I assume you are because you are reading the Canon Digital Learning Center’s blog), you have come across High Dynamic Range (HDR) photography. HDR photography is the process of taking multiple exposures of the same high-contrast scene at different levels of brightness, then combining them into one image. This single image with a wider range of detail, from the darkest to the brightest areas, is typically impossible with a single exposure. HDR photography is most often used to produce photos that mimic what the human eye is able to see. Now, I say “most often” because there is also a fun and creative side to HDR photography that allows for a lot interesting experimentation, something worth trying out. Back to the actual purpose of this blog entry: to help you get started with HDR photography. So what do you need, besides a camera and a lens, you might ask? - Tripod: Tripods are not absolutely necessary, but when you are starting off, it will make your life a lot easier. With small lens apertures (high f-numbers) and low ISO settings, there is a good likelihood that you will use slow shutter speeds, which will make handholding very tough and may result in blurry photos. Tripods are also great at making sure that your camera does not move between several exposures. - A Contrast Rich Scene: What you photograph is totally up to you. If I may, I would suggest that when you start off in HDR photography, you should find a landscape scene that has a strong contrast between its shadows and highlight areas. This will allow you to better see the effects HDR can achieve. Your Camera Manual: Find your camera’s manual. There, I said it. Find your camera manual! I know we all hate manuals, but they are the best way to get the most out of your camera. You should know where your manual is and read it -- or even better, study it. This will teach you a ton about your camera as well as how to use its different features, some of which we will explore now. Quick note: look up HDR in your camera manual. Many cameras now offer an in-camera HDR function. If yours does, find the section in your manual and follow the instructions. Then read through below for additional tips and directions. In-camera HDR settings will normally incorporate an exposure bracketing function and then process multiple source images into one final High Dynamic Range finished image file. If your camera doesn't have built-in HDR, or if you prefer to use 3rd-party computer software to produce HDR images, you'll need to set Auto Exposure Bracketing and other features independently. Exercise number one with your newfound camera manual is to discover your Auto Exposure Bracketing (AEB) mode. Why is this necessary, you might ask? AEB is the main component in creating an HDR photo. Let me try and explain why. A bracketing sequence will shoot a series of images that will be over and under exposed, compared to the shot you have set up in your camera. Together, these images will give you a series of photos that are correctly exposed for the brightest, darkest and for the mid-tone areas. Depending on your camera the AEB mode will either shoot 3, 5, 7, or 9 shots. The more images you can get, the better because the potential of capturing all the light in your scene increases. Follow your manual’s instruction on how to turn on and set your AEB mode. - Aperture Priority Mode: If you do not regularly shoot in Manual mode, I would highly suggest setting your camera to Aperture Priority mode (Av on Canon EOS cameras). This mode gives priority to the aperture setting (allowing you to pick it and lock it in) and let the camera determine shutter speed for you. Remember that aperture controls depth of field, so the higher the aperture, the greater the depth of field. In the case of landscape photography, just about any aperture value over f/11 will have your entire frame in focus. Start at f/11 and experiment your way up from there. - Metering Mode: In a nutshell, metering mode is simply how your camera samples light to determine the proper exposure. For the purpose here, it suffices to say that Evaluative Metering will work just fine for you. - White Balance: White balance is incredibly important in photography and getting it wrong can throw an entire image off. Again, for what we are learning here, we can go with Auto White Balance (AWB). But I do highly suggest you look into and learn more about how to use White Balance. - ISO: ISO determines how sensitive your camera is to light. The higher the number, the more sensitive it becomes. There is a downside to ISO though -- the higher the number, the lower your image quality can become. This drop in quality comes from what is referred to as "noise" or the graininess in images. So set your ISO as low as possible. In this case, go with ISO 100. - Self-Timer: Learn how to use the self-timer feature on your camera (another great use of your camera’s manual). The self-timer will get rid of any possible movement caused by holding down the shutter with your finger because you won't be touching it when it snaps. Personally, I prefer to use the 2-second timer. With this setting, you simply press the shutter release, let go of your cameras and 2 seconds later, the camera will take the 3, 5, 7, or 9 exposures in sequence. As you compose your shot, switch your lens to manual focus. While Auto Focus (AF) is an amazing technology, it is not always the best for landscapes. Using manual focus, set your focus point to infinity on the lens. This setting will average out the entire framed scene and bring all into focus. If you have a very important subject within your scene, at this point, my suggestion would be to switch your camera over to “Live View” and use the display’s zoom feature (do not zoom with the lens; zoom with the magnifying button) and zoom all the way in on your subject and focus manually. This will allow you to make sure that your subject is tack sharp (please note that there is a possibility that some of the image might be a little softer). If your lens does not have a "focusing index," which will allow you to manually focus your lens to infinity, I would suggest using your AF to focus, then switching the lens to manual focus and preventing the camera to refocus with each shot. Now that you have your shots, what's next? If your camera can do in-camera HDR and you followed your manual, then you should now have a finished HDR JPEG image. If your camera does not offer in-camera HDR or you chose not to use that feature, then you will have 3, 5, 7, or 9 images that need to be combined. A solid choice would be to use Adobe Photoshop, which has a robust and easy to use HDR feature. There are also plenty of other programs out there that will help you put these images together into an HDR photograph. Definitely plan ahead and look into what you will use to process all the images into HDR composites before going out to shoot. Have fun, experiment and try different setting combinations and processing techniques. There's more detail to see than you thought. - eos 5d mark ii - eos 7d - eos-1d mark iv - white papers - autofocus modes - autofocus techniques - cheat sheets - cinema eos - cmos sensors - eos 50d - eos 5d mark iii - eos 60d - eos c300 - eos c300 pl - eos-1d mark iii - eos-1d x - eos-1ds mark iii - non linear editing - product tutorials - speedlite 580ex ii - speedlite 600ex-rt - xf 305

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The more images you can get, the better because the potential of capturing all the light in your scene increases.

Most likely, if you are passionate about photography (and I assume you are because you are reading the Canon Digital Learning Center’s blog), you have come across High Dynamic Range (HDR) photography. HDR photography is the process of taking multiple exposures of the same high-contrast scene at different levels of brightness, then combining them into one image. This single image with a wider range of detail, from the darkest to the brightest areas, is typically impossible with a single exposure. HDR photography is most often used to produce photos that mimic what the human eye is able to see. Now, I say “most often” because there is also a fun and creative side to HDR photography that allows for a lot interesting experimentation, something worth trying out. Back to the actual purpose of this blog entry: to help you get started with HDR photography. So what do you need, besides a camera and a lens, you might ask? - Tripod: Tripods are not absolutely necessary, but when you are starting off, it will make your life a lot easier. With small lens apertures (high f-numbers) and low ISO settings, there is a good likelihood that you will use slow shutter speeds, which will make handholding very tough and may result in blurry photos. Tripods are also great at making sure that your camera does not move between several exposures. - A Contrast Rich Scene: What you photograph is totally up to you. If I may, I would suggest that when you start off in HDR photography, you should find a landscape scene that has a strong contrast between its shadows and highlight areas. This will allow you to better see the effects HDR can achieve. Your Camera Manual: Find your camera’s manual. There, I said it. Find your camera manual! I know we all hate manuals, but they are the best way to get the most out of your camera. You should know where your manual is and read it -- or even better, study it. This will teach you a ton about your camera as well as how to use its different features, some of which we will explore now. Quick note: look up HDR in your camera manual. Many cameras now offer an in-camera HDR function. If yours does, find the section in your manual and follow the instructions. Then read through below for additional tips and directions. In-camera HDR settings will normally incorporate an exposure bracketing function and then process multiple source images into one final High Dynamic Range finished image file. If your camera doesn't have built-in HDR, or if you prefer to use 3rd-party computer software to produce HDR images, you'll need to set Auto Exposure Bracketing and other features independently. Exercise number one with your newfound camera manual is to discover your Auto Exposure Bracketing (AEB) mode. Why is this necessary, you might ask? AEB is the main component in creating an HDR photo. Let me try and explain why. A bracketing sequence will shoot a series of images that will be over and under exposed, compared to the shot you have set up in your camera. Together, these images will give you a series of photos that are correctly exposed for the brightest, darkest and for the mid-tone areas. Depending on your camera the AEB mode will either shoot 3, 5, 7, or 9 shots. The more images you can get, the better because the potential of capturing all the light in your scene increases. Follow your manual’s instruction on how to turn on and set your AEB mode. - Aperture Priority Mode: If you do not regularly shoot in Manual mode, I would highly suggest setting your camera to Aperture Priority mode (Av on Canon EOS cameras). This mode gives priority to the aperture setting (allowing you to pick it and lock it in) and let the camera determine shutter speed for you. Remember that aperture controls depth of field, so the higher the aperture, the greater the depth of field. In the case of landscape photography, just about any aperture value over f/11 will have your entire frame in focus. Start at f/11 and experiment your way up from there. - Metering Mode: In a nutshell, metering mode is simply how your camera samples light to determine the proper exposure. For the purpose here, it suffices to say that Evaluative Metering will work just fine for you. - White Balance: White balance is incredibly important in photography and getting it wrong can throw an entire image off. Again, for what we are learning here, we can go with Auto White Balance (AWB). But I do highly suggest you look into and learn more about how to use White Balance. - ISO: ISO determines how sensitive your camera is to light. The higher the number, the more sensitive it becomes. There is a downside to ISO though -- the higher the number, the lower your image quality can become. This drop in quality comes from what is referred to as "noise" or the graininess in images. So set your ISO as low as possible. In this case, go with ISO 100. - Self-Timer: Learn how to use the self-timer feature on your camera (another great use of your camera’s manual). The self-timer will get rid of any possible movement caused by holding down the shutter with your finger because you won't be touching it when it snaps. Personally, I prefer to use the 2-second timer. With this setting, you simply press the shutter release, let go of your cameras and 2 seconds later, the camera will take the 3, 5, 7, or 9 exposures in sequence. As you compose your shot, switch your lens to manual focus. While Auto Focus (AF) is an amazing technology, it is not always the best for landscapes. Using manual focus, set your focus point to infinity on the lens. This setting will average out the entire framed scene and bring all into focus. If you have a very important subject within your scene, at this point, my suggestion would be to switch your camera over to “Live View” and use the display’s zoom feature (do not zoom with the lens; zoom with the magnifying button) and zoom all the way in on your subject and focus manually. This will allow you to make sure that your subject is tack sharp (please note that there is a possibility that some of the image might be a little softer). If your lens does not have a "focusing index," which will allow you to manually focus your lens to infinity, I would suggest using your AF to focus, then switching the lens to manual focus and preventing the camera to refocus with each shot. Now that you have your shots, what's next? If your camera can do in-camera HDR and you followed your manual, then you should now have a finished HDR JPEG image. If your camera does not offer in-camera HDR or you chose not to use that feature, then you will have 3, 5, 7, or 9 images that need to be combined. A solid choice would be to use Adobe Photoshop, which has a robust and easy to use HDR feature. There are also plenty of other programs out there that will help you put these images together into an HDR photograph. Definitely plan ahead and look into what you will use to process all the images into HDR composites before going out to shoot. Have fun, experiment and try different setting combinations and processing techniques. There's more detail to see than you thought. - eos 5d mark ii - eos 7d - eos-1d mark iv - white papers - autofocus modes - autofocus techniques - cheat sheets - cinema eos - cmos sensors - eos 50d - eos 5d mark iii - eos 60d - eos c300 - eos c300 pl - eos-1d mark iii - eos-1d x - eos-1ds mark iii - non linear editing - product tutorials - speedlite 580ex ii - speedlite 600ex-rt - xf 305

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Follow your manual’s instruction on how to turn on and set your AEB mode.

Most likely, if you are passionate about photography (and I assume you are because you are reading the Canon Digital Learning Center’s blog), you have come across High Dynamic Range (HDR) photography. HDR photography is the process of taking multiple exposures of the same high-contrast scene at different levels of brightness, then combining them into one image. This single image with a wider range of detail, from the darkest to the brightest areas, is typically impossible with a single exposure. HDR photography is most often used to produce photos that mimic what the human eye is able to see. Now, I say “most often” because there is also a fun and creative side to HDR photography that allows for a lot interesting experimentation, something worth trying out. Back to the actual purpose of this blog entry: to help you get started with HDR photography. So what do you need, besides a camera and a lens, you might ask? - Tripod: Tripods are not absolutely necessary, but when you are starting off, it will make your life a lot easier. With small lens apertures (high f-numbers) and low ISO settings, there is a good likelihood that you will use slow shutter speeds, which will make handholding very tough and may result in blurry photos. Tripods are also great at making sure that your camera does not move between several exposures. - A Contrast Rich Scene: What you photograph is totally up to you. If I may, I would suggest that when you start off in HDR photography, you should find a landscape scene that has a strong contrast between its shadows and highlight areas. This will allow you to better see the effects HDR can achieve. Your Camera Manual: Find your camera’s manual. There, I said it. Find your camera manual! I know we all hate manuals, but they are the best way to get the most out of your camera. You should know where your manual is and read it -- or even better, study it. This will teach you a ton about your camera as well as how to use its different features, some of which we will explore now. Quick note: look up HDR in your camera manual. Many cameras now offer an in-camera HDR function. If yours does, find the section in your manual and follow the instructions. Then read through below for additional tips and directions. In-camera HDR settings will normally incorporate an exposure bracketing function and then process multiple source images into one final High Dynamic Range finished image file. If your camera doesn't have built-in HDR, or if you prefer to use 3rd-party computer software to produce HDR images, you'll need to set Auto Exposure Bracketing and other features independently. Exercise number one with your newfound camera manual is to discover your Auto Exposure Bracketing (AEB) mode. Why is this necessary, you might ask? AEB is the main component in creating an HDR photo. Let me try and explain why. A bracketing sequence will shoot a series of images that will be over and under exposed, compared to the shot you have set up in your camera. Together, these images will give you a series of photos that are correctly exposed for the brightest, darkest and for the mid-tone areas. Depending on your camera the AEB mode will either shoot 3, 5, 7, or 9 shots. The more images you can get, the better because the potential of capturing all the light in your scene increases. Follow your manual’s instruction on how to turn on and set your AEB mode. - Aperture Priority Mode: If you do not regularly shoot in Manual mode, I would highly suggest setting your camera to Aperture Priority mode (Av on Canon EOS cameras). This mode gives priority to the aperture setting (allowing you to pick it and lock it in) and let the camera determine shutter speed for you. Remember that aperture controls depth of field, so the higher the aperture, the greater the depth of field. In the case of landscape photography, just about any aperture value over f/11 will have your entire frame in focus. Start at f/11 and experiment your way up from there. - Metering Mode: In a nutshell, metering mode is simply how your camera samples light to determine the proper exposure. For the purpose here, it suffices to say that Evaluative Metering will work just fine for you. - White Balance: White balance is incredibly important in photography and getting it wrong can throw an entire image off. Again, for what we are learning here, we can go with Auto White Balance (AWB). But I do highly suggest you look into and learn more about how to use White Balance. - ISO: ISO determines how sensitive your camera is to light. The higher the number, the more sensitive it becomes. There is a downside to ISO though -- the higher the number, the lower your image quality can become. This drop in quality comes from what is referred to as "noise" or the graininess in images. So set your ISO as low as possible. In this case, go with ISO 100. - Self-Timer: Learn how to use the self-timer feature on your camera (another great use of your camera’s manual). The self-timer will get rid of any possible movement caused by holding down the shutter with your finger because you won't be touching it when it snaps. Personally, I prefer to use the 2-second timer. With this setting, you simply press the shutter release, let go of your cameras and 2 seconds later, the camera will take the 3, 5, 7, or 9 exposures in sequence. As you compose your shot, switch your lens to manual focus. While Auto Focus (AF) is an amazing technology, it is not always the best for landscapes. Using manual focus, set your focus point to infinity on the lens. This setting will average out the entire framed scene and bring all into focus. If you have a very important subject within your scene, at this point, my suggestion would be to switch your camera over to “Live View” and use the display’s zoom feature (do not zoom with the lens; zoom with the magnifying button) and zoom all the way in on your subject and focus manually. This will allow you to make sure that your subject is tack sharp (please note that there is a possibility that some of the image might be a little softer). If your lens does not have a "focusing index," which will allow you to manually focus your lens to infinity, I would suggest using your AF to focus, then switching the lens to manual focus and preventing the camera to refocus with each shot. Now that you have your shots, what's next? If your camera can do in-camera HDR and you followed your manual, then you should now have a finished HDR JPEG image. If your camera does not offer in-camera HDR or you chose not to use that feature, then you will have 3, 5, 7, or 9 images that need to be combined. A solid choice would be to use Adobe Photoshop, which has a robust and easy to use HDR feature. There are also plenty of other programs out there that will help you put these images together into an HDR photograph. Definitely plan ahead and look into what you will use to process all the images into HDR composites before going out to shoot. Have fun, experiment and try different setting combinations and processing techniques. There's more detail to see than you thought. - eos 5d mark ii - eos 7d - eos-1d mark iv - white papers - autofocus modes - autofocus techniques - cheat sheets - cinema eos - cmos sensors - eos 50d - eos 5d mark iii - eos 60d - eos c300 - eos c300 pl - eos-1d mark iii - eos-1d x - eos-1ds mark iii - non linear editing - product tutorials - speedlite 580ex ii - speedlite 600ex-rt - xf 305

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- Aperture Priority Mode: If you do not regularly shoot in Manual mode, I would highly suggest setting your camera to Aperture Priority mode (Av on Canon EOS cameras).

Most likely, if you are passionate about photography (and I assume you are because you are reading the Canon Digital Learning Center’s blog), you have come across High Dynamic Range (HDR) photography. HDR photography is the process of taking multiple exposures of the same high-contrast scene at different levels of brightness, then combining them into one image. This single image with a wider range of detail, from the darkest to the brightest areas, is typically impossible with a single exposure. HDR photography is most often used to produce photos that mimic what the human eye is able to see. Now, I say “most often” because there is also a fun and creative side to HDR photography that allows for a lot interesting experimentation, something worth trying out. Back to the actual purpose of this blog entry: to help you get started with HDR photography. So what do you need, besides a camera and a lens, you might ask? - Tripod: Tripods are not absolutely necessary, but when you are starting off, it will make your life a lot easier. With small lens apertures (high f-numbers) and low ISO settings, there is a good likelihood that you will use slow shutter speeds, which will make handholding very tough and may result in blurry photos. Tripods are also great at making sure that your camera does not move between several exposures. - A Contrast Rich Scene: What you photograph is totally up to you. If I may, I would suggest that when you start off in HDR photography, you should find a landscape scene that has a strong contrast between its shadows and highlight areas. This will allow you to better see the effects HDR can achieve. Your Camera Manual: Find your camera’s manual. There, I said it. Find your camera manual! I know we all hate manuals, but they are the best way to get the most out of your camera. You should know where your manual is and read it -- or even better, study it. This will teach you a ton about your camera as well as how to use its different features, some of which we will explore now. Quick note: look up HDR in your camera manual. Many cameras now offer an in-camera HDR function. If yours does, find the section in your manual and follow the instructions. Then read through below for additional tips and directions. In-camera HDR settings will normally incorporate an exposure bracketing function and then process multiple source images into one final High Dynamic Range finished image file. If your camera doesn't have built-in HDR, or if you prefer to use 3rd-party computer software to produce HDR images, you'll need to set Auto Exposure Bracketing and other features independently. Exercise number one with your newfound camera manual is to discover your Auto Exposure Bracketing (AEB) mode. Why is this necessary, you might ask? AEB is the main component in creating an HDR photo. Let me try and explain why. A bracketing sequence will shoot a series of images that will be over and under exposed, compared to the shot you have set up in your camera. Together, these images will give you a series of photos that are correctly exposed for the brightest, darkest and for the mid-tone areas. Depending on your camera the AEB mode will either shoot 3, 5, 7, or 9 shots. The more images you can get, the better because the potential of capturing all the light in your scene increases. Follow your manual’s instruction on how to turn on and set your AEB mode. - Aperture Priority Mode: If you do not regularly shoot in Manual mode, I would highly suggest setting your camera to Aperture Priority mode (Av on Canon EOS cameras). This mode gives priority to the aperture setting (allowing you to pick it and lock it in) and let the camera determine shutter speed for you. Remember that aperture controls depth of field, so the higher the aperture, the greater the depth of field. In the case of landscape photography, just about any aperture value over f/11 will have your entire frame in focus. Start at f/11 and experiment your way up from there. - Metering Mode: In a nutshell, metering mode is simply how your camera samples light to determine the proper exposure. For the purpose here, it suffices to say that Evaluative Metering will work just fine for you. - White Balance: White balance is incredibly important in photography and getting it wrong can throw an entire image off. Again, for what we are learning here, we can go with Auto White Balance (AWB). But I do highly suggest you look into and learn more about how to use White Balance. - ISO: ISO determines how sensitive your camera is to light. The higher the number, the more sensitive it becomes. There is a downside to ISO though -- the higher the number, the lower your image quality can become. This drop in quality comes from what is referred to as "noise" or the graininess in images. So set your ISO as low as possible. In this case, go with ISO 100. - Self-Timer: Learn how to use the self-timer feature on your camera (another great use of your camera’s manual). The self-timer will get rid of any possible movement caused by holding down the shutter with your finger because you won't be touching it when it snaps. Personally, I prefer to use the 2-second timer. With this setting, you simply press the shutter release, let go of your cameras and 2 seconds later, the camera will take the 3, 5, 7, or 9 exposures in sequence. As you compose your shot, switch your lens to manual focus. While Auto Focus (AF) is an amazing technology, it is not always the best for landscapes. Using manual focus, set your focus point to infinity on the lens. This setting will average out the entire framed scene and bring all into focus. If you have a very important subject within your scene, at this point, my suggestion would be to switch your camera over to “Live View” and use the display’s zoom feature (do not zoom with the lens; zoom with the magnifying button) and zoom all the way in on your subject and focus manually. This will allow you to make sure that your subject is tack sharp (please note that there is a possibility that some of the image might be a little softer). If your lens does not have a "focusing index," which will allow you to manually focus your lens to infinity, I would suggest using your AF to focus, then switching the lens to manual focus and preventing the camera to refocus with each shot. Now that you have your shots, what's next? If your camera can do in-camera HDR and you followed your manual, then you should now have a finished HDR JPEG image. If your camera does not offer in-camera HDR or you chose not to use that feature, then you will have 3, 5, 7, or 9 images that need to be combined. A solid choice would be to use Adobe Photoshop, which has a robust and easy to use HDR feature. There are also plenty of other programs out there that will help you put these images together into an HDR photograph. Definitely plan ahead and look into what you will use to process all the images into HDR composites before going out to shoot. Have fun, experiment and try different setting combinations and processing techniques. There's more detail to see than you thought. - eos 5d mark ii - eos 7d - eos-1d mark iv - white papers - autofocus modes - autofocus techniques - cheat sheets - cinema eos - cmos sensors - eos 50d - eos 5d mark iii - eos 60d - eos c300 - eos c300 pl - eos-1d mark iii - eos-1d x - eos-1ds mark iii - non linear editing - product tutorials - speedlite 580ex ii - speedlite 600ex-rt - xf 305

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This mode gives priority to the aperture setting (allowing you to pick it and lock it in) and let the camera determine shutter speed for you.

Most likely, if you are passionate about photography (and I assume you are because you are reading the Canon Digital Learning Center’s blog), you have come across High Dynamic Range (HDR) photography. HDR photography is the process of taking multiple exposures of the same high-contrast scene at different levels of brightness, then combining them into one image. This single image with a wider range of detail, from the darkest to the brightest areas, is typically impossible with a single exposure. HDR photography is most often used to produce photos that mimic what the human eye is able to see. Now, I say “most often” because there is also a fun and creative side to HDR photography that allows for a lot interesting experimentation, something worth trying out. Back to the actual purpose of this blog entry: to help you get started with HDR photography. So what do you need, besides a camera and a lens, you might ask? - Tripod: Tripods are not absolutely necessary, but when you are starting off, it will make your life a lot easier. With small lens apertures (high f-numbers) and low ISO settings, there is a good likelihood that you will use slow shutter speeds, which will make handholding very tough and may result in blurry photos. Tripods are also great at making sure that your camera does not move between several exposures. - A Contrast Rich Scene: What you photograph is totally up to you. If I may, I would suggest that when you start off in HDR photography, you should find a landscape scene that has a strong contrast between its shadows and highlight areas. This will allow you to better see the effects HDR can achieve. Your Camera Manual: Find your camera’s manual. There, I said it. Find your camera manual! I know we all hate manuals, but they are the best way to get the most out of your camera. You should know where your manual is and read it -- or even better, study it. This will teach you a ton about your camera as well as how to use its different features, some of which we will explore now. Quick note: look up HDR in your camera manual. Many cameras now offer an in-camera HDR function. If yours does, find the section in your manual and follow the instructions. Then read through below for additional tips and directions. In-camera HDR settings will normally incorporate an exposure bracketing function and then process multiple source images into one final High Dynamic Range finished image file. If your camera doesn't have built-in HDR, or if you prefer to use 3rd-party computer software to produce HDR images, you'll need to set Auto Exposure Bracketing and other features independently. Exercise number one with your newfound camera manual is to discover your Auto Exposure Bracketing (AEB) mode. Why is this necessary, you might ask? AEB is the main component in creating an HDR photo. Let me try and explain why. A bracketing sequence will shoot a series of images that will be over and under exposed, compared to the shot you have set up in your camera. Together, these images will give you a series of photos that are correctly exposed for the brightest, darkest and for the mid-tone areas. Depending on your camera the AEB mode will either shoot 3, 5, 7, or 9 shots. The more images you can get, the better because the potential of capturing all the light in your scene increases. Follow your manual’s instruction on how to turn on and set your AEB mode. - Aperture Priority Mode: If you do not regularly shoot in Manual mode, I would highly suggest setting your camera to Aperture Priority mode (Av on Canon EOS cameras). This mode gives priority to the aperture setting (allowing you to pick it and lock it in) and let the camera determine shutter speed for you. Remember that aperture controls depth of field, so the higher the aperture, the greater the depth of field. In the case of landscape photography, just about any aperture value over f/11 will have your entire frame in focus. Start at f/11 and experiment your way up from there. - Metering Mode: In a nutshell, metering mode is simply how your camera samples light to determine the proper exposure. For the purpose here, it suffices to say that Evaluative Metering will work just fine for you. - White Balance: White balance is incredibly important in photography and getting it wrong can throw an entire image off. Again, for what we are learning here, we can go with Auto White Balance (AWB). But I do highly suggest you look into and learn more about how to use White Balance. - ISO: ISO determines how sensitive your camera is to light. The higher the number, the more sensitive it becomes. There is a downside to ISO though -- the higher the number, the lower your image quality can become. This drop in quality comes from what is referred to as "noise" or the graininess in images. So set your ISO as low as possible. In this case, go with ISO 100. - Self-Timer: Learn how to use the self-timer feature on your camera (another great use of your camera’s manual). The self-timer will get rid of any possible movement caused by holding down the shutter with your finger because you won't be touching it when it snaps. Personally, I prefer to use the 2-second timer. With this setting, you simply press the shutter release, let go of your cameras and 2 seconds later, the camera will take the 3, 5, 7, or 9 exposures in sequence. As you compose your shot, switch your lens to manual focus. While Auto Focus (AF) is an amazing technology, it is not always the best for landscapes. Using manual focus, set your focus point to infinity on the lens. This setting will average out the entire framed scene and bring all into focus. If you have a very important subject within your scene, at this point, my suggestion would be to switch your camera over to “Live View” and use the display’s zoom feature (do not zoom with the lens; zoom with the magnifying button) and zoom all the way in on your subject and focus manually. This will allow you to make sure that your subject is tack sharp (please note that there is a possibility that some of the image might be a little softer). If your lens does not have a "focusing index," which will allow you to manually focus your lens to infinity, I would suggest using your AF to focus, then switching the lens to manual focus and preventing the camera to refocus with each shot. Now that you have your shots, what's next? If your camera can do in-camera HDR and you followed your manual, then you should now have a finished HDR JPEG image. If your camera does not offer in-camera HDR or you chose not to use that feature, then you will have 3, 5, 7, or 9 images that need to be combined. A solid choice would be to use Adobe Photoshop, which has a robust and easy to use HDR feature. There are also plenty of other programs out there that will help you put these images together into an HDR photograph. Definitely plan ahead and look into what you will use to process all the images into HDR composites before going out to shoot. Have fun, experiment and try different setting combinations and processing techniques. There's more detail to see than you thought. - eos 5d mark ii - eos 7d - eos-1d mark iv - white papers - autofocus modes - autofocus techniques - cheat sheets - cinema eos - cmos sensors - eos 50d - eos 5d mark iii - eos 60d - eos c300 - eos c300 pl - eos-1d mark iii - eos-1d x - eos-1ds mark iii - non linear editing - product tutorials - speedlite 580ex ii - speedlite 600ex-rt - xf 305

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Remember that aperture controls depth of field, so the higher the aperture, the greater the depth of field.

Most likely, if you are passionate about photography (and I assume you are because you are reading the Canon Digital Learning Center’s blog), you have come across High Dynamic Range (HDR) photography. HDR photography is the process of taking multiple exposures of the same high-contrast scene at different levels of brightness, then combining them into one image. This single image with a wider range of detail, from the darkest to the brightest areas, is typically impossible with a single exposure. HDR photography is most often used to produce photos that mimic what the human eye is able to see. Now, I say “most often” because there is also a fun and creative side to HDR photography that allows for a lot interesting experimentation, something worth trying out. Back to the actual purpose of this blog entry: to help you get started with HDR photography. So what do you need, besides a camera and a lens, you might ask? - Tripod: Tripods are not absolutely necessary, but when you are starting off, it will make your life a lot easier. With small lens apertures (high f-numbers) and low ISO settings, there is a good likelihood that you will use slow shutter speeds, which will make handholding very tough and may result in blurry photos. Tripods are also great at making sure that your camera does not move between several exposures. - A Contrast Rich Scene: What you photograph is totally up to you. If I may, I would suggest that when you start off in HDR photography, you should find a landscape scene that has a strong contrast between its shadows and highlight areas. This will allow you to better see the effects HDR can achieve. Your Camera Manual: Find your camera’s manual. There, I said it. Find your camera manual! I know we all hate manuals, but they are the best way to get the most out of your camera. You should know where your manual is and read it -- or even better, study it. This will teach you a ton about your camera as well as how to use its different features, some of which we will explore now. Quick note: look up HDR in your camera manual. Many cameras now offer an in-camera HDR function. If yours does, find the section in your manual and follow the instructions. Then read through below for additional tips and directions. In-camera HDR settings will normally incorporate an exposure bracketing function and then process multiple source images into one final High Dynamic Range finished image file. If your camera doesn't have built-in HDR, or if you prefer to use 3rd-party computer software to produce HDR images, you'll need to set Auto Exposure Bracketing and other features independently. Exercise number one with your newfound camera manual is to discover your Auto Exposure Bracketing (AEB) mode. Why is this necessary, you might ask? AEB is the main component in creating an HDR photo. Let me try and explain why. A bracketing sequence will shoot a series of images that will be over and under exposed, compared to the shot you have set up in your camera. Together, these images will give you a series of photos that are correctly exposed for the brightest, darkest and for the mid-tone areas. Depending on your camera the AEB mode will either shoot 3, 5, 7, or 9 shots. The more images you can get, the better because the potential of capturing all the light in your scene increases. Follow your manual’s instruction on how to turn on and set your AEB mode. - Aperture Priority Mode: If you do not regularly shoot in Manual mode, I would highly suggest setting your camera to Aperture Priority mode (Av on Canon EOS cameras). This mode gives priority to the aperture setting (allowing you to pick it and lock it in) and let the camera determine shutter speed for you. Remember that aperture controls depth of field, so the higher the aperture, the greater the depth of field. In the case of landscape photography, just about any aperture value over f/11 will have your entire frame in focus. Start at f/11 and experiment your way up from there. - Metering Mode: In a nutshell, metering mode is simply how your camera samples light to determine the proper exposure. For the purpose here, it suffices to say that Evaluative Metering will work just fine for you. - White Balance: White balance is incredibly important in photography and getting it wrong can throw an entire image off. Again, for what we are learning here, we can go with Auto White Balance (AWB). But I do highly suggest you look into and learn more about how to use White Balance. - ISO: ISO determines how sensitive your camera is to light. The higher the number, the more sensitive it becomes. There is a downside to ISO though -- the higher the number, the lower your image quality can become. This drop in quality comes from what is referred to as "noise" or the graininess in images. So set your ISO as low as possible. In this case, go with ISO 100. - Self-Timer: Learn how to use the self-timer feature on your camera (another great use of your camera’s manual). The self-timer will get rid of any possible movement caused by holding down the shutter with your finger because you won't be touching it when it snaps. Personally, I prefer to use the 2-second timer. With this setting, you simply press the shutter release, let go of your cameras and 2 seconds later, the camera will take the 3, 5, 7, or 9 exposures in sequence. As you compose your shot, switch your lens to manual focus. While Auto Focus (AF) is an amazing technology, it is not always the best for landscapes. Using manual focus, set your focus point to infinity on the lens. This setting will average out the entire framed scene and bring all into focus. If you have a very important subject within your scene, at this point, my suggestion would be to switch your camera over to “Live View” and use the display’s zoom feature (do not zoom with the lens; zoom with the magnifying button) and zoom all the way in on your subject and focus manually. This will allow you to make sure that your subject is tack sharp (please note that there is a possibility that some of the image might be a little softer). If your lens does not have a "focusing index," which will allow you to manually focus your lens to infinity, I would suggest using your AF to focus, then switching the lens to manual focus and preventing the camera to refocus with each shot. Now that you have your shots, what's next? If your camera can do in-camera HDR and you followed your manual, then you should now have a finished HDR JPEG image. If your camera does not offer in-camera HDR or you chose not to use that feature, then you will have 3, 5, 7, or 9 images that need to be combined. A solid choice would be to use Adobe Photoshop, which has a robust and easy to use HDR feature. There are also plenty of other programs out there that will help you put these images together into an HDR photograph. Definitely plan ahead and look into what you will use to process all the images into HDR composites before going out to shoot. Have fun, experiment and try different setting combinations and processing techniques. There's more detail to see than you thought. - eos 5d mark ii - eos 7d - eos-1d mark iv - white papers - autofocus modes - autofocus techniques - cheat sheets - cinema eos - cmos sensors - eos 50d - eos 5d mark iii - eos 60d - eos c300 - eos c300 pl - eos-1d mark iii - eos-1d x - eos-1ds mark iii - non linear editing - product tutorials - speedlite 580ex ii - speedlite 600ex-rt - xf 305

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In the case of landscape photography, just about any aperture value over f/11 will have your entire frame in focus.

Most likely, if you are passionate about photography (and I assume you are because you are reading the Canon Digital Learning Center’s blog), you have come across High Dynamic Range (HDR) photography. HDR photography is the process of taking multiple exposures of the same high-contrast scene at different levels of brightness, then combining them into one image. This single image with a wider range of detail, from the darkest to the brightest areas, is typically impossible with a single exposure. HDR photography is most often used to produce photos that mimic what the human eye is able to see. Now, I say “most often” because there is also a fun and creative side to HDR photography that allows for a lot interesting experimentation, something worth trying out. Back to the actual purpose of this blog entry: to help you get started with HDR photography. So what do you need, besides a camera and a lens, you might ask? - Tripod: Tripods are not absolutely necessary, but when you are starting off, it will make your life a lot easier. With small lens apertures (high f-numbers) and low ISO settings, there is a good likelihood that you will use slow shutter speeds, which will make handholding very tough and may result in blurry photos. Tripods are also great at making sure that your camera does not move between several exposures. - A Contrast Rich Scene: What you photograph is totally up to you. If I may, I would suggest that when you start off in HDR photography, you should find a landscape scene that has a strong contrast between its shadows and highlight areas. This will allow you to better see the effects HDR can achieve. Your Camera Manual: Find your camera’s manual. There, I said it. Find your camera manual! I know we all hate manuals, but they are the best way to get the most out of your camera. You should know where your manual is and read it -- or even better, study it. This will teach you a ton about your camera as well as how to use its different features, some of which we will explore now. Quick note: look up HDR in your camera manual. Many cameras now offer an in-camera HDR function. If yours does, find the section in your manual and follow the instructions. Then read through below for additional tips and directions. In-camera HDR settings will normally incorporate an exposure bracketing function and then process multiple source images into one final High Dynamic Range finished image file. If your camera doesn't have built-in HDR, or if you prefer to use 3rd-party computer software to produce HDR images, you'll need to set Auto Exposure Bracketing and other features independently. Exercise number one with your newfound camera manual is to discover your Auto Exposure Bracketing (AEB) mode. Why is this necessary, you might ask? AEB is the main component in creating an HDR photo. Let me try and explain why. A bracketing sequence will shoot a series of images that will be over and under exposed, compared to the shot you have set up in your camera. Together, these images will give you a series of photos that are correctly exposed for the brightest, darkest and for the mid-tone areas. Depending on your camera the AEB mode will either shoot 3, 5, 7, or 9 shots. The more images you can get, the better because the potential of capturing all the light in your scene increases. Follow your manual’s instruction on how to turn on and set your AEB mode. - Aperture Priority Mode: If you do not regularly shoot in Manual mode, I would highly suggest setting your camera to Aperture Priority mode (Av on Canon EOS cameras). This mode gives priority to the aperture setting (allowing you to pick it and lock it in) and let the camera determine shutter speed for you. Remember that aperture controls depth of field, so the higher the aperture, the greater the depth of field. In the case of landscape photography, just about any aperture value over f/11 will have your entire frame in focus. Start at f/11 and experiment your way up from there. - Metering Mode: In a nutshell, metering mode is simply how your camera samples light to determine the proper exposure. For the purpose here, it suffices to say that Evaluative Metering will work just fine for you. - White Balance: White balance is incredibly important in photography and getting it wrong can throw an entire image off. Again, for what we are learning here, we can go with Auto White Balance (AWB). But I do highly suggest you look into and learn more about how to use White Balance. - ISO: ISO determines how sensitive your camera is to light. The higher the number, the more sensitive it becomes. There is a downside to ISO though -- the higher the number, the lower your image quality can become. This drop in quality comes from what is referred to as "noise" or the graininess in images. So set your ISO as low as possible. In this case, go with ISO 100. - Self-Timer: Learn how to use the self-timer feature on your camera (another great use of your camera’s manual). The self-timer will get rid of any possible movement caused by holding down the shutter with your finger because you won't be touching it when it snaps. Personally, I prefer to use the 2-second timer. With this setting, you simply press the shutter release, let go of your cameras and 2 seconds later, the camera will take the 3, 5, 7, or 9 exposures in sequence. As you compose your shot, switch your lens to manual focus. While Auto Focus (AF) is an amazing technology, it is not always the best for landscapes. Using manual focus, set your focus point to infinity on the lens. This setting will average out the entire framed scene and bring all into focus. If you have a very important subject within your scene, at this point, my suggestion would be to switch your camera over to “Live View” and use the display’s zoom feature (do not zoom with the lens; zoom with the magnifying button) and zoom all the way in on your subject and focus manually. This will allow you to make sure that your subject is tack sharp (please note that there is a possibility that some of the image might be a little softer). If your lens does not have a "focusing index," which will allow you to manually focus your lens to infinity, I would suggest using your AF to focus, then switching the lens to manual focus and preventing the camera to refocus with each shot. Now that you have your shots, what's next? If your camera can do in-camera HDR and you followed your manual, then you should now have a finished HDR JPEG image. If your camera does not offer in-camera HDR or you chose not to use that feature, then you will have 3, 5, 7, or 9 images that need to be combined. A solid choice would be to use Adobe Photoshop, which has a robust and easy to use HDR feature. There are also plenty of other programs out there that will help you put these images together into an HDR photograph. Definitely plan ahead and look into what you will use to process all the images into HDR composites before going out to shoot. Have fun, experiment and try different setting combinations and processing techniques. There's more detail to see than you thought. - eos 5d mark ii - eos 7d - eos-1d mark iv - white papers - autofocus modes - autofocus techniques - cheat sheets - cinema eos - cmos sensors - eos 50d - eos 5d mark iii - eos 60d - eos c300 - eos c300 pl - eos-1d mark iii - eos-1d x - eos-1ds mark iii - non linear editing - product tutorials - speedlite 580ex ii - speedlite 600ex-rt - xf 305

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Start at f/11 and experiment your way up from there.

Most likely, if you are passionate about photography (and I assume you are because you are reading the Canon Digital Learning Center’s blog), you have come across High Dynamic Range (HDR) photography. HDR photography is the process of taking multiple exposures of the same high-contrast scene at different levels of brightness, then combining them into one image. This single image with a wider range of detail, from the darkest to the brightest areas, is typically impossible with a single exposure. HDR photography is most often used to produce photos that mimic what the human eye is able to see. Now, I say “most often” because there is also a fun and creative side to HDR photography that allows for a lot interesting experimentation, something worth trying out. Back to the actual purpose of this blog entry: to help you get started with HDR photography. So what do you need, besides a camera and a lens, you might ask? - Tripod: Tripods are not absolutely necessary, but when you are starting off, it will make your life a lot easier. With small lens apertures (high f-numbers) and low ISO settings, there is a good likelihood that you will use slow shutter speeds, which will make handholding very tough and may result in blurry photos. Tripods are also great at making sure that your camera does not move between several exposures. - A Contrast Rich Scene: What you photograph is totally up to you. If I may, I would suggest that when you start off in HDR photography, you should find a landscape scene that has a strong contrast between its shadows and highlight areas. This will allow you to better see the effects HDR can achieve. Your Camera Manual: Find your camera’s manual. There, I said it. Find your camera manual! I know we all hate manuals, but they are the best way to get the most out of your camera. You should know where your manual is and read it -- or even better, study it. This will teach you a ton about your camera as well as how to use its different features, some of which we will explore now. Quick note: look up HDR in your camera manual. Many cameras now offer an in-camera HDR function. If yours does, find the section in your manual and follow the instructions. Then read through below for additional tips and directions. In-camera HDR settings will normally incorporate an exposure bracketing function and then process multiple source images into one final High Dynamic Range finished image file. If your camera doesn't have built-in HDR, or if you prefer to use 3rd-party computer software to produce HDR images, you'll need to set Auto Exposure Bracketing and other features independently. Exercise number one with your newfound camera manual is to discover your Auto Exposure Bracketing (AEB) mode. Why is this necessary, you might ask? AEB is the main component in creating an HDR photo. Let me try and explain why. A bracketing sequence will shoot a series of images that will be over and under exposed, compared to the shot you have set up in your camera. Together, these images will give you a series of photos that are correctly exposed for the brightest, darkest and for the mid-tone areas. Depending on your camera the AEB mode will either shoot 3, 5, 7, or 9 shots. The more images you can get, the better because the potential of capturing all the light in your scene increases. Follow your manual’s instruction on how to turn on and set your AEB mode. - Aperture Priority Mode: If you do not regularly shoot in Manual mode, I would highly suggest setting your camera to Aperture Priority mode (Av on Canon EOS cameras). This mode gives priority to the aperture setting (allowing you to pick it and lock it in) and let the camera determine shutter speed for you. Remember that aperture controls depth of field, so the higher the aperture, the greater the depth of field. In the case of landscape photography, just about any aperture value over f/11 will have your entire frame in focus. Start at f/11 and experiment your way up from there. - Metering Mode: In a nutshell, metering mode is simply how your camera samples light to determine the proper exposure. For the purpose here, it suffices to say that Evaluative Metering will work just fine for you. - White Balance: White balance is incredibly important in photography and getting it wrong can throw an entire image off. Again, for what we are learning here, we can go with Auto White Balance (AWB). But I do highly suggest you look into and learn more about how to use White Balance. - ISO: ISO determines how sensitive your camera is to light. The higher the number, the more sensitive it becomes. There is a downside to ISO though -- the higher the number, the lower your image quality can become. This drop in quality comes from what is referred to as "noise" or the graininess in images. So set your ISO as low as possible. In this case, go with ISO 100. - Self-Timer: Learn how to use the self-timer feature on your camera (another great use of your camera’s manual). The self-timer will get rid of any possible movement caused by holding down the shutter with your finger because you won't be touching it when it snaps. Personally, I prefer to use the 2-second timer. With this setting, you simply press the shutter release, let go of your cameras and 2 seconds later, the camera will take the 3, 5, 7, or 9 exposures in sequence. As you compose your shot, switch your lens to manual focus. While Auto Focus (AF) is an amazing technology, it is not always the best for landscapes. Using manual focus, set your focus point to infinity on the lens. This setting will average out the entire framed scene and bring all into focus. If you have a very important subject within your scene, at this point, my suggestion would be to switch your camera over to “Live View” and use the display’s zoom feature (do not zoom with the lens; zoom with the magnifying button) and zoom all the way in on your subject and focus manually. This will allow you to make sure that your subject is tack sharp (please note that there is a possibility that some of the image might be a little softer). If your lens does not have a "focusing index," which will allow you to manually focus your lens to infinity, I would suggest using your AF to focus, then switching the lens to manual focus and preventing the camera to refocus with each shot. Now that you have your shots, what's next? If your camera can do in-camera HDR and you followed your manual, then you should now have a finished HDR JPEG image. If your camera does not offer in-camera HDR or you chose not to use that feature, then you will have 3, 5, 7, or 9 images that need to be combined. A solid choice would be to use Adobe Photoshop, which has a robust and easy to use HDR feature. There are also plenty of other programs out there that will help you put these images together into an HDR photograph. Definitely plan ahead and look into what you will use to process all the images into HDR composites before going out to shoot. Have fun, experiment and try different setting combinations and processing techniques. There's more detail to see than you thought. - eos 5d mark ii - eos 7d - eos-1d mark iv - white papers - autofocus modes - autofocus techniques - cheat sheets - cinema eos - cmos sensors - eos 50d - eos 5d mark iii - eos 60d - eos c300 - eos c300 pl - eos-1d mark iii - eos-1d x - eos-1ds mark iii - non linear editing - product tutorials - speedlite 580ex ii - speedlite 600ex-rt - xf 305

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- Metering Mode: In a nutshell, metering mode is simply how your camera samples light to determine the proper exposure.

Most likely, if you are passionate about photography (and I assume you are because you are reading the Canon Digital Learning Center’s blog), you have come across High Dynamic Range (HDR) photography. HDR photography is the process of taking multiple exposures of the same high-contrast scene at different levels of brightness, then combining them into one image. This single image with a wider range of detail, from the darkest to the brightest areas, is typically impossible with a single exposure. HDR photography is most often used to produce photos that mimic what the human eye is able to see. Now, I say “most often” because there is also a fun and creative side to HDR photography that allows for a lot interesting experimentation, something worth trying out. Back to the actual purpose of this blog entry: to help you get started with HDR photography. So what do you need, besides a camera and a lens, you might ask? - Tripod: Tripods are not absolutely necessary, but when you are starting off, it will make your life a lot easier. With small lens apertures (high f-numbers) and low ISO settings, there is a good likelihood that you will use slow shutter speeds, which will make handholding very tough and may result in blurry photos. Tripods are also great at making sure that your camera does not move between several exposures. - A Contrast Rich Scene: What you photograph is totally up to you. If I may, I would suggest that when you start off in HDR photography, you should find a landscape scene that has a strong contrast between its shadows and highlight areas. This will allow you to better see the effects HDR can achieve. Your Camera Manual: Find your camera’s manual. There, I said it. Find your camera manual! I know we all hate manuals, but they are the best way to get the most out of your camera. You should know where your manual is and read it -- or even better, study it. This will teach you a ton about your camera as well as how to use its different features, some of which we will explore now. Quick note: look up HDR in your camera manual. Many cameras now offer an in-camera HDR function. If yours does, find the section in your manual and follow the instructions. Then read through below for additional tips and directions. In-camera HDR settings will normally incorporate an exposure bracketing function and then process multiple source images into one final High Dynamic Range finished image file. If your camera doesn't have built-in HDR, or if you prefer to use 3rd-party computer software to produce HDR images, you'll need to set Auto Exposure Bracketing and other features independently. Exercise number one with your newfound camera manual is to discover your Auto Exposure Bracketing (AEB) mode. Why is this necessary, you might ask? AEB is the main component in creating an HDR photo. Let me try and explain why. A bracketing sequence will shoot a series of images that will be over and under exposed, compared to the shot you have set up in your camera. Together, these images will give you a series of photos that are correctly exposed for the brightest, darkest and for the mid-tone areas. Depending on your camera the AEB mode will either shoot 3, 5, 7, or 9 shots. The more images you can get, the better because the potential of capturing all the light in your scene increases. Follow your manual’s instruction on how to turn on and set your AEB mode. - Aperture Priority Mode: If you do not regularly shoot in Manual mode, I would highly suggest setting your camera to Aperture Priority mode (Av on Canon EOS cameras). This mode gives priority to the aperture setting (allowing you to pick it and lock it in) and let the camera determine shutter speed for you. Remember that aperture controls depth of field, so the higher the aperture, the greater the depth of field. In the case of landscape photography, just about any aperture value over f/11 will have your entire frame in focus. Start at f/11 and experiment your way up from there. - Metering Mode: In a nutshell, metering mode is simply how your camera samples light to determine the proper exposure. For the purpose here, it suffices to say that Evaluative Metering will work just fine for you. - White Balance: White balance is incredibly important in photography and getting it wrong can throw an entire image off. Again, for what we are learning here, we can go with Auto White Balance (AWB). But I do highly suggest you look into and learn more about how to use White Balance. - ISO: ISO determines how sensitive your camera is to light. The higher the number, the more sensitive it becomes. There is a downside to ISO though -- the higher the number, the lower your image quality can become. This drop in quality comes from what is referred to as "noise" or the graininess in images. So set your ISO as low as possible. In this case, go with ISO 100. - Self-Timer: Learn how to use the self-timer feature on your camera (another great use of your camera’s manual). The self-timer will get rid of any possible movement caused by holding down the shutter with your finger because you won't be touching it when it snaps. Personally, I prefer to use the 2-second timer. With this setting, you simply press the shutter release, let go of your cameras and 2 seconds later, the camera will take the 3, 5, 7, or 9 exposures in sequence. As you compose your shot, switch your lens to manual focus. While Auto Focus (AF) is an amazing technology, it is not always the best for landscapes. Using manual focus, set your focus point to infinity on the lens. This setting will average out the entire framed scene and bring all into focus. If you have a very important subject within your scene, at this point, my suggestion would be to switch your camera over to “Live View” and use the display’s zoom feature (do not zoom with the lens; zoom with the magnifying button) and zoom all the way in on your subject and focus manually. This will allow you to make sure that your subject is tack sharp (please note that there is a possibility that some of the image might be a little softer). If your lens does not have a "focusing index," which will allow you to manually focus your lens to infinity, I would suggest using your AF to focus, then switching the lens to manual focus and preventing the camera to refocus with each shot. Now that you have your shots, what's next? If your camera can do in-camera HDR and you followed your manual, then you should now have a finished HDR JPEG image. If your camera does not offer in-camera HDR or you chose not to use that feature, then you will have 3, 5, 7, or 9 images that need to be combined. A solid choice would be to use Adobe Photoshop, which has a robust and easy to use HDR feature. There are also plenty of other programs out there that will help you put these images together into an HDR photograph. Definitely plan ahead and look into what you will use to process all the images into HDR composites before going out to shoot. Have fun, experiment and try different setting combinations and processing techniques. There's more detail to see than you thought. - eos 5d mark ii - eos 7d - eos-1d mark iv - white papers - autofocus modes - autofocus techniques - cheat sheets - cinema eos - cmos sensors - eos 50d - eos 5d mark iii - eos 60d - eos c300 - eos c300 pl - eos-1d mark iii - eos-1d x - eos-1ds mark iii - non linear editing - product tutorials - speedlite 580ex ii - speedlite 600ex-rt - xf 305

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For the purpose here, it suffices to say that Evaluative Metering will work just fine for you.

Most likely, if you are passionate about photography (and I assume you are because you are reading the Canon Digital Learning Center’s blog), you have come across High Dynamic Range (HDR) photography. HDR photography is the process of taking multiple exposures of the same high-contrast scene at different levels of brightness, then combining them into one image. This single image with a wider range of detail, from the darkest to the brightest areas, is typically impossible with a single exposure. HDR photography is most often used to produce photos that mimic what the human eye is able to see. Now, I say “most often” because there is also a fun and creative side to HDR photography that allows for a lot interesting experimentation, something worth trying out. Back to the actual purpose of this blog entry: to help you get started with HDR photography. So what do you need, besides a camera and a lens, you might ask? - Tripod: Tripods are not absolutely necessary, but when you are starting off, it will make your life a lot easier. With small lens apertures (high f-numbers) and low ISO settings, there is a good likelihood that you will use slow shutter speeds, which will make handholding very tough and may result in blurry photos. Tripods are also great at making sure that your camera does not move between several exposures. - A Contrast Rich Scene: What you photograph is totally up to you. If I may, I would suggest that when you start off in HDR photography, you should find a landscape scene that has a strong contrast between its shadows and highlight areas. This will allow you to better see the effects HDR can achieve. Your Camera Manual: Find your camera’s manual. There, I said it. Find your camera manual! I know we all hate manuals, but they are the best way to get the most out of your camera. You should know where your manual is and read it -- or even better, study it. This will teach you a ton about your camera as well as how to use its different features, some of which we will explore now. Quick note: look up HDR in your camera manual. Many cameras now offer an in-camera HDR function. If yours does, find the section in your manual and follow the instructions. Then read through below for additional tips and directions. In-camera HDR settings will normally incorporate an exposure bracketing function and then process multiple source images into one final High Dynamic Range finished image file. If your camera doesn't have built-in HDR, or if you prefer to use 3rd-party computer software to produce HDR images, you'll need to set Auto Exposure Bracketing and other features independently. Exercise number one with your newfound camera manual is to discover your Auto Exposure Bracketing (AEB) mode. Why is this necessary, you might ask? AEB is the main component in creating an HDR photo. Let me try and explain why. A bracketing sequence will shoot a series of images that will be over and under exposed, compared to the shot you have set up in your camera. Together, these images will give you a series of photos that are correctly exposed for the brightest, darkest and for the mid-tone areas. Depending on your camera the AEB mode will either shoot 3, 5, 7, or 9 shots. The more images you can get, the better because the potential of capturing all the light in your scene increases. Follow your manual’s instruction on how to turn on and set your AEB mode. - Aperture Priority Mode: If you do not regularly shoot in Manual mode, I would highly suggest setting your camera to Aperture Priority mode (Av on Canon EOS cameras). This mode gives priority to the aperture setting (allowing you to pick it and lock it in) and let the camera determine shutter speed for you. Remember that aperture controls depth of field, so the higher the aperture, the greater the depth of field. In the case of landscape photography, just about any aperture value over f/11 will have your entire frame in focus. Start at f/11 and experiment your way up from there. - Metering Mode: In a nutshell, metering mode is simply how your camera samples light to determine the proper exposure. For the purpose here, it suffices to say that Evaluative Metering will work just fine for you. - White Balance: White balance is incredibly important in photography and getting it wrong can throw an entire image off. Again, for what we are learning here, we can go with Auto White Balance (AWB). But I do highly suggest you look into and learn more about how to use White Balance. - ISO: ISO determines how sensitive your camera is to light. The higher the number, the more sensitive it becomes. There is a downside to ISO though -- the higher the number, the lower your image quality can become. This drop in quality comes from what is referred to as "noise" or the graininess in images. So set your ISO as low as possible. In this case, go with ISO 100. - Self-Timer: Learn how to use the self-timer feature on your camera (another great use of your camera’s manual). The self-timer will get rid of any possible movement caused by holding down the shutter with your finger because you won't be touching it when it snaps. Personally, I prefer to use the 2-second timer. With this setting, you simply press the shutter release, let go of your cameras and 2 seconds later, the camera will take the 3, 5, 7, or 9 exposures in sequence. As you compose your shot, switch your lens to manual focus. While Auto Focus (AF) is an amazing technology, it is not always the best for landscapes. Using manual focus, set your focus point to infinity on the lens. This setting will average out the entire framed scene and bring all into focus. If you have a very important subject within your scene, at this point, my suggestion would be to switch your camera over to “Live View” and use the display’s zoom feature (do not zoom with the lens; zoom with the magnifying button) and zoom all the way in on your subject and focus manually. This will allow you to make sure that your subject is tack sharp (please note that there is a possibility that some of the image might be a little softer). If your lens does not have a "focusing index," which will allow you to manually focus your lens to infinity, I would suggest using your AF to focus, then switching the lens to manual focus and preventing the camera to refocus with each shot. Now that you have your shots, what's next? If your camera can do in-camera HDR and you followed your manual, then you should now have a finished HDR JPEG image. If your camera does not offer in-camera HDR or you chose not to use that feature, then you will have 3, 5, 7, or 9 images that need to be combined. A solid choice would be to use Adobe Photoshop, which has a robust and easy to use HDR feature. There are also plenty of other programs out there that will help you put these images together into an HDR photograph. Definitely plan ahead and look into what you will use to process all the images into HDR composites before going out to shoot. Have fun, experiment and try different setting combinations and processing techniques. There's more detail to see than you thought. - eos 5d mark ii - eos 7d - eos-1d mark iv - white papers - autofocus modes - autofocus techniques - cheat sheets - cinema eos - cmos sensors - eos 50d - eos 5d mark iii - eos 60d - eos c300 - eos c300 pl - eos-1d mark iii - eos-1d x - eos-1ds mark iii - non linear editing - product tutorials - speedlite 580ex ii - speedlite 600ex-rt - xf 305

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- White Balance: White balance is incredibly important in photography and getting it wrong can throw an entire image off.

Most likely, if you are passionate about photography (and I assume you are because you are reading the Canon Digital Learning Center’s blog), you have come across High Dynamic Range (HDR) photography. HDR photography is the process of taking multiple exposures of the same high-contrast scene at different levels of brightness, then combining them into one image. This single image with a wider range of detail, from the darkest to the brightest areas, is typically impossible with a single exposure. HDR photography is most often used to produce photos that mimic what the human eye is able to see. Now, I say “most often” because there is also a fun and creative side to HDR photography that allows for a lot interesting experimentation, something worth trying out. Back to the actual purpose of this blog entry: to help you get started with HDR photography. So what do you need, besides a camera and a lens, you might ask? - Tripod: Tripods are not absolutely necessary, but when you are starting off, it will make your life a lot easier. With small lens apertures (high f-numbers) and low ISO settings, there is a good likelihood that you will use slow shutter speeds, which will make handholding very tough and may result in blurry photos. Tripods are also great at making sure that your camera does not move between several exposures. - A Contrast Rich Scene: What you photograph is totally up to you. If I may, I would suggest that when you start off in HDR photography, you should find a landscape scene that has a strong contrast between its shadows and highlight areas. This will allow you to better see the effects HDR can achieve. Your Camera Manual: Find your camera’s manual. There, I said it. Find your camera manual! I know we all hate manuals, but they are the best way to get the most out of your camera. You should know where your manual is and read it -- or even better, study it. This will teach you a ton about your camera as well as how to use its different features, some of which we will explore now. Quick note: look up HDR in your camera manual. Many cameras now offer an in-camera HDR function. If yours does, find the section in your manual and follow the instructions. Then read through below for additional tips and directions. In-camera HDR settings will normally incorporate an exposure bracketing function and then process multiple source images into one final High Dynamic Range finished image file. If your camera doesn't have built-in HDR, or if you prefer to use 3rd-party computer software to produce HDR images, you'll need to set Auto Exposure Bracketing and other features independently. Exercise number one with your newfound camera manual is to discover your Auto Exposure Bracketing (AEB) mode. Why is this necessary, you might ask? AEB is the main component in creating an HDR photo. Let me try and explain why. A bracketing sequence will shoot a series of images that will be over and under exposed, compared to the shot you have set up in your camera. Together, these images will give you a series of photos that are correctly exposed for the brightest, darkest and for the mid-tone areas. Depending on your camera the AEB mode will either shoot 3, 5, 7, or 9 shots. The more images you can get, the better because the potential of capturing all the light in your scene increases. Follow your manual’s instruction on how to turn on and set your AEB mode. - Aperture Priority Mode: If you do not regularly shoot in Manual mode, I would highly suggest setting your camera to Aperture Priority mode (Av on Canon EOS cameras). This mode gives priority to the aperture setting (allowing you to pick it and lock it in) and let the camera determine shutter speed for you. Remember that aperture controls depth of field, so the higher the aperture, the greater the depth of field. In the case of landscape photography, just about any aperture value over f/11 will have your entire frame in focus. Start at f/11 and experiment your way up from there. - Metering Mode: In a nutshell, metering mode is simply how your camera samples light to determine the proper exposure. For the purpose here, it suffices to say that Evaluative Metering will work just fine for you. - White Balance: White balance is incredibly important in photography and getting it wrong can throw an entire image off. Again, for what we are learning here, we can go with Auto White Balance (AWB). But I do highly suggest you look into and learn more about how to use White Balance. - ISO: ISO determines how sensitive your camera is to light. The higher the number, the more sensitive it becomes. There is a downside to ISO though -- the higher the number, the lower your image quality can become. This drop in quality comes from what is referred to as "noise" or the graininess in images. So set your ISO as low as possible. In this case, go with ISO 100. - Self-Timer: Learn how to use the self-timer feature on your camera (another great use of your camera’s manual). The self-timer will get rid of any possible movement caused by holding down the shutter with your finger because you won't be touching it when it snaps. Personally, I prefer to use the 2-second timer. With this setting, you simply press the shutter release, let go of your cameras and 2 seconds later, the camera will take the 3, 5, 7, or 9 exposures in sequence. As you compose your shot, switch your lens to manual focus. While Auto Focus (AF) is an amazing technology, it is not always the best for landscapes. Using manual focus, set your focus point to infinity on the lens. This setting will average out the entire framed scene and bring all into focus. If you have a very important subject within your scene, at this point, my suggestion would be to switch your camera over to “Live View” and use the display’s zoom feature (do not zoom with the lens; zoom with the magnifying button) and zoom all the way in on your subject and focus manually. This will allow you to make sure that your subject is tack sharp (please note that there is a possibility that some of the image might be a little softer). If your lens does not have a "focusing index," which will allow you to manually focus your lens to infinity, I would suggest using your AF to focus, then switching the lens to manual focus and preventing the camera to refocus with each shot. Now that you have your shots, what's next? If your camera can do in-camera HDR and you followed your manual, then you should now have a finished HDR JPEG image. If your camera does not offer in-camera HDR or you chose not to use that feature, then you will have 3, 5, 7, or 9 images that need to be combined. A solid choice would be to use Adobe Photoshop, which has a robust and easy to use HDR feature. There are also plenty of other programs out there that will help you put these images together into an HDR photograph. Definitely plan ahead and look into what you will use to process all the images into HDR composites before going out to shoot. Have fun, experiment and try different setting combinations and processing techniques. There's more detail to see than you thought. - eos 5d mark ii - eos 7d - eos-1d mark iv - white papers - autofocus modes - autofocus techniques - cheat sheets - cinema eos - cmos sensors - eos 50d - eos 5d mark iii - eos 60d - eos c300 - eos c300 pl - eos-1d mark iii - eos-1d x - eos-1ds mark iii - non linear editing - product tutorials - speedlite 580ex ii - speedlite 600ex-rt - xf 305

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Again, for what we are learning here, we can go with Auto White Balance (AWB).

Most likely, if you are passionate about photography (and I assume you are because you are reading the Canon Digital Learning Center’s blog), you have come across High Dynamic Range (HDR) photography. HDR photography is the process of taking multiple exposures of the same high-contrast scene at different levels of brightness, then combining them into one image. This single image with a wider range of detail, from the darkest to the brightest areas, is typically impossible with a single exposure. HDR photography is most often used to produce photos that mimic what the human eye is able to see. Now, I say “most often” because there is also a fun and creative side to HDR photography that allows for a lot interesting experimentation, something worth trying out. Back to the actual purpose of this blog entry: to help you get started with HDR photography. So what do you need, besides a camera and a lens, you might ask? - Tripod: Tripods are not absolutely necessary, but when you are starting off, it will make your life a lot easier. With small lens apertures (high f-numbers) and low ISO settings, there is a good likelihood that you will use slow shutter speeds, which will make handholding very tough and may result in blurry photos. Tripods are also great at making sure that your camera does not move between several exposures. - A Contrast Rich Scene: What you photograph is totally up to you. If I may, I would suggest that when you start off in HDR photography, you should find a landscape scene that has a strong contrast between its shadows and highlight areas. This will allow you to better see the effects HDR can achieve. Your Camera Manual: Find your camera’s manual. There, I said it. Find your camera manual! I know we all hate manuals, but they are the best way to get the most out of your camera. You should know where your manual is and read it -- or even better, study it. This will teach you a ton about your camera as well as how to use its different features, some of which we will explore now. Quick note: look up HDR in your camera manual. Many cameras now offer an in-camera HDR function. If yours does, find the section in your manual and follow the instructions. Then read through below for additional tips and directions. In-camera HDR settings will normally incorporate an exposure bracketing function and then process multiple source images into one final High Dynamic Range finished image file. If your camera doesn't have built-in HDR, or if you prefer to use 3rd-party computer software to produce HDR images, you'll need to set Auto Exposure Bracketing and other features independently. Exercise number one with your newfound camera manual is to discover your Auto Exposure Bracketing (AEB) mode. Why is this necessary, you might ask? AEB is the main component in creating an HDR photo. Let me try and explain why. A bracketing sequence will shoot a series of images that will be over and under exposed, compared to the shot you have set up in your camera. Together, these images will give you a series of photos that are correctly exposed for the brightest, darkest and for the mid-tone areas. Depending on your camera the AEB mode will either shoot 3, 5, 7, or 9 shots. The more images you can get, the better because the potential of capturing all the light in your scene increases. Follow your manual’s instruction on how to turn on and set your AEB mode. - Aperture Priority Mode: If you do not regularly shoot in Manual mode, I would highly suggest setting your camera to Aperture Priority mode (Av on Canon EOS cameras). This mode gives priority to the aperture setting (allowing you to pick it and lock it in) and let the camera determine shutter speed for you. Remember that aperture controls depth of field, so the higher the aperture, the greater the depth of field. In the case of landscape photography, just about any aperture value over f/11 will have your entire frame in focus. Start at f/11 and experiment your way up from there. - Metering Mode: In a nutshell, metering mode is simply how your camera samples light to determine the proper exposure. For the purpose here, it suffices to say that Evaluative Metering will work just fine for you. - White Balance: White balance is incredibly important in photography and getting it wrong can throw an entire image off. Again, for what we are learning here, we can go with Auto White Balance (AWB). But I do highly suggest you look into and learn more about how to use White Balance. - ISO: ISO determines how sensitive your camera is to light. The higher the number, the more sensitive it becomes. There is a downside to ISO though -- the higher the number, the lower your image quality can become. This drop in quality comes from what is referred to as "noise" or the graininess in images. So set your ISO as low as possible. In this case, go with ISO 100. - Self-Timer: Learn how to use the self-timer feature on your camera (another great use of your camera’s manual). The self-timer will get rid of any possible movement caused by holding down the shutter with your finger because you won't be touching it when it snaps. Personally, I prefer to use the 2-second timer. With this setting, you simply press the shutter release, let go of your cameras and 2 seconds later, the camera will take the 3, 5, 7, or 9 exposures in sequence. As you compose your shot, switch your lens to manual focus. While Auto Focus (AF) is an amazing technology, it is not always the best for landscapes. Using manual focus, set your focus point to infinity on the lens. This setting will average out the entire framed scene and bring all into focus. If you have a very important subject within your scene, at this point, my suggestion would be to switch your camera over to “Live View” and use the display’s zoom feature (do not zoom with the lens; zoom with the magnifying button) and zoom all the way in on your subject and focus manually. This will allow you to make sure that your subject is tack sharp (please note that there is a possibility that some of the image might be a little softer). If your lens does not have a "focusing index," which will allow you to manually focus your lens to infinity, I would suggest using your AF to focus, then switching the lens to manual focus and preventing the camera to refocus with each shot. Now that you have your shots, what's next? If your camera can do in-camera HDR and you followed your manual, then you should now have a finished HDR JPEG image. If your camera does not offer in-camera HDR or you chose not to use that feature, then you will have 3, 5, 7, or 9 images that need to be combined. A solid choice would be to use Adobe Photoshop, which has a robust and easy to use HDR feature. There are also plenty of other programs out there that will help you put these images together into an HDR photograph. Definitely plan ahead and look into what you will use to process all the images into HDR composites before going out to shoot. Have fun, experiment and try different setting combinations and processing techniques. There's more detail to see than you thought. - eos 5d mark ii - eos 7d - eos-1d mark iv - white papers - autofocus modes - autofocus techniques - cheat sheets - cinema eos - cmos sensors - eos 50d - eos 5d mark iii - eos 60d - eos c300 - eos c300 pl - eos-1d mark iii - eos-1d x - eos-1ds mark iii - non linear editing - product tutorials - speedlite 580ex ii - speedlite 600ex-rt - xf 305

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But I do highly suggest you look into and learn more about how to use White Balance.

Most likely, if you are passionate about photography (and I assume you are because you are reading the Canon Digital Learning Center’s blog), you have come across High Dynamic Range (HDR) photography. HDR photography is the process of taking multiple exposures of the same high-contrast scene at different levels of brightness, then combining them into one image. This single image with a wider range of detail, from the darkest to the brightest areas, is typically impossible with a single exposure. HDR photography is most often used to produce photos that mimic what the human eye is able to see. Now, I say “most often” because there is also a fun and creative side to HDR photography that allows for a lot interesting experimentation, something worth trying out. Back to the actual purpose of this blog entry: to help you get started with HDR photography. So what do you need, besides a camera and a lens, you might ask? - Tripod: Tripods are not absolutely necessary, but when you are starting off, it will make your life a lot easier. With small lens apertures (high f-numbers) and low ISO settings, there is a good likelihood that you will use slow shutter speeds, which will make handholding very tough and may result in blurry photos. Tripods are also great at making sure that your camera does not move between several exposures. - A Contrast Rich Scene: What you photograph is totally up to you. If I may, I would suggest that when you start off in HDR photography, you should find a landscape scene that has a strong contrast between its shadows and highlight areas. This will allow you to better see the effects HDR can achieve. Your Camera Manual: Find your camera’s manual. There, I said it. Find your camera manual! I know we all hate manuals, but they are the best way to get the most out of your camera. You should know where your manual is and read it -- or even better, study it. This will teach you a ton about your camera as well as how to use its different features, some of which we will explore now. Quick note: look up HDR in your camera manual. Many cameras now offer an in-camera HDR function. If yours does, find the section in your manual and follow the instructions. Then read through below for additional tips and directions. In-camera HDR settings will normally incorporate an exposure bracketing function and then process multiple source images into one final High Dynamic Range finished image file. If your camera doesn't have built-in HDR, or if you prefer to use 3rd-party computer software to produce HDR images, you'll need to set Auto Exposure Bracketing and other features independently. Exercise number one with your newfound camera manual is to discover your Auto Exposure Bracketing (AEB) mode. Why is this necessary, you might ask? AEB is the main component in creating an HDR photo. Let me try and explain why. A bracketing sequence will shoot a series of images that will be over and under exposed, compared to the shot you have set up in your camera. Together, these images will give you a series of photos that are correctly exposed for the brightest, darkest and for the mid-tone areas. Depending on your camera the AEB mode will either shoot 3, 5, 7, or 9 shots. The more images you can get, the better because the potential of capturing all the light in your scene increases. Follow your manual’s instruction on how to turn on and set your AEB mode. - Aperture Priority Mode: If you do not regularly shoot in Manual mode, I would highly suggest setting your camera to Aperture Priority mode (Av on Canon EOS cameras). This mode gives priority to the aperture setting (allowing you to pick it and lock it in) and let the camera determine shutter speed for you. Remember that aperture controls depth of field, so the higher the aperture, the greater the depth of field. In the case of landscape photography, just about any aperture value over f/11 will have your entire frame in focus. Start at f/11 and experiment your way up from there. - Metering Mode: In a nutshell, metering mode is simply how your camera samples light to determine the proper exposure. For the purpose here, it suffices to say that Evaluative Metering will work just fine for you. - White Balance: White balance is incredibly important in photography and getting it wrong can throw an entire image off. Again, for what we are learning here, we can go with Auto White Balance (AWB). But I do highly suggest you look into and learn more about how to use White Balance. - ISO: ISO determines how sensitive your camera is to light. The higher the number, the more sensitive it becomes. There is a downside to ISO though -- the higher the number, the lower your image quality can become. This drop in quality comes from what is referred to as "noise" or the graininess in images. So set your ISO as low as possible. In this case, go with ISO 100. - Self-Timer: Learn how to use the self-timer feature on your camera (another great use of your camera’s manual). The self-timer will get rid of any possible movement caused by holding down the shutter with your finger because you won't be touching it when it snaps. Personally, I prefer to use the 2-second timer. With this setting, you simply press the shutter release, let go of your cameras and 2 seconds later, the camera will take the 3, 5, 7, or 9 exposures in sequence. As you compose your shot, switch your lens to manual focus. While Auto Focus (AF) is an amazing technology, it is not always the best for landscapes. Using manual focus, set your focus point to infinity on the lens. This setting will average out the entire framed scene and bring all into focus. If you have a very important subject within your scene, at this point, my suggestion would be to switch your camera over to “Live View” and use the display’s zoom feature (do not zoom with the lens; zoom with the magnifying button) and zoom all the way in on your subject and focus manually. This will allow you to make sure that your subject is tack sharp (please note that there is a possibility that some of the image might be a little softer). If your lens does not have a "focusing index," which will allow you to manually focus your lens to infinity, I would suggest using your AF to focus, then switching the lens to manual focus and preventing the camera to refocus with each shot. Now that you have your shots, what's next? If your camera can do in-camera HDR and you followed your manual, then you should now have a finished HDR JPEG image. If your camera does not offer in-camera HDR or you chose not to use that feature, then you will have 3, 5, 7, or 9 images that need to be combined. A solid choice would be to use Adobe Photoshop, which has a robust and easy to use HDR feature. There are also plenty of other programs out there that will help you put these images together into an HDR photograph. Definitely plan ahead and look into what you will use to process all the images into HDR composites before going out to shoot. Have fun, experiment and try different setting combinations and processing techniques. There's more detail to see than you thought. - eos 5d mark ii - eos 7d - eos-1d mark iv - white papers - autofocus modes - autofocus techniques - cheat sheets - cinema eos - cmos sensors - eos 50d - eos 5d mark iii - eos 60d - eos c300 - eos c300 pl - eos-1d mark iii - eos-1d x - eos-1ds mark iii - non linear editing - product tutorials - speedlite 580ex ii - speedlite 600ex-rt - xf 305

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- ISO: ISO determines how sensitive your camera is to light.

Most likely, if you are passionate about photography (and I assume you are because you are reading the Canon Digital Learning Center’s blog), you have come across High Dynamic Range (HDR) photography. HDR photography is the process of taking multiple exposures of the same high-contrast scene at different levels of brightness, then combining them into one image. This single image with a wider range of detail, from the darkest to the brightest areas, is typically impossible with a single exposure. HDR photography is most often used to produce photos that mimic what the human eye is able to see. Now, I say “most often” because there is also a fun and creative side to HDR photography that allows for a lot interesting experimentation, something worth trying out. Back to the actual purpose of this blog entry: to help you get started with HDR photography. So what do you need, besides a camera and a lens, you might ask? - Tripod: Tripods are not absolutely necessary, but when you are starting off, it will make your life a lot easier. With small lens apertures (high f-numbers) and low ISO settings, there is a good likelihood that you will use slow shutter speeds, which will make handholding very tough and may result in blurry photos. Tripods are also great at making sure that your camera does not move between several exposures. - A Contrast Rich Scene: What you photograph is totally up to you. If I may, I would suggest that when you start off in HDR photography, you should find a landscape scene that has a strong contrast between its shadows and highlight areas. This will allow you to better see the effects HDR can achieve. Your Camera Manual: Find your camera’s manual. There, I said it. Find your camera manual! I know we all hate manuals, but they are the best way to get the most out of your camera. You should know where your manual is and read it -- or even better, study it. This will teach you a ton about your camera as well as how to use its different features, some of which we will explore now. Quick note: look up HDR in your camera manual. Many cameras now offer an in-camera HDR function. If yours does, find the section in your manual and follow the instructions. Then read through below for additional tips and directions. In-camera HDR settings will normally incorporate an exposure bracketing function and then process multiple source images into one final High Dynamic Range finished image file. If your camera doesn't have built-in HDR, or if you prefer to use 3rd-party computer software to produce HDR images, you'll need to set Auto Exposure Bracketing and other features independently. Exercise number one with your newfound camera manual is to discover your Auto Exposure Bracketing (AEB) mode. Why is this necessary, you might ask? AEB is the main component in creating an HDR photo. Let me try and explain why. A bracketing sequence will shoot a series of images that will be over and under exposed, compared to the shot you have set up in your camera. Together, these images will give you a series of photos that are correctly exposed for the brightest, darkest and for the mid-tone areas. Depending on your camera the AEB mode will either shoot 3, 5, 7, or 9 shots. The more images you can get, the better because the potential of capturing all the light in your scene increases. Follow your manual’s instruction on how to turn on and set your AEB mode. - Aperture Priority Mode: If you do not regularly shoot in Manual mode, I would highly suggest setting your camera to Aperture Priority mode (Av on Canon EOS cameras). This mode gives priority to the aperture setting (allowing you to pick it and lock it in) and let the camera determine shutter speed for you. Remember that aperture controls depth of field, so the higher the aperture, the greater the depth of field. In the case of landscape photography, just about any aperture value over f/11 will have your entire frame in focus. Start at f/11 and experiment your way up from there. - Metering Mode: In a nutshell, metering mode is simply how your camera samples light to determine the proper exposure. For the purpose here, it suffices to say that Evaluative Metering will work just fine for you. - White Balance: White balance is incredibly important in photography and getting it wrong can throw an entire image off. Again, for what we are learning here, we can go with Auto White Balance (AWB). But I do highly suggest you look into and learn more about how to use White Balance. - ISO: ISO determines how sensitive your camera is to light. The higher the number, the more sensitive it becomes. There is a downside to ISO though -- the higher the number, the lower your image quality can become. This drop in quality comes from what is referred to as "noise" or the graininess in images. So set your ISO as low as possible. In this case, go with ISO 100. - Self-Timer: Learn how to use the self-timer feature on your camera (another great use of your camera’s manual). The self-timer will get rid of any possible movement caused by holding down the shutter with your finger because you won't be touching it when it snaps. Personally, I prefer to use the 2-second timer. With this setting, you simply press the shutter release, let go of your cameras and 2 seconds later, the camera will take the 3, 5, 7, or 9 exposures in sequence. As you compose your shot, switch your lens to manual focus. While Auto Focus (AF) is an amazing technology, it is not always the best for landscapes. Using manual focus, set your focus point to infinity on the lens. This setting will average out the entire framed scene and bring all into focus. If you have a very important subject within your scene, at this point, my suggestion would be to switch your camera over to “Live View” and use the display’s zoom feature (do not zoom with the lens; zoom with the magnifying button) and zoom all the way in on your subject and focus manually. This will allow you to make sure that your subject is tack sharp (please note that there is a possibility that some of the image might be a little softer). If your lens does not have a "focusing index," which will allow you to manually focus your lens to infinity, I would suggest using your AF to focus, then switching the lens to manual focus and preventing the camera to refocus with each shot. Now that you have your shots, what's next? If your camera can do in-camera HDR and you followed your manual, then you should now have a finished HDR JPEG image. If your camera does not offer in-camera HDR or you chose not to use that feature, then you will have 3, 5, 7, or 9 images that need to be combined. A solid choice would be to use Adobe Photoshop, which has a robust and easy to use HDR feature. There are also plenty of other programs out there that will help you put these images together into an HDR photograph. Definitely plan ahead and look into what you will use to process all the images into HDR composites before going out to shoot. Have fun, experiment and try different setting combinations and processing techniques. There's more detail to see than you thought. - eos 5d mark ii - eos 7d - eos-1d mark iv - white papers - autofocus modes - autofocus techniques - cheat sheets - cinema eos - cmos sensors - eos 50d - eos 5d mark iii - eos 60d - eos c300 - eos c300 pl - eos-1d mark iii - eos-1d x - eos-1ds mark iii - non linear editing - product tutorials - speedlite 580ex ii - speedlite 600ex-rt - xf 305

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The higher the number, the more sensitive it becomes.

Most likely, if you are passionate about photography (and I assume you are because you are reading the Canon Digital Learning Center’s blog), you have come across High Dynamic Range (HDR) photography. HDR photography is the process of taking multiple exposures of the same high-contrast scene at different levels of brightness, then combining them into one image. This single image with a wider range of detail, from the darkest to the brightest areas, is typically impossible with a single exposure. HDR photography is most often used to produce photos that mimic what the human eye is able to see. Now, I say “most often” because there is also a fun and creative side to HDR photography that allows for a lot interesting experimentation, something worth trying out. Back to the actual purpose of this blog entry: to help you get started with HDR photography. So what do you need, besides a camera and a lens, you might ask? - Tripod: Tripods are not absolutely necessary, but when you are starting off, it will make your life a lot easier. With small lens apertures (high f-numbers) and low ISO settings, there is a good likelihood that you will use slow shutter speeds, which will make handholding very tough and may result in blurry photos. Tripods are also great at making sure that your camera does not move between several exposures. - A Contrast Rich Scene: What you photograph is totally up to you. If I may, I would suggest that when you start off in HDR photography, you should find a landscape scene that has a strong contrast between its shadows and highlight areas. This will allow you to better see the effects HDR can achieve. Your Camera Manual: Find your camera’s manual. There, I said it. Find your camera manual! I know we all hate manuals, but they are the best way to get the most out of your camera. You should know where your manual is and read it -- or even better, study it. This will teach you a ton about your camera as well as how to use its different features, some of which we will explore now. Quick note: look up HDR in your camera manual. Many cameras now offer an in-camera HDR function. If yours does, find the section in your manual and follow the instructions. Then read through below for additional tips and directions. In-camera HDR settings will normally incorporate an exposure bracketing function and then process multiple source images into one final High Dynamic Range finished image file. If your camera doesn't have built-in HDR, or if you prefer to use 3rd-party computer software to produce HDR images, you'll need to set Auto Exposure Bracketing and other features independently. Exercise number one with your newfound camera manual is to discover your Auto Exposure Bracketing (AEB) mode. Why is this necessary, you might ask? AEB is the main component in creating an HDR photo. Let me try and explain why. A bracketing sequence will shoot a series of images that will be over and under exposed, compared to the shot you have set up in your camera. Together, these images will give you a series of photos that are correctly exposed for the brightest, darkest and for the mid-tone areas. Depending on your camera the AEB mode will either shoot 3, 5, 7, or 9 shots. The more images you can get, the better because the potential of capturing all the light in your scene increases. Follow your manual’s instruction on how to turn on and set your AEB mode. - Aperture Priority Mode: If you do not regularly shoot in Manual mode, I would highly suggest setting your camera to Aperture Priority mode (Av on Canon EOS cameras). This mode gives priority to the aperture setting (allowing you to pick it and lock it in) and let the camera determine shutter speed for you. Remember that aperture controls depth of field, so the higher the aperture, the greater the depth of field. In the case of landscape photography, just about any aperture value over f/11 will have your entire frame in focus. Start at f/11 and experiment your way up from there. - Metering Mode: In a nutshell, metering mode is simply how your camera samples light to determine the proper exposure. For the purpose here, it suffices to say that Evaluative Metering will work just fine for you. - White Balance: White balance is incredibly important in photography and getting it wrong can throw an entire image off. Again, for what we are learning here, we can go with Auto White Balance (AWB). But I do highly suggest you look into and learn more about how to use White Balance. - ISO: ISO determines how sensitive your camera is to light. The higher the number, the more sensitive it becomes. There is a downside to ISO though -- the higher the number, the lower your image quality can become. This drop in quality comes from what is referred to as "noise" or the graininess in images. So set your ISO as low as possible. In this case, go with ISO 100. - Self-Timer: Learn how to use the self-timer feature on your camera (another great use of your camera’s manual). The self-timer will get rid of any possible movement caused by holding down the shutter with your finger because you won't be touching it when it snaps. Personally, I prefer to use the 2-second timer. With this setting, you simply press the shutter release, let go of your cameras and 2 seconds later, the camera will take the 3, 5, 7, or 9 exposures in sequence. As you compose your shot, switch your lens to manual focus. While Auto Focus (AF) is an amazing technology, it is not always the best for landscapes. Using manual focus, set your focus point to infinity on the lens. This setting will average out the entire framed scene and bring all into focus. If you have a very important subject within your scene, at this point, my suggestion would be to switch your camera over to “Live View” and use the display’s zoom feature (do not zoom with the lens; zoom with the magnifying button) and zoom all the way in on your subject and focus manually. This will allow you to make sure that your subject is tack sharp (please note that there is a possibility that some of the image might be a little softer). If your lens does not have a "focusing index," which will allow you to manually focus your lens to infinity, I would suggest using your AF to focus, then switching the lens to manual focus and preventing the camera to refocus with each shot. Now that you have your shots, what's next? If your camera can do in-camera HDR and you followed your manual, then you should now have a finished HDR JPEG image. If your camera does not offer in-camera HDR or you chose not to use that feature, then you will have 3, 5, 7, or 9 images that need to be combined. A solid choice would be to use Adobe Photoshop, which has a robust and easy to use HDR feature. There are also plenty of other programs out there that will help you put these images together into an HDR photograph. Definitely plan ahead and look into what you will use to process all the images into HDR composites before going out to shoot. Have fun, experiment and try different setting combinations and processing techniques. There's more detail to see than you thought. - eos 5d mark ii - eos 7d - eos-1d mark iv - white papers - autofocus modes - autofocus techniques - cheat sheets - cinema eos - cmos sensors - eos 50d - eos 5d mark iii - eos 60d - eos c300 - eos c300 pl - eos-1d mark iii - eos-1d x - eos-1ds mark iii - non linear editing - product tutorials - speedlite 580ex ii - speedlite 600ex-rt - xf 305

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There is a downside to ISO though -- the higher the number, the lower your image quality can become.

Most likely, if you are passionate about photography (and I assume you are because you are reading the Canon Digital Learning Center’s blog), you have come across High Dynamic Range (HDR) photography. HDR photography is the process of taking multiple exposures of the same high-contrast scene at different levels of brightness, then combining them into one image. This single image with a wider range of detail, from the darkest to the brightest areas, is typically impossible with a single exposure. HDR photography is most often used to produce photos that mimic what the human eye is able to see. Now, I say “most often” because there is also a fun and creative side to HDR photography that allows for a lot interesting experimentation, something worth trying out. Back to the actual purpose of this blog entry: to help you get started with HDR photography. So what do you need, besides a camera and a lens, you might ask? - Tripod: Tripods are not absolutely necessary, but when you are starting off, it will make your life a lot easier. With small lens apertures (high f-numbers) and low ISO settings, there is a good likelihood that you will use slow shutter speeds, which will make handholding very tough and may result in blurry photos. Tripods are also great at making sure that your camera does not move between several exposures. - A Contrast Rich Scene: What you photograph is totally up to you. If I may, I would suggest that when you start off in HDR photography, you should find a landscape scene that has a strong contrast between its shadows and highlight areas. This will allow you to better see the effects HDR can achieve. Your Camera Manual: Find your camera’s manual. There, I said it. Find your camera manual! I know we all hate manuals, but they are the best way to get the most out of your camera. You should know where your manual is and read it -- or even better, study it. This will teach you a ton about your camera as well as how to use its different features, some of which we will explore now. Quick note: look up HDR in your camera manual. Many cameras now offer an in-camera HDR function. If yours does, find the section in your manual and follow the instructions. Then read through below for additional tips and directions. In-camera HDR settings will normally incorporate an exposure bracketing function and then process multiple source images into one final High Dynamic Range finished image file. If your camera doesn't have built-in HDR, or if you prefer to use 3rd-party computer software to produce HDR images, you'll need to set Auto Exposure Bracketing and other features independently. Exercise number one with your newfound camera manual is to discover your Auto Exposure Bracketing (AEB) mode. Why is this necessary, you might ask? AEB is the main component in creating an HDR photo. Let me try and explain why. A bracketing sequence will shoot a series of images that will be over and under exposed, compared to the shot you have set up in your camera. Together, these images will give you a series of photos that are correctly exposed for the brightest, darkest and for the mid-tone areas. Depending on your camera the AEB mode will either shoot 3, 5, 7, or 9 shots. The more images you can get, the better because the potential of capturing all the light in your scene increases. Follow your manual’s instruction on how to turn on and set your AEB mode. - Aperture Priority Mode: If you do not regularly shoot in Manual mode, I would highly suggest setting your camera to Aperture Priority mode (Av on Canon EOS cameras). This mode gives priority to the aperture setting (allowing you to pick it and lock it in) and let the camera determine shutter speed for you. Remember that aperture controls depth of field, so the higher the aperture, the greater the depth of field. In the case of landscape photography, just about any aperture value over f/11 will have your entire frame in focus. Start at f/11 and experiment your way up from there. - Metering Mode: In a nutshell, metering mode is simply how your camera samples light to determine the proper exposure. For the purpose here, it suffices to say that Evaluative Metering will work just fine for you. - White Balance: White balance is incredibly important in photography and getting it wrong can throw an entire image off. Again, for what we are learning here, we can go with Auto White Balance (AWB). But I do highly suggest you look into and learn more about how to use White Balance. - ISO: ISO determines how sensitive your camera is to light. The higher the number, the more sensitive it becomes. There is a downside to ISO though -- the higher the number, the lower your image quality can become. This drop in quality comes from what is referred to as "noise" or the graininess in images. So set your ISO as low as possible. In this case, go with ISO 100. - Self-Timer: Learn how to use the self-timer feature on your camera (another great use of your camera’s manual). The self-timer will get rid of any possible movement caused by holding down the shutter with your finger because you won't be touching it when it snaps. Personally, I prefer to use the 2-second timer. With this setting, you simply press the shutter release, let go of your cameras and 2 seconds later, the camera will take the 3, 5, 7, or 9 exposures in sequence. As you compose your shot, switch your lens to manual focus. While Auto Focus (AF) is an amazing technology, it is not always the best for landscapes. Using manual focus, set your focus point to infinity on the lens. This setting will average out the entire framed scene and bring all into focus. If you have a very important subject within your scene, at this point, my suggestion would be to switch your camera over to “Live View” and use the display’s zoom feature (do not zoom with the lens; zoom with the magnifying button) and zoom all the way in on your subject and focus manually. This will allow you to make sure that your subject is tack sharp (please note that there is a possibility that some of the image might be a little softer). If your lens does not have a "focusing index," which will allow you to manually focus your lens to infinity, I would suggest using your AF to focus, then switching the lens to manual focus and preventing the camera to refocus with each shot. Now that you have your shots, what's next? If your camera can do in-camera HDR and you followed your manual, then you should now have a finished HDR JPEG image. If your camera does not offer in-camera HDR or you chose not to use that feature, then you will have 3, 5, 7, or 9 images that need to be combined. A solid choice would be to use Adobe Photoshop, which has a robust and easy to use HDR feature. There are also plenty of other programs out there that will help you put these images together into an HDR photograph. Definitely plan ahead and look into what you will use to process all the images into HDR composites before going out to shoot. Have fun, experiment and try different setting combinations and processing techniques. There's more detail to see than you thought. - eos 5d mark ii - eos 7d - eos-1d mark iv - white papers - autofocus modes - autofocus techniques - cheat sheets - cinema eos - cmos sensors - eos 50d - eos 5d mark iii - eos 60d - eos c300 - eos c300 pl - eos-1d mark iii - eos-1d x - eos-1ds mark iii - non linear editing - product tutorials - speedlite 580ex ii - speedlite 600ex-rt - xf 305

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This drop in quality comes from what is referred to as "noise" or the graininess in images.

Most likely, if you are passionate about photography (and I assume you are because you are reading the Canon Digital Learning Center’s blog), you have come across High Dynamic Range (HDR) photography. HDR photography is the process of taking multiple exposures of the same high-contrast scene at different levels of brightness, then combining them into one image. This single image with a wider range of detail, from the darkest to the brightest areas, is typically impossible with a single exposure. HDR photography is most often used to produce photos that mimic what the human eye is able to see. Now, I say “most often” because there is also a fun and creative side to HDR photography that allows for a lot interesting experimentation, something worth trying out. Back to the actual purpose of this blog entry: to help you get started with HDR photography. So what do you need, besides a camera and a lens, you might ask? - Tripod: Tripods are not absolutely necessary, but when you are starting off, it will make your life a lot easier. With small lens apertures (high f-numbers) and low ISO settings, there is a good likelihood that you will use slow shutter speeds, which will make handholding very tough and may result in blurry photos. Tripods are also great at making sure that your camera does not move between several exposures. - A Contrast Rich Scene: What you photograph is totally up to you. If I may, I would suggest that when you start off in HDR photography, you should find a landscape scene that has a strong contrast between its shadows and highlight areas. This will allow you to better see the effects HDR can achieve. Your Camera Manual: Find your camera’s manual. There, I said it. Find your camera manual! I know we all hate manuals, but they are the best way to get the most out of your camera. You should know where your manual is and read it -- or even better, study it. This will teach you a ton about your camera as well as how to use its different features, some of which we will explore now. Quick note: look up HDR in your camera manual. Many cameras now offer an in-camera HDR function. If yours does, find the section in your manual and follow the instructions. Then read through below for additional tips and directions. In-camera HDR settings will normally incorporate an exposure bracketing function and then process multiple source images into one final High Dynamic Range finished image file. If your camera doesn't have built-in HDR, or if you prefer to use 3rd-party computer software to produce HDR images, you'll need to set Auto Exposure Bracketing and other features independently. Exercise number one with your newfound camera manual is to discover your Auto Exposure Bracketing (AEB) mode. Why is this necessary, you might ask? AEB is the main component in creating an HDR photo. Let me try and explain why. A bracketing sequence will shoot a series of images that will be over and under exposed, compared to the shot you have set up in your camera. Together, these images will give you a series of photos that are correctly exposed for the brightest, darkest and for the mid-tone areas. Depending on your camera the AEB mode will either shoot 3, 5, 7, or 9 shots. The more images you can get, the better because the potential of capturing all the light in your scene increases. Follow your manual’s instruction on how to turn on and set your AEB mode. - Aperture Priority Mode: If you do not regularly shoot in Manual mode, I would highly suggest setting your camera to Aperture Priority mode (Av on Canon EOS cameras). This mode gives priority to the aperture setting (allowing you to pick it and lock it in) and let the camera determine shutter speed for you. Remember that aperture controls depth of field, so the higher the aperture, the greater the depth of field. In the case of landscape photography, just about any aperture value over f/11 will have your entire frame in focus. Start at f/11 and experiment your way up from there. - Metering Mode: In a nutshell, metering mode is simply how your camera samples light to determine the proper exposure. For the purpose here, it suffices to say that Evaluative Metering will work just fine for you. - White Balance: White balance is incredibly important in photography and getting it wrong can throw an entire image off. Again, for what we are learning here, we can go with Auto White Balance (AWB). But I do highly suggest you look into and learn more about how to use White Balance. - ISO: ISO determines how sensitive your camera is to light. The higher the number, the more sensitive it becomes. There is a downside to ISO though -- the higher the number, the lower your image quality can become. This drop in quality comes from what is referred to as "noise" or the graininess in images. So set your ISO as low as possible. In this case, go with ISO 100. - Self-Timer: Learn how to use the self-timer feature on your camera (another great use of your camera’s manual). The self-timer will get rid of any possible movement caused by holding down the shutter with your finger because you won't be touching it when it snaps. Personally, I prefer to use the 2-second timer. With this setting, you simply press the shutter release, let go of your cameras and 2 seconds later, the camera will take the 3, 5, 7, or 9 exposures in sequence. As you compose your shot, switch your lens to manual focus. While Auto Focus (AF) is an amazing technology, it is not always the best for landscapes. Using manual focus, set your focus point to infinity on the lens. This setting will average out the entire framed scene and bring all into focus. If you have a very important subject within your scene, at this point, my suggestion would be to switch your camera over to “Live View” and use the display’s zoom feature (do not zoom with the lens; zoom with the magnifying button) and zoom all the way in on your subject and focus manually. This will allow you to make sure that your subject is tack sharp (please note that there is a possibility that some of the image might be a little softer). If your lens does not have a "focusing index," which will allow you to manually focus your lens to infinity, I would suggest using your AF to focus, then switching the lens to manual focus and preventing the camera to refocus with each shot. Now that you have your shots, what's next? If your camera can do in-camera HDR and you followed your manual, then you should now have a finished HDR JPEG image. If your camera does not offer in-camera HDR or you chose not to use that feature, then you will have 3, 5, 7, or 9 images that need to be combined. A solid choice would be to use Adobe Photoshop, which has a robust and easy to use HDR feature. There are also plenty of other programs out there that will help you put these images together into an HDR photograph. Definitely plan ahead and look into what you will use to process all the images into HDR composites before going out to shoot. Have fun, experiment and try different setting combinations and processing techniques. There's more detail to see than you thought. - eos 5d mark ii - eos 7d - eos-1d mark iv - white papers - autofocus modes - autofocus techniques - cheat sheets - cinema eos - cmos sensors - eos 50d - eos 5d mark iii - eos 60d - eos c300 - eos c300 pl - eos-1d mark iii - eos-1d x - eos-1ds mark iii - non linear editing - product tutorials - speedlite 580ex ii - speedlite 600ex-rt - xf 305

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- Self-Timer: Learn how to use the self-timer feature on your camera (another great use of your camera’s manual).

Most likely, if you are passionate about photography (and I assume you are because you are reading the Canon Digital Learning Center’s blog), you have come across High Dynamic Range (HDR) photography. HDR photography is the process of taking multiple exposures of the same high-contrast scene at different levels of brightness, then combining them into one image. This single image with a wider range of detail, from the darkest to the brightest areas, is typically impossible with a single exposure. HDR photography is most often used to produce photos that mimic what the human eye is able to see. Now, I say “most often” because there is also a fun and creative side to HDR photography that allows for a lot interesting experimentation, something worth trying out. Back to the actual purpose of this blog entry: to help you get started with HDR photography. So what do you need, besides a camera and a lens, you might ask? - Tripod: Tripods are not absolutely necessary, but when you are starting off, it will make your life a lot easier. With small lens apertures (high f-numbers) and low ISO settings, there is a good likelihood that you will use slow shutter speeds, which will make handholding very tough and may result in blurry photos. Tripods are also great at making sure that your camera does not move between several exposures. - A Contrast Rich Scene: What you photograph is totally up to you. If I may, I would suggest that when you start off in HDR photography, you should find a landscape scene that has a strong contrast between its shadows and highlight areas. This will allow you to better see the effects HDR can achieve. Your Camera Manual: Find your camera’s manual. There, I said it. Find your camera manual! I know we all hate manuals, but they are the best way to get the most out of your camera. You should know where your manual is and read it -- or even better, study it. This will teach you a ton about your camera as well as how to use its different features, some of which we will explore now. Quick note: look up HDR in your camera manual. Many cameras now offer an in-camera HDR function. If yours does, find the section in your manual and follow the instructions. Then read through below for additional tips and directions. In-camera HDR settings will normally incorporate an exposure bracketing function and then process multiple source images into one final High Dynamic Range finished image file. If your camera doesn't have built-in HDR, or if you prefer to use 3rd-party computer software to produce HDR images, you'll need to set Auto Exposure Bracketing and other features independently. Exercise number one with your newfound camera manual is to discover your Auto Exposure Bracketing (AEB) mode. Why is this necessary, you might ask? AEB is the main component in creating an HDR photo. Let me try and explain why. A bracketing sequence will shoot a series of images that will be over and under exposed, compared to the shot you have set up in your camera. Together, these images will give you a series of photos that are correctly exposed for the brightest, darkest and for the mid-tone areas. Depending on your camera the AEB mode will either shoot 3, 5, 7, or 9 shots. The more images you can get, the better because the potential of capturing all the light in your scene increases. Follow your manual’s instruction on how to turn on and set your AEB mode. - Aperture Priority Mode: If you do not regularly shoot in Manual mode, I would highly suggest setting your camera to Aperture Priority mode (Av on Canon EOS cameras). This mode gives priority to the aperture setting (allowing you to pick it and lock it in) and let the camera determine shutter speed for you. Remember that aperture controls depth of field, so the higher the aperture, the greater the depth of field. In the case of landscape photography, just about any aperture value over f/11 will have your entire frame in focus. Start at f/11 and experiment your way up from there. - Metering Mode: In a nutshell, metering mode is simply how your camera samples light to determine the proper exposure. For the purpose here, it suffices to say that Evaluative Metering will work just fine for you. - White Balance: White balance is incredibly important in photography and getting it wrong can throw an entire image off. Again, for what we are learning here, we can go with Auto White Balance (AWB). But I do highly suggest you look into and learn more about how to use White Balance. - ISO: ISO determines how sensitive your camera is to light. The higher the number, the more sensitive it becomes. There is a downside to ISO though -- the higher the number, the lower your image quality can become. This drop in quality comes from what is referred to as "noise" or the graininess in images. So set your ISO as low as possible. In this case, go with ISO 100. - Self-Timer: Learn how to use the self-timer feature on your camera (another great use of your camera’s manual). The self-timer will get rid of any possible movement caused by holding down the shutter with your finger because you won't be touching it when it snaps. Personally, I prefer to use the 2-second timer. With this setting, you simply press the shutter release, let go of your cameras and 2 seconds later, the camera will take the 3, 5, 7, or 9 exposures in sequence. As you compose your shot, switch your lens to manual focus. While Auto Focus (AF) is an amazing technology, it is not always the best for landscapes. Using manual focus, set your focus point to infinity on the lens. This setting will average out the entire framed scene and bring all into focus. If you have a very important subject within your scene, at this point, my suggestion would be to switch your camera over to “Live View” and use the display’s zoom feature (do not zoom with the lens; zoom with the magnifying button) and zoom all the way in on your subject and focus manually. This will allow you to make sure that your subject is tack sharp (please note that there is a possibility that some of the image might be a little softer). If your lens does not have a "focusing index," which will allow you to manually focus your lens to infinity, I would suggest using your AF to focus, then switching the lens to manual focus and preventing the camera to refocus with each shot. Now that you have your shots, what's next? If your camera can do in-camera HDR and you followed your manual, then you should now have a finished HDR JPEG image. If your camera does not offer in-camera HDR or you chose not to use that feature, then you will have 3, 5, 7, or 9 images that need to be combined. A solid choice would be to use Adobe Photoshop, which has a robust and easy to use HDR feature. There are also plenty of other programs out there that will help you put these images together into an HDR photograph. Definitely plan ahead and look into what you will use to process all the images into HDR composites before going out to shoot. Have fun, experiment and try different setting combinations and processing techniques. There's more detail to see than you thought. - eos 5d mark ii - eos 7d - eos-1d mark iv - white papers - autofocus modes - autofocus techniques - cheat sheets - cinema eos - cmos sensors - eos 50d - eos 5d mark iii - eos 60d - eos c300 - eos c300 pl - eos-1d mark iii - eos-1d x - eos-1ds mark iii - non linear editing - product tutorials - speedlite 580ex ii - speedlite 600ex-rt - xf 305

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The self-timer will get rid of any possible movement caused by holding down the shutter with your finger because you won't be touching it when it snaps.

Most likely, if you are passionate about photography (and I assume you are because you are reading the Canon Digital Learning Center’s blog), you have come across High Dynamic Range (HDR) photography. HDR photography is the process of taking multiple exposures of the same high-contrast scene at different levels of brightness, then combining them into one image. This single image with a wider range of detail, from the darkest to the brightest areas, is typically impossible with a single exposure. HDR photography is most often used to produce photos that mimic what the human eye is able to see. Now, I say “most often” because there is also a fun and creative side to HDR photography that allows for a lot interesting experimentation, something worth trying out. Back to the actual purpose of this blog entry: to help you get started with HDR photography. So what do you need, besides a camera and a lens, you might ask? - Tripod: Tripods are not absolutely necessary, but when you are starting off, it will make your life a lot easier. With small lens apertures (high f-numbers) and low ISO settings, there is a good likelihood that you will use slow shutter speeds, which will make handholding very tough and may result in blurry photos. Tripods are also great at making sure that your camera does not move between several exposures. - A Contrast Rich Scene: What you photograph is totally up to you. If I may, I would suggest that when you start off in HDR photography, you should find a landscape scene that has a strong contrast between its shadows and highlight areas. This will allow you to better see the effects HDR can achieve. Your Camera Manual: Find your camera’s manual. There, I said it. Find your camera manual! I know we all hate manuals, but they are the best way to get the most out of your camera. You should know where your manual is and read it -- or even better, study it. This will teach you a ton about your camera as well as how to use its different features, some of which we will explore now. Quick note: look up HDR in your camera manual. Many cameras now offer an in-camera HDR function. If yours does, find the section in your manual and follow the instructions. Then read through below for additional tips and directions. In-camera HDR settings will normally incorporate an exposure bracketing function and then process multiple source images into one final High Dynamic Range finished image file. If your camera doesn't have built-in HDR, or if you prefer to use 3rd-party computer software to produce HDR images, you'll need to set Auto Exposure Bracketing and other features independently. Exercise number one with your newfound camera manual is to discover your Auto Exposure Bracketing (AEB) mode. Why is this necessary, you might ask? AEB is the main component in creating an HDR photo. Let me try and explain why. A bracketing sequence will shoot a series of images that will be over and under exposed, compared to the shot you have set up in your camera. Together, these images will give you a series of photos that are correctly exposed for the brightest, darkest and for the mid-tone areas. Depending on your camera the AEB mode will either shoot 3, 5, 7, or 9 shots. The more images you can get, the better because the potential of capturing all the light in your scene increases. Follow your manual’s instruction on how to turn on and set your AEB mode. - Aperture Priority Mode: If you do not regularly shoot in Manual mode, I would highly suggest setting your camera to Aperture Priority mode (Av on Canon EOS cameras). This mode gives priority to the aperture setting (allowing you to pick it and lock it in) and let the camera determine shutter speed for you. Remember that aperture controls depth of field, so the higher the aperture, the greater the depth of field. In the case of landscape photography, just about any aperture value over f/11 will have your entire frame in focus. Start at f/11 and experiment your way up from there. - Metering Mode: In a nutshell, metering mode is simply how your camera samples light to determine the proper exposure. For the purpose here, it suffices to say that Evaluative Metering will work just fine for you. - White Balance: White balance is incredibly important in photography and getting it wrong can throw an entire image off. Again, for what we are learning here, we can go with Auto White Balance (AWB). But I do highly suggest you look into and learn more about how to use White Balance. - ISO: ISO determines how sensitive your camera is to light. The higher the number, the more sensitive it becomes. There is a downside to ISO though -- the higher the number, the lower your image quality can become. This drop in quality comes from what is referred to as "noise" or the graininess in images. So set your ISO as low as possible. In this case, go with ISO 100. - Self-Timer: Learn how to use the self-timer feature on your camera (another great use of your camera’s manual). The self-timer will get rid of any possible movement caused by holding down the shutter with your finger because you won't be touching it when it snaps. Personally, I prefer to use the 2-second timer. With this setting, you simply press the shutter release, let go of your cameras and 2 seconds later, the camera will take the 3, 5, 7, or 9 exposures in sequence. As you compose your shot, switch your lens to manual focus. While Auto Focus (AF) is an amazing technology, it is not always the best for landscapes. Using manual focus, set your focus point to infinity on the lens. This setting will average out the entire framed scene and bring all into focus. If you have a very important subject within your scene, at this point, my suggestion would be to switch your camera over to “Live View” and use the display’s zoom feature (do not zoom with the lens; zoom with the magnifying button) and zoom all the way in on your subject and focus manually. This will allow you to make sure that your subject is tack sharp (please note that there is a possibility that some of the image might be a little softer). If your lens does not have a "focusing index," which will allow you to manually focus your lens to infinity, I would suggest using your AF to focus, then switching the lens to manual focus and preventing the camera to refocus with each shot. Now that you have your shots, what's next? If your camera can do in-camera HDR and you followed your manual, then you should now have a finished HDR JPEG image. If your camera does not offer in-camera HDR or you chose not to use that feature, then you will have 3, 5, 7, or 9 images that need to be combined. A solid choice would be to use Adobe Photoshop, which has a robust and easy to use HDR feature. There are also plenty of other programs out there that will help you put these images together into an HDR photograph. Definitely plan ahead and look into what you will use to process all the images into HDR composites before going out to shoot. Have fun, experiment and try different setting combinations and processing techniques. There's more detail to see than you thought. - eos 5d mark ii - eos 7d - eos-1d mark iv - white papers - autofocus modes - autofocus techniques - cheat sheets - cinema eos - cmos sensors - eos 50d - eos 5d mark iii - eos 60d - eos c300 - eos c300 pl - eos-1d mark iii - eos-1d x - eos-1ds mark iii - non linear editing - product tutorials - speedlite 580ex ii - speedlite 600ex-rt - xf 305

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<urn:uuid:93c00585-ff3c-4095-adf5-ace1797b50a7>_52

Personally, I prefer to use the 2-second timer.

Most likely, if you are passionate about photography (and I assume you are because you are reading the Canon Digital Learning Center’s blog), you have come across High Dynamic Range (HDR) photography. HDR photography is the process of taking multiple exposures of the same high-contrast scene at different levels of brightness, then combining them into one image. This single image with a wider range of detail, from the darkest to the brightest areas, is typically impossible with a single exposure. HDR photography is most often used to produce photos that mimic what the human eye is able to see. Now, I say “most often” because there is also a fun and creative side to HDR photography that allows for a lot interesting experimentation, something worth trying out. Back to the actual purpose of this blog entry: to help you get started with HDR photography. So what do you need, besides a camera and a lens, you might ask? - Tripod: Tripods are not absolutely necessary, but when you are starting off, it will make your life a lot easier. With small lens apertures (high f-numbers) and low ISO settings, there is a good likelihood that you will use slow shutter speeds, which will make handholding very tough and may result in blurry photos. Tripods are also great at making sure that your camera does not move between several exposures. - A Contrast Rich Scene: What you photograph is totally up to you. If I may, I would suggest that when you start off in HDR photography, you should find a landscape scene that has a strong contrast between its shadows and highlight areas. This will allow you to better see the effects HDR can achieve. Your Camera Manual: Find your camera’s manual. There, I said it. Find your camera manual! I know we all hate manuals, but they are the best way to get the most out of your camera. You should know where your manual is and read it -- or even better, study it. This will teach you a ton about your camera as well as how to use its different features, some of which we will explore now. Quick note: look up HDR in your camera manual. Many cameras now offer an in-camera HDR function. If yours does, find the section in your manual and follow the instructions. Then read through below for additional tips and directions. In-camera HDR settings will normally incorporate an exposure bracketing function and then process multiple source images into one final High Dynamic Range finished image file. If your camera doesn't have built-in HDR, or if you prefer to use 3rd-party computer software to produce HDR images, you'll need to set Auto Exposure Bracketing and other features independently. Exercise number one with your newfound camera manual is to discover your Auto Exposure Bracketing (AEB) mode. Why is this necessary, you might ask? AEB is the main component in creating an HDR photo. Let me try and explain why. A bracketing sequence will shoot a series of images that will be over and under exposed, compared to the shot you have set up in your camera. Together, these images will give you a series of photos that are correctly exposed for the brightest, darkest and for the mid-tone areas. Depending on your camera the AEB mode will either shoot 3, 5, 7, or 9 shots. The more images you can get, the better because the potential of capturing all the light in your scene increases. Follow your manual’s instruction on how to turn on and set your AEB mode. - Aperture Priority Mode: If you do not regularly shoot in Manual mode, I would highly suggest setting your camera to Aperture Priority mode (Av on Canon EOS cameras). This mode gives priority to the aperture setting (allowing you to pick it and lock it in) and let the camera determine shutter speed for you. Remember that aperture controls depth of field, so the higher the aperture, the greater the depth of field. In the case of landscape photography, just about any aperture value over f/11 will have your entire frame in focus. Start at f/11 and experiment your way up from there. - Metering Mode: In a nutshell, metering mode is simply how your camera samples light to determine the proper exposure. For the purpose here, it suffices to say that Evaluative Metering will work just fine for you. - White Balance: White balance is incredibly important in photography and getting it wrong can throw an entire image off. Again, for what we are learning here, we can go with Auto White Balance (AWB). But I do highly suggest you look into and learn more about how to use White Balance. - ISO: ISO determines how sensitive your camera is to light. The higher the number, the more sensitive it becomes. There is a downside to ISO though -- the higher the number, the lower your image quality can become. This drop in quality comes from what is referred to as "noise" or the graininess in images. So set your ISO as low as possible. In this case, go with ISO 100. - Self-Timer: Learn how to use the self-timer feature on your camera (another great use of your camera’s manual). The self-timer will get rid of any possible movement caused by holding down the shutter with your finger because you won't be touching it when it snaps. Personally, I prefer to use the 2-second timer. With this setting, you simply press the shutter release, let go of your cameras and 2 seconds later, the camera will take the 3, 5, 7, or 9 exposures in sequence. As you compose your shot, switch your lens to manual focus. While Auto Focus (AF) is an amazing technology, it is not always the best for landscapes. Using manual focus, set your focus point to infinity on the lens. This setting will average out the entire framed scene and bring all into focus. If you have a very important subject within your scene, at this point, my suggestion would be to switch your camera over to “Live View” and use the display’s zoom feature (do not zoom with the lens; zoom with the magnifying button) and zoom all the way in on your subject and focus manually. This will allow you to make sure that your subject is tack sharp (please note that there is a possibility that some of the image might be a little softer). If your lens does not have a "focusing index," which will allow you to manually focus your lens to infinity, I would suggest using your AF to focus, then switching the lens to manual focus and preventing the camera to refocus with each shot. Now that you have your shots, what's next? If your camera can do in-camera HDR and you followed your manual, then you should now have a finished HDR JPEG image. If your camera does not offer in-camera HDR or you chose not to use that feature, then you will have 3, 5, 7, or 9 images that need to be combined. A solid choice would be to use Adobe Photoshop, which has a robust and easy to use HDR feature. There are also plenty of other programs out there that will help you put these images together into an HDR photograph. Definitely plan ahead and look into what you will use to process all the images into HDR composites before going out to shoot. Have fun, experiment and try different setting combinations and processing techniques. There's more detail to see than you thought. - eos 5d mark ii - eos 7d - eos-1d mark iv - white papers - autofocus modes - autofocus techniques - cheat sheets - cinema eos - cmos sensors - eos 50d - eos 5d mark iii - eos 60d - eos c300 - eos c300 pl - eos-1d mark iii - eos-1d x - eos-1ds mark iii - non linear editing - product tutorials - speedlite 580ex ii - speedlite 600ex-rt - xf 305

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With this setting, you simply press the shutter release, let go of your cameras and 2 seconds later, the camera will take the 3, 5, 7, or 9 exposures in sequence.

Most likely, if you are passionate about photography (and I assume you are because you are reading the Canon Digital Learning Center’s blog), you have come across High Dynamic Range (HDR) photography. HDR photography is the process of taking multiple exposures of the same high-contrast scene at different levels of brightness, then combining them into one image. This single image with a wider range of detail, from the darkest to the brightest areas, is typically impossible with a single exposure. HDR photography is most often used to produce photos that mimic what the human eye is able to see. Now, I say “most often” because there is also a fun and creative side to HDR photography that allows for a lot interesting experimentation, something worth trying out. Back to the actual purpose of this blog entry: to help you get started with HDR photography. So what do you need, besides a camera and a lens, you might ask? - Tripod: Tripods are not absolutely necessary, but when you are starting off, it will make your life a lot easier. With small lens apertures (high f-numbers) and low ISO settings, there is a good likelihood that you will use slow shutter speeds, which will make handholding very tough and may result in blurry photos. Tripods are also great at making sure that your camera does not move between several exposures. - A Contrast Rich Scene: What you photograph is totally up to you. If I may, I would suggest that when you start off in HDR photography, you should find a landscape scene that has a strong contrast between its shadows and highlight areas. This will allow you to better see the effects HDR can achieve. Your Camera Manual: Find your camera’s manual. There, I said it. Find your camera manual! I know we all hate manuals, but they are the best way to get the most out of your camera. You should know where your manual is and read it -- or even better, study it. This will teach you a ton about your camera as well as how to use its different features, some of which we will explore now. Quick note: look up HDR in your camera manual. Many cameras now offer an in-camera HDR function. If yours does, find the section in your manual and follow the instructions. Then read through below for additional tips and directions. In-camera HDR settings will normally incorporate an exposure bracketing function and then process multiple source images into one final High Dynamic Range finished image file. If your camera doesn't have built-in HDR, or if you prefer to use 3rd-party computer software to produce HDR images, you'll need to set Auto Exposure Bracketing and other features independently. Exercise number one with your newfound camera manual is to discover your Auto Exposure Bracketing (AEB) mode. Why is this necessary, you might ask? AEB is the main component in creating an HDR photo. Let me try and explain why. A bracketing sequence will shoot a series of images that will be over and under exposed, compared to the shot you have set up in your camera. Together, these images will give you a series of photos that are correctly exposed for the brightest, darkest and for the mid-tone areas. Depending on your camera the AEB mode will either shoot 3, 5, 7, or 9 shots. The more images you can get, the better because the potential of capturing all the light in your scene increases. Follow your manual’s instruction on how to turn on and set your AEB mode. - Aperture Priority Mode: If you do not regularly shoot in Manual mode, I would highly suggest setting your camera to Aperture Priority mode (Av on Canon EOS cameras). This mode gives priority to the aperture setting (allowing you to pick it and lock it in) and let the camera determine shutter speed for you. Remember that aperture controls depth of field, so the higher the aperture, the greater the depth of field. In the case of landscape photography, just about any aperture value over f/11 will have your entire frame in focus. Start at f/11 and experiment your way up from there. - Metering Mode: In a nutshell, metering mode is simply how your camera samples light to determine the proper exposure. For the purpose here, it suffices to say that Evaluative Metering will work just fine for you. - White Balance: White balance is incredibly important in photography and getting it wrong can throw an entire image off. Again, for what we are learning here, we can go with Auto White Balance (AWB). But I do highly suggest you look into and learn more about how to use White Balance. - ISO: ISO determines how sensitive your camera is to light. The higher the number, the more sensitive it becomes. There is a downside to ISO though -- the higher the number, the lower your image quality can become. This drop in quality comes from what is referred to as "noise" or the graininess in images. So set your ISO as low as possible. In this case, go with ISO 100. - Self-Timer: Learn how to use the self-timer feature on your camera (another great use of your camera’s manual). The self-timer will get rid of any possible movement caused by holding down the shutter with your finger because you won't be touching it when it snaps. Personally, I prefer to use the 2-second timer. With this setting, you simply press the shutter release, let go of your cameras and 2 seconds later, the camera will take the 3, 5, 7, or 9 exposures in sequence. As you compose your shot, switch your lens to manual focus. While Auto Focus (AF) is an amazing technology, it is not always the best for landscapes. Using manual focus, set your focus point to infinity on the lens. This setting will average out the entire framed scene and bring all into focus. If you have a very important subject within your scene, at this point, my suggestion would be to switch your camera over to “Live View” and use the display’s zoom feature (do not zoom with the lens; zoom with the magnifying button) and zoom all the way in on your subject and focus manually. This will allow you to make sure that your subject is tack sharp (please note that there is a possibility that some of the image might be a little softer). If your lens does not have a "focusing index," which will allow you to manually focus your lens to infinity, I would suggest using your AF to focus, then switching the lens to manual focus and preventing the camera to refocus with each shot. Now that you have your shots, what's next? If your camera can do in-camera HDR and you followed your manual, then you should now have a finished HDR JPEG image. If your camera does not offer in-camera HDR or you chose not to use that feature, then you will have 3, 5, 7, or 9 images that need to be combined. A solid choice would be to use Adobe Photoshop, which has a robust and easy to use HDR feature. There are also plenty of other programs out there that will help you put these images together into an HDR photograph. Definitely plan ahead and look into what you will use to process all the images into HDR composites before going out to shoot. Have fun, experiment and try different setting combinations and processing techniques. There's more detail to see than you thought. - eos 5d mark ii - eos 7d - eos-1d mark iv - white papers - autofocus modes - autofocus techniques - cheat sheets - cinema eos - cmos sensors - eos 50d - eos 5d mark iii - eos 60d - eos c300 - eos c300 pl - eos-1d mark iii - eos-1d x - eos-1ds mark iii - non linear editing - product tutorials - speedlite 580ex ii - speedlite 600ex-rt - xf 305

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As you compose your shot, switch your lens to manual focus.

Most likely, if you are passionate about photography (and I assume you are because you are reading the Canon Digital Learning Center’s blog), you have come across High Dynamic Range (HDR) photography. HDR photography is the process of taking multiple exposures of the same high-contrast scene at different levels of brightness, then combining them into one image. This single image with a wider range of detail, from the darkest to the brightest areas, is typically impossible with a single exposure. HDR photography is most often used to produce photos that mimic what the human eye is able to see. Now, I say “most often” because there is also a fun and creative side to HDR photography that allows for a lot interesting experimentation, something worth trying out. Back to the actual purpose of this blog entry: to help you get started with HDR photography. So what do you need, besides a camera and a lens, you might ask? - Tripod: Tripods are not absolutely necessary, but when you are starting off, it will make your life a lot easier. With small lens apertures (high f-numbers) and low ISO settings, there is a good likelihood that you will use slow shutter speeds, which will make handholding very tough and may result in blurry photos. Tripods are also great at making sure that your camera does not move between several exposures. - A Contrast Rich Scene: What you photograph is totally up to you. If I may, I would suggest that when you start off in HDR photography, you should find a landscape scene that has a strong contrast between its shadows and highlight areas. This will allow you to better see the effects HDR can achieve. Your Camera Manual: Find your camera’s manual. There, I said it. Find your camera manual! I know we all hate manuals, but they are the best way to get the most out of your camera. You should know where your manual is and read it -- or even better, study it. This will teach you a ton about your camera as well as how to use its different features, some of which we will explore now. Quick note: look up HDR in your camera manual. Many cameras now offer an in-camera HDR function. If yours does, find the section in your manual and follow the instructions. Then read through below for additional tips and directions. In-camera HDR settings will normally incorporate an exposure bracketing function and then process multiple source images into one final High Dynamic Range finished image file. If your camera doesn't have built-in HDR, or if you prefer to use 3rd-party computer software to produce HDR images, you'll need to set Auto Exposure Bracketing and other features independently. Exercise number one with your newfound camera manual is to discover your Auto Exposure Bracketing (AEB) mode. Why is this necessary, you might ask? AEB is the main component in creating an HDR photo. Let me try and explain why. A bracketing sequence will shoot a series of images that will be over and under exposed, compared to the shot you have set up in your camera. Together, these images will give you a series of photos that are correctly exposed for the brightest, darkest and for the mid-tone areas. Depending on your camera the AEB mode will either shoot 3, 5, 7, or 9 shots. The more images you can get, the better because the potential of capturing all the light in your scene increases. Follow your manual’s instruction on how to turn on and set your AEB mode. - Aperture Priority Mode: If you do not regularly shoot in Manual mode, I would highly suggest setting your camera to Aperture Priority mode (Av on Canon EOS cameras). This mode gives priority to the aperture setting (allowing you to pick it and lock it in) and let the camera determine shutter speed for you. Remember that aperture controls depth of field, so the higher the aperture, the greater the depth of field. In the case of landscape photography, just about any aperture value over f/11 will have your entire frame in focus. Start at f/11 and experiment your way up from there. - Metering Mode: In a nutshell, metering mode is simply how your camera samples light to determine the proper exposure. For the purpose here, it suffices to say that Evaluative Metering will work just fine for you. - White Balance: White balance is incredibly important in photography and getting it wrong can throw an entire image off. Again, for what we are learning here, we can go with Auto White Balance (AWB). But I do highly suggest you look into and learn more about how to use White Balance. - ISO: ISO determines how sensitive your camera is to light. The higher the number, the more sensitive it becomes. There is a downside to ISO though -- the higher the number, the lower your image quality can become. This drop in quality comes from what is referred to as "noise" or the graininess in images. So set your ISO as low as possible. In this case, go with ISO 100. - Self-Timer: Learn how to use the self-timer feature on your camera (another great use of your camera’s manual). The self-timer will get rid of any possible movement caused by holding down the shutter with your finger because you won't be touching it when it snaps. Personally, I prefer to use the 2-second timer. With this setting, you simply press the shutter release, let go of your cameras and 2 seconds later, the camera will take the 3, 5, 7, or 9 exposures in sequence. As you compose your shot, switch your lens to manual focus. While Auto Focus (AF) is an amazing technology, it is not always the best for landscapes. Using manual focus, set your focus point to infinity on the lens. This setting will average out the entire framed scene and bring all into focus. If you have a very important subject within your scene, at this point, my suggestion would be to switch your camera over to “Live View” and use the display’s zoom feature (do not zoom with the lens; zoom with the magnifying button) and zoom all the way in on your subject and focus manually. This will allow you to make sure that your subject is tack sharp (please note that there is a possibility that some of the image might be a little softer). If your lens does not have a "focusing index," which will allow you to manually focus your lens to infinity, I would suggest using your AF to focus, then switching the lens to manual focus and preventing the camera to refocus with each shot. Now that you have your shots, what's next? If your camera can do in-camera HDR and you followed your manual, then you should now have a finished HDR JPEG image. If your camera does not offer in-camera HDR or you chose not to use that feature, then you will have 3, 5, 7, or 9 images that need to be combined. A solid choice would be to use Adobe Photoshop, which has a robust and easy to use HDR feature. There are also plenty of other programs out there that will help you put these images together into an HDR photograph. Definitely plan ahead and look into what you will use to process all the images into HDR composites before going out to shoot. Have fun, experiment and try different setting combinations and processing techniques. There's more detail to see than you thought. - eos 5d mark ii - eos 7d - eos-1d mark iv - white papers - autofocus modes - autofocus techniques - cheat sheets - cinema eos - cmos sensors - eos 50d - eos 5d mark iii - eos 60d - eos c300 - eos c300 pl - eos-1d mark iii - eos-1d x - eos-1ds mark iii - non linear editing - product tutorials - speedlite 580ex ii - speedlite 600ex-rt - xf 305

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While Auto Focus (AF) is an amazing technology, it is not always the best for landscapes.

Most likely, if you are passionate about photography (and I assume you are because you are reading the Canon Digital Learning Center’s blog), you have come across High Dynamic Range (HDR) photography. HDR photography is the process of taking multiple exposures of the same high-contrast scene at different levels of brightness, then combining them into one image. This single image with a wider range of detail, from the darkest to the brightest areas, is typically impossible with a single exposure. HDR photography is most often used to produce photos that mimic what the human eye is able to see. Now, I say “most often” because there is also a fun and creative side to HDR photography that allows for a lot interesting experimentation, something worth trying out. Back to the actual purpose of this blog entry: to help you get started with HDR photography. So what do you need, besides a camera and a lens, you might ask? - Tripod: Tripods are not absolutely necessary, but when you are starting off, it will make your life a lot easier. With small lens apertures (high f-numbers) and low ISO settings, there is a good likelihood that you will use slow shutter speeds, which will make handholding very tough and may result in blurry photos. Tripods are also great at making sure that your camera does not move between several exposures. - A Contrast Rich Scene: What you photograph is totally up to you. If I may, I would suggest that when you start off in HDR photography, you should find a landscape scene that has a strong contrast between its shadows and highlight areas. This will allow you to better see the effects HDR can achieve. Your Camera Manual: Find your camera’s manual. There, I said it. Find your camera manual! I know we all hate manuals, but they are the best way to get the most out of your camera. You should know where your manual is and read it -- or even better, study it. This will teach you a ton about your camera as well as how to use its different features, some of which we will explore now. Quick note: look up HDR in your camera manual. Many cameras now offer an in-camera HDR function. If yours does, find the section in your manual and follow the instructions. Then read through below for additional tips and directions. In-camera HDR settings will normally incorporate an exposure bracketing function and then process multiple source images into one final High Dynamic Range finished image file. If your camera doesn't have built-in HDR, or if you prefer to use 3rd-party computer software to produce HDR images, you'll need to set Auto Exposure Bracketing and other features independently. Exercise number one with your newfound camera manual is to discover your Auto Exposure Bracketing (AEB) mode. Why is this necessary, you might ask? AEB is the main component in creating an HDR photo. Let me try and explain why. A bracketing sequence will shoot a series of images that will be over and under exposed, compared to the shot you have set up in your camera. Together, these images will give you a series of photos that are correctly exposed for the brightest, darkest and for the mid-tone areas. Depending on your camera the AEB mode will either shoot 3, 5, 7, or 9 shots. The more images you can get, the better because the potential of capturing all the light in your scene increases. Follow your manual’s instruction on how to turn on and set your AEB mode. - Aperture Priority Mode: If you do not regularly shoot in Manual mode, I would highly suggest setting your camera to Aperture Priority mode (Av on Canon EOS cameras). This mode gives priority to the aperture setting (allowing you to pick it and lock it in) and let the camera determine shutter speed for you. Remember that aperture controls depth of field, so the higher the aperture, the greater the depth of field. In the case of landscape photography, just about any aperture value over f/11 will have your entire frame in focus. Start at f/11 and experiment your way up from there. - Metering Mode: In a nutshell, metering mode is simply how your camera samples light to determine the proper exposure. For the purpose here, it suffices to say that Evaluative Metering will work just fine for you. - White Balance: White balance is incredibly important in photography and getting it wrong can throw an entire image off. Again, for what we are learning here, we can go with Auto White Balance (AWB). But I do highly suggest you look into and learn more about how to use White Balance. - ISO: ISO determines how sensitive your camera is to light. The higher the number, the more sensitive it becomes. There is a downside to ISO though -- the higher the number, the lower your image quality can become. This drop in quality comes from what is referred to as "noise" or the graininess in images. So set your ISO as low as possible. In this case, go with ISO 100. - Self-Timer: Learn how to use the self-timer feature on your camera (another great use of your camera’s manual). The self-timer will get rid of any possible movement caused by holding down the shutter with your finger because you won't be touching it when it snaps. Personally, I prefer to use the 2-second timer. With this setting, you simply press the shutter release, let go of your cameras and 2 seconds later, the camera will take the 3, 5, 7, or 9 exposures in sequence. As you compose your shot, switch your lens to manual focus. While Auto Focus (AF) is an amazing technology, it is not always the best for landscapes. Using manual focus, set your focus point to infinity on the lens. This setting will average out the entire framed scene and bring all into focus. If you have a very important subject within your scene, at this point, my suggestion would be to switch your camera over to “Live View” and use the display’s zoom feature (do not zoom with the lens; zoom with the magnifying button) and zoom all the way in on your subject and focus manually. This will allow you to make sure that your subject is tack sharp (please note that there is a possibility that some of the image might be a little softer). If your lens does not have a "focusing index," which will allow you to manually focus your lens to infinity, I would suggest using your AF to focus, then switching the lens to manual focus and preventing the camera to refocus with each shot. Now that you have your shots, what's next? If your camera can do in-camera HDR and you followed your manual, then you should now have a finished HDR JPEG image. If your camera does not offer in-camera HDR or you chose not to use that feature, then you will have 3, 5, 7, or 9 images that need to be combined. A solid choice would be to use Adobe Photoshop, which has a robust and easy to use HDR feature. There are also plenty of other programs out there that will help you put these images together into an HDR photograph. Definitely plan ahead and look into what you will use to process all the images into HDR composites before going out to shoot. Have fun, experiment and try different setting combinations and processing techniques. There's more detail to see than you thought. - eos 5d mark ii - eos 7d - eos-1d mark iv - white papers - autofocus modes - autofocus techniques - cheat sheets - cinema eos - cmos sensors - eos 50d - eos 5d mark iii - eos 60d - eos c300 - eos c300 pl - eos-1d mark iii - eos-1d x - eos-1ds mark iii - non linear editing - product tutorials - speedlite 580ex ii - speedlite 600ex-rt - xf 305

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Using manual focus, set your focus point to infinity on the lens.

Most likely, if you are passionate about photography (and I assume you are because you are reading the Canon Digital Learning Center’s blog), you have come across High Dynamic Range (HDR) photography. HDR photography is the process of taking multiple exposures of the same high-contrast scene at different levels of brightness, then combining them into one image. This single image with a wider range of detail, from the darkest to the brightest areas, is typically impossible with a single exposure. HDR photography is most often used to produce photos that mimic what the human eye is able to see. Now, I say “most often” because there is also a fun and creative side to HDR photography that allows for a lot interesting experimentation, something worth trying out. Back to the actual purpose of this blog entry: to help you get started with HDR photography. So what do you need, besides a camera and a lens, you might ask? - Tripod: Tripods are not absolutely necessary, but when you are starting off, it will make your life a lot easier. With small lens apertures (high f-numbers) and low ISO settings, there is a good likelihood that you will use slow shutter speeds, which will make handholding very tough and may result in blurry photos. Tripods are also great at making sure that your camera does not move between several exposures. - A Contrast Rich Scene: What you photograph is totally up to you. If I may, I would suggest that when you start off in HDR photography, you should find a landscape scene that has a strong contrast between its shadows and highlight areas. This will allow you to better see the effects HDR can achieve. Your Camera Manual: Find your camera’s manual. There, I said it. Find your camera manual! I know we all hate manuals, but they are the best way to get the most out of your camera. You should know where your manual is and read it -- or even better, study it. This will teach you a ton about your camera as well as how to use its different features, some of which we will explore now. Quick note: look up HDR in your camera manual. Many cameras now offer an in-camera HDR function. If yours does, find the section in your manual and follow the instructions. Then read through below for additional tips and directions. In-camera HDR settings will normally incorporate an exposure bracketing function and then process multiple source images into one final High Dynamic Range finished image file. If your camera doesn't have built-in HDR, or if you prefer to use 3rd-party computer software to produce HDR images, you'll need to set Auto Exposure Bracketing and other features independently. Exercise number one with your newfound camera manual is to discover your Auto Exposure Bracketing (AEB) mode. Why is this necessary, you might ask? AEB is the main component in creating an HDR photo. Let me try and explain why. A bracketing sequence will shoot a series of images that will be over and under exposed, compared to the shot you have set up in your camera. Together, these images will give you a series of photos that are correctly exposed for the brightest, darkest and for the mid-tone areas. Depending on your camera the AEB mode will either shoot 3, 5, 7, or 9 shots. The more images you can get, the better because the potential of capturing all the light in your scene increases. Follow your manual’s instruction on how to turn on and set your AEB mode. - Aperture Priority Mode: If you do not regularly shoot in Manual mode, I would highly suggest setting your camera to Aperture Priority mode (Av on Canon EOS cameras). This mode gives priority to the aperture setting (allowing you to pick it and lock it in) and let the camera determine shutter speed for you. Remember that aperture controls depth of field, so the higher the aperture, the greater the depth of field. In the case of landscape photography, just about any aperture value over f/11 will have your entire frame in focus. Start at f/11 and experiment your way up from there. - Metering Mode: In a nutshell, metering mode is simply how your camera samples light to determine the proper exposure. For the purpose here, it suffices to say that Evaluative Metering will work just fine for you. - White Balance: White balance is incredibly important in photography and getting it wrong can throw an entire image off. Again, for what we are learning here, we can go with Auto White Balance (AWB). But I do highly suggest you look into and learn more about how to use White Balance. - ISO: ISO determines how sensitive your camera is to light. The higher the number, the more sensitive it becomes. There is a downside to ISO though -- the higher the number, the lower your image quality can become. This drop in quality comes from what is referred to as "noise" or the graininess in images. So set your ISO as low as possible. In this case, go with ISO 100. - Self-Timer: Learn how to use the self-timer feature on your camera (another great use of your camera’s manual). The self-timer will get rid of any possible movement caused by holding down the shutter with your finger because you won't be touching it when it snaps. Personally, I prefer to use the 2-second timer. With this setting, you simply press the shutter release, let go of your cameras and 2 seconds later, the camera will take the 3, 5, 7, or 9 exposures in sequence. As you compose your shot, switch your lens to manual focus. While Auto Focus (AF) is an amazing technology, it is not always the best for landscapes. Using manual focus, set your focus point to infinity on the lens. This setting will average out the entire framed scene and bring all into focus. If you have a very important subject within your scene, at this point, my suggestion would be to switch your camera over to “Live View” and use the display’s zoom feature (do not zoom with the lens; zoom with the magnifying button) and zoom all the way in on your subject and focus manually. This will allow you to make sure that your subject is tack sharp (please note that there is a possibility that some of the image might be a little softer). If your lens does not have a "focusing index," which will allow you to manually focus your lens to infinity, I would suggest using your AF to focus, then switching the lens to manual focus and preventing the camera to refocus with each shot. Now that you have your shots, what's next? If your camera can do in-camera HDR and you followed your manual, then you should now have a finished HDR JPEG image. If your camera does not offer in-camera HDR or you chose not to use that feature, then you will have 3, 5, 7, or 9 images that need to be combined. A solid choice would be to use Adobe Photoshop, which has a robust and easy to use HDR feature. There are also plenty of other programs out there that will help you put these images together into an HDR photograph. Definitely plan ahead and look into what you will use to process all the images into HDR composites before going out to shoot. Have fun, experiment and try different setting combinations and processing techniques. There's more detail to see than you thought. - eos 5d mark ii - eos 7d - eos-1d mark iv - white papers - autofocus modes - autofocus techniques - cheat sheets - cinema eos - cmos sensors - eos 50d - eos 5d mark iii - eos 60d - eos c300 - eos c300 pl - eos-1d mark iii - eos-1d x - eos-1ds mark iii - non linear editing - product tutorials - speedlite 580ex ii - speedlite 600ex-rt - xf 305

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This setting will average out the entire framed scene and bring all into focus.

Most likely, if you are passionate about photography (and I assume you are because you are reading the Canon Digital Learning Center’s blog), you have come across High Dynamic Range (HDR) photography. HDR photography is the process of taking multiple exposures of the same high-contrast scene at different levels of brightness, then combining them into one image. This single image with a wider range of detail, from the darkest to the brightest areas, is typically impossible with a single exposure. HDR photography is most often used to produce photos that mimic what the human eye is able to see. Now, I say “most often” because there is also a fun and creative side to HDR photography that allows for a lot interesting experimentation, something worth trying out. Back to the actual purpose of this blog entry: to help you get started with HDR photography. So what do you need, besides a camera and a lens, you might ask? - Tripod: Tripods are not absolutely necessary, but when you are starting off, it will make your life a lot easier. With small lens apertures (high f-numbers) and low ISO settings, there is a good likelihood that you will use slow shutter speeds, which will make handholding very tough and may result in blurry photos. Tripods are also great at making sure that your camera does not move between several exposures. - A Contrast Rich Scene: What you photograph is totally up to you. If I may, I would suggest that when you start off in HDR photography, you should find a landscape scene that has a strong contrast between its shadows and highlight areas. This will allow you to better see the effects HDR can achieve. Your Camera Manual: Find your camera’s manual. There, I said it. Find your camera manual! I know we all hate manuals, but they are the best way to get the most out of your camera. You should know where your manual is and read it -- or even better, study it. This will teach you a ton about your camera as well as how to use its different features, some of which we will explore now. Quick note: look up HDR in your camera manual. Many cameras now offer an in-camera HDR function. If yours does, find the section in your manual and follow the instructions. Then read through below for additional tips and directions. In-camera HDR settings will normally incorporate an exposure bracketing function and then process multiple source images into one final High Dynamic Range finished image file. If your camera doesn't have built-in HDR, or if you prefer to use 3rd-party computer software to produce HDR images, you'll need to set Auto Exposure Bracketing and other features independently. Exercise number one with your newfound camera manual is to discover your Auto Exposure Bracketing (AEB) mode. Why is this necessary, you might ask? AEB is the main component in creating an HDR photo. Let me try and explain why. A bracketing sequence will shoot a series of images that will be over and under exposed, compared to the shot you have set up in your camera. Together, these images will give you a series of photos that are correctly exposed for the brightest, darkest and for the mid-tone areas. Depending on your camera the AEB mode will either shoot 3, 5, 7, or 9 shots. The more images you can get, the better because the potential of capturing all the light in your scene increases. Follow your manual’s instruction on how to turn on and set your AEB mode. - Aperture Priority Mode: If you do not regularly shoot in Manual mode, I would highly suggest setting your camera to Aperture Priority mode (Av on Canon EOS cameras). This mode gives priority to the aperture setting (allowing you to pick it and lock it in) and let the camera determine shutter speed for you. Remember that aperture controls depth of field, so the higher the aperture, the greater the depth of field. In the case of landscape photography, just about any aperture value over f/11 will have your entire frame in focus. Start at f/11 and experiment your way up from there. - Metering Mode: In a nutshell, metering mode is simply how your camera samples light to determine the proper exposure. For the purpose here, it suffices to say that Evaluative Metering will work just fine for you. - White Balance: White balance is incredibly important in photography and getting it wrong can throw an entire image off. Again, for what we are learning here, we can go with Auto White Balance (AWB). But I do highly suggest you look into and learn more about how to use White Balance. - ISO: ISO determines how sensitive your camera is to light. The higher the number, the more sensitive it becomes. There is a downside to ISO though -- the higher the number, the lower your image quality can become. This drop in quality comes from what is referred to as "noise" or the graininess in images. So set your ISO as low as possible. In this case, go with ISO 100. - Self-Timer: Learn how to use the self-timer feature on your camera (another great use of your camera’s manual). The self-timer will get rid of any possible movement caused by holding down the shutter with your finger because you won't be touching it when it snaps. Personally, I prefer to use the 2-second timer. With this setting, you simply press the shutter release, let go of your cameras and 2 seconds later, the camera will take the 3, 5, 7, or 9 exposures in sequence. As you compose your shot, switch your lens to manual focus. While Auto Focus (AF) is an amazing technology, it is not always the best for landscapes. Using manual focus, set your focus point to infinity on the lens. This setting will average out the entire framed scene and bring all into focus. If you have a very important subject within your scene, at this point, my suggestion would be to switch your camera over to “Live View” and use the display’s zoom feature (do not zoom with the lens; zoom with the magnifying button) and zoom all the way in on your subject and focus manually. This will allow you to make sure that your subject is tack sharp (please note that there is a possibility that some of the image might be a little softer). If your lens does not have a "focusing index," which will allow you to manually focus your lens to infinity, I would suggest using your AF to focus, then switching the lens to manual focus and preventing the camera to refocus with each shot. Now that you have your shots, what's next? If your camera can do in-camera HDR and you followed your manual, then you should now have a finished HDR JPEG image. If your camera does not offer in-camera HDR or you chose not to use that feature, then you will have 3, 5, 7, or 9 images that need to be combined. A solid choice would be to use Adobe Photoshop, which has a robust and easy to use HDR feature. There are also plenty of other programs out there that will help you put these images together into an HDR photograph. Definitely plan ahead and look into what you will use to process all the images into HDR composites before going out to shoot. Have fun, experiment and try different setting combinations and processing techniques. There's more detail to see than you thought. - eos 5d mark ii - eos 7d - eos-1d mark iv - white papers - autofocus modes - autofocus techniques - cheat sheets - cinema eos - cmos sensors - eos 50d - eos 5d mark iii - eos 60d - eos c300 - eos c300 pl - eos-1d mark iii - eos-1d x - eos-1ds mark iii - non linear editing - product tutorials - speedlite 580ex ii - speedlite 600ex-rt - xf 305

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If you have a very important subject within your scene, at this point, my suggestion would be to switch your camera over to “Live View” and use the display’s zoom feature (do not zoom with the lens; zoom with the magnifying button) and zoom all the way in on your subject and focus manually.

Most likely, if you are passionate about photography (and I assume you are because you are reading the Canon Digital Learning Center’s blog), you have come across High Dynamic Range (HDR) photography. HDR photography is the process of taking multiple exposures of the same high-contrast scene at different levels of brightness, then combining them into one image. This single image with a wider range of detail, from the darkest to the brightest areas, is typically impossible with a single exposure. HDR photography is most often used to produce photos that mimic what the human eye is able to see. Now, I say “most often” because there is also a fun and creative side to HDR photography that allows for a lot interesting experimentation, something worth trying out. Back to the actual purpose of this blog entry: to help you get started with HDR photography. So what do you need, besides a camera and a lens, you might ask? - Tripod: Tripods are not absolutely necessary, but when you are starting off, it will make your life a lot easier. With small lens apertures (high f-numbers) and low ISO settings, there is a good likelihood that you will use slow shutter speeds, which will make handholding very tough and may result in blurry photos. Tripods are also great at making sure that your camera does not move between several exposures. - A Contrast Rich Scene: What you photograph is totally up to you. If I may, I would suggest that when you start off in HDR photography, you should find a landscape scene that has a strong contrast between its shadows and highlight areas. This will allow you to better see the effects HDR can achieve. Your Camera Manual: Find your camera’s manual. There, I said it. Find your camera manual! I know we all hate manuals, but they are the best way to get the most out of your camera. You should know where your manual is and read it -- or even better, study it. This will teach you a ton about your camera as well as how to use its different features, some of which we will explore now. Quick note: look up HDR in your camera manual. Many cameras now offer an in-camera HDR function. If yours does, find the section in your manual and follow the instructions. Then read through below for additional tips and directions. In-camera HDR settings will normally incorporate an exposure bracketing function and then process multiple source images into one final High Dynamic Range finished image file. If your camera doesn't have built-in HDR, or if you prefer to use 3rd-party computer software to produce HDR images, you'll need to set Auto Exposure Bracketing and other features independently. Exercise number one with your newfound camera manual is to discover your Auto Exposure Bracketing (AEB) mode. Why is this necessary, you might ask? AEB is the main component in creating an HDR photo. Let me try and explain why. A bracketing sequence will shoot a series of images that will be over and under exposed, compared to the shot you have set up in your camera. Together, these images will give you a series of photos that are correctly exposed for the brightest, darkest and for the mid-tone areas. Depending on your camera the AEB mode will either shoot 3, 5, 7, or 9 shots. The more images you can get, the better because the potential of capturing all the light in your scene increases. Follow your manual’s instruction on how to turn on and set your AEB mode. - Aperture Priority Mode: If you do not regularly shoot in Manual mode, I would highly suggest setting your camera to Aperture Priority mode (Av on Canon EOS cameras). This mode gives priority to the aperture setting (allowing you to pick it and lock it in) and let the camera determine shutter speed for you. Remember that aperture controls depth of field, so the higher the aperture, the greater the depth of field. In the case of landscape photography, just about any aperture value over f/11 will have your entire frame in focus. Start at f/11 and experiment your way up from there. - Metering Mode: In a nutshell, metering mode is simply how your camera samples light to determine the proper exposure. For the purpose here, it suffices to say that Evaluative Metering will work just fine for you. - White Balance: White balance is incredibly important in photography and getting it wrong can throw an entire image off. Again, for what we are learning here, we can go with Auto White Balance (AWB). But I do highly suggest you look into and learn more about how to use White Balance. - ISO: ISO determines how sensitive your camera is to light. The higher the number, the more sensitive it becomes. There is a downside to ISO though -- the higher the number, the lower your image quality can become. This drop in quality comes from what is referred to as "noise" or the graininess in images. So set your ISO as low as possible. In this case, go with ISO 100. - Self-Timer: Learn how to use the self-timer feature on your camera (another great use of your camera’s manual). The self-timer will get rid of any possible movement caused by holding down the shutter with your finger because you won't be touching it when it snaps. Personally, I prefer to use the 2-second timer. With this setting, you simply press the shutter release, let go of your cameras and 2 seconds later, the camera will take the 3, 5, 7, or 9 exposures in sequence. As you compose your shot, switch your lens to manual focus. While Auto Focus (AF) is an amazing technology, it is not always the best for landscapes. Using manual focus, set your focus point to infinity on the lens. This setting will average out the entire framed scene and bring all into focus. If you have a very important subject within your scene, at this point, my suggestion would be to switch your camera over to “Live View” and use the display’s zoom feature (do not zoom with the lens; zoom with the magnifying button) and zoom all the way in on your subject and focus manually. This will allow you to make sure that your subject is tack sharp (please note that there is a possibility that some of the image might be a little softer). If your lens does not have a "focusing index," which will allow you to manually focus your lens to infinity, I would suggest using your AF to focus, then switching the lens to manual focus and preventing the camera to refocus with each shot. Now that you have your shots, what's next? If your camera can do in-camera HDR and you followed your manual, then you should now have a finished HDR JPEG image. If your camera does not offer in-camera HDR or you chose not to use that feature, then you will have 3, 5, 7, or 9 images that need to be combined. A solid choice would be to use Adobe Photoshop, which has a robust and easy to use HDR feature. There are also plenty of other programs out there that will help you put these images together into an HDR photograph. Definitely plan ahead and look into what you will use to process all the images into HDR composites before going out to shoot. Have fun, experiment and try different setting combinations and processing techniques. There's more detail to see than you thought. - eos 5d mark ii - eos 7d - eos-1d mark iv - white papers - autofocus modes - autofocus techniques - cheat sheets - cinema eos - cmos sensors - eos 50d - eos 5d mark iii - eos 60d - eos c300 - eos c300 pl - eos-1d mark iii - eos-1d x - eos-1ds mark iii - non linear editing - product tutorials - speedlite 580ex ii - speedlite 600ex-rt - xf 305

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This will allow you to make sure that your subject is tack sharp (please note that there is a possibility that some of the image might be a little softer).

Most likely, if you are passionate about photography (and I assume you are because you are reading the Canon Digital Learning Center’s blog), you have come across High Dynamic Range (HDR) photography. HDR photography is the process of taking multiple exposures of the same high-contrast scene at different levels of brightness, then combining them into one image. This single image with a wider range of detail, from the darkest to the brightest areas, is typically impossible with a single exposure. HDR photography is most often used to produce photos that mimic what the human eye is able to see. Now, I say “most often” because there is also a fun and creative side to HDR photography that allows for a lot interesting experimentation, something worth trying out. Back to the actual purpose of this blog entry: to help you get started with HDR photography. So what do you need, besides a camera and a lens, you might ask? - Tripod: Tripods are not absolutely necessary, but when you are starting off, it will make your life a lot easier. With small lens apertures (high f-numbers) and low ISO settings, there is a good likelihood that you will use slow shutter speeds, which will make handholding very tough and may result in blurry photos. Tripods are also great at making sure that your camera does not move between several exposures. - A Contrast Rich Scene: What you photograph is totally up to you. If I may, I would suggest that when you start off in HDR photography, you should find a landscape scene that has a strong contrast between its shadows and highlight areas. This will allow you to better see the effects HDR can achieve. Your Camera Manual: Find your camera’s manual. There, I said it. Find your camera manual! I know we all hate manuals, but they are the best way to get the most out of your camera. You should know where your manual is and read it -- or even better, study it. This will teach you a ton about your camera as well as how to use its different features, some of which we will explore now. Quick note: look up HDR in your camera manual. Many cameras now offer an in-camera HDR function. If yours does, find the section in your manual and follow the instructions. Then read through below for additional tips and directions. In-camera HDR settings will normally incorporate an exposure bracketing function and then process multiple source images into one final High Dynamic Range finished image file. If your camera doesn't have built-in HDR, or if you prefer to use 3rd-party computer software to produce HDR images, you'll need to set Auto Exposure Bracketing and other features independently. Exercise number one with your newfound camera manual is to discover your Auto Exposure Bracketing (AEB) mode. Why is this necessary, you might ask? AEB is the main component in creating an HDR photo. Let me try and explain why. A bracketing sequence will shoot a series of images that will be over and under exposed, compared to the shot you have set up in your camera. Together, these images will give you a series of photos that are correctly exposed for the brightest, darkest and for the mid-tone areas. Depending on your camera the AEB mode will either shoot 3, 5, 7, or 9 shots. The more images you can get, the better because the potential of capturing all the light in your scene increases. Follow your manual’s instruction on how to turn on and set your AEB mode. - Aperture Priority Mode: If you do not regularly shoot in Manual mode, I would highly suggest setting your camera to Aperture Priority mode (Av on Canon EOS cameras). This mode gives priority to the aperture setting (allowing you to pick it and lock it in) and let the camera determine shutter speed for you. Remember that aperture controls depth of field, so the higher the aperture, the greater the depth of field. In the case of landscape photography, just about any aperture value over f/11 will have your entire frame in focus. Start at f/11 and experiment your way up from there. - Metering Mode: In a nutshell, metering mode is simply how your camera samples light to determine the proper exposure. For the purpose here, it suffices to say that Evaluative Metering will work just fine for you. - White Balance: White balance is incredibly important in photography and getting it wrong can throw an entire image off. Again, for what we are learning here, we can go with Auto White Balance (AWB). But I do highly suggest you look into and learn more about how to use White Balance. - ISO: ISO determines how sensitive your camera is to light. The higher the number, the more sensitive it becomes. There is a downside to ISO though -- the higher the number, the lower your image quality can become. This drop in quality comes from what is referred to as "noise" or the graininess in images. So set your ISO as low as possible. In this case, go with ISO 100. - Self-Timer: Learn how to use the self-timer feature on your camera (another great use of your camera’s manual). The self-timer will get rid of any possible movement caused by holding down the shutter with your finger because you won't be touching it when it snaps. Personally, I prefer to use the 2-second timer. With this setting, you simply press the shutter release, let go of your cameras and 2 seconds later, the camera will take the 3, 5, 7, or 9 exposures in sequence. As you compose your shot, switch your lens to manual focus. While Auto Focus (AF) is an amazing technology, it is not always the best for landscapes. Using manual focus, set your focus point to infinity on the lens. This setting will average out the entire framed scene and bring all into focus. If you have a very important subject within your scene, at this point, my suggestion would be to switch your camera over to “Live View” and use the display’s zoom feature (do not zoom with the lens; zoom with the magnifying button) and zoom all the way in on your subject and focus manually. This will allow you to make sure that your subject is tack sharp (please note that there is a possibility that some of the image might be a little softer). If your lens does not have a "focusing index," which will allow you to manually focus your lens to infinity, I would suggest using your AF to focus, then switching the lens to manual focus and preventing the camera to refocus with each shot. Now that you have your shots, what's next? If your camera can do in-camera HDR and you followed your manual, then you should now have a finished HDR JPEG image. If your camera does not offer in-camera HDR or you chose not to use that feature, then you will have 3, 5, 7, or 9 images that need to be combined. A solid choice would be to use Adobe Photoshop, which has a robust and easy to use HDR feature. There are also plenty of other programs out there that will help you put these images together into an HDR photograph. Definitely plan ahead and look into what you will use to process all the images into HDR composites before going out to shoot. Have fun, experiment and try different setting combinations and processing techniques. There's more detail to see than you thought. - eos 5d mark ii - eos 7d - eos-1d mark iv - white papers - autofocus modes - autofocus techniques - cheat sheets - cinema eos - cmos sensors - eos 50d - eos 5d mark iii - eos 60d - eos c300 - eos c300 pl - eos-1d mark iii - eos-1d x - eos-1ds mark iii - non linear editing - product tutorials - speedlite 580ex ii - speedlite 600ex-rt - xf 305

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If your lens does not have a "focusing index," which will allow you to manually focus your lens to infinity, I would suggest using your AF to focus, then switching the lens to manual focus and preventing the camera to refocus with each shot.

Most likely, if you are passionate about photography (and I assume you are because you are reading the Canon Digital Learning Center’s blog), you have come across High Dynamic Range (HDR) photography. HDR photography is the process of taking multiple exposures of the same high-contrast scene at different levels of brightness, then combining them into one image. This single image with a wider range of detail, from the darkest to the brightest areas, is typically impossible with a single exposure. HDR photography is most often used to produce photos that mimic what the human eye is able to see. Now, I say “most often” because there is also a fun and creative side to HDR photography that allows for a lot interesting experimentation, something worth trying out. Back to the actual purpose of this blog entry: to help you get started with HDR photography. So what do you need, besides a camera and a lens, you might ask? - Tripod: Tripods are not absolutely necessary, but when you are starting off, it will make your life a lot easier. With small lens apertures (high f-numbers) and low ISO settings, there is a good likelihood that you will use slow shutter speeds, which will make handholding very tough and may result in blurry photos. Tripods are also great at making sure that your camera does not move between several exposures. - A Contrast Rich Scene: What you photograph is totally up to you. If I may, I would suggest that when you start off in HDR photography, you should find a landscape scene that has a strong contrast between its shadows and highlight areas. This will allow you to better see the effects HDR can achieve. Your Camera Manual: Find your camera’s manual. There, I said it. Find your camera manual! I know we all hate manuals, but they are the best way to get the most out of your camera. You should know where your manual is and read it -- or even better, study it. This will teach you a ton about your camera as well as how to use its different features, some of which we will explore now. Quick note: look up HDR in your camera manual. Many cameras now offer an in-camera HDR function. If yours does, find the section in your manual and follow the instructions. Then read through below for additional tips and directions. In-camera HDR settings will normally incorporate an exposure bracketing function and then process multiple source images into one final High Dynamic Range finished image file. If your camera doesn't have built-in HDR, or if you prefer to use 3rd-party computer software to produce HDR images, you'll need to set Auto Exposure Bracketing and other features independently. Exercise number one with your newfound camera manual is to discover your Auto Exposure Bracketing (AEB) mode. Why is this necessary, you might ask? AEB is the main component in creating an HDR photo. Let me try and explain why. A bracketing sequence will shoot a series of images that will be over and under exposed, compared to the shot you have set up in your camera. Together, these images will give you a series of photos that are correctly exposed for the brightest, darkest and for the mid-tone areas. Depending on your camera the AEB mode will either shoot 3, 5, 7, or 9 shots. The more images you can get, the better because the potential of capturing all the light in your scene increases. Follow your manual’s instruction on how to turn on and set your AEB mode. - Aperture Priority Mode: If you do not regularly shoot in Manual mode, I would highly suggest setting your camera to Aperture Priority mode (Av on Canon EOS cameras). This mode gives priority to the aperture setting (allowing you to pick it and lock it in) and let the camera determine shutter speed for you. Remember that aperture controls depth of field, so the higher the aperture, the greater the depth of field. In the case of landscape photography, just about any aperture value over f/11 will have your entire frame in focus. Start at f/11 and experiment your way up from there. - Metering Mode: In a nutshell, metering mode is simply how your camera samples light to determine the proper exposure. For the purpose here, it suffices to say that Evaluative Metering will work just fine for you. - White Balance: White balance is incredibly important in photography and getting it wrong can throw an entire image off. Again, for what we are learning here, we can go with Auto White Balance (AWB). But I do highly suggest you look into and learn more about how to use White Balance. - ISO: ISO determines how sensitive your camera is to light. The higher the number, the more sensitive it becomes. There is a downside to ISO though -- the higher the number, the lower your image quality can become. This drop in quality comes from what is referred to as "noise" or the graininess in images. So set your ISO as low as possible. In this case, go with ISO 100. - Self-Timer: Learn how to use the self-timer feature on your camera (another great use of your camera’s manual). The self-timer will get rid of any possible movement caused by holding down the shutter with your finger because you won't be touching it when it snaps. Personally, I prefer to use the 2-second timer. With this setting, you simply press the shutter release, let go of your cameras and 2 seconds later, the camera will take the 3, 5, 7, or 9 exposures in sequence. As you compose your shot, switch your lens to manual focus. While Auto Focus (AF) is an amazing technology, it is not always the best for landscapes. Using manual focus, set your focus point to infinity on the lens. This setting will average out the entire framed scene and bring all into focus. If you have a very important subject within your scene, at this point, my suggestion would be to switch your camera over to “Live View” and use the display’s zoom feature (do not zoom with the lens; zoom with the magnifying button) and zoom all the way in on your subject and focus manually. This will allow you to make sure that your subject is tack sharp (please note that there is a possibility that some of the image might be a little softer). If your lens does not have a "focusing index," which will allow you to manually focus your lens to infinity, I would suggest using your AF to focus, then switching the lens to manual focus and preventing the camera to refocus with each shot. Now that you have your shots, what's next? If your camera can do in-camera HDR and you followed your manual, then you should now have a finished HDR JPEG image. If your camera does not offer in-camera HDR or you chose not to use that feature, then you will have 3, 5, 7, or 9 images that need to be combined. A solid choice would be to use Adobe Photoshop, which has a robust and easy to use HDR feature. There are also plenty of other programs out there that will help you put these images together into an HDR photograph. Definitely plan ahead and look into what you will use to process all the images into HDR composites before going out to shoot. Have fun, experiment and try different setting combinations and processing techniques. There's more detail to see than you thought. - eos 5d mark ii - eos 7d - eos-1d mark iv - white papers - autofocus modes - autofocus techniques - cheat sheets - cinema eos - cmos sensors - eos 50d - eos 5d mark iii - eos 60d - eos c300 - eos c300 pl - eos-1d mark iii - eos-1d x - eos-1ds mark iii - non linear editing - product tutorials - speedlite 580ex ii - speedlite 600ex-rt - xf 305

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Now that you have your shots, what's next?

Most likely, if you are passionate about photography (and I assume you are because you are reading the Canon Digital Learning Center’s blog), you have come across High Dynamic Range (HDR) photography. HDR photography is the process of taking multiple exposures of the same high-contrast scene at different levels of brightness, then combining them into one image. This single image with a wider range of detail, from the darkest to the brightest areas, is typically impossible with a single exposure. HDR photography is most often used to produce photos that mimic what the human eye is able to see. Now, I say “most often” because there is also a fun and creative side to HDR photography that allows for a lot interesting experimentation, something worth trying out. Back to the actual purpose of this blog entry: to help you get started with HDR photography. So what do you need, besides a camera and a lens, you might ask? - Tripod: Tripods are not absolutely necessary, but when you are starting off, it will make your life a lot easier. With small lens apertures (high f-numbers) and low ISO settings, there is a good likelihood that you will use slow shutter speeds, which will make handholding very tough and may result in blurry photos. Tripods are also great at making sure that your camera does not move between several exposures. - A Contrast Rich Scene: What you photograph is totally up to you. If I may, I would suggest that when you start off in HDR photography, you should find a landscape scene that has a strong contrast between its shadows and highlight areas. This will allow you to better see the effects HDR can achieve. Your Camera Manual: Find your camera’s manual. There, I said it. Find your camera manual! I know we all hate manuals, but they are the best way to get the most out of your camera. You should know where your manual is and read it -- or even better, study it. This will teach you a ton about your camera as well as how to use its different features, some of which we will explore now. Quick note: look up HDR in your camera manual. Many cameras now offer an in-camera HDR function. If yours does, find the section in your manual and follow the instructions. Then read through below for additional tips and directions. In-camera HDR settings will normally incorporate an exposure bracketing function and then process multiple source images into one final High Dynamic Range finished image file. If your camera doesn't have built-in HDR, or if you prefer to use 3rd-party computer software to produce HDR images, you'll need to set Auto Exposure Bracketing and other features independently. Exercise number one with your newfound camera manual is to discover your Auto Exposure Bracketing (AEB) mode. Why is this necessary, you might ask? AEB is the main component in creating an HDR photo. Let me try and explain why. A bracketing sequence will shoot a series of images that will be over and under exposed, compared to the shot you have set up in your camera. Together, these images will give you a series of photos that are correctly exposed for the brightest, darkest and for the mid-tone areas. Depending on your camera the AEB mode will either shoot 3, 5, 7, or 9 shots. The more images you can get, the better because the potential of capturing all the light in your scene increases. Follow your manual’s instruction on how to turn on and set your AEB mode. - Aperture Priority Mode: If you do not regularly shoot in Manual mode, I would highly suggest setting your camera to Aperture Priority mode (Av on Canon EOS cameras). This mode gives priority to the aperture setting (allowing you to pick it and lock it in) and let the camera determine shutter speed for you. Remember that aperture controls depth of field, so the higher the aperture, the greater the depth of field. In the case of landscape photography, just about any aperture value over f/11 will have your entire frame in focus. Start at f/11 and experiment your way up from there. - Metering Mode: In a nutshell, metering mode is simply how your camera samples light to determine the proper exposure. For the purpose here, it suffices to say that Evaluative Metering will work just fine for you. - White Balance: White balance is incredibly important in photography and getting it wrong can throw an entire image off. Again, for what we are learning here, we can go with Auto White Balance (AWB). But I do highly suggest you look into and learn more about how to use White Balance. - ISO: ISO determines how sensitive your camera is to light. The higher the number, the more sensitive it becomes. There is a downside to ISO though -- the higher the number, the lower your image quality can become. This drop in quality comes from what is referred to as "noise" or the graininess in images. So set your ISO as low as possible. In this case, go with ISO 100. - Self-Timer: Learn how to use the self-timer feature on your camera (another great use of your camera’s manual). The self-timer will get rid of any possible movement caused by holding down the shutter with your finger because you won't be touching it when it snaps. Personally, I prefer to use the 2-second timer. With this setting, you simply press the shutter release, let go of your cameras and 2 seconds later, the camera will take the 3, 5, 7, or 9 exposures in sequence. As you compose your shot, switch your lens to manual focus. While Auto Focus (AF) is an amazing technology, it is not always the best for landscapes. Using manual focus, set your focus point to infinity on the lens. This setting will average out the entire framed scene and bring all into focus. If you have a very important subject within your scene, at this point, my suggestion would be to switch your camera over to “Live View” and use the display’s zoom feature (do not zoom with the lens; zoom with the magnifying button) and zoom all the way in on your subject and focus manually. This will allow you to make sure that your subject is tack sharp (please note that there is a possibility that some of the image might be a little softer). If your lens does not have a "focusing index," which will allow you to manually focus your lens to infinity, I would suggest using your AF to focus, then switching the lens to manual focus and preventing the camera to refocus with each shot. Now that you have your shots, what's next? If your camera can do in-camera HDR and you followed your manual, then you should now have a finished HDR JPEG image. If your camera does not offer in-camera HDR or you chose not to use that feature, then you will have 3, 5, 7, or 9 images that need to be combined. A solid choice would be to use Adobe Photoshop, which has a robust and easy to use HDR feature. There are also plenty of other programs out there that will help you put these images together into an HDR photograph. Definitely plan ahead and look into what you will use to process all the images into HDR composites before going out to shoot. Have fun, experiment and try different setting combinations and processing techniques. There's more detail to see than you thought. - eos 5d mark ii - eos 7d - eos-1d mark iv - white papers - autofocus modes - autofocus techniques - cheat sheets - cinema eos - cmos sensors - eos 50d - eos 5d mark iii - eos 60d - eos c300 - eos c300 pl - eos-1d mark iii - eos-1d x - eos-1ds mark iii - non linear editing - product tutorials - speedlite 580ex ii - speedlite 600ex-rt - xf 305

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If your camera can do in-camera HDR and you followed your manual, then you should now have a finished HDR JPEG image.

Most likely, if you are passionate about photography (and I assume you are because you are reading the Canon Digital Learning Center’s blog), you have come across High Dynamic Range (HDR) photography. HDR photography is the process of taking multiple exposures of the same high-contrast scene at different levels of brightness, then combining them into one image. This single image with a wider range of detail, from the darkest to the brightest areas, is typically impossible with a single exposure. HDR photography is most often used to produce photos that mimic what the human eye is able to see. Now, I say “most often” because there is also a fun and creative side to HDR photography that allows for a lot interesting experimentation, something worth trying out. Back to the actual purpose of this blog entry: to help you get started with HDR photography. So what do you need, besides a camera and a lens, you might ask? - Tripod: Tripods are not absolutely necessary, but when you are starting off, it will make your life a lot easier. With small lens apertures (high f-numbers) and low ISO settings, there is a good likelihood that you will use slow shutter speeds, which will make handholding very tough and may result in blurry photos. Tripods are also great at making sure that your camera does not move between several exposures. - A Contrast Rich Scene: What you photograph is totally up to you. If I may, I would suggest that when you start off in HDR photography, you should find a landscape scene that has a strong contrast between its shadows and highlight areas. This will allow you to better see the effects HDR can achieve. Your Camera Manual: Find your camera’s manual. There, I said it. Find your camera manual! I know we all hate manuals, but they are the best way to get the most out of your camera. You should know where your manual is and read it -- or even better, study it. This will teach you a ton about your camera as well as how to use its different features, some of which we will explore now. Quick note: look up HDR in your camera manual. Many cameras now offer an in-camera HDR function. If yours does, find the section in your manual and follow the instructions. Then read through below for additional tips and directions. In-camera HDR settings will normally incorporate an exposure bracketing function and then process multiple source images into one final High Dynamic Range finished image file. If your camera doesn't have built-in HDR, or if you prefer to use 3rd-party computer software to produce HDR images, you'll need to set Auto Exposure Bracketing and other features independently. Exercise number one with your newfound camera manual is to discover your Auto Exposure Bracketing (AEB) mode. Why is this necessary, you might ask? AEB is the main component in creating an HDR photo. Let me try and explain why. A bracketing sequence will shoot a series of images that will be over and under exposed, compared to the shot you have set up in your camera. Together, these images will give you a series of photos that are correctly exposed for the brightest, darkest and for the mid-tone areas. Depending on your camera the AEB mode will either shoot 3, 5, 7, or 9 shots. The more images you can get, the better because the potential of capturing all the light in your scene increases. Follow your manual’s instruction on how to turn on and set your AEB mode. - Aperture Priority Mode: If you do not regularly shoot in Manual mode, I would highly suggest setting your camera to Aperture Priority mode (Av on Canon EOS cameras). This mode gives priority to the aperture setting (allowing you to pick it and lock it in) and let the camera determine shutter speed for you. Remember that aperture controls depth of field, so the higher the aperture, the greater the depth of field. In the case of landscape photography, just about any aperture value over f/11 will have your entire frame in focus. Start at f/11 and experiment your way up from there. - Metering Mode: In a nutshell, metering mode is simply how your camera samples light to determine the proper exposure. For the purpose here, it suffices to say that Evaluative Metering will work just fine for you. - White Balance: White balance is incredibly important in photography and getting it wrong can throw an entire image off. Again, for what we are learning here, we can go with Auto White Balance (AWB). But I do highly suggest you look into and learn more about how to use White Balance. - ISO: ISO determines how sensitive your camera is to light. The higher the number, the more sensitive it becomes. There is a downside to ISO though -- the higher the number, the lower your image quality can become. This drop in quality comes from what is referred to as "noise" or the graininess in images. So set your ISO as low as possible. In this case, go with ISO 100. - Self-Timer: Learn how to use the self-timer feature on your camera (another great use of your camera’s manual). The self-timer will get rid of any possible movement caused by holding down the shutter with your finger because you won't be touching it when it snaps. Personally, I prefer to use the 2-second timer. With this setting, you simply press the shutter release, let go of your cameras and 2 seconds later, the camera will take the 3, 5, 7, or 9 exposures in sequence. As you compose your shot, switch your lens to manual focus. While Auto Focus (AF) is an amazing technology, it is not always the best for landscapes. Using manual focus, set your focus point to infinity on the lens. This setting will average out the entire framed scene and bring all into focus. If you have a very important subject within your scene, at this point, my suggestion would be to switch your camera over to “Live View” and use the display’s zoom feature (do not zoom with the lens; zoom with the magnifying button) and zoom all the way in on your subject and focus manually. This will allow you to make sure that your subject is tack sharp (please note that there is a possibility that some of the image might be a little softer). If your lens does not have a "focusing index," which will allow you to manually focus your lens to infinity, I would suggest using your AF to focus, then switching the lens to manual focus and preventing the camera to refocus with each shot. Now that you have your shots, what's next? If your camera can do in-camera HDR and you followed your manual, then you should now have a finished HDR JPEG image. If your camera does not offer in-camera HDR or you chose not to use that feature, then you will have 3, 5, 7, or 9 images that need to be combined. A solid choice would be to use Adobe Photoshop, which has a robust and easy to use HDR feature. There are also plenty of other programs out there that will help you put these images together into an HDR photograph. Definitely plan ahead and look into what you will use to process all the images into HDR composites before going out to shoot. Have fun, experiment and try different setting combinations and processing techniques. There's more detail to see than you thought. - eos 5d mark ii - eos 7d - eos-1d mark iv - white papers - autofocus modes - autofocus techniques - cheat sheets - cinema eos - cmos sensors - eos 50d - eos 5d mark iii - eos 60d - eos c300 - eos c300 pl - eos-1d mark iii - eos-1d x - eos-1ds mark iii - non linear editing - product tutorials - speedlite 580ex ii - speedlite 600ex-rt - xf 305

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If your camera does not offer in-camera HDR or you chose not to use that feature, then you will have 3, 5, 7, or 9 images that need to be combined.

Most likely, if you are passionate about photography (and I assume you are because you are reading the Canon Digital Learning Center’s blog), you have come across High Dynamic Range (HDR) photography. HDR photography is the process of taking multiple exposures of the same high-contrast scene at different levels of brightness, then combining them into one image. This single image with a wider range of detail, from the darkest to the brightest areas, is typically impossible with a single exposure. HDR photography is most often used to produce photos that mimic what the human eye is able to see. Now, I say “most often” because there is also a fun and creative side to HDR photography that allows for a lot interesting experimentation, something worth trying out. Back to the actual purpose of this blog entry: to help you get started with HDR photography. So what do you need, besides a camera and a lens, you might ask? - Tripod: Tripods are not absolutely necessary, but when you are starting off, it will make your life a lot easier. With small lens apertures (high f-numbers) and low ISO settings, there is a good likelihood that you will use slow shutter speeds, which will make handholding very tough and may result in blurry photos. Tripods are also great at making sure that your camera does not move between several exposures. - A Contrast Rich Scene: What you photograph is totally up to you. If I may, I would suggest that when you start off in HDR photography, you should find a landscape scene that has a strong contrast between its shadows and highlight areas. This will allow you to better see the effects HDR can achieve. Your Camera Manual: Find your camera’s manual. There, I said it. Find your camera manual! I know we all hate manuals, but they are the best way to get the most out of your camera. You should know where your manual is and read it -- or even better, study it. This will teach you a ton about your camera as well as how to use its different features, some of which we will explore now. Quick note: look up HDR in your camera manual. Many cameras now offer an in-camera HDR function. If yours does, find the section in your manual and follow the instructions. Then read through below for additional tips and directions. In-camera HDR settings will normally incorporate an exposure bracketing function and then process multiple source images into one final High Dynamic Range finished image file. If your camera doesn't have built-in HDR, or if you prefer to use 3rd-party computer software to produce HDR images, you'll need to set Auto Exposure Bracketing and other features independently. Exercise number one with your newfound camera manual is to discover your Auto Exposure Bracketing (AEB) mode. Why is this necessary, you might ask? AEB is the main component in creating an HDR photo. Let me try and explain why. A bracketing sequence will shoot a series of images that will be over and under exposed, compared to the shot you have set up in your camera. Together, these images will give you a series of photos that are correctly exposed for the brightest, darkest and for the mid-tone areas. Depending on your camera the AEB mode will either shoot 3, 5, 7, or 9 shots. The more images you can get, the better because the potential of capturing all the light in your scene increases. Follow your manual’s instruction on how to turn on and set your AEB mode. - Aperture Priority Mode: If you do not regularly shoot in Manual mode, I would highly suggest setting your camera to Aperture Priority mode (Av on Canon EOS cameras). This mode gives priority to the aperture setting (allowing you to pick it and lock it in) and let the camera determine shutter speed for you. Remember that aperture controls depth of field, so the higher the aperture, the greater the depth of field. In the case of landscape photography, just about any aperture value over f/11 will have your entire frame in focus. Start at f/11 and experiment your way up from there. - Metering Mode: In a nutshell, metering mode is simply how your camera samples light to determine the proper exposure. For the purpose here, it suffices to say that Evaluative Metering will work just fine for you. - White Balance: White balance is incredibly important in photography and getting it wrong can throw an entire image off. Again, for what we are learning here, we can go with Auto White Balance (AWB). But I do highly suggest you look into and learn more about how to use White Balance. - ISO: ISO determines how sensitive your camera is to light. The higher the number, the more sensitive it becomes. There is a downside to ISO though -- the higher the number, the lower your image quality can become. This drop in quality comes from what is referred to as "noise" or the graininess in images. So set your ISO as low as possible. In this case, go with ISO 100. - Self-Timer: Learn how to use the self-timer feature on your camera (another great use of your camera’s manual). The self-timer will get rid of any possible movement caused by holding down the shutter with your finger because you won't be touching it when it snaps. Personally, I prefer to use the 2-second timer. With this setting, you simply press the shutter release, let go of your cameras and 2 seconds later, the camera will take the 3, 5, 7, or 9 exposures in sequence. As you compose your shot, switch your lens to manual focus. While Auto Focus (AF) is an amazing technology, it is not always the best for landscapes. Using manual focus, set your focus point to infinity on the lens. This setting will average out the entire framed scene and bring all into focus. If you have a very important subject within your scene, at this point, my suggestion would be to switch your camera over to “Live View” and use the display’s zoom feature (do not zoom with the lens; zoom with the magnifying button) and zoom all the way in on your subject and focus manually. This will allow you to make sure that your subject is tack sharp (please note that there is a possibility that some of the image might be a little softer). If your lens does not have a "focusing index," which will allow you to manually focus your lens to infinity, I would suggest using your AF to focus, then switching the lens to manual focus and preventing the camera to refocus with each shot. Now that you have your shots, what's next? If your camera can do in-camera HDR and you followed your manual, then you should now have a finished HDR JPEG image. If your camera does not offer in-camera HDR or you chose not to use that feature, then you will have 3, 5, 7, or 9 images that need to be combined. A solid choice would be to use Adobe Photoshop, which has a robust and easy to use HDR feature. There are also plenty of other programs out there that will help you put these images together into an HDR photograph. Definitely plan ahead and look into what you will use to process all the images into HDR composites before going out to shoot. Have fun, experiment and try different setting combinations and processing techniques. There's more detail to see than you thought. - eos 5d mark ii - eos 7d - eos-1d mark iv - white papers - autofocus modes - autofocus techniques - cheat sheets - cinema eos - cmos sensors - eos 50d - eos 5d mark iii - eos 60d - eos c300 - eos c300 pl - eos-1d mark iii - eos-1d x - eos-1ds mark iii - non linear editing - product tutorials - speedlite 580ex ii - speedlite 600ex-rt - xf 305

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A solid choice would be to use Adobe Photoshop, which has a robust and easy to use HDR feature.

Most likely, if you are passionate about photography (and I assume you are because you are reading the Canon Digital Learning Center’s blog), you have come across High Dynamic Range (HDR) photography. HDR photography is the process of taking multiple exposures of the same high-contrast scene at different levels of brightness, then combining them into one image. This single image with a wider range of detail, from the darkest to the brightest areas, is typically impossible with a single exposure. HDR photography is most often used to produce photos that mimic what the human eye is able to see. Now, I say “most often” because there is also a fun and creative side to HDR photography that allows for a lot interesting experimentation, something worth trying out. Back to the actual purpose of this blog entry: to help you get started with HDR photography. So what do you need, besides a camera and a lens, you might ask? - Tripod: Tripods are not absolutely necessary, but when you are starting off, it will make your life a lot easier. With small lens apertures (high f-numbers) and low ISO settings, there is a good likelihood that you will use slow shutter speeds, which will make handholding very tough and may result in blurry photos. Tripods are also great at making sure that your camera does not move between several exposures. - A Contrast Rich Scene: What you photograph is totally up to you. If I may, I would suggest that when you start off in HDR photography, you should find a landscape scene that has a strong contrast between its shadows and highlight areas. This will allow you to better see the effects HDR can achieve. Your Camera Manual: Find your camera’s manual. There, I said it. Find your camera manual! I know we all hate manuals, but they are the best way to get the most out of your camera. You should know where your manual is and read it -- or even better, study it. This will teach you a ton about your camera as well as how to use its different features, some of which we will explore now. Quick note: look up HDR in your camera manual. Many cameras now offer an in-camera HDR function. If yours does, find the section in your manual and follow the instructions. Then read through below for additional tips and directions. In-camera HDR settings will normally incorporate an exposure bracketing function and then process multiple source images into one final High Dynamic Range finished image file. If your camera doesn't have built-in HDR, or if you prefer to use 3rd-party computer software to produce HDR images, you'll need to set Auto Exposure Bracketing and other features independently. Exercise number one with your newfound camera manual is to discover your Auto Exposure Bracketing (AEB) mode. Why is this necessary, you might ask? AEB is the main component in creating an HDR photo. Let me try and explain why. A bracketing sequence will shoot a series of images that will be over and under exposed, compared to the shot you have set up in your camera. Together, these images will give you a series of photos that are correctly exposed for the brightest, darkest and for the mid-tone areas. Depending on your camera the AEB mode will either shoot 3, 5, 7, or 9 shots. The more images you can get, the better because the potential of capturing all the light in your scene increases. Follow your manual’s instruction on how to turn on and set your AEB mode. - Aperture Priority Mode: If you do not regularly shoot in Manual mode, I would highly suggest setting your camera to Aperture Priority mode (Av on Canon EOS cameras). This mode gives priority to the aperture setting (allowing you to pick it and lock it in) and let the camera determine shutter speed for you. Remember that aperture controls depth of field, so the higher the aperture, the greater the depth of field. In the case of landscape photography, just about any aperture value over f/11 will have your entire frame in focus. Start at f/11 and experiment your way up from there. - Metering Mode: In a nutshell, metering mode is simply how your camera samples light to determine the proper exposure. For the purpose here, it suffices to say that Evaluative Metering will work just fine for you. - White Balance: White balance is incredibly important in photography and getting it wrong can throw an entire image off. Again, for what we are learning here, we can go with Auto White Balance (AWB). But I do highly suggest you look into and learn more about how to use White Balance. - ISO: ISO determines how sensitive your camera is to light. The higher the number, the more sensitive it becomes. There is a downside to ISO though -- the higher the number, the lower your image quality can become. This drop in quality comes from what is referred to as "noise" or the graininess in images. So set your ISO as low as possible. In this case, go with ISO 100. - Self-Timer: Learn how to use the self-timer feature on your camera (another great use of your camera’s manual). The self-timer will get rid of any possible movement caused by holding down the shutter with your finger because you won't be touching it when it snaps. Personally, I prefer to use the 2-second timer. With this setting, you simply press the shutter release, let go of your cameras and 2 seconds later, the camera will take the 3, 5, 7, or 9 exposures in sequence. As you compose your shot, switch your lens to manual focus. While Auto Focus (AF) is an amazing technology, it is not always the best for landscapes. Using manual focus, set your focus point to infinity on the lens. This setting will average out the entire framed scene and bring all into focus. If you have a very important subject within your scene, at this point, my suggestion would be to switch your camera over to “Live View” and use the display’s zoom feature (do not zoom with the lens; zoom with the magnifying button) and zoom all the way in on your subject and focus manually. This will allow you to make sure that your subject is tack sharp (please note that there is a possibility that some of the image might be a little softer). If your lens does not have a "focusing index," which will allow you to manually focus your lens to infinity, I would suggest using your AF to focus, then switching the lens to manual focus and preventing the camera to refocus with each shot. Now that you have your shots, what's next? If your camera can do in-camera HDR and you followed your manual, then you should now have a finished HDR JPEG image. If your camera does not offer in-camera HDR or you chose not to use that feature, then you will have 3, 5, 7, or 9 images that need to be combined. A solid choice would be to use Adobe Photoshop, which has a robust and easy to use HDR feature. There are also plenty of other programs out there that will help you put these images together into an HDR photograph. Definitely plan ahead and look into what you will use to process all the images into HDR composites before going out to shoot. Have fun, experiment and try different setting combinations and processing techniques. There's more detail to see than you thought. - eos 5d mark ii - eos 7d - eos-1d mark iv - white papers - autofocus modes - autofocus techniques - cheat sheets - cinema eos - cmos sensors - eos 50d - eos 5d mark iii - eos 60d - eos c300 - eos c300 pl - eos-1d mark iii - eos-1d x - eos-1ds mark iii - non linear editing - product tutorials - speedlite 580ex ii - speedlite 600ex-rt - xf 305

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There are also plenty of other programs out there that will help you put these images together into an HDR photograph.

Most likely, if you are passionate about photography (and I assume you are because you are reading the Canon Digital Learning Center’s blog), you have come across High Dynamic Range (HDR) photography. HDR photography is the process of taking multiple exposures of the same high-contrast scene at different levels of brightness, then combining them into one image. This single image with a wider range of detail, from the darkest to the brightest areas, is typically impossible with a single exposure. HDR photography is most often used to produce photos that mimic what the human eye is able to see. Now, I say “most often” because there is also a fun and creative side to HDR photography that allows for a lot interesting experimentation, something worth trying out. Back to the actual purpose of this blog entry: to help you get started with HDR photography. So what do you need, besides a camera and a lens, you might ask? - Tripod: Tripods are not absolutely necessary, but when you are starting off, it will make your life a lot easier. With small lens apertures (high f-numbers) and low ISO settings, there is a good likelihood that you will use slow shutter speeds, which will make handholding very tough and may result in blurry photos. Tripods are also great at making sure that your camera does not move between several exposures. - A Contrast Rich Scene: What you photograph is totally up to you. If I may, I would suggest that when you start off in HDR photography, you should find a landscape scene that has a strong contrast between its shadows and highlight areas. This will allow you to better see the effects HDR can achieve. Your Camera Manual: Find your camera’s manual. There, I said it. Find your camera manual! I know we all hate manuals, but they are the best way to get the most out of your camera. You should know where your manual is and read it -- or even better, study it. This will teach you a ton about your camera as well as how to use its different features, some of which we will explore now. Quick note: look up HDR in your camera manual. Many cameras now offer an in-camera HDR function. If yours does, find the section in your manual and follow the instructions. Then read through below for additional tips and directions. In-camera HDR settings will normally incorporate an exposure bracketing function and then process multiple source images into one final High Dynamic Range finished image file. If your camera doesn't have built-in HDR, or if you prefer to use 3rd-party computer software to produce HDR images, you'll need to set Auto Exposure Bracketing and other features independently. Exercise number one with your newfound camera manual is to discover your Auto Exposure Bracketing (AEB) mode. Why is this necessary, you might ask? AEB is the main component in creating an HDR photo. Let me try and explain why. A bracketing sequence will shoot a series of images that will be over and under exposed, compared to the shot you have set up in your camera. Together, these images will give you a series of photos that are correctly exposed for the brightest, darkest and for the mid-tone areas. Depending on your camera the AEB mode will either shoot 3, 5, 7, or 9 shots. The more images you can get, the better because the potential of capturing all the light in your scene increases. Follow your manual’s instruction on how to turn on and set your AEB mode. - Aperture Priority Mode: If you do not regularly shoot in Manual mode, I would highly suggest setting your camera to Aperture Priority mode (Av on Canon EOS cameras). This mode gives priority to the aperture setting (allowing you to pick it and lock it in) and let the camera determine shutter speed for you. Remember that aperture controls depth of field, so the higher the aperture, the greater the depth of field. In the case of landscape photography, just about any aperture value over f/11 will have your entire frame in focus. Start at f/11 and experiment your way up from there. - Metering Mode: In a nutshell, metering mode is simply how your camera samples light to determine the proper exposure. For the purpose here, it suffices to say that Evaluative Metering will work just fine for you. - White Balance: White balance is incredibly important in photography and getting it wrong can throw an entire image off. Again, for what we are learning here, we can go with Auto White Balance (AWB). But I do highly suggest you look into and learn more about how to use White Balance. - ISO: ISO determines how sensitive your camera is to light. The higher the number, the more sensitive it becomes. There is a downside to ISO though -- the higher the number, the lower your image quality can become. This drop in quality comes from what is referred to as "noise" or the graininess in images. So set your ISO as low as possible. In this case, go with ISO 100. - Self-Timer: Learn how to use the self-timer feature on your camera (another great use of your camera’s manual). The self-timer will get rid of any possible movement caused by holding down the shutter with your finger because you won't be touching it when it snaps. Personally, I prefer to use the 2-second timer. With this setting, you simply press the shutter release, let go of your cameras and 2 seconds later, the camera will take the 3, 5, 7, or 9 exposures in sequence. As you compose your shot, switch your lens to manual focus. While Auto Focus (AF) is an amazing technology, it is not always the best for landscapes. Using manual focus, set your focus point to infinity on the lens. This setting will average out the entire framed scene and bring all into focus. If you have a very important subject within your scene, at this point, my suggestion would be to switch your camera over to “Live View” and use the display’s zoom feature (do not zoom with the lens; zoom with the magnifying button) and zoom all the way in on your subject and focus manually. This will allow you to make sure that your subject is tack sharp (please note that there is a possibility that some of the image might be a little softer). If your lens does not have a "focusing index," which will allow you to manually focus your lens to infinity, I would suggest using your AF to focus, then switching the lens to manual focus and preventing the camera to refocus with each shot. Now that you have your shots, what's next? If your camera can do in-camera HDR and you followed your manual, then you should now have a finished HDR JPEG image. If your camera does not offer in-camera HDR or you chose not to use that feature, then you will have 3, 5, 7, or 9 images that need to be combined. A solid choice would be to use Adobe Photoshop, which has a robust and easy to use HDR feature. There are also plenty of other programs out there that will help you put these images together into an HDR photograph. Definitely plan ahead and look into what you will use to process all the images into HDR composites before going out to shoot. Have fun, experiment and try different setting combinations and processing techniques. There's more detail to see than you thought. - eos 5d mark ii - eos 7d - eos-1d mark iv - white papers - autofocus modes - autofocus techniques - cheat sheets - cinema eos - cmos sensors - eos 50d - eos 5d mark iii - eos 60d - eos c300 - eos c300 pl - eos-1d mark iii - eos-1d x - eos-1ds mark iii - non linear editing - product tutorials - speedlite 580ex ii - speedlite 600ex-rt - xf 305

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Definitely plan ahead and look into what you will use to process all the images into HDR composites before going out to shoot.

Most likely, if you are passionate about photography (and I assume you are because you are reading the Canon Digital Learning Center’s blog), you have come across High Dynamic Range (HDR) photography. HDR photography is the process of taking multiple exposures of the same high-contrast scene at different levels of brightness, then combining them into one image. This single image with a wider range of detail, from the darkest to the brightest areas, is typically impossible with a single exposure. HDR photography is most often used to produce photos that mimic what the human eye is able to see. Now, I say “most often” because there is also a fun and creative side to HDR photography that allows for a lot interesting experimentation, something worth trying out. Back to the actual purpose of this blog entry: to help you get started with HDR photography. So what do you need, besides a camera and a lens, you might ask? - Tripod: Tripods are not absolutely necessary, but when you are starting off, it will make your life a lot easier. With small lens apertures (high f-numbers) and low ISO settings, there is a good likelihood that you will use slow shutter speeds, which will make handholding very tough and may result in blurry photos. Tripods are also great at making sure that your camera does not move between several exposures. - A Contrast Rich Scene: What you photograph is totally up to you. If I may, I would suggest that when you start off in HDR photography, you should find a landscape scene that has a strong contrast between its shadows and highlight areas. This will allow you to better see the effects HDR can achieve. Your Camera Manual: Find your camera’s manual. There, I said it. Find your camera manual! I know we all hate manuals, but they are the best way to get the most out of your camera. You should know where your manual is and read it -- or even better, study it. This will teach you a ton about your camera as well as how to use its different features, some of which we will explore now. Quick note: look up HDR in your camera manual. Many cameras now offer an in-camera HDR function. If yours does, find the section in your manual and follow the instructions. Then read through below for additional tips and directions. In-camera HDR settings will normally incorporate an exposure bracketing function and then process multiple source images into one final High Dynamic Range finished image file. If your camera doesn't have built-in HDR, or if you prefer to use 3rd-party computer software to produce HDR images, you'll need to set Auto Exposure Bracketing and other features independently. Exercise number one with your newfound camera manual is to discover your Auto Exposure Bracketing (AEB) mode. Why is this necessary, you might ask? AEB is the main component in creating an HDR photo. Let me try and explain why. A bracketing sequence will shoot a series of images that will be over and under exposed, compared to the shot you have set up in your camera. Together, these images will give you a series of photos that are correctly exposed for the brightest, darkest and for the mid-tone areas. Depending on your camera the AEB mode will either shoot 3, 5, 7, or 9 shots. The more images you can get, the better because the potential of capturing all the light in your scene increases. Follow your manual’s instruction on how to turn on and set your AEB mode. - Aperture Priority Mode: If you do not regularly shoot in Manual mode, I would highly suggest setting your camera to Aperture Priority mode (Av on Canon EOS cameras). This mode gives priority to the aperture setting (allowing you to pick it and lock it in) and let the camera determine shutter speed for you. Remember that aperture controls depth of field, so the higher the aperture, the greater the depth of field. In the case of landscape photography, just about any aperture value over f/11 will have your entire frame in focus. Start at f/11 and experiment your way up from there. - Metering Mode: In a nutshell, metering mode is simply how your camera samples light to determine the proper exposure. For the purpose here, it suffices to say that Evaluative Metering will work just fine for you. - White Balance: White balance is incredibly important in photography and getting it wrong can throw an entire image off. Again, for what we are learning here, we can go with Auto White Balance (AWB). But I do highly suggest you look into and learn more about how to use White Balance. - ISO: ISO determines how sensitive your camera is to light. The higher the number, the more sensitive it becomes. There is a downside to ISO though -- the higher the number, the lower your image quality can become. This drop in quality comes from what is referred to as "noise" or the graininess in images. So set your ISO as low as possible. In this case, go with ISO 100. - Self-Timer: Learn how to use the self-timer feature on your camera (another great use of your camera’s manual). The self-timer will get rid of any possible movement caused by holding down the shutter with your finger because you won't be touching it when it snaps. Personally, I prefer to use the 2-second timer. With this setting, you simply press the shutter release, let go of your cameras and 2 seconds later, the camera will take the 3, 5, 7, or 9 exposures in sequence. As you compose your shot, switch your lens to manual focus. While Auto Focus (AF) is an amazing technology, it is not always the best for landscapes. Using manual focus, set your focus point to infinity on the lens. This setting will average out the entire framed scene and bring all into focus. If you have a very important subject within your scene, at this point, my suggestion would be to switch your camera over to “Live View” and use the display’s zoom feature (do not zoom with the lens; zoom with the magnifying button) and zoom all the way in on your subject and focus manually. This will allow you to make sure that your subject is tack sharp (please note that there is a possibility that some of the image might be a little softer). If your lens does not have a "focusing index," which will allow you to manually focus your lens to infinity, I would suggest using your AF to focus, then switching the lens to manual focus and preventing the camera to refocus with each shot. Now that you have your shots, what's next? If your camera can do in-camera HDR and you followed your manual, then you should now have a finished HDR JPEG image. If your camera does not offer in-camera HDR or you chose not to use that feature, then you will have 3, 5, 7, or 9 images that need to be combined. A solid choice would be to use Adobe Photoshop, which has a robust and easy to use HDR feature. There are also plenty of other programs out there that will help you put these images together into an HDR photograph. Definitely plan ahead and look into what you will use to process all the images into HDR composites before going out to shoot. Have fun, experiment and try different setting combinations and processing techniques. There's more detail to see than you thought. - eos 5d mark ii - eos 7d - eos-1d mark iv - white papers - autofocus modes - autofocus techniques - cheat sheets - cinema eos - cmos sensors - eos 50d - eos 5d mark iii - eos 60d - eos c300 - eos c300 pl - eos-1d mark iii - eos-1d x - eos-1ds mark iii - non linear editing - product tutorials - speedlite 580ex ii - speedlite 600ex-rt - xf 305

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Have fun, experiment and try different setting combinations and processing techniques.

Most likely, if you are passionate about photography (and I assume you are because you are reading the Canon Digital Learning Center’s blog), you have come across High Dynamic Range (HDR) photography. HDR photography is the process of taking multiple exposures of the same high-contrast scene at different levels of brightness, then combining them into one image. This single image with a wider range of detail, from the darkest to the brightest areas, is typically impossible with a single exposure. HDR photography is most often used to produce photos that mimic what the human eye is able to see. Now, I say “most often” because there is also a fun and creative side to HDR photography that allows for a lot interesting experimentation, something worth trying out. Back to the actual purpose of this blog entry: to help you get started with HDR photography. So what do you need, besides a camera and a lens, you might ask? - Tripod: Tripods are not absolutely necessary, but when you are starting off, it will make your life a lot easier. With small lens apertures (high f-numbers) and low ISO settings, there is a good likelihood that you will use slow shutter speeds, which will make handholding very tough and may result in blurry photos. Tripods are also great at making sure that your camera does not move between several exposures. - A Contrast Rich Scene: What you photograph is totally up to you. If I may, I would suggest that when you start off in HDR photography, you should find a landscape scene that has a strong contrast between its shadows and highlight areas. This will allow you to better see the effects HDR can achieve. Your Camera Manual: Find your camera’s manual. There, I said it. Find your camera manual! I know we all hate manuals, but they are the best way to get the most out of your camera. You should know where your manual is and read it -- or even better, study it. This will teach you a ton about your camera as well as how to use its different features, some of which we will explore now. Quick note: look up HDR in your camera manual. Many cameras now offer an in-camera HDR function. If yours does, find the section in your manual and follow the instructions. Then read through below for additional tips and directions. In-camera HDR settings will normally incorporate an exposure bracketing function and then process multiple source images into one final High Dynamic Range finished image file. If your camera doesn't have built-in HDR, or if you prefer to use 3rd-party computer software to produce HDR images, you'll need to set Auto Exposure Bracketing and other features independently. Exercise number one with your newfound camera manual is to discover your Auto Exposure Bracketing (AEB) mode. Why is this necessary, you might ask? AEB is the main component in creating an HDR photo. Let me try and explain why. A bracketing sequence will shoot a series of images that will be over and under exposed, compared to the shot you have set up in your camera. Together, these images will give you a series of photos that are correctly exposed for the brightest, darkest and for the mid-tone areas. Depending on your camera the AEB mode will either shoot 3, 5, 7, or 9 shots. The more images you can get, the better because the potential of capturing all the light in your scene increases. Follow your manual’s instruction on how to turn on and set your AEB mode. - Aperture Priority Mode: If you do not regularly shoot in Manual mode, I would highly suggest setting your camera to Aperture Priority mode (Av on Canon EOS cameras). This mode gives priority to the aperture setting (allowing you to pick it and lock it in) and let the camera determine shutter speed for you. Remember that aperture controls depth of field, so the higher the aperture, the greater the depth of field. In the case of landscape photography, just about any aperture value over f/11 will have your entire frame in focus. Start at f/11 and experiment your way up from there. - Metering Mode: In a nutshell, metering mode is simply how your camera samples light to determine the proper exposure. For the purpose here, it suffices to say that Evaluative Metering will work just fine for you. - White Balance: White balance is incredibly important in photography and getting it wrong can throw an entire image off. Again, for what we are learning here, we can go with Auto White Balance (AWB). But I do highly suggest you look into and learn more about how to use White Balance. - ISO: ISO determines how sensitive your camera is to light. The higher the number, the more sensitive it becomes. There is a downside to ISO though -- the higher the number, the lower your image quality can become. This drop in quality comes from what is referred to as "noise" or the graininess in images. So set your ISO as low as possible. In this case, go with ISO 100. - Self-Timer: Learn how to use the self-timer feature on your camera (another great use of your camera’s manual). The self-timer will get rid of any possible movement caused by holding down the shutter with your finger because you won't be touching it when it snaps. Personally, I prefer to use the 2-second timer. With this setting, you simply press the shutter release, let go of your cameras and 2 seconds later, the camera will take the 3, 5, 7, or 9 exposures in sequence. As you compose your shot, switch your lens to manual focus. While Auto Focus (AF) is an amazing technology, it is not always the best for landscapes. Using manual focus, set your focus point to infinity on the lens. This setting will average out the entire framed scene and bring all into focus. If you have a very important subject within your scene, at this point, my suggestion would be to switch your camera over to “Live View” and use the display’s zoom feature (do not zoom with the lens; zoom with the magnifying button) and zoom all the way in on your subject and focus manually. This will allow you to make sure that your subject is tack sharp (please note that there is a possibility that some of the image might be a little softer). If your lens does not have a "focusing index," which will allow you to manually focus your lens to infinity, I would suggest using your AF to focus, then switching the lens to manual focus and preventing the camera to refocus with each shot. Now that you have your shots, what's next? If your camera can do in-camera HDR and you followed your manual, then you should now have a finished HDR JPEG image. If your camera does not offer in-camera HDR or you chose not to use that feature, then you will have 3, 5, 7, or 9 images that need to be combined. A solid choice would be to use Adobe Photoshop, which has a robust and easy to use HDR feature. There are also plenty of other programs out there that will help you put these images together into an HDR photograph. Definitely plan ahead and look into what you will use to process all the images into HDR composites before going out to shoot. Have fun, experiment and try different setting combinations and processing techniques. There's more detail to see than you thought. - eos 5d mark ii - eos 7d - eos-1d mark iv - white papers - autofocus modes - autofocus techniques - cheat sheets - cinema eos - cmos sensors - eos 50d - eos 5d mark iii - eos 60d - eos c300 - eos c300 pl - eos-1d mark iii - eos-1d x - eos-1ds mark iii - non linear editing - product tutorials - speedlite 580ex ii - speedlite 600ex-rt - xf 305

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There's more detail to see than you thought.

Most likely, if you are passionate about photography (and I assume you are because you are reading the Canon Digital Learning Center’s blog), you have come across High Dynamic Range (HDR) photography. HDR photography is the process of taking multiple exposures of the same high-contrast scene at different levels of brightness, then combining them into one image. This single image with a wider range of detail, from the darkest to the brightest areas, is typically impossible with a single exposure. HDR photography is most often used to produce photos that mimic what the human eye is able to see. Now, I say “most often” because there is also a fun and creative side to HDR photography that allows for a lot interesting experimentation, something worth trying out. Back to the actual purpose of this blog entry: to help you get started with HDR photography. So what do you need, besides a camera and a lens, you might ask? - Tripod: Tripods are not absolutely necessary, but when you are starting off, it will make your life a lot easier. With small lens apertures (high f-numbers) and low ISO settings, there is a good likelihood that you will use slow shutter speeds, which will make handholding very tough and may result in blurry photos. Tripods are also great at making sure that your camera does not move between several exposures. - A Contrast Rich Scene: What you photograph is totally up to you. If I may, I would suggest that when you start off in HDR photography, you should find a landscape scene that has a strong contrast between its shadows and highlight areas. This will allow you to better see the effects HDR can achieve. Your Camera Manual: Find your camera’s manual. There, I said it. Find your camera manual! I know we all hate manuals, but they are the best way to get the most out of your camera. You should know where your manual is and read it -- or even better, study it. This will teach you a ton about your camera as well as how to use its different features, some of which we will explore now. Quick note: look up HDR in your camera manual. Many cameras now offer an in-camera HDR function. If yours does, find the section in your manual and follow the instructions. Then read through below for additional tips and directions. In-camera HDR settings will normally incorporate an exposure bracketing function and then process multiple source images into one final High Dynamic Range finished image file. If your camera doesn't have built-in HDR, or if you prefer to use 3rd-party computer software to produce HDR images, you'll need to set Auto Exposure Bracketing and other features independently. Exercise number one with your newfound camera manual is to discover your Auto Exposure Bracketing (AEB) mode. Why is this necessary, you might ask? AEB is the main component in creating an HDR photo. Let me try and explain why. A bracketing sequence will shoot a series of images that will be over and under exposed, compared to the shot you have set up in your camera. Together, these images will give you a series of photos that are correctly exposed for the brightest, darkest and for the mid-tone areas. Depending on your camera the AEB mode will either shoot 3, 5, 7, or 9 shots. The more images you can get, the better because the potential of capturing all the light in your scene increases. Follow your manual’s instruction on how to turn on and set your AEB mode. - Aperture Priority Mode: If you do not regularly shoot in Manual mode, I would highly suggest setting your camera to Aperture Priority mode (Av on Canon EOS cameras). This mode gives priority to the aperture setting (allowing you to pick it and lock it in) and let the camera determine shutter speed for you. Remember that aperture controls depth of field, so the higher the aperture, the greater the depth of field. In the case of landscape photography, just about any aperture value over f/11 will have your entire frame in focus. Start at f/11 and experiment your way up from there. - Metering Mode: In a nutshell, metering mode is simply how your camera samples light to determine the proper exposure. For the purpose here, it suffices to say that Evaluative Metering will work just fine for you. - White Balance: White balance is incredibly important in photography and getting it wrong can throw an entire image off. Again, for what we are learning here, we can go with Auto White Balance (AWB). But I do highly suggest you look into and learn more about how to use White Balance. - ISO: ISO determines how sensitive your camera is to light. The higher the number, the more sensitive it becomes. There is a downside to ISO though -- the higher the number, the lower your image quality can become. This drop in quality comes from what is referred to as "noise" or the graininess in images. So set your ISO as low as possible. In this case, go with ISO 100. - Self-Timer: Learn how to use the self-timer feature on your camera (another great use of your camera’s manual). The self-timer will get rid of any possible movement caused by holding down the shutter with your finger because you won't be touching it when it snaps. Personally, I prefer to use the 2-second timer. With this setting, you simply press the shutter release, let go of your cameras and 2 seconds later, the camera will take the 3, 5, 7, or 9 exposures in sequence. As you compose your shot, switch your lens to manual focus. While Auto Focus (AF) is an amazing technology, it is not always the best for landscapes. Using manual focus, set your focus point to infinity on the lens. This setting will average out the entire framed scene and bring all into focus. If you have a very important subject within your scene, at this point, my suggestion would be to switch your camera over to “Live View” and use the display’s zoom feature (do not zoom with the lens; zoom with the magnifying button) and zoom all the way in on your subject and focus manually. This will allow you to make sure that your subject is tack sharp (please note that there is a possibility that some of the image might be a little softer). If your lens does not have a "focusing index," which will allow you to manually focus your lens to infinity, I would suggest using your AF to focus, then switching the lens to manual focus and preventing the camera to refocus with each shot. Now that you have your shots, what's next? If your camera can do in-camera HDR and you followed your manual, then you should now have a finished HDR JPEG image. If your camera does not offer in-camera HDR or you chose not to use that feature, then you will have 3, 5, 7, or 9 images that need to be combined. A solid choice would be to use Adobe Photoshop, which has a robust and easy to use HDR feature. There are also plenty of other programs out there that will help you put these images together into an HDR photograph. Definitely plan ahead and look into what you will use to process all the images into HDR composites before going out to shoot. Have fun, experiment and try different setting combinations and processing techniques. There's more detail to see than you thought. - eos 5d mark ii - eos 7d - eos-1d mark iv - white papers - autofocus modes - autofocus techniques - cheat sheets - cinema eos - cmos sensors - eos 50d - eos 5d mark iii - eos 60d - eos c300 - eos c300 pl - eos-1d mark iii - eos-1d x - eos-1ds mark iii - non linear editing - product tutorials - speedlite 580ex ii - speedlite 600ex-rt - xf 305

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- eos 5d mark ii - eos 7d - eos-1d mark iv - white papers - autofocus modes - autofocus techniques - cheat sheets - cinema eos - cmos sensors - eos 50d - eos 5d mark iii - eos 60d - eos c300 - eos c300 pl - eos-1d mark iii - eos-1d x - eos-1ds mark iii - non linear editing - product tutorials - speedlite 580ex ii - speedlite 600ex-rt - xf 305

Andre Gunder Frank The Five Thousand Year World System Our thesis is that the contemporary world system has a history of at least five thousand years. The rise to dominance of Europe and the West in this world system are only recent -- and perhaps passing -- events. Thus, our thesis poses a more humanocentric challenge to Eurocentrism. Our main theoretical categories are: - 1. The world system itself. Per contra Wallerstein (1974), we believe that the existence and development of the same world system in which we live stretches back at least five thousand years (Frank 1990a, 1991a,b; Gills and Frank 1990/91, 1992; Frank and Gills 1992). Wallerstein emphasizes the difference a hyphen [-] makes. Unlike our nearly World [wide] System, World-Systems are in a "world" of their own, which need not be even nearly world wide. Of course however, the "new world" in the "Americas" was home to some world-systems of its own before its incorporation into our (pre-existing) world system after 1492. - 2. The process of capital accumulation as the motor force of [world system] history. Wallerstein and others regard continuous capital accumulation as the differentia specifica of the "modern world-system." We have argued elsewhere that in this regard the "modern" world system is not so different and that this same process of capital accumulation has played a, if not the, central role in the world system for several millennia ( Frank 1991b and Gills and Frank 1990/91). Amin (1991) and Wallerstein (1991) disagree. They argue that previous world-systems were what Amin calls "tributary" or Wallerstein "world empires." In these, Amin claims that politics and ideology were in command, not the economic law of value in the accumulation of capital. Wallerstein seems to agree. - 3. The center-periphery structure in and of the world [system]. This structure is familiar to analysts of dependence in the "modern" world system and especially in Latin America since 1492. It includes but is not limited to the transfer of surplus between zones of the world system. Frank (1967, 1969) wrote about this among others. However, we now find that this analytical category is also applicable to the world system before that. - 4. The alternation between hegemony and rivalry.In this process, regional hegemonies and rivalries succeed the previous period of hegemony. World system and international relations literature has recently produced many good analyses of alternation between hegemonic leadership and rivalry for hegemony in the world system since 1492, for instance by Wallerstein (1979), or since 1494 by Modelski (1987) and by Modelski and Thompson (1988). However, hegemony and rivalry for the same also mark world [system] history long before that (Gills and Frank 1992). - 5. Long [and short] economic cycles of alternating ascending [sometimes denominated "A"] phases and descending [sometimes denominated "B"] phases. In the real world historical process and in its analysis by students of the "modern" world system, these long cycles are also associated with each of the previous categories. That is, an important characteristic of the "modern" world system is that the process of capital accumulation, changes in center-periphery position within it, and world system hegemony and rivalry are all cyclical and occur in tandem with each other. Frank analyzed the same for the "modern" world system under the title World Accumulation 1492-1789 and Dependent Accumulation and Underdevelopment (Frank 1978a,b). However, we now find that this same world system cycle and its features also extends back many centuries before 1492. Our thesis is elaborated in a forthcoming book, tentatively entitled The World System: From Five Hundred Years to Five Thousand, to which this essay is the draft introduction. In this book, this thesis is introduced by the early contribution of Kaisa Ekholm and Jonathan Friedman (1982). It is extended by David Wilkinson (1987) who argues... Please join StudyMode to read the full document

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Andre Gunder Frank The Five Thousand Year World System Our thesis is that the contemporary world system has a history of at least five thousand years.

Andre Gunder Frank The Five Thousand Year World System Our thesis is that the contemporary world system has a history of at least five thousand years. The rise to dominance of Europe and the West in this world system are only recent -- and perhaps passing -- events. Thus, our thesis poses a more humanocentric challenge to Eurocentrism. Our main theoretical categories are: - 1. The world system itself. Per contra Wallerstein (1974), we believe that the existence and development of the same world system in which we live stretches back at least five thousand years (Frank 1990a, 1991a,b; Gills and Frank 1990/91, 1992; Frank and Gills 1992). Wallerstein emphasizes the difference a hyphen [-] makes. Unlike our nearly World [wide] System, World-Systems are in a "world" of their own, which need not be even nearly world wide. Of course however, the "new world" in the "Americas" was home to some world-systems of its own before its incorporation into our (pre-existing) world system after 1492. - 2. The process of capital accumulation as the motor force of [world system] history. Wallerstein and others regard continuous capital accumulation as the differentia specifica of the "modern world-system." We have argued elsewhere that in this regard the "modern" world system is not so different and that this same process of capital accumulation has played a, if not the, central role in the world system for several millennia ( Frank 1991b and Gills and Frank 1990/91). Amin (1991) and Wallerstein (1991) disagree. They argue that previous world-systems were what Amin calls "tributary" or Wallerstein "world empires." In these, Amin claims that politics and ideology were in command, not the economic law of value in the accumulation of capital. Wallerstein seems to agree. - 3. The center-periphery structure in and of the world [system]. This structure is familiar to analysts of dependence in the "modern" world system and especially in Latin America since 1492. It includes but is not limited to the transfer of surplus between zones of the world system. Frank (1967, 1969) wrote about this among others. However, we now find that this analytical category is also applicable to the world system before that. - 4. The alternation between hegemony and rivalry.In this process, regional hegemonies and rivalries succeed the previous period of hegemony. World system and international relations literature has recently produced many good analyses of alternation between hegemonic leadership and rivalry for hegemony in the world system since 1492, for instance by Wallerstein (1979), or since 1494 by Modelski (1987) and by Modelski and Thompson (1988). However, hegemony and rivalry for the same also mark world [system] history long before that (Gills and Frank 1992). - 5. Long [and short] economic cycles of alternating ascending [sometimes denominated "A"] phases and descending [sometimes denominated "B"] phases. In the real world historical process and in its analysis by students of the "modern" world system, these long cycles are also associated with each of the previous categories. That is, an important characteristic of the "modern" world system is that the process of capital accumulation, changes in center-periphery position within it, and world system hegemony and rivalry are all cyclical and occur in tandem with each other. Frank analyzed the same for the "modern" world system under the title World Accumulation 1492-1789 and Dependent Accumulation and Underdevelopment (Frank 1978a,b). However, we now find that this same world system cycle and its features also extends back many centuries before 1492. Our thesis is elaborated in a forthcoming book, tentatively entitled The World System: From Five Hundred Years to Five Thousand, to which this essay is the draft introduction. In this book, this thesis is introduced by the early contribution of Kaisa Ekholm and Jonathan Friedman (1982). It is extended by David Wilkinson (1987) who argues... Please join StudyMode to read the full document

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The rise to dominance of Europe and the West in this world system are only recent -- and perhaps passing -- events.

Andre Gunder Frank The Five Thousand Year World System Our thesis is that the contemporary world system has a history of at least five thousand years. The rise to dominance of Europe and the West in this world system are only recent -- and perhaps passing -- events. Thus, our thesis poses a more humanocentric challenge to Eurocentrism. Our main theoretical categories are: - 1. The world system itself. Per contra Wallerstein (1974), we believe that the existence and development of the same world system in which we live stretches back at least five thousand years (Frank 1990a, 1991a,b; Gills and Frank 1990/91, 1992; Frank and Gills 1992). Wallerstein emphasizes the difference a hyphen [-] makes. Unlike our nearly World [wide] System, World-Systems are in a "world" of their own, which need not be even nearly world wide. Of course however, the "new world" in the "Americas" was home to some world-systems of its own before its incorporation into our (pre-existing) world system after 1492. - 2. The process of capital accumulation as the motor force of [world system] history. Wallerstein and others regard continuous capital accumulation as the differentia specifica of the "modern world-system." We have argued elsewhere that in this regard the "modern" world system is not so different and that this same process of capital accumulation has played a, if not the, central role in the world system for several millennia ( Frank 1991b and Gills and Frank 1990/91). Amin (1991) and Wallerstein (1991) disagree. They argue that previous world-systems were what Amin calls "tributary" or Wallerstein "world empires." In these, Amin claims that politics and ideology were in command, not the economic law of value in the accumulation of capital. Wallerstein seems to agree. - 3. The center-periphery structure in and of the world [system]. This structure is familiar to analysts of dependence in the "modern" world system and especially in Latin America since 1492. It includes but is not limited to the transfer of surplus between zones of the world system. Frank (1967, 1969) wrote about this among others. However, we now find that this analytical category is also applicable to the world system before that. - 4. The alternation between hegemony and rivalry.In this process, regional hegemonies and rivalries succeed the previous period of hegemony. World system and international relations literature has recently produced many good analyses of alternation between hegemonic leadership and rivalry for hegemony in the world system since 1492, for instance by Wallerstein (1979), or since 1494 by Modelski (1987) and by Modelski and Thompson (1988). However, hegemony and rivalry for the same also mark world [system] history long before that (Gills and Frank 1992). - 5. Long [and short] economic cycles of alternating ascending [sometimes denominated "A"] phases and descending [sometimes denominated "B"] phases. In the real world historical process and in its analysis by students of the "modern" world system, these long cycles are also associated with each of the previous categories. That is, an important characteristic of the "modern" world system is that the process of capital accumulation, changes in center-periphery position within it, and world system hegemony and rivalry are all cyclical and occur in tandem with each other. Frank analyzed the same for the "modern" world system under the title World Accumulation 1492-1789 and Dependent Accumulation and Underdevelopment (Frank 1978a,b). However, we now find that this same world system cycle and its features also extends back many centuries before 1492. Our thesis is elaborated in a forthcoming book, tentatively entitled The World System: From Five Hundred Years to Five Thousand, to which this essay is the draft introduction. In this book, this thesis is introduced by the early contribution of Kaisa Ekholm and Jonathan Friedman (1982). It is extended by David Wilkinson (1987) who argues... Please join StudyMode to read the full document

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Thus, our thesis poses a more humanocentric challenge to Eurocentrism.

Andre Gunder Frank The Five Thousand Year World System Our thesis is that the contemporary world system has a history of at least five thousand years. The rise to dominance of Europe and the West in this world system are only recent -- and perhaps passing -- events. Thus, our thesis poses a more humanocentric challenge to Eurocentrism. Our main theoretical categories are: - 1. The world system itself. Per contra Wallerstein (1974), we believe that the existence and development of the same world system in which we live stretches back at least five thousand years (Frank 1990a, 1991a,b; Gills and Frank 1990/91, 1992; Frank and Gills 1992). Wallerstein emphasizes the difference a hyphen [-] makes. Unlike our nearly World [wide] System, World-Systems are in a "world" of their own, which need not be even nearly world wide. Of course however, the "new world" in the "Americas" was home to some world-systems of its own before its incorporation into our (pre-existing) world system after 1492. - 2. The process of capital accumulation as the motor force of [world system] history. Wallerstein and others regard continuous capital accumulation as the differentia specifica of the "modern world-system." We have argued elsewhere that in this regard the "modern" world system is not so different and that this same process of capital accumulation has played a, if not the, central role in the world system for several millennia ( Frank 1991b and Gills and Frank 1990/91). Amin (1991) and Wallerstein (1991) disagree. They argue that previous world-systems were what Amin calls "tributary" or Wallerstein "world empires." In these, Amin claims that politics and ideology were in command, not the economic law of value in the accumulation of capital. Wallerstein seems to agree. - 3. The center-periphery structure in and of the world [system]. This structure is familiar to analysts of dependence in the "modern" world system and especially in Latin America since 1492. It includes but is not limited to the transfer of surplus between zones of the world system. Frank (1967, 1969) wrote about this among others. However, we now find that this analytical category is also applicable to the world system before that. - 4. The alternation between hegemony and rivalry.In this process, regional hegemonies and rivalries succeed the previous period of hegemony. World system and international relations literature has recently produced many good analyses of alternation between hegemonic leadership and rivalry for hegemony in the world system since 1492, for instance by Wallerstein (1979), or since 1494 by Modelski (1987) and by Modelski and Thompson (1988). However, hegemony and rivalry for the same also mark world [system] history long before that (Gills and Frank 1992). - 5. Long [and short] economic cycles of alternating ascending [sometimes denominated "A"] phases and descending [sometimes denominated "B"] phases. In the real world historical process and in its analysis by students of the "modern" world system, these long cycles are also associated with each of the previous categories. That is, an important characteristic of the "modern" world system is that the process of capital accumulation, changes in center-periphery position within it, and world system hegemony and rivalry are all cyclical and occur in tandem with each other. Frank analyzed the same for the "modern" world system under the title World Accumulation 1492-1789 and Dependent Accumulation and Underdevelopment (Frank 1978a,b). However, we now find that this same world system cycle and its features also extends back many centuries before 1492. Our thesis is elaborated in a forthcoming book, tentatively entitled The World System: From Five Hundred Years to Five Thousand, to which this essay is the draft introduction. In this book, this thesis is introduced by the early contribution of Kaisa Ekholm and Jonathan Friedman (1982). It is extended by David Wilkinson (1987) who argues... Please join StudyMode to read the full document

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Our main theoretical categories are: - 1.

Andre Gunder Frank The Five Thousand Year World System Our thesis is that the contemporary world system has a history of at least five thousand years. The rise to dominance of Europe and the West in this world system are only recent -- and perhaps passing -- events. Thus, our thesis poses a more humanocentric challenge to Eurocentrism. Our main theoretical categories are: - 1. The world system itself. Per contra Wallerstein (1974), we believe that the existence and development of the same world system in which we live stretches back at least five thousand years (Frank 1990a, 1991a,b; Gills and Frank 1990/91, 1992; Frank and Gills 1992). Wallerstein emphasizes the difference a hyphen [-] makes. Unlike our nearly World [wide] System, World-Systems are in a "world" of their own, which need not be even nearly world wide. Of course however, the "new world" in the "Americas" was home to some world-systems of its own before its incorporation into our (pre-existing) world system after 1492. - 2. The process of capital accumulation as the motor force of [world system] history. Wallerstein and others regard continuous capital accumulation as the differentia specifica of the "modern world-system." We have argued elsewhere that in this regard the "modern" world system is not so different and that this same process of capital accumulation has played a, if not the, central role in the world system for several millennia ( Frank 1991b and Gills and Frank 1990/91). Amin (1991) and Wallerstein (1991) disagree. They argue that previous world-systems were what Amin calls "tributary" or Wallerstein "world empires." In these, Amin claims that politics and ideology were in command, not the economic law of value in the accumulation of capital. Wallerstein seems to agree. - 3. The center-periphery structure in and of the world [system]. This structure is familiar to analysts of dependence in the "modern" world system and especially in Latin America since 1492. It includes but is not limited to the transfer of surplus between zones of the world system. Frank (1967, 1969) wrote about this among others. However, we now find that this analytical category is also applicable to the world system before that. - 4. The alternation between hegemony and rivalry.In this process, regional hegemonies and rivalries succeed the previous period of hegemony. World system and international relations literature has recently produced many good analyses of alternation between hegemonic leadership and rivalry for hegemony in the world system since 1492, for instance by Wallerstein (1979), or since 1494 by Modelski (1987) and by Modelski and Thompson (1988). However, hegemony and rivalry for the same also mark world [system] history long before that (Gills and Frank 1992). - 5. Long [and short] economic cycles of alternating ascending [sometimes denominated "A"] phases and descending [sometimes denominated "B"] phases. In the real world historical process and in its analysis by students of the "modern" world system, these long cycles are also associated with each of the previous categories. That is, an important characteristic of the "modern" world system is that the process of capital accumulation, changes in center-periphery position within it, and world system hegemony and rivalry are all cyclical and occur in tandem with each other. Frank analyzed the same for the "modern" world system under the title World Accumulation 1492-1789 and Dependent Accumulation and Underdevelopment (Frank 1978a,b). However, we now find that this same world system cycle and its features also extends back many centuries before 1492. Our thesis is elaborated in a forthcoming book, tentatively entitled The World System: From Five Hundred Years to Five Thousand, to which this essay is the draft introduction. In this book, this thesis is introduced by the early contribution of Kaisa Ekholm and Jonathan Friedman (1982). It is extended by David Wilkinson (1987) who argues... Please join StudyMode to read the full document

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Per contra Wallerstein (1974), we believe that the existence and development of the same world system in which we live stretches back at least five thousand years (Frank 1990a, 1991a,b; Gills and Frank 1990/91, 1992; Frank and Gills 1992).

Andre Gunder Frank The Five Thousand Year World System Our thesis is that the contemporary world system has a history of at least five thousand years. The rise to dominance of Europe and the West in this world system are only recent -- and perhaps passing -- events. Thus, our thesis poses a more humanocentric challenge to Eurocentrism. Our main theoretical categories are: - 1. The world system itself. Per contra Wallerstein (1974), we believe that the existence and development of the same world system in which we live stretches back at least five thousand years (Frank 1990a, 1991a,b; Gills and Frank 1990/91, 1992; Frank and Gills 1992). Wallerstein emphasizes the difference a hyphen [-] makes. Unlike our nearly World [wide] System, World-Systems are in a "world" of their own, which need not be even nearly world wide. Of course however, the "new world" in the "Americas" was home to some world-systems of its own before its incorporation into our (pre-existing) world system after 1492. - 2. The process of capital accumulation as the motor force of [world system] history. Wallerstein and others regard continuous capital accumulation as the differentia specifica of the "modern world-system." We have argued elsewhere that in this regard the "modern" world system is not so different and that this same process of capital accumulation has played a, if not the, central role in the world system for several millennia ( Frank 1991b and Gills and Frank 1990/91). Amin (1991) and Wallerstein (1991) disagree. They argue that previous world-systems were what Amin calls "tributary" or Wallerstein "world empires." In these, Amin claims that politics and ideology were in command, not the economic law of value in the accumulation of capital. Wallerstein seems to agree. - 3. The center-periphery structure in and of the world [system]. This structure is familiar to analysts of dependence in the "modern" world system and especially in Latin America since 1492. It includes but is not limited to the transfer of surplus between zones of the world system. Frank (1967, 1969) wrote about this among others. However, we now find that this analytical category is also applicable to the world system before that. - 4. The alternation between hegemony and rivalry.In this process, regional hegemonies and rivalries succeed the previous period of hegemony. World system and international relations literature has recently produced many good analyses of alternation between hegemonic leadership and rivalry for hegemony in the world system since 1492, for instance by Wallerstein (1979), or since 1494 by Modelski (1987) and by Modelski and Thompson (1988). However, hegemony and rivalry for the same also mark world [system] history long before that (Gills and Frank 1992). - 5. Long [and short] economic cycles of alternating ascending [sometimes denominated "A"] phases and descending [sometimes denominated "B"] phases. In the real world historical process and in its analysis by students of the "modern" world system, these long cycles are also associated with each of the previous categories. That is, an important characteristic of the "modern" world system is that the process of capital accumulation, changes in center-periphery position within it, and world system hegemony and rivalry are all cyclical and occur in tandem with each other. Frank analyzed the same for the "modern" world system under the title World Accumulation 1492-1789 and Dependent Accumulation and Underdevelopment (Frank 1978a,b). However, we now find that this same world system cycle and its features also extends back many centuries before 1492. Our thesis is elaborated in a forthcoming book, tentatively entitled The World System: From Five Hundred Years to Five Thousand, to which this essay is the draft introduction. In this book, this thesis is introduced by the early contribution of Kaisa Ekholm and Jonathan Friedman (1982). It is extended by David Wilkinson (1987) who argues... Please join StudyMode to read the full document

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Wallerstein emphasizes the difference a hyphen [-] makes.

Andre Gunder Frank The Five Thousand Year World System Our thesis is that the contemporary world system has a history of at least five thousand years. The rise to dominance of Europe and the West in this world system are only recent -- and perhaps passing -- events. Thus, our thesis poses a more humanocentric challenge to Eurocentrism. Our main theoretical categories are: - 1. The world system itself. Per contra Wallerstein (1974), we believe that the existence and development of the same world system in which we live stretches back at least five thousand years (Frank 1990a, 1991a,b; Gills and Frank 1990/91, 1992; Frank and Gills 1992). Wallerstein emphasizes the difference a hyphen [-] makes. Unlike our nearly World [wide] System, World-Systems are in a "world" of their own, which need not be even nearly world wide. Of course however, the "new world" in the "Americas" was home to some world-systems of its own before its incorporation into our (pre-existing) world system after 1492. - 2. The process of capital accumulation as the motor force of [world system] history. Wallerstein and others regard continuous capital accumulation as the differentia specifica of the "modern world-system." We have argued elsewhere that in this regard the "modern" world system is not so different and that this same process of capital accumulation has played a, if not the, central role in the world system for several millennia ( Frank 1991b and Gills and Frank 1990/91). Amin (1991) and Wallerstein (1991) disagree. They argue that previous world-systems were what Amin calls "tributary" or Wallerstein "world empires." In these, Amin claims that politics and ideology were in command, not the economic law of value in the accumulation of capital. Wallerstein seems to agree. - 3. The center-periphery structure in and of the world [system]. This structure is familiar to analysts of dependence in the "modern" world system and especially in Latin America since 1492. It includes but is not limited to the transfer of surplus between zones of the world system. Frank (1967, 1969) wrote about this among others. However, we now find that this analytical category is also applicable to the world system before that. - 4. The alternation between hegemony and rivalry.In this process, regional hegemonies and rivalries succeed the previous period of hegemony. World system and international relations literature has recently produced many good analyses of alternation between hegemonic leadership and rivalry for hegemony in the world system since 1492, for instance by Wallerstein (1979), or since 1494 by Modelski (1987) and by Modelski and Thompson (1988). However, hegemony and rivalry for the same also mark world [system] history long before that (Gills and Frank 1992). - 5. Long [and short] economic cycles of alternating ascending [sometimes denominated "A"] phases and descending [sometimes denominated "B"] phases. In the real world historical process and in its analysis by students of the "modern" world system, these long cycles are also associated with each of the previous categories. That is, an important characteristic of the "modern" world system is that the process of capital accumulation, changes in center-periphery position within it, and world system hegemony and rivalry are all cyclical and occur in tandem with each other. Frank analyzed the same for the "modern" world system under the title World Accumulation 1492-1789 and Dependent Accumulation and Underdevelopment (Frank 1978a,b). However, we now find that this same world system cycle and its features also extends back many centuries before 1492. Our thesis is elaborated in a forthcoming book, tentatively entitled The World System: From Five Hundred Years to Five Thousand, to which this essay is the draft introduction. In this book, this thesis is introduced by the early contribution of Kaisa Ekholm and Jonathan Friedman (1982). It is extended by David Wilkinson (1987) who argues... Please join StudyMode to read the full document

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<urn:uuid:d922ca15-7d86-4aa7-baf1-87158bdf2d38>_7

Unlike our nearly World [wide] System, World-Systems are in a "world" of their own, which need not be even nearly world wide.

Andre Gunder Frank The Five Thousand Year World System Our thesis is that the contemporary world system has a history of at least five thousand years. The rise to dominance of Europe and the West in this world system are only recent -- and perhaps passing -- events. Thus, our thesis poses a more humanocentric challenge to Eurocentrism. Our main theoretical categories are: - 1. The world system itself. Per contra Wallerstein (1974), we believe that the existence and development of the same world system in which we live stretches back at least five thousand years (Frank 1990a, 1991a,b; Gills and Frank 1990/91, 1992; Frank and Gills 1992). Wallerstein emphasizes the difference a hyphen [-] makes. Unlike our nearly World [wide] System, World-Systems are in a "world" of their own, which need not be even nearly world wide. Of course however, the "new world" in the "Americas" was home to some world-systems of its own before its incorporation into our (pre-existing) world system after 1492. - 2. The process of capital accumulation as the motor force of [world system] history. Wallerstein and others regard continuous capital accumulation as the differentia specifica of the "modern world-system." We have argued elsewhere that in this regard the "modern" world system is not so different and that this same process of capital accumulation has played a, if not the, central role in the world system for several millennia ( Frank 1991b and Gills and Frank 1990/91). Amin (1991) and Wallerstein (1991) disagree. They argue that previous world-systems were what Amin calls "tributary" or Wallerstein "world empires." In these, Amin claims that politics and ideology were in command, not the economic law of value in the accumulation of capital. Wallerstein seems to agree. - 3. The center-periphery structure in and of the world [system]. This structure is familiar to analysts of dependence in the "modern" world system and especially in Latin America since 1492. It includes but is not limited to the transfer of surplus between zones of the world system. Frank (1967, 1969) wrote about this among others. However, we now find that this analytical category is also applicable to the world system before that. - 4. The alternation between hegemony and rivalry.In this process, regional hegemonies and rivalries succeed the previous period of hegemony. World system and international relations literature has recently produced many good analyses of alternation between hegemonic leadership and rivalry for hegemony in the world system since 1492, for instance by Wallerstein (1979), or since 1494 by Modelski (1987) and by Modelski and Thompson (1988). However, hegemony and rivalry for the same also mark world [system] history long before that (Gills and Frank 1992). - 5. Long [and short] economic cycles of alternating ascending [sometimes denominated "A"] phases and descending [sometimes denominated "B"] phases. In the real world historical process and in its analysis by students of the "modern" world system, these long cycles are also associated with each of the previous categories. That is, an important characteristic of the "modern" world system is that the process of capital accumulation, changes in center-periphery position within it, and world system hegemony and rivalry are all cyclical and occur in tandem with each other. Frank analyzed the same for the "modern" world system under the title World Accumulation 1492-1789 and Dependent Accumulation and Underdevelopment (Frank 1978a,b). However, we now find that this same world system cycle and its features also extends back many centuries before 1492. Our thesis is elaborated in a forthcoming book, tentatively entitled The World System: From Five Hundred Years to Five Thousand, to which this essay is the draft introduction. In this book, this thesis is introduced by the early contribution of Kaisa Ekholm and Jonathan Friedman (1982). It is extended by David Wilkinson (1987) who argues... Please join StudyMode to read the full document

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<urn:uuid:d922ca15-7d86-4aa7-baf1-87158bdf2d38>_8

Of course however, the "new world" in the "Americas" was home to some world-systems of its own before its incorporation into our (pre-existing) world system after 1492.

Andre Gunder Frank The Five Thousand Year World System Our thesis is that the contemporary world system has a history of at least five thousand years. The rise to dominance of Europe and the West in this world system are only recent -- and perhaps passing -- events. Thus, our thesis poses a more humanocentric challenge to Eurocentrism. Our main theoretical categories are: - 1. The world system itself. Per contra Wallerstein (1974), we believe that the existence and development of the same world system in which we live stretches back at least five thousand years (Frank 1990a, 1991a,b; Gills and Frank 1990/91, 1992; Frank and Gills 1992). Wallerstein emphasizes the difference a hyphen [-] makes. Unlike our nearly World [wide] System, World-Systems are in a "world" of their own, which need not be even nearly world wide. Of course however, the "new world" in the "Americas" was home to some world-systems of its own before its incorporation into our (pre-existing) world system after 1492. - 2. The process of capital accumulation as the motor force of [world system] history. Wallerstein and others regard continuous capital accumulation as the differentia specifica of the "modern world-system." We have argued elsewhere that in this regard the "modern" world system is not so different and that this same process of capital accumulation has played a, if not the, central role in the world system for several millennia ( Frank 1991b and Gills and Frank 1990/91). Amin (1991) and Wallerstein (1991) disagree. They argue that previous world-systems were what Amin calls "tributary" or Wallerstein "world empires." In these, Amin claims that politics and ideology were in command, not the economic law of value in the accumulation of capital. Wallerstein seems to agree. - 3. The center-periphery structure in and of the world [system]. This structure is familiar to analysts of dependence in the "modern" world system and especially in Latin America since 1492. It includes but is not limited to the transfer of surplus between zones of the world system. Frank (1967, 1969) wrote about this among others. However, we now find that this analytical category is also applicable to the world system before that. - 4. The alternation between hegemony and rivalry.In this process, regional hegemonies and rivalries succeed the previous period of hegemony. World system and international relations literature has recently produced many good analyses of alternation between hegemonic leadership and rivalry for hegemony in the world system since 1492, for instance by Wallerstein (1979), or since 1494 by Modelski (1987) and by Modelski and Thompson (1988). However, hegemony and rivalry for the same also mark world [system] history long before that (Gills and Frank 1992). - 5. Long [and short] economic cycles of alternating ascending [sometimes denominated "A"] phases and descending [sometimes denominated "B"] phases. In the real world historical process and in its analysis by students of the "modern" world system, these long cycles are also associated with each of the previous categories. That is, an important characteristic of the "modern" world system is that the process of capital accumulation, changes in center-periphery position within it, and world system hegemony and rivalry are all cyclical and occur in tandem with each other. Frank analyzed the same for the "modern" world system under the title World Accumulation 1492-1789 and Dependent Accumulation and Underdevelopment (Frank 1978a,b). However, we now find that this same world system cycle and its features also extends back many centuries before 1492. Our thesis is elaborated in a forthcoming book, tentatively entitled The World System: From Five Hundred Years to Five Thousand, to which this essay is the draft introduction. In this book, this thesis is introduced by the early contribution of Kaisa Ekholm and Jonathan Friedman (1982). It is extended by David Wilkinson (1987) who argues... Please join StudyMode to read the full document

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<urn:uuid:d922ca15-7d86-4aa7-baf1-87158bdf2d38>_10

The process of capital accumulation as the motor force of [world system] history.

Andre Gunder Frank The Five Thousand Year World System Our thesis is that the contemporary world system has a history of at least five thousand years. The rise to dominance of Europe and the West in this world system are only recent -- and perhaps passing -- events. Thus, our thesis poses a more humanocentric challenge to Eurocentrism. Our main theoretical categories are: - 1. The world system itself. Per contra Wallerstein (1974), we believe that the existence and development of the same world system in which we live stretches back at least five thousand years (Frank 1990a, 1991a,b; Gills and Frank 1990/91, 1992; Frank and Gills 1992). Wallerstein emphasizes the difference a hyphen [-] makes. Unlike our nearly World [wide] System, World-Systems are in a "world" of their own, which need not be even nearly world wide. Of course however, the "new world" in the "Americas" was home to some world-systems of its own before its incorporation into our (pre-existing) world system after 1492. - 2. The process of capital accumulation as the motor force of [world system] history. Wallerstein and others regard continuous capital accumulation as the differentia specifica of the "modern world-system." We have argued elsewhere that in this regard the "modern" world system is not so different and that this same process of capital accumulation has played a, if not the, central role in the world system for several millennia ( Frank 1991b and Gills and Frank 1990/91). Amin (1991) and Wallerstein (1991) disagree. They argue that previous world-systems were what Amin calls "tributary" or Wallerstein "world empires." In these, Amin claims that politics and ideology were in command, not the economic law of value in the accumulation of capital. Wallerstein seems to agree. - 3. The center-periphery structure in and of the world [system]. This structure is familiar to analysts of dependence in the "modern" world system and especially in Latin America since 1492. It includes but is not limited to the transfer of surplus between zones of the world system. Frank (1967, 1969) wrote about this among others. However, we now find that this analytical category is also applicable to the world system before that. - 4. The alternation between hegemony and rivalry.In this process, regional hegemonies and rivalries succeed the previous period of hegemony. World system and international relations literature has recently produced many good analyses of alternation between hegemonic leadership and rivalry for hegemony in the world system since 1492, for instance by Wallerstein (1979), or since 1494 by Modelski (1987) and by Modelski and Thompson (1988). However, hegemony and rivalry for the same also mark world [system] history long before that (Gills and Frank 1992). - 5. Long [and short] economic cycles of alternating ascending [sometimes denominated "A"] phases and descending [sometimes denominated "B"] phases. In the real world historical process and in its analysis by students of the "modern" world system, these long cycles are also associated with each of the previous categories. That is, an important characteristic of the "modern" world system is that the process of capital accumulation, changes in center-periphery position within it, and world system hegemony and rivalry are all cyclical and occur in tandem with each other. Frank analyzed the same for the "modern" world system under the title World Accumulation 1492-1789 and Dependent Accumulation and Underdevelopment (Frank 1978a,b). However, we now find that this same world system cycle and its features also extends back many centuries before 1492. Our thesis is elaborated in a forthcoming book, tentatively entitled The World System: From Five Hundred Years to Five Thousand, to which this essay is the draft introduction. In this book, this thesis is introduced by the early contribution of Kaisa Ekholm and Jonathan Friedman (1982). It is extended by David Wilkinson (1987) who argues... Please join StudyMode to read the full document

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<urn:uuid:d922ca15-7d86-4aa7-baf1-87158bdf2d38>_11

Wallerstein and others regard continuous capital accumulation as the differentia specifica of the "modern world-system."

Andre Gunder Frank The Five Thousand Year World System Our thesis is that the contemporary world system has a history of at least five thousand years. The rise to dominance of Europe and the West in this world system are only recent -- and perhaps passing -- events. Thus, our thesis poses a more humanocentric challenge to Eurocentrism. Our main theoretical categories are: - 1. The world system itself. Per contra Wallerstein (1974), we believe that the existence and development of the same world system in which we live stretches back at least five thousand years (Frank 1990a, 1991a,b; Gills and Frank 1990/91, 1992; Frank and Gills 1992). Wallerstein emphasizes the difference a hyphen [-] makes. Unlike our nearly World [wide] System, World-Systems are in a "world" of their own, which need not be even nearly world wide. Of course however, the "new world" in the "Americas" was home to some world-systems of its own before its incorporation into our (pre-existing) world system after 1492. - 2. The process of capital accumulation as the motor force of [world system] history. Wallerstein and others regard continuous capital accumulation as the differentia specifica of the "modern world-system." We have argued elsewhere that in this regard the "modern" world system is not so different and that this same process of capital accumulation has played a, if not the, central role in the world system for several millennia ( Frank 1991b and Gills and Frank 1990/91). Amin (1991) and Wallerstein (1991) disagree. They argue that previous world-systems were what Amin calls "tributary" or Wallerstein "world empires." In these, Amin claims that politics and ideology were in command, not the economic law of value in the accumulation of capital. Wallerstein seems to agree. - 3. The center-periphery structure in and of the world [system]. This structure is familiar to analysts of dependence in the "modern" world system and especially in Latin America since 1492. It includes but is not limited to the transfer of surplus between zones of the world system. Frank (1967, 1969) wrote about this among others. However, we now find that this analytical category is also applicable to the world system before that. - 4. The alternation between hegemony and rivalry.In this process, regional hegemonies and rivalries succeed the previous period of hegemony. World system and international relations literature has recently produced many good analyses of alternation between hegemonic leadership and rivalry for hegemony in the world system since 1492, for instance by Wallerstein (1979), or since 1494 by Modelski (1987) and by Modelski and Thompson (1988). However, hegemony and rivalry for the same also mark world [system] history long before that (Gills and Frank 1992). - 5. Long [and short] economic cycles of alternating ascending [sometimes denominated "A"] phases and descending [sometimes denominated "B"] phases. In the real world historical process and in its analysis by students of the "modern" world system, these long cycles are also associated with each of the previous categories. That is, an important characteristic of the "modern" world system is that the process of capital accumulation, changes in center-periphery position within it, and world system hegemony and rivalry are all cyclical and occur in tandem with each other. Frank analyzed the same for the "modern" world system under the title World Accumulation 1492-1789 and Dependent Accumulation and Underdevelopment (Frank 1978a,b). However, we now find that this same world system cycle and its features also extends back many centuries before 1492. Our thesis is elaborated in a forthcoming book, tentatively entitled The World System: From Five Hundred Years to Five Thousand, to which this essay is the draft introduction. In this book, this thesis is introduced by the early contribution of Kaisa Ekholm and Jonathan Friedman (1982). It is extended by David Wilkinson (1987) who argues... Please join StudyMode to read the full document

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<urn:uuid:d922ca15-7d86-4aa7-baf1-87158bdf2d38>_12

We have argued elsewhere that in this regard the "modern" world system is not so different and that this same process of capital accumulation has played a, if not the, central role in the world system for several millennia ( Frank 1991b and Gills and Frank 1990/91).

Andre Gunder Frank The Five Thousand Year World System Our thesis is that the contemporary world system has a history of at least five thousand years. The rise to dominance of Europe and the West in this world system are only recent -- and perhaps passing -- events. Thus, our thesis poses a more humanocentric challenge to Eurocentrism. Our main theoretical categories are: - 1. The world system itself. Per contra Wallerstein (1974), we believe that the existence and development of the same world system in which we live stretches back at least five thousand years (Frank 1990a, 1991a,b; Gills and Frank 1990/91, 1992; Frank and Gills 1992). Wallerstein emphasizes the difference a hyphen [-] makes. Unlike our nearly World [wide] System, World-Systems are in a "world" of their own, which need not be even nearly world wide. Of course however, the "new world" in the "Americas" was home to some world-systems of its own before its incorporation into our (pre-existing) world system after 1492. - 2. The process of capital accumulation as the motor force of [world system] history. Wallerstein and others regard continuous capital accumulation as the differentia specifica of the "modern world-system." We have argued elsewhere that in this regard the "modern" world system is not so different and that this same process of capital accumulation has played a, if not the, central role in the world system for several millennia ( Frank 1991b and Gills and Frank 1990/91). Amin (1991) and Wallerstein (1991) disagree. They argue that previous world-systems were what Amin calls "tributary" or Wallerstein "world empires." In these, Amin claims that politics and ideology were in command, not the economic law of value in the accumulation of capital. Wallerstein seems to agree. - 3. The center-periphery structure in and of the world [system]. This structure is familiar to analysts of dependence in the "modern" world system and especially in Latin America since 1492. It includes but is not limited to the transfer of surplus between zones of the world system. Frank (1967, 1969) wrote about this among others. However, we now find that this analytical category is also applicable to the world system before that. - 4. The alternation between hegemony and rivalry.In this process, regional hegemonies and rivalries succeed the previous period of hegemony. World system and international relations literature has recently produced many good analyses of alternation between hegemonic leadership and rivalry for hegemony in the world system since 1492, for instance by Wallerstein (1979), or since 1494 by Modelski (1987) and by Modelski and Thompson (1988). However, hegemony and rivalry for the same also mark world [system] history long before that (Gills and Frank 1992). - 5. Long [and short] economic cycles of alternating ascending [sometimes denominated "A"] phases and descending [sometimes denominated "B"] phases. In the real world historical process and in its analysis by students of the "modern" world system, these long cycles are also associated with each of the previous categories. That is, an important characteristic of the "modern" world system is that the process of capital accumulation, changes in center-periphery position within it, and world system hegemony and rivalry are all cyclical and occur in tandem with each other. Frank analyzed the same for the "modern" world system under the title World Accumulation 1492-1789 and Dependent Accumulation and Underdevelopment (Frank 1978a,b). However, we now find that this same world system cycle and its features also extends back many centuries before 1492. Our thesis is elaborated in a forthcoming book, tentatively entitled The World System: From Five Hundred Years to Five Thousand, to which this essay is the draft introduction. In this book, this thesis is introduced by the early contribution of Kaisa Ekholm and Jonathan Friedman (1982). It is extended by David Wilkinson (1987) who argues... Please join StudyMode to read the full document

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<urn:uuid:d922ca15-7d86-4aa7-baf1-87158bdf2d38>_13

Amin (1991) and Wallerstein (1991) disagree.

Andre Gunder Frank The Five Thousand Year World System Our thesis is that the contemporary world system has a history of at least five thousand years. The rise to dominance of Europe and the West in this world system are only recent -- and perhaps passing -- events. Thus, our thesis poses a more humanocentric challenge to Eurocentrism. Our main theoretical categories are: - 1. The world system itself. Per contra Wallerstein (1974), we believe that the existence and development of the same world system in which we live stretches back at least five thousand years (Frank 1990a, 1991a,b; Gills and Frank 1990/91, 1992; Frank and Gills 1992). Wallerstein emphasizes the difference a hyphen [-] makes. Unlike our nearly World [wide] System, World-Systems are in a "world" of their own, which need not be even nearly world wide. Of course however, the "new world" in the "Americas" was home to some world-systems of its own before its incorporation into our (pre-existing) world system after 1492. - 2. The process of capital accumulation as the motor force of [world system] history. Wallerstein and others regard continuous capital accumulation as the differentia specifica of the "modern world-system." We have argued elsewhere that in this regard the "modern" world system is not so different and that this same process of capital accumulation has played a, if not the, central role in the world system for several millennia ( Frank 1991b and Gills and Frank 1990/91). Amin (1991) and Wallerstein (1991) disagree. They argue that previous world-systems were what Amin calls "tributary" or Wallerstein "world empires." In these, Amin claims that politics and ideology were in command, not the economic law of value in the accumulation of capital. Wallerstein seems to agree. - 3. The center-periphery structure in and of the world [system]. This structure is familiar to analysts of dependence in the "modern" world system and especially in Latin America since 1492. It includes but is not limited to the transfer of surplus between zones of the world system. Frank (1967, 1969) wrote about this among others. However, we now find that this analytical category is also applicable to the world system before that. - 4. The alternation between hegemony and rivalry.In this process, regional hegemonies and rivalries succeed the previous period of hegemony. World system and international relations literature has recently produced many good analyses of alternation between hegemonic leadership and rivalry for hegemony in the world system since 1492, for instance by Wallerstein (1979), or since 1494 by Modelski (1987) and by Modelski and Thompson (1988). However, hegemony and rivalry for the same also mark world [system] history long before that (Gills and Frank 1992). - 5. Long [and short] economic cycles of alternating ascending [sometimes denominated "A"] phases and descending [sometimes denominated "B"] phases. In the real world historical process and in its analysis by students of the "modern" world system, these long cycles are also associated with each of the previous categories. That is, an important characteristic of the "modern" world system is that the process of capital accumulation, changes in center-periphery position within it, and world system hegemony and rivalry are all cyclical and occur in tandem with each other. Frank analyzed the same for the "modern" world system under the title World Accumulation 1492-1789 and Dependent Accumulation and Underdevelopment (Frank 1978a,b). However, we now find that this same world system cycle and its features also extends back many centuries before 1492. Our thesis is elaborated in a forthcoming book, tentatively entitled The World System: From Five Hundred Years to Five Thousand, to which this essay is the draft introduction. In this book, this thesis is introduced by the early contribution of Kaisa Ekholm and Jonathan Friedman (1982). It is extended by David Wilkinson (1987) who argues... Please join StudyMode to read the full document

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<urn:uuid:d922ca15-7d86-4aa7-baf1-87158bdf2d38>_14

They argue that previous world-systems were what Amin calls "tributary" or Wallerstein "world empires."

Andre Gunder Frank The Five Thousand Year World System Our thesis is that the contemporary world system has a history of at least five thousand years. The rise to dominance of Europe and the West in this world system are only recent -- and perhaps passing -- events. Thus, our thesis poses a more humanocentric challenge to Eurocentrism. Our main theoretical categories are: - 1. The world system itself. Per contra Wallerstein (1974), we believe that the existence and development of the same world system in which we live stretches back at least five thousand years (Frank 1990a, 1991a,b; Gills and Frank 1990/91, 1992; Frank and Gills 1992). Wallerstein emphasizes the difference a hyphen [-] makes. Unlike our nearly World [wide] System, World-Systems are in a "world" of their own, which need not be even nearly world wide. Of course however, the "new world" in the "Americas" was home to some world-systems of its own before its incorporation into our (pre-existing) world system after 1492. - 2. The process of capital accumulation as the motor force of [world system] history. Wallerstein and others regard continuous capital accumulation as the differentia specifica of the "modern world-system." We have argued elsewhere that in this regard the "modern" world system is not so different and that this same process of capital accumulation has played a, if not the, central role in the world system for several millennia ( Frank 1991b and Gills and Frank 1990/91). Amin (1991) and Wallerstein (1991) disagree. They argue that previous world-systems were what Amin calls "tributary" or Wallerstein "world empires." In these, Amin claims that politics and ideology were in command, not the economic law of value in the accumulation of capital. Wallerstein seems to agree. - 3. The center-periphery structure in and of the world [system]. This structure is familiar to analysts of dependence in the "modern" world system and especially in Latin America since 1492. It includes but is not limited to the transfer of surplus between zones of the world system. Frank (1967, 1969) wrote about this among others. However, we now find that this analytical category is also applicable to the world system before that. - 4. The alternation between hegemony and rivalry.In this process, regional hegemonies and rivalries succeed the previous period of hegemony. World system and international relations literature has recently produced many good analyses of alternation between hegemonic leadership and rivalry for hegemony in the world system since 1492, for instance by Wallerstein (1979), or since 1494 by Modelski (1987) and by Modelski and Thompson (1988). However, hegemony and rivalry for the same also mark world [system] history long before that (Gills and Frank 1992). - 5. Long [and short] economic cycles of alternating ascending [sometimes denominated "A"] phases and descending [sometimes denominated "B"] phases. In the real world historical process and in its analysis by students of the "modern" world system, these long cycles are also associated with each of the previous categories. That is, an important characteristic of the "modern" world system is that the process of capital accumulation, changes in center-periphery position within it, and world system hegemony and rivalry are all cyclical and occur in tandem with each other. Frank analyzed the same for the "modern" world system under the title World Accumulation 1492-1789 and Dependent Accumulation and Underdevelopment (Frank 1978a,b). However, we now find that this same world system cycle and its features also extends back many centuries before 1492. Our thesis is elaborated in a forthcoming book, tentatively entitled The World System: From Five Hundred Years to Five Thousand, to which this essay is the draft introduction. In this book, this thesis is introduced by the early contribution of Kaisa Ekholm and Jonathan Friedman (1982). It is extended by David Wilkinson (1987) who argues... Please join StudyMode to read the full document

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<urn:uuid:d922ca15-7d86-4aa7-baf1-87158bdf2d38>_15

In these, Amin claims that politics and ideology were in command, not the economic law of value in the accumulation of capital.

Andre Gunder Frank The Five Thousand Year World System Our thesis is that the contemporary world system has a history of at least five thousand years. The rise to dominance of Europe and the West in this world system are only recent -- and perhaps passing -- events. Thus, our thesis poses a more humanocentric challenge to Eurocentrism. Our main theoretical categories are: - 1. The world system itself. Per contra Wallerstein (1974), we believe that the existence and development of the same world system in which we live stretches back at least five thousand years (Frank 1990a, 1991a,b; Gills and Frank 1990/91, 1992; Frank and Gills 1992). Wallerstein emphasizes the difference a hyphen [-] makes. Unlike our nearly World [wide] System, World-Systems are in a "world" of their own, which need not be even nearly world wide. Of course however, the "new world" in the "Americas" was home to some world-systems of its own before its incorporation into our (pre-existing) world system after 1492. - 2. The process of capital accumulation as the motor force of [world system] history. Wallerstein and others regard continuous capital accumulation as the differentia specifica of the "modern world-system." We have argued elsewhere that in this regard the "modern" world system is not so different and that this same process of capital accumulation has played a, if not the, central role in the world system for several millennia ( Frank 1991b and Gills and Frank 1990/91). Amin (1991) and Wallerstein (1991) disagree. They argue that previous world-systems were what Amin calls "tributary" or Wallerstein "world empires." In these, Amin claims that politics and ideology were in command, not the economic law of value in the accumulation of capital. Wallerstein seems to agree. - 3. The center-periphery structure in and of the world [system]. This structure is familiar to analysts of dependence in the "modern" world system and especially in Latin America since 1492. It includes but is not limited to the transfer of surplus between zones of the world system. Frank (1967, 1969) wrote about this among others. However, we now find that this analytical category is also applicable to the world system before that. - 4. The alternation between hegemony and rivalry.In this process, regional hegemonies and rivalries succeed the previous period of hegemony. World system and international relations literature has recently produced many good analyses of alternation between hegemonic leadership and rivalry for hegemony in the world system since 1492, for instance by Wallerstein (1979), or since 1494 by Modelski (1987) and by Modelski and Thompson (1988). However, hegemony and rivalry for the same also mark world [system] history long before that (Gills and Frank 1992). - 5. Long [and short] economic cycles of alternating ascending [sometimes denominated "A"] phases and descending [sometimes denominated "B"] phases. In the real world historical process and in its analysis by students of the "modern" world system, these long cycles are also associated with each of the previous categories. That is, an important characteristic of the "modern" world system is that the process of capital accumulation, changes in center-periphery position within it, and world system hegemony and rivalry are all cyclical and occur in tandem with each other. Frank analyzed the same for the "modern" world system under the title World Accumulation 1492-1789 and Dependent Accumulation and Underdevelopment (Frank 1978a,b). However, we now find that this same world system cycle and its features also extends back many centuries before 1492. Our thesis is elaborated in a forthcoming book, tentatively entitled The World System: From Five Hundred Years to Five Thousand, to which this essay is the draft introduction. In this book, this thesis is introduced by the early contribution of Kaisa Ekholm and Jonathan Friedman (1982). It is extended by David Wilkinson (1987) who argues... Please join StudyMode to read the full document

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<urn:uuid:d922ca15-7d86-4aa7-baf1-87158bdf2d38>_18

The center-periphery structure in and of the world [system].

Andre Gunder Frank The Five Thousand Year World System Our thesis is that the contemporary world system has a history of at least five thousand years. The rise to dominance of Europe and the West in this world system are only recent -- and perhaps passing -- events. Thus, our thesis poses a more humanocentric challenge to Eurocentrism. Our main theoretical categories are: - 1. The world system itself. Per contra Wallerstein (1974), we believe that the existence and development of the same world system in which we live stretches back at least five thousand years (Frank 1990a, 1991a,b; Gills and Frank 1990/91, 1992; Frank and Gills 1992). Wallerstein emphasizes the difference a hyphen [-] makes. Unlike our nearly World [wide] System, World-Systems are in a "world" of their own, which need not be even nearly world wide. Of course however, the "new world" in the "Americas" was home to some world-systems of its own before its incorporation into our (pre-existing) world system after 1492. - 2. The process of capital accumulation as the motor force of [world system] history. Wallerstein and others regard continuous capital accumulation as the differentia specifica of the "modern world-system." We have argued elsewhere that in this regard the "modern" world system is not so different and that this same process of capital accumulation has played a, if not the, central role in the world system for several millennia ( Frank 1991b and Gills and Frank 1990/91). Amin (1991) and Wallerstein (1991) disagree. They argue that previous world-systems were what Amin calls "tributary" or Wallerstein "world empires." In these, Amin claims that politics and ideology were in command, not the economic law of value in the accumulation of capital. Wallerstein seems to agree. - 3. The center-periphery structure in and of the world [system]. This structure is familiar to analysts of dependence in the "modern" world system and especially in Latin America since 1492. It includes but is not limited to the transfer of surplus between zones of the world system. Frank (1967, 1969) wrote about this among others. However, we now find that this analytical category is also applicable to the world system before that. - 4. The alternation between hegemony and rivalry.In this process, regional hegemonies and rivalries succeed the previous period of hegemony. World system and international relations literature has recently produced many good analyses of alternation between hegemonic leadership and rivalry for hegemony in the world system since 1492, for instance by Wallerstein (1979), or since 1494 by Modelski (1987) and by Modelski and Thompson (1988). However, hegemony and rivalry for the same also mark world [system] history long before that (Gills and Frank 1992). - 5. Long [and short] economic cycles of alternating ascending [sometimes denominated "A"] phases and descending [sometimes denominated "B"] phases. In the real world historical process and in its analysis by students of the "modern" world system, these long cycles are also associated with each of the previous categories. That is, an important characteristic of the "modern" world system is that the process of capital accumulation, changes in center-periphery position within it, and world system hegemony and rivalry are all cyclical and occur in tandem with each other. Frank analyzed the same for the "modern" world system under the title World Accumulation 1492-1789 and Dependent Accumulation and Underdevelopment (Frank 1978a,b). However, we now find that this same world system cycle and its features also extends back many centuries before 1492. Our thesis is elaborated in a forthcoming book, tentatively entitled The World System: From Five Hundred Years to Five Thousand, to which this essay is the draft introduction. In this book, this thesis is introduced by the early contribution of Kaisa Ekholm and Jonathan Friedman (1982). It is extended by David Wilkinson (1987) who argues... Please join StudyMode to read the full document

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<urn:uuid:d922ca15-7d86-4aa7-baf1-87158bdf2d38>_19

This structure is familiar to analysts of dependence in the "modern" world system and especially in Latin America since 1492.

Andre Gunder Frank The Five Thousand Year World System Our thesis is that the contemporary world system has a history of at least five thousand years. The rise to dominance of Europe and the West in this world system are only recent -- and perhaps passing -- events. Thus, our thesis poses a more humanocentric challenge to Eurocentrism. Our main theoretical categories are: - 1. The world system itself. Per contra Wallerstein (1974), we believe that the existence and development of the same world system in which we live stretches back at least five thousand years (Frank 1990a, 1991a,b; Gills and Frank 1990/91, 1992; Frank and Gills 1992). Wallerstein emphasizes the difference a hyphen [-] makes. Unlike our nearly World [wide] System, World-Systems are in a "world" of their own, which need not be even nearly world wide. Of course however, the "new world" in the "Americas" was home to some world-systems of its own before its incorporation into our (pre-existing) world system after 1492. - 2. The process of capital accumulation as the motor force of [world system] history. Wallerstein and others regard continuous capital accumulation as the differentia specifica of the "modern world-system." We have argued elsewhere that in this regard the "modern" world system is not so different and that this same process of capital accumulation has played a, if not the, central role in the world system for several millennia ( Frank 1991b and Gills and Frank 1990/91). Amin (1991) and Wallerstein (1991) disagree. They argue that previous world-systems were what Amin calls "tributary" or Wallerstein "world empires." In these, Amin claims that politics and ideology were in command, not the economic law of value in the accumulation of capital. Wallerstein seems to agree. - 3. The center-periphery structure in and of the world [system]. This structure is familiar to analysts of dependence in the "modern" world system and especially in Latin America since 1492. It includes but is not limited to the transfer of surplus between zones of the world system. Frank (1967, 1969) wrote about this among others. However, we now find that this analytical category is also applicable to the world system before that. - 4. The alternation between hegemony and rivalry.In this process, regional hegemonies and rivalries succeed the previous period of hegemony. World system and international relations literature has recently produced many good analyses of alternation between hegemonic leadership and rivalry for hegemony in the world system since 1492, for instance by Wallerstein (1979), or since 1494 by Modelski (1987) and by Modelski and Thompson (1988). However, hegemony and rivalry for the same also mark world [system] history long before that (Gills and Frank 1992). - 5. Long [and short] economic cycles of alternating ascending [sometimes denominated "A"] phases and descending [sometimes denominated "B"] phases. In the real world historical process and in its analysis by students of the "modern" world system, these long cycles are also associated with each of the previous categories. That is, an important characteristic of the "modern" world system is that the process of capital accumulation, changes in center-periphery position within it, and world system hegemony and rivalry are all cyclical and occur in tandem with each other. Frank analyzed the same for the "modern" world system under the title World Accumulation 1492-1789 and Dependent Accumulation and Underdevelopment (Frank 1978a,b). However, we now find that this same world system cycle and its features also extends back many centuries before 1492. Our thesis is elaborated in a forthcoming book, tentatively entitled The World System: From Five Hundred Years to Five Thousand, to which this essay is the draft introduction. In this book, this thesis is introduced by the early contribution of Kaisa Ekholm and Jonathan Friedman (1982). It is extended by David Wilkinson (1987) who argues... Please join StudyMode to read the full document

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<urn:uuid:d922ca15-7d86-4aa7-baf1-87158bdf2d38>_20

It includes but is not limited to the transfer of surplus between zones of the world system.

Andre Gunder Frank The Five Thousand Year World System Our thesis is that the contemporary world system has a history of at least five thousand years. The rise to dominance of Europe and the West in this world system are only recent -- and perhaps passing -- events. Thus, our thesis poses a more humanocentric challenge to Eurocentrism. Our main theoretical categories are: - 1. The world system itself. Per contra Wallerstein (1974), we believe that the existence and development of the same world system in which we live stretches back at least five thousand years (Frank 1990a, 1991a,b; Gills and Frank 1990/91, 1992; Frank and Gills 1992). Wallerstein emphasizes the difference a hyphen [-] makes. Unlike our nearly World [wide] System, World-Systems are in a "world" of their own, which need not be even nearly world wide. Of course however, the "new world" in the "Americas" was home to some world-systems of its own before its incorporation into our (pre-existing) world system after 1492. - 2. The process of capital accumulation as the motor force of [world system] history. Wallerstein and others regard continuous capital accumulation as the differentia specifica of the "modern world-system." We have argued elsewhere that in this regard the "modern" world system is not so different and that this same process of capital accumulation has played a, if not the, central role in the world system for several millennia ( Frank 1991b and Gills and Frank 1990/91). Amin (1991) and Wallerstein (1991) disagree. They argue that previous world-systems were what Amin calls "tributary" or Wallerstein "world empires." In these, Amin claims that politics and ideology were in command, not the economic law of value in the accumulation of capital. Wallerstein seems to agree. - 3. The center-periphery structure in and of the world [system]. This structure is familiar to analysts of dependence in the "modern" world system and especially in Latin America since 1492. It includes but is not limited to the transfer of surplus between zones of the world system. Frank (1967, 1969) wrote about this among others. However, we now find that this analytical category is also applicable to the world system before that. - 4. The alternation between hegemony and rivalry.In this process, regional hegemonies and rivalries succeed the previous period of hegemony. World system and international relations literature has recently produced many good analyses of alternation between hegemonic leadership and rivalry for hegemony in the world system since 1492, for instance by Wallerstein (1979), or since 1494 by Modelski (1987) and by Modelski and Thompson (1988). However, hegemony and rivalry for the same also mark world [system] history long before that (Gills and Frank 1992). - 5. Long [and short] economic cycles of alternating ascending [sometimes denominated "A"] phases and descending [sometimes denominated "B"] phases. In the real world historical process and in its analysis by students of the "modern" world system, these long cycles are also associated with each of the previous categories. That is, an important characteristic of the "modern" world system is that the process of capital accumulation, changes in center-periphery position within it, and world system hegemony and rivalry are all cyclical and occur in tandem with each other. Frank analyzed the same for the "modern" world system under the title World Accumulation 1492-1789 and Dependent Accumulation and Underdevelopment (Frank 1978a,b). However, we now find that this same world system cycle and its features also extends back many centuries before 1492. Our thesis is elaborated in a forthcoming book, tentatively entitled The World System: From Five Hundred Years to Five Thousand, to which this essay is the draft introduction. In this book, this thesis is introduced by the early contribution of Kaisa Ekholm and Jonathan Friedman (1982). It is extended by David Wilkinson (1987) who argues... Please join StudyMode to read the full document

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<urn:uuid:d922ca15-7d86-4aa7-baf1-87158bdf2d38>_21

Frank (1967, 1969) wrote about this among others.

Andre Gunder Frank The Five Thousand Year World System Our thesis is that the contemporary world system has a history of at least five thousand years. The rise to dominance of Europe and the West in this world system are only recent -- and perhaps passing -- events. Thus, our thesis poses a more humanocentric challenge to Eurocentrism. Our main theoretical categories are: - 1. The world system itself. Per contra Wallerstein (1974), we believe that the existence and development of the same world system in which we live stretches back at least five thousand years (Frank 1990a, 1991a,b; Gills and Frank 1990/91, 1992; Frank and Gills 1992). Wallerstein emphasizes the difference a hyphen [-] makes. Unlike our nearly World [wide] System, World-Systems are in a "world" of their own, which need not be even nearly world wide. Of course however, the "new world" in the "Americas" was home to some world-systems of its own before its incorporation into our (pre-existing) world system after 1492. - 2. The process of capital accumulation as the motor force of [world system] history. Wallerstein and others regard continuous capital accumulation as the differentia specifica of the "modern world-system." We have argued elsewhere that in this regard the "modern" world system is not so different and that this same process of capital accumulation has played a, if not the, central role in the world system for several millennia ( Frank 1991b and Gills and Frank 1990/91). Amin (1991) and Wallerstein (1991) disagree. They argue that previous world-systems were what Amin calls "tributary" or Wallerstein "world empires." In these, Amin claims that politics and ideology were in command, not the economic law of value in the accumulation of capital. Wallerstein seems to agree. - 3. The center-periphery structure in and of the world [system]. This structure is familiar to analysts of dependence in the "modern" world system and especially in Latin America since 1492. It includes but is not limited to the transfer of surplus between zones of the world system. Frank (1967, 1969) wrote about this among others. However, we now find that this analytical category is also applicable to the world system before that. - 4. The alternation between hegemony and rivalry.In this process, regional hegemonies and rivalries succeed the previous period of hegemony. World system and international relations literature has recently produced many good analyses of alternation between hegemonic leadership and rivalry for hegemony in the world system since 1492, for instance by Wallerstein (1979), or since 1494 by Modelski (1987) and by Modelski and Thompson (1988). However, hegemony and rivalry for the same also mark world [system] history long before that (Gills and Frank 1992). - 5. Long [and short] economic cycles of alternating ascending [sometimes denominated "A"] phases and descending [sometimes denominated "B"] phases. In the real world historical process and in its analysis by students of the "modern" world system, these long cycles are also associated with each of the previous categories. That is, an important characteristic of the "modern" world system is that the process of capital accumulation, changes in center-periphery position within it, and world system hegemony and rivalry are all cyclical and occur in tandem with each other. Frank analyzed the same for the "modern" world system under the title World Accumulation 1492-1789 and Dependent Accumulation and Underdevelopment (Frank 1978a,b). However, we now find that this same world system cycle and its features also extends back many centuries before 1492. Our thesis is elaborated in a forthcoming book, tentatively entitled The World System: From Five Hundred Years to Five Thousand, to which this essay is the draft introduction. In this book, this thesis is introduced by the early contribution of Kaisa Ekholm and Jonathan Friedman (1982). It is extended by David Wilkinson (1987) who argues... Please join StudyMode to read the full document

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<urn:uuid:d922ca15-7d86-4aa7-baf1-87158bdf2d38>_22

However, we now find that this analytical category is also applicable to the world system before that.

Andre Gunder Frank The Five Thousand Year World System Our thesis is that the contemporary world system has a history of at least five thousand years. The rise to dominance of Europe and the West in this world system are only recent -- and perhaps passing -- events. Thus, our thesis poses a more humanocentric challenge to Eurocentrism. Our main theoretical categories are: - 1. The world system itself. Per contra Wallerstein (1974), we believe that the existence and development of the same world system in which we live stretches back at least five thousand years (Frank 1990a, 1991a,b; Gills and Frank 1990/91, 1992; Frank and Gills 1992). Wallerstein emphasizes the difference a hyphen [-] makes. Unlike our nearly World [wide] System, World-Systems are in a "world" of their own, which need not be even nearly world wide. Of course however, the "new world" in the "Americas" was home to some world-systems of its own before its incorporation into our (pre-existing) world system after 1492. - 2. The process of capital accumulation as the motor force of [world system] history. Wallerstein and others regard continuous capital accumulation as the differentia specifica of the "modern world-system." We have argued elsewhere that in this regard the "modern" world system is not so different and that this same process of capital accumulation has played a, if not the, central role in the world system for several millennia ( Frank 1991b and Gills and Frank 1990/91). Amin (1991) and Wallerstein (1991) disagree. They argue that previous world-systems were what Amin calls "tributary" or Wallerstein "world empires." In these, Amin claims that politics and ideology were in command, not the economic law of value in the accumulation of capital. Wallerstein seems to agree. - 3. The center-periphery structure in and of the world [system]. This structure is familiar to analysts of dependence in the "modern" world system and especially in Latin America since 1492. It includes but is not limited to the transfer of surplus between zones of the world system. Frank (1967, 1969) wrote about this among others. However, we now find that this analytical category is also applicable to the world system before that. - 4. The alternation between hegemony and rivalry.In this process, regional hegemonies and rivalries succeed the previous period of hegemony. World system and international relations literature has recently produced many good analyses of alternation between hegemonic leadership and rivalry for hegemony in the world system since 1492, for instance by Wallerstein (1979), or since 1494 by Modelski (1987) and by Modelski and Thompson (1988). However, hegemony and rivalry for the same also mark world [system] history long before that (Gills and Frank 1992). - 5. Long [and short] economic cycles of alternating ascending [sometimes denominated "A"] phases and descending [sometimes denominated "B"] phases. In the real world historical process and in its analysis by students of the "modern" world system, these long cycles are also associated with each of the previous categories. That is, an important characteristic of the "modern" world system is that the process of capital accumulation, changes in center-periphery position within it, and world system hegemony and rivalry are all cyclical and occur in tandem with each other. Frank analyzed the same for the "modern" world system under the title World Accumulation 1492-1789 and Dependent Accumulation and Underdevelopment (Frank 1978a,b). However, we now find that this same world system cycle and its features also extends back many centuries before 1492. Our thesis is elaborated in a forthcoming book, tentatively entitled The World System: From Five Hundred Years to Five Thousand, to which this essay is the draft introduction. In this book, this thesis is introduced by the early contribution of Kaisa Ekholm and Jonathan Friedman (1982). It is extended by David Wilkinson (1987) who argues... Please join StudyMode to read the full document

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<urn:uuid:d922ca15-7d86-4aa7-baf1-87158bdf2d38>_24

The alternation between hegemony and rivalry.In this process, regional hegemonies and rivalries succeed the previous period of hegemony.

Andre Gunder Frank The Five Thousand Year World System Our thesis is that the contemporary world system has a history of at least five thousand years. The rise to dominance of Europe and the West in this world system are only recent -- and perhaps passing -- events. Thus, our thesis poses a more humanocentric challenge to Eurocentrism. Our main theoretical categories are: - 1. The world system itself. Per contra Wallerstein (1974), we believe that the existence and development of the same world system in which we live stretches back at least five thousand years (Frank 1990a, 1991a,b; Gills and Frank 1990/91, 1992; Frank and Gills 1992). Wallerstein emphasizes the difference a hyphen [-] makes. Unlike our nearly World [wide] System, World-Systems are in a "world" of their own, which need not be even nearly world wide. Of course however, the "new world" in the "Americas" was home to some world-systems of its own before its incorporation into our (pre-existing) world system after 1492. - 2. The process of capital accumulation as the motor force of [world system] history. Wallerstein and others regard continuous capital accumulation as the differentia specifica of the "modern world-system." We have argued elsewhere that in this regard the "modern" world system is not so different and that this same process of capital accumulation has played a, if not the, central role in the world system for several millennia ( Frank 1991b and Gills and Frank 1990/91). Amin (1991) and Wallerstein (1991) disagree. They argue that previous world-systems were what Amin calls "tributary" or Wallerstein "world empires." In these, Amin claims that politics and ideology were in command, not the economic law of value in the accumulation of capital. Wallerstein seems to agree. - 3. The center-periphery structure in and of the world [system]. This structure is familiar to analysts of dependence in the "modern" world system and especially in Latin America since 1492. It includes but is not limited to the transfer of surplus between zones of the world system. Frank (1967, 1969) wrote about this among others. However, we now find that this analytical category is also applicable to the world system before that. - 4. The alternation between hegemony and rivalry.In this process, regional hegemonies and rivalries succeed the previous period of hegemony. World system and international relations literature has recently produced many good analyses of alternation between hegemonic leadership and rivalry for hegemony in the world system since 1492, for instance by Wallerstein (1979), or since 1494 by Modelski (1987) and by Modelski and Thompson (1988). However, hegemony and rivalry for the same also mark world [system] history long before that (Gills and Frank 1992). - 5. Long [and short] economic cycles of alternating ascending [sometimes denominated "A"] phases and descending [sometimes denominated "B"] phases. In the real world historical process and in its analysis by students of the "modern" world system, these long cycles are also associated with each of the previous categories. That is, an important characteristic of the "modern" world system is that the process of capital accumulation, changes in center-periphery position within it, and world system hegemony and rivalry are all cyclical and occur in tandem with each other. Frank analyzed the same for the "modern" world system under the title World Accumulation 1492-1789 and Dependent Accumulation and Underdevelopment (Frank 1978a,b). However, we now find that this same world system cycle and its features also extends back many centuries before 1492. Our thesis is elaborated in a forthcoming book, tentatively entitled The World System: From Five Hundred Years to Five Thousand, to which this essay is the draft introduction. In this book, this thesis is introduced by the early contribution of Kaisa Ekholm and Jonathan Friedman (1982). It is extended by David Wilkinson (1987) who argues... Please join StudyMode to read the full document

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<urn:uuid:d922ca15-7d86-4aa7-baf1-87158bdf2d38>_25

World system and international relations literature has recently produced many good analyses of alternation between hegemonic leadership and rivalry for hegemony in the world system since 1492, for instance by Wallerstein (1979), or since 1494 by Modelski (1987) and by Modelski and Thompson (1988).

Andre Gunder Frank The Five Thousand Year World System Our thesis is that the contemporary world system has a history of at least five thousand years. The rise to dominance of Europe and the West in this world system are only recent -- and perhaps passing -- events. Thus, our thesis poses a more humanocentric challenge to Eurocentrism. Our main theoretical categories are: - 1. The world system itself. Per contra Wallerstein (1974), we believe that the existence and development of the same world system in which we live stretches back at least five thousand years (Frank 1990a, 1991a,b; Gills and Frank 1990/91, 1992; Frank and Gills 1992). Wallerstein emphasizes the difference a hyphen [-] makes. Unlike our nearly World [wide] System, World-Systems are in a "world" of their own, which need not be even nearly world wide. Of course however, the "new world" in the "Americas" was home to some world-systems of its own before its incorporation into our (pre-existing) world system after 1492. - 2. The process of capital accumulation as the motor force of [world system] history. Wallerstein and others regard continuous capital accumulation as the differentia specifica of the "modern world-system." We have argued elsewhere that in this regard the "modern" world system is not so different and that this same process of capital accumulation has played a, if not the, central role in the world system for several millennia ( Frank 1991b and Gills and Frank 1990/91). Amin (1991) and Wallerstein (1991) disagree. They argue that previous world-systems were what Amin calls "tributary" or Wallerstein "world empires." In these, Amin claims that politics and ideology were in command, not the economic law of value in the accumulation of capital. Wallerstein seems to agree. - 3. The center-periphery structure in and of the world [system]. This structure is familiar to analysts of dependence in the "modern" world system and especially in Latin America since 1492. It includes but is not limited to the transfer of surplus between zones of the world system. Frank (1967, 1969) wrote about this among others. However, we now find that this analytical category is also applicable to the world system before that. - 4. The alternation between hegemony and rivalry.In this process, regional hegemonies and rivalries succeed the previous period of hegemony. World system and international relations literature has recently produced many good analyses of alternation between hegemonic leadership and rivalry for hegemony in the world system since 1492, for instance by Wallerstein (1979), or since 1494 by Modelski (1987) and by Modelski and Thompson (1988). However, hegemony and rivalry for the same also mark world [system] history long before that (Gills and Frank 1992). - 5. Long [and short] economic cycles of alternating ascending [sometimes denominated "A"] phases and descending [sometimes denominated "B"] phases. In the real world historical process and in its analysis by students of the "modern" world system, these long cycles are also associated with each of the previous categories. That is, an important characteristic of the "modern" world system is that the process of capital accumulation, changes in center-periphery position within it, and world system hegemony and rivalry are all cyclical and occur in tandem with each other. Frank analyzed the same for the "modern" world system under the title World Accumulation 1492-1789 and Dependent Accumulation and Underdevelopment (Frank 1978a,b). However, we now find that this same world system cycle and its features also extends back many centuries before 1492. Our thesis is elaborated in a forthcoming book, tentatively entitled The World System: From Five Hundred Years to Five Thousand, to which this essay is the draft introduction. In this book, this thesis is introduced by the early contribution of Kaisa Ekholm and Jonathan Friedman (1982). It is extended by David Wilkinson (1987) who argues... Please join StudyMode to read the full document

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<urn:uuid:d922ca15-7d86-4aa7-baf1-87158bdf2d38>_26

However, hegemony and rivalry for the same also mark world [system] history long before that (Gills and Frank 1992).

Andre Gunder Frank The Five Thousand Year World System Our thesis is that the contemporary world system has a history of at least five thousand years. The rise to dominance of Europe and the West in this world system are only recent -- and perhaps passing -- events. Thus, our thesis poses a more humanocentric challenge to Eurocentrism. Our main theoretical categories are: - 1. The world system itself. Per contra Wallerstein (1974), we believe that the existence and development of the same world system in which we live stretches back at least five thousand years (Frank 1990a, 1991a,b; Gills and Frank 1990/91, 1992; Frank and Gills 1992). Wallerstein emphasizes the difference a hyphen [-] makes. Unlike our nearly World [wide] System, World-Systems are in a "world" of their own, which need not be even nearly world wide. Of course however, the "new world" in the "Americas" was home to some world-systems of its own before its incorporation into our (pre-existing) world system after 1492. - 2. The process of capital accumulation as the motor force of [world system] history. Wallerstein and others regard continuous capital accumulation as the differentia specifica of the "modern world-system." We have argued elsewhere that in this regard the "modern" world system is not so different and that this same process of capital accumulation has played a, if not the, central role in the world system for several millennia ( Frank 1991b and Gills and Frank 1990/91). Amin (1991) and Wallerstein (1991) disagree. They argue that previous world-systems were what Amin calls "tributary" or Wallerstein "world empires." In these, Amin claims that politics and ideology were in command, not the economic law of value in the accumulation of capital. Wallerstein seems to agree. - 3. The center-periphery structure in and of the world [system]. This structure is familiar to analysts of dependence in the "modern" world system and especially in Latin America since 1492. It includes but is not limited to the transfer of surplus between zones of the world system. Frank (1967, 1969) wrote about this among others. However, we now find that this analytical category is also applicable to the world system before that. - 4. The alternation between hegemony and rivalry.In this process, regional hegemonies and rivalries succeed the previous period of hegemony. World system and international relations literature has recently produced many good analyses of alternation between hegemonic leadership and rivalry for hegemony in the world system since 1492, for instance by Wallerstein (1979), or since 1494 by Modelski (1987) and by Modelski and Thompson (1988). However, hegemony and rivalry for the same also mark world [system] history long before that (Gills and Frank 1992). - 5. Long [and short] economic cycles of alternating ascending [sometimes denominated "A"] phases and descending [sometimes denominated "B"] phases. In the real world historical process and in its analysis by students of the "modern" world system, these long cycles are also associated with each of the previous categories. That is, an important characteristic of the "modern" world system is that the process of capital accumulation, changes in center-periphery position within it, and world system hegemony and rivalry are all cyclical and occur in tandem with each other. Frank analyzed the same for the "modern" world system under the title World Accumulation 1492-1789 and Dependent Accumulation and Underdevelopment (Frank 1978a,b). However, we now find that this same world system cycle and its features also extends back many centuries before 1492. Our thesis is elaborated in a forthcoming book, tentatively entitled The World System: From Five Hundred Years to Five Thousand, to which this essay is the draft introduction. In this book, this thesis is introduced by the early contribution of Kaisa Ekholm and Jonathan Friedman (1982). It is extended by David Wilkinson (1987) who argues... Please join StudyMode to read the full document

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<urn:uuid:d922ca15-7d86-4aa7-baf1-87158bdf2d38>_28

Long [and short] economic cycles of alternating ascending [sometimes denominated "A"] phases and descending [sometimes denominated "B"] phases.

Andre Gunder Frank The Five Thousand Year World System Our thesis is that the contemporary world system has a history of at least five thousand years. The rise to dominance of Europe and the West in this world system are only recent -- and perhaps passing -- events. Thus, our thesis poses a more humanocentric challenge to Eurocentrism. Our main theoretical categories are: - 1. The world system itself. Per contra Wallerstein (1974), we believe that the existence and development of the same world system in which we live stretches back at least five thousand years (Frank 1990a, 1991a,b; Gills and Frank 1990/91, 1992; Frank and Gills 1992). Wallerstein emphasizes the difference a hyphen [-] makes. Unlike our nearly World [wide] System, World-Systems are in a "world" of their own, which need not be even nearly world wide. Of course however, the "new world" in the "Americas" was home to some world-systems of its own before its incorporation into our (pre-existing) world system after 1492. - 2. The process of capital accumulation as the motor force of [world system] history. Wallerstein and others regard continuous capital accumulation as the differentia specifica of the "modern world-system." We have argued elsewhere that in this regard the "modern" world system is not so different and that this same process of capital accumulation has played a, if not the, central role in the world system for several millennia ( Frank 1991b and Gills and Frank 1990/91). Amin (1991) and Wallerstein (1991) disagree. They argue that previous world-systems were what Amin calls "tributary" or Wallerstein "world empires." In these, Amin claims that politics and ideology were in command, not the economic law of value in the accumulation of capital. Wallerstein seems to agree. - 3. The center-periphery structure in and of the world [system]. This structure is familiar to analysts of dependence in the "modern" world system and especially in Latin America since 1492. It includes but is not limited to the transfer of surplus between zones of the world system. Frank (1967, 1969) wrote about this among others. However, we now find that this analytical category is also applicable to the world system before that. - 4. The alternation between hegemony and rivalry.In this process, regional hegemonies and rivalries succeed the previous period of hegemony. World system and international relations literature has recently produced many good analyses of alternation between hegemonic leadership and rivalry for hegemony in the world system since 1492, for instance by Wallerstein (1979), or since 1494 by Modelski (1987) and by Modelski and Thompson (1988). However, hegemony and rivalry for the same also mark world [system] history long before that (Gills and Frank 1992). - 5. Long [and short] economic cycles of alternating ascending [sometimes denominated "A"] phases and descending [sometimes denominated "B"] phases. In the real world historical process and in its analysis by students of the "modern" world system, these long cycles are also associated with each of the previous categories. That is, an important characteristic of the "modern" world system is that the process of capital accumulation, changes in center-periphery position within it, and world system hegemony and rivalry are all cyclical and occur in tandem with each other. Frank analyzed the same for the "modern" world system under the title World Accumulation 1492-1789 and Dependent Accumulation and Underdevelopment (Frank 1978a,b). However, we now find that this same world system cycle and its features also extends back many centuries before 1492. Our thesis is elaborated in a forthcoming book, tentatively entitled The World System: From Five Hundred Years to Five Thousand, to which this essay is the draft introduction. In this book, this thesis is introduced by the early contribution of Kaisa Ekholm and Jonathan Friedman (1982). It is extended by David Wilkinson (1987) who argues... Please join StudyMode to read the full document

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<urn:uuid:d922ca15-7d86-4aa7-baf1-87158bdf2d38>_29

In the real world historical process and in its analysis by students of the "modern" world system, these long cycles are also associated with each of the previous categories.

Andre Gunder Frank The Five Thousand Year World System Our thesis is that the contemporary world system has a history of at least five thousand years. The rise to dominance of Europe and the West in this world system are only recent -- and perhaps passing -- events. Thus, our thesis poses a more humanocentric challenge to Eurocentrism. Our main theoretical categories are: - 1. The world system itself. Per contra Wallerstein (1974), we believe that the existence and development of the same world system in which we live stretches back at least five thousand years (Frank 1990a, 1991a,b; Gills and Frank 1990/91, 1992; Frank and Gills 1992). Wallerstein emphasizes the difference a hyphen [-] makes. Unlike our nearly World [wide] System, World-Systems are in a "world" of their own, which need not be even nearly world wide. Of course however, the "new world" in the "Americas" was home to some world-systems of its own before its incorporation into our (pre-existing) world system after 1492. - 2. The process of capital accumulation as the motor force of [world system] history. Wallerstein and others regard continuous capital accumulation as the differentia specifica of the "modern world-system." We have argued elsewhere that in this regard the "modern" world system is not so different and that this same process of capital accumulation has played a, if not the, central role in the world system for several millennia ( Frank 1991b and Gills and Frank 1990/91). Amin (1991) and Wallerstein (1991) disagree. They argue that previous world-systems were what Amin calls "tributary" or Wallerstein "world empires." In these, Amin claims that politics and ideology were in command, not the economic law of value in the accumulation of capital. Wallerstein seems to agree. - 3. The center-periphery structure in and of the world [system]. This structure is familiar to analysts of dependence in the "modern" world system and especially in Latin America since 1492. It includes but is not limited to the transfer of surplus between zones of the world system. Frank (1967, 1969) wrote about this among others. However, we now find that this analytical category is also applicable to the world system before that. - 4. The alternation between hegemony and rivalry.In this process, regional hegemonies and rivalries succeed the previous period of hegemony. World system and international relations literature has recently produced many good analyses of alternation between hegemonic leadership and rivalry for hegemony in the world system since 1492, for instance by Wallerstein (1979), or since 1494 by Modelski (1987) and by Modelski and Thompson (1988). However, hegemony and rivalry for the same also mark world [system] history long before that (Gills and Frank 1992). - 5. Long [and short] economic cycles of alternating ascending [sometimes denominated "A"] phases and descending [sometimes denominated "B"] phases. In the real world historical process and in its analysis by students of the "modern" world system, these long cycles are also associated with each of the previous categories. That is, an important characteristic of the "modern" world system is that the process of capital accumulation, changes in center-periphery position within it, and world system hegemony and rivalry are all cyclical and occur in tandem with each other. Frank analyzed the same for the "modern" world system under the title World Accumulation 1492-1789 and Dependent Accumulation and Underdevelopment (Frank 1978a,b). However, we now find that this same world system cycle and its features also extends back many centuries before 1492. Our thesis is elaborated in a forthcoming book, tentatively entitled The World System: From Five Hundred Years to Five Thousand, to which this essay is the draft introduction. In this book, this thesis is introduced by the early contribution of Kaisa Ekholm and Jonathan Friedman (1982). It is extended by David Wilkinson (1987) who argues... Please join StudyMode to read the full document

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<urn:uuid:d922ca15-7d86-4aa7-baf1-87158bdf2d38>_30

That is, an important characteristic of the "modern" world system is that the process of capital accumulation, changes in center-periphery position within it, and world system hegemony and rivalry are all cyclical and occur in tandem with each other.

Andre Gunder Frank The Five Thousand Year World System Our thesis is that the contemporary world system has a history of at least five thousand years. The rise to dominance of Europe and the West in this world system are only recent -- and perhaps passing -- events. Thus, our thesis poses a more humanocentric challenge to Eurocentrism. Our main theoretical categories are: - 1. The world system itself. Per contra Wallerstein (1974), we believe that the existence and development of the same world system in which we live stretches back at least five thousand years (Frank 1990a, 1991a,b; Gills and Frank 1990/91, 1992; Frank and Gills 1992). Wallerstein emphasizes the difference a hyphen [-] makes. Unlike our nearly World [wide] System, World-Systems are in a "world" of their own, which need not be even nearly world wide. Of course however, the "new world" in the "Americas" was home to some world-systems of its own before its incorporation into our (pre-existing) world system after 1492. - 2. The process of capital accumulation as the motor force of [world system] history. Wallerstein and others regard continuous capital accumulation as the differentia specifica of the "modern world-system." We have argued elsewhere that in this regard the "modern" world system is not so different and that this same process of capital accumulation has played a, if not the, central role in the world system for several millennia ( Frank 1991b and Gills and Frank 1990/91). Amin (1991) and Wallerstein (1991) disagree. They argue that previous world-systems were what Amin calls "tributary" or Wallerstein "world empires." In these, Amin claims that politics and ideology were in command, not the economic law of value in the accumulation of capital. Wallerstein seems to agree. - 3. The center-periphery structure in and of the world [system]. This structure is familiar to analysts of dependence in the "modern" world system and especially in Latin America since 1492. It includes but is not limited to the transfer of surplus between zones of the world system. Frank (1967, 1969) wrote about this among others. However, we now find that this analytical category is also applicable to the world system before that. - 4. The alternation between hegemony and rivalry.In this process, regional hegemonies and rivalries succeed the previous period of hegemony. World system and international relations literature has recently produced many good analyses of alternation between hegemonic leadership and rivalry for hegemony in the world system since 1492, for instance by Wallerstein (1979), or since 1494 by Modelski (1987) and by Modelski and Thompson (1988). However, hegemony and rivalry for the same also mark world [system] history long before that (Gills and Frank 1992). - 5. Long [and short] economic cycles of alternating ascending [sometimes denominated "A"] phases and descending [sometimes denominated "B"] phases. In the real world historical process and in its analysis by students of the "modern" world system, these long cycles are also associated with each of the previous categories. That is, an important characteristic of the "modern" world system is that the process of capital accumulation, changes in center-periphery position within it, and world system hegemony and rivalry are all cyclical and occur in tandem with each other. Frank analyzed the same for the "modern" world system under the title World Accumulation 1492-1789 and Dependent Accumulation and Underdevelopment (Frank 1978a,b). However, we now find that this same world system cycle and its features also extends back many centuries before 1492. Our thesis is elaborated in a forthcoming book, tentatively entitled The World System: From Five Hundred Years to Five Thousand, to which this essay is the draft introduction. In this book, this thesis is introduced by the early contribution of Kaisa Ekholm and Jonathan Friedman (1982). It is extended by David Wilkinson (1987) who argues... Please join StudyMode to read the full document

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<urn:uuid:d922ca15-7d86-4aa7-baf1-87158bdf2d38>_31

Frank analyzed the same for the "modern" world system under the title World Accumulation 1492-1789 and Dependent Accumulation and Underdevelopment (Frank 1978a,b).

Andre Gunder Frank The Five Thousand Year World System Our thesis is that the contemporary world system has a history of at least five thousand years. The rise to dominance of Europe and the West in this world system are only recent -- and perhaps passing -- events. Thus, our thesis poses a more humanocentric challenge to Eurocentrism. Our main theoretical categories are: - 1. The world system itself. Per contra Wallerstein (1974), we believe that the existence and development of the same world system in which we live stretches back at least five thousand years (Frank 1990a, 1991a,b; Gills and Frank 1990/91, 1992; Frank and Gills 1992). Wallerstein emphasizes the difference a hyphen [-] makes. Unlike our nearly World [wide] System, World-Systems are in a "world" of their own, which need not be even nearly world wide. Of course however, the "new world" in the "Americas" was home to some world-systems of its own before its incorporation into our (pre-existing) world system after 1492. - 2. The process of capital accumulation as the motor force of [world system] history. Wallerstein and others regard continuous capital accumulation as the differentia specifica of the "modern world-system." We have argued elsewhere that in this regard the "modern" world system is not so different and that this same process of capital accumulation has played a, if not the, central role in the world system for several millennia ( Frank 1991b and Gills and Frank 1990/91). Amin (1991) and Wallerstein (1991) disagree. They argue that previous world-systems were what Amin calls "tributary" or Wallerstein "world empires." In these, Amin claims that politics and ideology were in command, not the economic law of value in the accumulation of capital. Wallerstein seems to agree. - 3. The center-periphery structure in and of the world [system]. This structure is familiar to analysts of dependence in the "modern" world system and especially in Latin America since 1492. It includes but is not limited to the transfer of surplus between zones of the world system. Frank (1967, 1969) wrote about this among others. However, we now find that this analytical category is also applicable to the world system before that. - 4. The alternation between hegemony and rivalry.In this process, regional hegemonies and rivalries succeed the previous period of hegemony. World system and international relations literature has recently produced many good analyses of alternation between hegemonic leadership and rivalry for hegemony in the world system since 1492, for instance by Wallerstein (1979), or since 1494 by Modelski (1987) and by Modelski and Thompson (1988). However, hegemony and rivalry for the same also mark world [system] history long before that (Gills and Frank 1992). - 5. Long [and short] economic cycles of alternating ascending [sometimes denominated "A"] phases and descending [sometimes denominated "B"] phases. In the real world historical process and in its analysis by students of the "modern" world system, these long cycles are also associated with each of the previous categories. That is, an important characteristic of the "modern" world system is that the process of capital accumulation, changes in center-periphery position within it, and world system hegemony and rivalry are all cyclical and occur in tandem with each other. Frank analyzed the same for the "modern" world system under the title World Accumulation 1492-1789 and Dependent Accumulation and Underdevelopment (Frank 1978a,b). However, we now find that this same world system cycle and its features also extends back many centuries before 1492. Our thesis is elaborated in a forthcoming book, tentatively entitled The World System: From Five Hundred Years to Five Thousand, to which this essay is the draft introduction. In this book, this thesis is introduced by the early contribution of Kaisa Ekholm and Jonathan Friedman (1982). It is extended by David Wilkinson (1987) who argues... Please join StudyMode to read the full document

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<urn:uuid:d922ca15-7d86-4aa7-baf1-87158bdf2d38>_32

However, we now find that this same world system cycle and its features also extends back many centuries before 1492.

Andre Gunder Frank The Five Thousand Year World System Our thesis is that the contemporary world system has a history of at least five thousand years. The rise to dominance of Europe and the West in this world system are only recent -- and perhaps passing -- events. Thus, our thesis poses a more humanocentric challenge to Eurocentrism. Our main theoretical categories are: - 1. The world system itself. Per contra Wallerstein (1974), we believe that the existence and development of the same world system in which we live stretches back at least five thousand years (Frank 1990a, 1991a,b; Gills and Frank 1990/91, 1992; Frank and Gills 1992). Wallerstein emphasizes the difference a hyphen [-] makes. Unlike our nearly World [wide] System, World-Systems are in a "world" of their own, which need not be even nearly world wide. Of course however, the "new world" in the "Americas" was home to some world-systems of its own before its incorporation into our (pre-existing) world system after 1492. - 2. The process of capital accumulation as the motor force of [world system] history. Wallerstein and others regard continuous capital accumulation as the differentia specifica of the "modern world-system." We have argued elsewhere that in this regard the "modern" world system is not so different and that this same process of capital accumulation has played a, if not the, central role in the world system for several millennia ( Frank 1991b and Gills and Frank 1990/91). Amin (1991) and Wallerstein (1991) disagree. They argue that previous world-systems were what Amin calls "tributary" or Wallerstein "world empires." In these, Amin claims that politics and ideology were in command, not the economic law of value in the accumulation of capital. Wallerstein seems to agree. - 3. The center-periphery structure in and of the world [system]. This structure is familiar to analysts of dependence in the "modern" world system and especially in Latin America since 1492. It includes but is not limited to the transfer of surplus between zones of the world system. Frank (1967, 1969) wrote about this among others. However, we now find that this analytical category is also applicable to the world system before that. - 4. The alternation between hegemony and rivalry.In this process, regional hegemonies and rivalries succeed the previous period of hegemony. World system and international relations literature has recently produced many good analyses of alternation between hegemonic leadership and rivalry for hegemony in the world system since 1492, for instance by Wallerstein (1979), or since 1494 by Modelski (1987) and by Modelski and Thompson (1988). However, hegemony and rivalry for the same also mark world [system] history long before that (Gills and Frank 1992). - 5. Long [and short] economic cycles of alternating ascending [sometimes denominated "A"] phases and descending [sometimes denominated "B"] phases. In the real world historical process and in its analysis by students of the "modern" world system, these long cycles are also associated with each of the previous categories. That is, an important characteristic of the "modern" world system is that the process of capital accumulation, changes in center-periphery position within it, and world system hegemony and rivalry are all cyclical and occur in tandem with each other. Frank analyzed the same for the "modern" world system under the title World Accumulation 1492-1789 and Dependent Accumulation and Underdevelopment (Frank 1978a,b). However, we now find that this same world system cycle and its features also extends back many centuries before 1492. Our thesis is elaborated in a forthcoming book, tentatively entitled The World System: From Five Hundred Years to Five Thousand, to which this essay is the draft introduction. In this book, this thesis is introduced by the early contribution of Kaisa Ekholm and Jonathan Friedman (1982). It is extended by David Wilkinson (1987) who argues... Please join StudyMode to read the full document

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<urn:uuid:d922ca15-7d86-4aa7-baf1-87158bdf2d38>_33

Our thesis is elaborated in a forthcoming book, tentatively entitled The World System: From Five Hundred Years to Five Thousand, to which this essay is the draft introduction.

Andre Gunder Frank The Five Thousand Year World System Our thesis is that the contemporary world system has a history of at least five thousand years. The rise to dominance of Europe and the West in this world system are only recent -- and perhaps passing -- events. Thus, our thesis poses a more humanocentric challenge to Eurocentrism. Our main theoretical categories are: - 1. The world system itself. Per contra Wallerstein (1974), we believe that the existence and development of the same world system in which we live stretches back at least five thousand years (Frank 1990a, 1991a,b; Gills and Frank 1990/91, 1992; Frank and Gills 1992). Wallerstein emphasizes the difference a hyphen [-] makes. Unlike our nearly World [wide] System, World-Systems are in a "world" of their own, which need not be even nearly world wide. Of course however, the "new world" in the "Americas" was home to some world-systems of its own before its incorporation into our (pre-existing) world system after 1492. - 2. The process of capital accumulation as the motor force of [world system] history. Wallerstein and others regard continuous capital accumulation as the differentia specifica of the "modern world-system." We have argued elsewhere that in this regard the "modern" world system is not so different and that this same process of capital accumulation has played a, if not the, central role in the world system for several millennia ( Frank 1991b and Gills and Frank 1990/91). Amin (1991) and Wallerstein (1991) disagree. They argue that previous world-systems were what Amin calls "tributary" or Wallerstein "world empires." In these, Amin claims that politics and ideology were in command, not the economic law of value in the accumulation of capital. Wallerstein seems to agree. - 3. The center-periphery structure in and of the world [system]. This structure is familiar to analysts of dependence in the "modern" world system and especially in Latin America since 1492. It includes but is not limited to the transfer of surplus between zones of the world system. Frank (1967, 1969) wrote about this among others. However, we now find that this analytical category is also applicable to the world system before that. - 4. The alternation between hegemony and rivalry.In this process, regional hegemonies and rivalries succeed the previous period of hegemony. World system and international relations literature has recently produced many good analyses of alternation between hegemonic leadership and rivalry for hegemony in the world system since 1492, for instance by Wallerstein (1979), or since 1494 by Modelski (1987) and by Modelski and Thompson (1988). However, hegemony and rivalry for the same also mark world [system] history long before that (Gills and Frank 1992). - 5. Long [and short] economic cycles of alternating ascending [sometimes denominated "A"] phases and descending [sometimes denominated "B"] phases. In the real world historical process and in its analysis by students of the "modern" world system, these long cycles are also associated with each of the previous categories. That is, an important characteristic of the "modern" world system is that the process of capital accumulation, changes in center-periphery position within it, and world system hegemony and rivalry are all cyclical and occur in tandem with each other. Frank analyzed the same for the "modern" world system under the title World Accumulation 1492-1789 and Dependent Accumulation and Underdevelopment (Frank 1978a,b). However, we now find that this same world system cycle and its features also extends back many centuries before 1492. Our thesis is elaborated in a forthcoming book, tentatively entitled The World System: From Five Hundred Years to Five Thousand, to which this essay is the draft introduction. In this book, this thesis is introduced by the early contribution of Kaisa Ekholm and Jonathan Friedman (1982). It is extended by David Wilkinson (1987) who argues... Please join StudyMode to read the full document

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<urn:uuid:d922ca15-7d86-4aa7-baf1-87158bdf2d38>_34

In this book, this thesis is introduced by the early contribution of Kaisa Ekholm and Jonathan Friedman (1982).

Andre Gunder Frank The Five Thousand Year World System Our thesis is that the contemporary world system has a history of at least five thousand years. The rise to dominance of Europe and the West in this world system are only recent -- and perhaps passing -- events. Thus, our thesis poses a more humanocentric challenge to Eurocentrism. Our main theoretical categories are: - 1. The world system itself. Per contra Wallerstein (1974), we believe that the existence and development of the same world system in which we live stretches back at least five thousand years (Frank 1990a, 1991a,b; Gills and Frank 1990/91, 1992; Frank and Gills 1992). Wallerstein emphasizes the difference a hyphen [-] makes. Unlike our nearly World [wide] System, World-Systems are in a "world" of their own, which need not be even nearly world wide. Of course however, the "new world" in the "Americas" was home to some world-systems of its own before its incorporation into our (pre-existing) world system after 1492. - 2. The process of capital accumulation as the motor force of [world system] history. Wallerstein and others regard continuous capital accumulation as the differentia specifica of the "modern world-system." We have argued elsewhere that in this regard the "modern" world system is not so different and that this same process of capital accumulation has played a, if not the, central role in the world system for several millennia ( Frank 1991b and Gills and Frank 1990/91). Amin (1991) and Wallerstein (1991) disagree. They argue that previous world-systems were what Amin calls "tributary" or Wallerstein "world empires." In these, Amin claims that politics and ideology were in command, not the economic law of value in the accumulation of capital. Wallerstein seems to agree. - 3. The center-periphery structure in and of the world [system]. This structure is familiar to analysts of dependence in the "modern" world system and especially in Latin America since 1492. It includes but is not limited to the transfer of surplus between zones of the world system. Frank (1967, 1969) wrote about this among others. However, we now find that this analytical category is also applicable to the world system before that. - 4. The alternation between hegemony and rivalry.In this process, regional hegemonies and rivalries succeed the previous period of hegemony. World system and international relations literature has recently produced many good analyses of alternation between hegemonic leadership and rivalry for hegemony in the world system since 1492, for instance by Wallerstein (1979), or since 1494 by Modelski (1987) and by Modelski and Thompson (1988). However, hegemony and rivalry for the same also mark world [system] history long before that (Gills and Frank 1992). - 5. Long [and short] economic cycles of alternating ascending [sometimes denominated "A"] phases and descending [sometimes denominated "B"] phases. In the real world historical process and in its analysis by students of the "modern" world system, these long cycles are also associated with each of the previous categories. That is, an important characteristic of the "modern" world system is that the process of capital accumulation, changes in center-periphery position within it, and world system hegemony and rivalry are all cyclical and occur in tandem with each other. Frank analyzed the same for the "modern" world system under the title World Accumulation 1492-1789 and Dependent Accumulation and Underdevelopment (Frank 1978a,b). However, we now find that this same world system cycle and its features also extends back many centuries before 1492. Our thesis is elaborated in a forthcoming book, tentatively entitled The World System: From Five Hundred Years to Five Thousand, to which this essay is the draft introduction. In this book, this thesis is introduced by the early contribution of Kaisa Ekholm and Jonathan Friedman (1982). It is extended by David Wilkinson (1987) who argues... Please join StudyMode to read the full document

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<urn:uuid:d922ca15-7d86-4aa7-baf1-87158bdf2d38>_35

It is extended by David Wilkinson (1987) who argues...

Andre Gunder Frank The Five Thousand Year World System Our thesis is that the contemporary world system has a history of at least five thousand years. The rise to dominance of Europe and the West in this world system are only recent -- and perhaps passing -- events. Thus, our thesis poses a more humanocentric challenge to Eurocentrism. Our main theoretical categories are: - 1. The world system itself. Per contra Wallerstein (1974), we believe that the existence and development of the same world system in which we live stretches back at least five thousand years (Frank 1990a, 1991a,b; Gills and Frank 1990/91, 1992; Frank and Gills 1992). Wallerstein emphasizes the difference a hyphen [-] makes. Unlike our nearly World [wide] System, World-Systems are in a "world" of their own, which need not be even nearly world wide. Of course however, the "new world" in the "Americas" was home to some world-systems of its own before its incorporation into our (pre-existing) world system after 1492. - 2. The process of capital accumulation as the motor force of [world system] history. Wallerstein and others regard continuous capital accumulation as the differentia specifica of the "modern world-system." We have argued elsewhere that in this regard the "modern" world system is not so different and that this same process of capital accumulation has played a, if not the, central role in the world system for several millennia ( Frank 1991b and Gills and Frank 1990/91). Amin (1991) and Wallerstein (1991) disagree. They argue that previous world-systems were what Amin calls "tributary" or Wallerstein "world empires." In these, Amin claims that politics and ideology were in command, not the economic law of value in the accumulation of capital. Wallerstein seems to agree. - 3. The center-periphery structure in and of the world [system]. This structure is familiar to analysts of dependence in the "modern" world system and especially in Latin America since 1492. It includes but is not limited to the transfer of surplus between zones of the world system. Frank (1967, 1969) wrote about this among others. However, we now find that this analytical category is also applicable to the world system before that. - 4. The alternation between hegemony and rivalry.In this process, regional hegemonies and rivalries succeed the previous period of hegemony. World system and international relations literature has recently produced many good analyses of alternation between hegemonic leadership and rivalry for hegemony in the world system since 1492, for instance by Wallerstein (1979), or since 1494 by Modelski (1987) and by Modelski and Thompson (1988). However, hegemony and rivalry for the same also mark world [system] history long before that (Gills and Frank 1992). - 5. Long [and short] economic cycles of alternating ascending [sometimes denominated "A"] phases and descending [sometimes denominated "B"] phases. In the real world historical process and in its analysis by students of the "modern" world system, these long cycles are also associated with each of the previous categories. That is, an important characteristic of the "modern" world system is that the process of capital accumulation, changes in center-periphery position within it, and world system hegemony and rivalry are all cyclical and occur in tandem with each other. Frank analyzed the same for the "modern" world system under the title World Accumulation 1492-1789 and Dependent Accumulation and Underdevelopment (Frank 1978a,b). However, we now find that this same world system cycle and its features also extends back many centuries before 1492. Our thesis is elaborated in a forthcoming book, tentatively entitled The World System: From Five Hundred Years to Five Thousand, to which this essay is the draft introduction. In this book, this thesis is introduced by the early contribution of Kaisa Ekholm and Jonathan Friedman (1982). It is extended by David Wilkinson (1987) who argues... Please join StudyMode to read the full document

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<urn:uuid:d922ca15-7d86-4aa7-baf1-87158bdf2d38>_36

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If a tenth part of his detachment returns I shall thank God," he added as if speaking to himself. That is why I beg to be sent to that detachment," he said. At dawn, attempting to break forth down the south-western slopes of the mountain toward Petaluma, he had encountered not less than five separate detachments of dairy-ranchers all armed with Winchesters and shotguns. As the whole stream turned at once, Barnaby and Hugh went with it: and so, fighting and struggling and trampling on fallen men and being trampled on in turn themselves, they and the whole mass floated by degrees into the open street, where a large detachment of the Guards, both horse and foot, came hurrying up; clearing the ground before them so rapidly that the people seemed to melt away as they advanced. Colonel Capell had, through a desire to personally observe the stretch of country between the camp of the advance detachment and the base, decided to march back his troops. And with which detachment will Monsieur Tarzan ride? And so it was that Lieutenant Gernois and Tarzan rode off side by side at the head of the little detachment of SPAHIS. At last the valley was submerged in shadow Tarzan was too proud to go back to camp until he had given the detachment ample time to return to the valley, which he thought was to have been their rendezvous. The country is more or less familiar with the history of that garrison, particularly with the slaughter by the Sioux of a detachment of eighty-one men and officers--not one escaping--through disobedience of orders by its commander, the brave but reckless Captain Fetterman. He was in command of a detachment of men constituting a picket-guard. On the first of November Barbicane quitted Tampa Town with a detachment of workmen; and on the following day the whole town of huts was erected round Stones Hill. The Naples and Foggia detachments were then reassigned to the 117th Squadron headquartered in Rome.

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If a tenth part of his detachment returns I shall thank God," he added as if speaking to himself.

If a tenth part of his detachment returns I shall thank God," he added as if speaking to himself. That is why I beg to be sent to that detachment," he said. At dawn, attempting to break forth down the south-western slopes of the mountain toward Petaluma, he had encountered not less than five separate detachments of dairy-ranchers all armed with Winchesters and shotguns. As the whole stream turned at once, Barnaby and Hugh went with it: and so, fighting and struggling and trampling on fallen men and being trampled on in turn themselves, they and the whole mass floated by degrees into the open street, where a large detachment of the Guards, both horse and foot, came hurrying up; clearing the ground before them so rapidly that the people seemed to melt away as they advanced. Colonel Capell had, through a desire to personally observe the stretch of country between the camp of the advance detachment and the base, decided to march back his troops. And with which detachment will Monsieur Tarzan ride? And so it was that Lieutenant Gernois and Tarzan rode off side by side at the head of the little detachment of SPAHIS. At last the valley was submerged in shadow Tarzan was too proud to go back to camp until he had given the detachment ample time to return to the valley, which he thought was to have been their rendezvous. The country is more or less familiar with the history of that garrison, particularly with the slaughter by the Sioux of a detachment of eighty-one men and officers--not one escaping--through disobedience of orders by its commander, the brave but reckless Captain Fetterman. He was in command of a detachment of men constituting a picket-guard. On the first of November Barbicane quitted Tampa Town with a detachment of workmen; and on the following day the whole town of huts was erected round Stones Hill. The Naples and Foggia detachments were then reassigned to the 117th Squadron headquartered in Rome.

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That is why I beg to be sent to that detachment," he said.

If a tenth part of his detachment returns I shall thank God," he added as if speaking to himself. That is why I beg to be sent to that detachment," he said. At dawn, attempting to break forth down the south-western slopes of the mountain toward Petaluma, he had encountered not less than five separate detachments of dairy-ranchers all armed with Winchesters and shotguns. As the whole stream turned at once, Barnaby and Hugh went with it: and so, fighting and struggling and trampling on fallen men and being trampled on in turn themselves, they and the whole mass floated by degrees into the open street, where a large detachment of the Guards, both horse and foot, came hurrying up; clearing the ground before them so rapidly that the people seemed to melt away as they advanced. Colonel Capell had, through a desire to personally observe the stretch of country between the camp of the advance detachment and the base, decided to march back his troops. And with which detachment will Monsieur Tarzan ride? And so it was that Lieutenant Gernois and Tarzan rode off side by side at the head of the little detachment of SPAHIS. At last the valley was submerged in shadow Tarzan was too proud to go back to camp until he had given the detachment ample time to return to the valley, which he thought was to have been their rendezvous. The country is more or less familiar with the history of that garrison, particularly with the slaughter by the Sioux of a detachment of eighty-one men and officers--not one escaping--through disobedience of orders by its commander, the brave but reckless Captain Fetterman. He was in command of a detachment of men constituting a picket-guard. On the first of November Barbicane quitted Tampa Town with a detachment of workmen; and on the following day the whole town of huts was erected round Stones Hill. The Naples and Foggia detachments were then reassigned to the 117th Squadron headquartered in Rome.

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At dawn, attempting to break forth down the south-western slopes of the mountain toward Petaluma, he had encountered not less than five separate detachments of dairy-ranchers all armed with Winchesters and shotguns.

If a tenth part of his detachment returns I shall thank God," he added as if speaking to himself. That is why I beg to be sent to that detachment," he said. At dawn, attempting to break forth down the south-western slopes of the mountain toward Petaluma, he had encountered not less than five separate detachments of dairy-ranchers all armed with Winchesters and shotguns. As the whole stream turned at once, Barnaby and Hugh went with it: and so, fighting and struggling and trampling on fallen men and being trampled on in turn themselves, they and the whole mass floated by degrees into the open street, where a large detachment of the Guards, both horse and foot, came hurrying up; clearing the ground before them so rapidly that the people seemed to melt away as they advanced. Colonel Capell had, through a desire to personally observe the stretch of country between the camp of the advance detachment and the base, decided to march back his troops. And with which detachment will Monsieur Tarzan ride? And so it was that Lieutenant Gernois and Tarzan rode off side by side at the head of the little detachment of SPAHIS. At last the valley was submerged in shadow Tarzan was too proud to go back to camp until he had given the detachment ample time to return to the valley, which he thought was to have been their rendezvous. The country is more or less familiar with the history of that garrison, particularly with the slaughter by the Sioux of a detachment of eighty-one men and officers--not one escaping--through disobedience of orders by its commander, the brave but reckless Captain Fetterman. He was in command of a detachment of men constituting a picket-guard. On the first of November Barbicane quitted Tampa Town with a detachment of workmen; and on the following day the whole town of huts was erected round Stones Hill. The Naples and Foggia detachments were then reassigned to the 117th Squadron headquartered in Rome.

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As the whole stream turned at once, Barnaby and Hugh went with it: and so, fighting and struggling and trampling on fallen men and being trampled on in turn themselves, they and the whole mass floated by degrees into the open street, where a large detachment of the Guards, both horse and foot, came hurrying up; clearing the ground before them so rapidly that the people seemed to melt away as they advanced.

If a tenth part of his detachment returns I shall thank God," he added as if speaking to himself. That is why I beg to be sent to that detachment," he said. At dawn, attempting to break forth down the south-western slopes of the mountain toward Petaluma, he had encountered not less than five separate detachments of dairy-ranchers all armed with Winchesters and shotguns. As the whole stream turned at once, Barnaby and Hugh went with it: and so, fighting and struggling and trampling on fallen men and being trampled on in turn themselves, they and the whole mass floated by degrees into the open street, where a large detachment of the Guards, both horse and foot, came hurrying up; clearing the ground before them so rapidly that the people seemed to melt away as they advanced. Colonel Capell had, through a desire to personally observe the stretch of country between the camp of the advance detachment and the base, decided to march back his troops. And with which detachment will Monsieur Tarzan ride? And so it was that Lieutenant Gernois and Tarzan rode off side by side at the head of the little detachment of SPAHIS. At last the valley was submerged in shadow Tarzan was too proud to go back to camp until he had given the detachment ample time to return to the valley, which he thought was to have been their rendezvous. The country is more or less familiar with the history of that garrison, particularly with the slaughter by the Sioux of a detachment of eighty-one men and officers--not one escaping--through disobedience of orders by its commander, the brave but reckless Captain Fetterman. He was in command of a detachment of men constituting a picket-guard. On the first of November Barbicane quitted Tampa Town with a detachment of workmen; and on the following day the whole town of huts was erected round Stones Hill. The Naples and Foggia detachments were then reassigned to the 117th Squadron headquartered in Rome.

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Colonel Capell had, through a desire to personally observe the stretch of country between the camp of the advance detachment and the base, decided to march back his troops.

If a tenth part of his detachment returns I shall thank God," he added as if speaking to himself. That is why I beg to be sent to that detachment," he said. At dawn, attempting to break forth down the south-western slopes of the mountain toward Petaluma, he had encountered not less than five separate detachments of dairy-ranchers all armed with Winchesters and shotguns. As the whole stream turned at once, Barnaby and Hugh went with it: and so, fighting and struggling and trampling on fallen men and being trampled on in turn themselves, they and the whole mass floated by degrees into the open street, where a large detachment of the Guards, both horse and foot, came hurrying up; clearing the ground before them so rapidly that the people seemed to melt away as they advanced. Colonel Capell had, through a desire to personally observe the stretch of country between the camp of the advance detachment and the base, decided to march back his troops. And with which detachment will Monsieur Tarzan ride? And so it was that Lieutenant Gernois and Tarzan rode off side by side at the head of the little detachment of SPAHIS. At last the valley was submerged in shadow Tarzan was too proud to go back to camp until he had given the detachment ample time to return to the valley, which he thought was to have been their rendezvous. The country is more or less familiar with the history of that garrison, particularly with the slaughter by the Sioux of a detachment of eighty-one men and officers--not one escaping--through disobedience of orders by its commander, the brave but reckless Captain Fetterman. He was in command of a detachment of men constituting a picket-guard. On the first of November Barbicane quitted Tampa Town with a detachment of workmen; and on the following day the whole town of huts was erected round Stones Hill. The Naples and Foggia detachments were then reassigned to the 117th Squadron headquartered in Rome.

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And with which detachment will Monsieur Tarzan ride?

If a tenth part of his detachment returns I shall thank God," he added as if speaking to himself. That is why I beg to be sent to that detachment," he said. At dawn, attempting to break forth down the south-western slopes of the mountain toward Petaluma, he had encountered not less than five separate detachments of dairy-ranchers all armed with Winchesters and shotguns. As the whole stream turned at once, Barnaby and Hugh went with it: and so, fighting and struggling and trampling on fallen men and being trampled on in turn themselves, they and the whole mass floated by degrees into the open street, where a large detachment of the Guards, both horse and foot, came hurrying up; clearing the ground before them so rapidly that the people seemed to melt away as they advanced. Colonel Capell had, through a desire to personally observe the stretch of country between the camp of the advance detachment and the base, decided to march back his troops. And with which detachment will Monsieur Tarzan ride? And so it was that Lieutenant Gernois and Tarzan rode off side by side at the head of the little detachment of SPAHIS. At last the valley was submerged in shadow Tarzan was too proud to go back to camp until he had given the detachment ample time to return to the valley, which he thought was to have been their rendezvous. The country is more or less familiar with the history of that garrison, particularly with the slaughter by the Sioux of a detachment of eighty-one men and officers--not one escaping--through disobedience of orders by its commander, the brave but reckless Captain Fetterman. He was in command of a detachment of men constituting a picket-guard. On the first of November Barbicane quitted Tampa Town with a detachment of workmen; and on the following day the whole town of huts was erected round Stones Hill. The Naples and Foggia detachments were then reassigned to the 117th Squadron headquartered in Rome.

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And so it was that Lieutenant Gernois and Tarzan rode off side by side at the head of the little detachment of SPAHIS.

If a tenth part of his detachment returns I shall thank God," he added as if speaking to himself. That is why I beg to be sent to that detachment," he said. At dawn, attempting to break forth down the south-western slopes of the mountain toward Petaluma, he had encountered not less than five separate detachments of dairy-ranchers all armed with Winchesters and shotguns. As the whole stream turned at once, Barnaby and Hugh went with it: and so, fighting and struggling and trampling on fallen men and being trampled on in turn themselves, they and the whole mass floated by degrees into the open street, where a large detachment of the Guards, both horse and foot, came hurrying up; clearing the ground before them so rapidly that the people seemed to melt away as they advanced. Colonel Capell had, through a desire to personally observe the stretch of country between the camp of the advance detachment and the base, decided to march back his troops. And with which detachment will Monsieur Tarzan ride? And so it was that Lieutenant Gernois and Tarzan rode off side by side at the head of the little detachment of SPAHIS. At last the valley was submerged in shadow Tarzan was too proud to go back to camp until he had given the detachment ample time to return to the valley, which he thought was to have been their rendezvous. The country is more or less familiar with the history of that garrison, particularly with the slaughter by the Sioux of a detachment of eighty-one men and officers--not one escaping--through disobedience of orders by its commander, the brave but reckless Captain Fetterman. He was in command of a detachment of men constituting a picket-guard. On the first of November Barbicane quitted Tampa Town with a detachment of workmen; and on the following day the whole town of huts was erected round Stones Hill. The Naples and Foggia detachments were then reassigned to the 117th Squadron headquartered in Rome.

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At last the valley was submerged in shadow Tarzan was too proud to go back to camp until he had given the detachment ample time to return to the valley, which he thought was to have been their rendezvous.

If a tenth part of his detachment returns I shall thank God," he added as if speaking to himself. That is why I beg to be sent to that detachment," he said. At dawn, attempting to break forth down the south-western slopes of the mountain toward Petaluma, he had encountered not less than five separate detachments of dairy-ranchers all armed with Winchesters and shotguns. As the whole stream turned at once, Barnaby and Hugh went with it: and so, fighting and struggling and trampling on fallen men and being trampled on in turn themselves, they and the whole mass floated by degrees into the open street, where a large detachment of the Guards, both horse and foot, came hurrying up; clearing the ground before them so rapidly that the people seemed to melt away as they advanced. Colonel Capell had, through a desire to personally observe the stretch of country between the camp of the advance detachment and the base, decided to march back his troops. And with which detachment will Monsieur Tarzan ride? And so it was that Lieutenant Gernois and Tarzan rode off side by side at the head of the little detachment of SPAHIS. At last the valley was submerged in shadow Tarzan was too proud to go back to camp until he had given the detachment ample time to return to the valley, which he thought was to have been their rendezvous. The country is more or less familiar with the history of that garrison, particularly with the slaughter by the Sioux of a detachment of eighty-one men and officers--not one escaping--through disobedience of orders by its commander, the brave but reckless Captain Fetterman. He was in command of a detachment of men constituting a picket-guard. On the first of November Barbicane quitted Tampa Town with a detachment of workmen; and on the following day the whole town of huts was erected round Stones Hill. The Naples and Foggia detachments were then reassigned to the 117th Squadron headquartered in Rome.

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The country is more or less familiar with the history of that garrison, particularly with the slaughter by the Sioux of a detachment of eighty-one men and officers--not one escaping--through disobedience of orders by its commander, the brave but reckless Captain Fetterman.

If a tenth part of his detachment returns I shall thank God," he added as if speaking to himself. That is why I beg to be sent to that detachment," he said. At dawn, attempting to break forth down the south-western slopes of the mountain toward Petaluma, he had encountered not less than five separate detachments of dairy-ranchers all armed with Winchesters and shotguns. As the whole stream turned at once, Barnaby and Hugh went with it: and so, fighting and struggling and trampling on fallen men and being trampled on in turn themselves, they and the whole mass floated by degrees into the open street, where a large detachment of the Guards, both horse and foot, came hurrying up; clearing the ground before them so rapidly that the people seemed to melt away as they advanced. Colonel Capell had, through a desire to personally observe the stretch of country between the camp of the advance detachment and the base, decided to march back his troops. And with which detachment will Monsieur Tarzan ride? And so it was that Lieutenant Gernois and Tarzan rode off side by side at the head of the little detachment of SPAHIS. At last the valley was submerged in shadow Tarzan was too proud to go back to camp until he had given the detachment ample time to return to the valley, which he thought was to have been their rendezvous. The country is more or less familiar with the history of that garrison, particularly with the slaughter by the Sioux of a detachment of eighty-one men and officers--not one escaping--through disobedience of orders by its commander, the brave but reckless Captain Fetterman. He was in command of a detachment of men constituting a picket-guard. On the first of November Barbicane quitted Tampa Town with a detachment of workmen; and on the following day the whole town of huts was erected round Stones Hill. The Naples and Foggia detachments were then reassigned to the 117th Squadron headquartered in Rome.

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He was in command of a detachment of men constituting a picket-guard.

If a tenth part of his detachment returns I shall thank God," he added as if speaking to himself. That is why I beg to be sent to that detachment," he said. At dawn, attempting to break forth down the south-western slopes of the mountain toward Petaluma, he had encountered not less than five separate detachments of dairy-ranchers all armed with Winchesters and shotguns. As the whole stream turned at once, Barnaby and Hugh went with it: and so, fighting and struggling and trampling on fallen men and being trampled on in turn themselves, they and the whole mass floated by degrees into the open street, where a large detachment of the Guards, both horse and foot, came hurrying up; clearing the ground before them so rapidly that the people seemed to melt away as they advanced. Colonel Capell had, through a desire to personally observe the stretch of country between the camp of the advance detachment and the base, decided to march back his troops. And with which detachment will Monsieur Tarzan ride? And so it was that Lieutenant Gernois and Tarzan rode off side by side at the head of the little detachment of SPAHIS. At last the valley was submerged in shadow Tarzan was too proud to go back to camp until he had given the detachment ample time to return to the valley, which he thought was to have been their rendezvous. The country is more or less familiar with the history of that garrison, particularly with the slaughter by the Sioux of a detachment of eighty-one men and officers--not one escaping--through disobedience of orders by its commander, the brave but reckless Captain Fetterman. He was in command of a detachment of men constituting a picket-guard. On the first of November Barbicane quitted Tampa Town with a detachment of workmen; and on the following day the whole town of huts was erected round Stones Hill. The Naples and Foggia detachments were then reassigned to the 117th Squadron headquartered in Rome.

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On the first of November Barbicane quitted Tampa Town with a detachment of workmen; and on the following day the whole town of huts was erected round Stones Hill.

If a tenth part of his detachment returns I shall thank God," he added as if speaking to himself. That is why I beg to be sent to that detachment," he said. At dawn, attempting to break forth down the south-western slopes of the mountain toward Petaluma, he had encountered not less than five separate detachments of dairy-ranchers all armed with Winchesters and shotguns. As the whole stream turned at once, Barnaby and Hugh went with it: and so, fighting and struggling and trampling on fallen men and being trampled on in turn themselves, they and the whole mass floated by degrees into the open street, where a large detachment of the Guards, both horse and foot, came hurrying up; clearing the ground before them so rapidly that the people seemed to melt away as they advanced. Colonel Capell had, through a desire to personally observe the stretch of country between the camp of the advance detachment and the base, decided to march back his troops. And with which detachment will Monsieur Tarzan ride? And so it was that Lieutenant Gernois and Tarzan rode off side by side at the head of the little detachment of SPAHIS. At last the valley was submerged in shadow Tarzan was too proud to go back to camp until he had given the detachment ample time to return to the valley, which he thought was to have been their rendezvous. The country is more or less familiar with the history of that garrison, particularly with the slaughter by the Sioux of a detachment of eighty-one men and officers--not one escaping--through disobedience of orders by its commander, the brave but reckless Captain Fetterman. He was in command of a detachment of men constituting a picket-guard. On the first of November Barbicane quitted Tampa Town with a detachment of workmen; and on the following day the whole town of huts was erected round Stones Hill. The Naples and Foggia detachments were then reassigned to the 117th Squadron headquartered in Rome.

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<urn:uuid:55082913-2367-45b0-9cec-be5930a4e689>_11

The Naples and Foggia detachments were then reassigned to the 117th Squadron headquartered in Rome.

How to say "Yes" in Norwegian Did you know that when Tor takes a sharp intake of breath, he is not doing some strange kind of yoga exercise, he is simply agreeing with you! “H” in Norwegian means “Yes” ! Here we explore this rather strange phenomenon in the Norwegian language... The sharp intake of breath that we Norwegians sometimes do in the middle of a conversation, have you noticed it? I call it The affirmative “H” It is hard to believe that Norwegian — the language of long words, and flawless logic — allows “Yes”, “that’s right”, “exactly” and many others, to be pronounced like this: It’s certainly not intuitive. When I travel, my affirmative "H!" becomes the object of many misinterpretations… People often wonder what on earth is going on first time they hear me do it. The person they are talking to seems to be gasping for breath — it is slightly freakish! They look at me strangely, as if there is something wrong with me. Or they turn around quickly to look behind them as if someone is sneaking up on them… Here’s a funny story: I was ordering food at a restaurant in London. The waitress asked me if I liked my wine… and I answered "HH!", doing a sharp intake of breath. Thinking that something bad was rushing up behind her, the waitress jumped forward to avoid whatever it was, and spilled my wine over both of us. When she looked behind her and realized there was no danger in sight, she stared at me and snarled: “What was that sound for?” “I was was just telling you that I liked the wine!”, I answered. Years later, still in London, one of my best friends told me he thought I had pretty bad asthma sometimes… How to say “H” like a Norwegian Everyone uses it more or less frequently: little kids, old ladies, even World Ski Champions — with or without asthma! See how it’s done in this video! If the speaker’s mouth is slightly open from the start, then chances are you’ll just hear the “H!” - Er det du som heter Yngvil? - H. - Har du sett den filmen ? - H. - Har han gått? - H. Sometimes you can sort of "detect" the word “ja” in there… If the speaker’s mouth starts out closed, however it’s a whole other ballgame… Lips and tongue and throat add other smacking and snorting sounds to the "H", and that’s when you might start wondering if something is wrong with a person: - Er du snart ferdig med å kikke på facebook?? - H! ( sounds more like "-PTKH!") - Skal vi gå snart? - H And if two old ladies on the bus are gossiping about something? The emphatic H-H WITH voice will probably make you want to call for an ambulance! - Er’e SANT? - H! - Sa’an virkelig det? - H! - Rett opp i ansiktet på deg ? - H! Gasp of fear or Affirmative "H"? So how do you tell the difference between: “H” = “I agree with you” “H” = “I am having an asthma attack” or “H” = “There’s a werewolf behind you!” ? The following is not "medically proven", but I would say that in the case of a fear reaction or an asthmatic breath a person’s chest is tight, their shoulders would rise, and a tenser “H” is heard… But the affirmative "H!" ? It's all about Deep Breathing … If you’re good at it, you sound like you’ve been doing Yoga for years - So, is Norway the only country with this unique sound, then?.. No, the Swedes do the same thing (of course) and so, I believe, do the Irish! Apart from those two, I don’t know any other country where expressing that you agree with someone sounds as if you’re scared to death. (except perhaps in North Korea.) Do you know of anywhere else? Let us know! Use the comment window below. Check back next week for our Christmas Special Issue of Norskbloggen! Til then — H-a det bra!!!

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CC-MAIN-2018-13

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How to say "Yes" in Norwegian Did you know that when Tor takes a sharp intake of breath, he is not doing some strange kind of yoga exercise, he is simply agreeing with you!

How to say "Yes" in Norwegian Did you know that when Tor takes a sharp intake of breath, he is not doing some strange kind of yoga exercise, he is simply agreeing with you! “H” in Norwegian means “Yes” ! Here we explore this rather strange phenomenon in the Norwegian language... The sharp intake of breath that we Norwegians sometimes do in the middle of a conversation, have you noticed it? I call it The affirmative “H” It is hard to believe that Norwegian — the language of long words, and flawless logic — allows “Yes”, “that’s right”, “exactly” and many others, to be pronounced like this: It’s certainly not intuitive. When I travel, my affirmative "H!" becomes the object of many misinterpretations… People often wonder what on earth is going on first time they hear me do it. The person they are talking to seems to be gasping for breath — it is slightly freakish! They look at me strangely, as if there is something wrong with me. Or they turn around quickly to look behind them as if someone is sneaking up on them… Here’s a funny story: I was ordering food at a restaurant in London. The waitress asked me if I liked my wine… and I answered "HH!", doing a sharp intake of breath. Thinking that something bad was rushing up behind her, the waitress jumped forward to avoid whatever it was, and spilled my wine over both of us. When she looked behind her and realized there was no danger in sight, she stared at me and snarled: “What was that sound for?” “I was was just telling you that I liked the wine!”, I answered. Years later, still in London, one of my best friends told me he thought I had pretty bad asthma sometimes… How to say “H” like a Norwegian Everyone uses it more or less frequently: little kids, old ladies, even World Ski Champions — with or without asthma! See how it’s done in this video! If the speaker’s mouth is slightly open from the start, then chances are you’ll just hear the “H!” - Er det du som heter Yngvil? - H. - Har du sett den filmen ? - H. - Har han gått? - H. Sometimes you can sort of "detect" the word “ja” in there… If the speaker’s mouth starts out closed, however it’s a whole other ballgame… Lips and tongue and throat add other smacking and snorting sounds to the "H", and that’s when you might start wondering if something is wrong with a person: - Er du snart ferdig med å kikke på facebook?? - H! ( sounds more like "-PTKH!") - Skal vi gå snart? - H And if two old ladies on the bus are gossiping about something? The emphatic H-H WITH voice will probably make you want to call for an ambulance! - Er’e SANT? - H! - Sa’an virkelig det? - H! - Rett opp i ansiktet på deg ? - H! Gasp of fear or Affirmative "H"? So how do you tell the difference between: “H” = “I agree with you” “H” = “I am having an asthma attack” or “H” = “There’s a werewolf behind you!” ? The following is not "medically proven", but I would say that in the case of a fear reaction or an asthmatic breath a person’s chest is tight, their shoulders would rise, and a tenser “H” is heard… But the affirmative "H!" ? It's all about Deep Breathing … If you’re good at it, you sound like you’ve been doing Yoga for years - So, is Norway the only country with this unique sound, then?.. No, the Swedes do the same thing (of course) and so, I believe, do the Irish! Apart from those two, I don’t know any other country where expressing that you agree with someone sounds as if you’re scared to death. (except perhaps in North Korea.) Do you know of anywhere else? Let us know! Use the comment window below. Check back next week for our Christmas Special Issue of Norskbloggen! Til then — H-a det bra!!!

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CC-MAIN-2018-13

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<urn:uuid:b465692f-6d91-4c0a-818b-1eff58ef221b>_2

Here we explore this rather strange phenomenon in the Norwegian language...

How to say "Yes" in Norwegian Did you know that when Tor takes a sharp intake of breath, he is not doing some strange kind of yoga exercise, he is simply agreeing with you! “H” in Norwegian means “Yes” ! Here we explore this rather strange phenomenon in the Norwegian language... The sharp intake of breath that we Norwegians sometimes do in the middle of a conversation, have you noticed it? I call it The affirmative “H” It is hard to believe that Norwegian — the language of long words, and flawless logic — allows “Yes”, “that’s right”, “exactly” and many others, to be pronounced like this: It’s certainly not intuitive. When I travel, my affirmative "H!" becomes the object of many misinterpretations… People often wonder what on earth is going on first time they hear me do it. The person they are talking to seems to be gasping for breath — it is slightly freakish! They look at me strangely, as if there is something wrong with me. Or they turn around quickly to look behind them as if someone is sneaking up on them… Here’s a funny story: I was ordering food at a restaurant in London. The waitress asked me if I liked my wine… and I answered "HH!", doing a sharp intake of breath. Thinking that something bad was rushing up behind her, the waitress jumped forward to avoid whatever it was, and spilled my wine over both of us. When she looked behind her and realized there was no danger in sight, she stared at me and snarled: “What was that sound for?” “I was was just telling you that I liked the wine!”, I answered. Years later, still in London, one of my best friends told me he thought I had pretty bad asthma sometimes… How to say “H” like a Norwegian Everyone uses it more or less frequently: little kids, old ladies, even World Ski Champions — with or without asthma! See how it’s done in this video! If the speaker’s mouth is slightly open from the start, then chances are you’ll just hear the “H!” - Er det du som heter Yngvil? - H. - Har du sett den filmen ? - H. - Har han gått? - H. Sometimes you can sort of "detect" the word “ja” in there… If the speaker’s mouth starts out closed, however it’s a whole other ballgame… Lips and tongue and throat add other smacking and snorting sounds to the "H", and that’s when you might start wondering if something is wrong with a person: - Er du snart ferdig med å kikke på facebook?? - H! ( sounds more like "-PTKH!") - Skal vi gå snart? - H And if two old ladies on the bus are gossiping about something? The emphatic H-H WITH voice will probably make you want to call for an ambulance! - Er’e SANT? - H! - Sa’an virkelig det? - H! - Rett opp i ansiktet på deg ? - H! Gasp of fear or Affirmative "H"? So how do you tell the difference between: “H” = “I agree with you” “H” = “I am having an asthma attack” or “H” = “There’s a werewolf behind you!” ? The following is not "medically proven", but I would say that in the case of a fear reaction or an asthmatic breath a person’s chest is tight, their shoulders would rise, and a tenser “H” is heard… But the affirmative "H!" ? It's all about Deep Breathing … If you’re good at it, you sound like you’ve been doing Yoga for years - So, is Norway the only country with this unique sound, then?.. No, the Swedes do the same thing (of course) and so, I believe, do the Irish! Apart from those two, I don’t know any other country where expressing that you agree with someone sounds as if you’re scared to death. (except perhaps in North Korea.) Do you know of anywhere else? Let us know! Use the comment window below. Check back next week for our Christmas Special Issue of Norskbloggen! Til then — H-a det bra!!!

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CC-MAIN-2018-13

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<urn:uuid:b465692f-6d91-4c0a-818b-1eff58ef221b>_3

The sharp intake of breath that we Norwegians sometimes do in the middle of a conversation, have you noticed it?

How to say "Yes" in Norwegian Did you know that when Tor takes a sharp intake of breath, he is not doing some strange kind of yoga exercise, he is simply agreeing with you! “H” in Norwegian means “Yes” ! Here we explore this rather strange phenomenon in the Norwegian language... The sharp intake of breath that we Norwegians sometimes do in the middle of a conversation, have you noticed it? I call it The affirmative “H” It is hard to believe that Norwegian — the language of long words, and flawless logic — allows “Yes”, “that’s right”, “exactly” and many others, to be pronounced like this: It’s certainly not intuitive. When I travel, my affirmative "H!" becomes the object of many misinterpretations… People often wonder what on earth is going on first time they hear me do it. The person they are talking to seems to be gasping for breath — it is slightly freakish! They look at me strangely, as if there is something wrong with me. Or they turn around quickly to look behind them as if someone is sneaking up on them… Here’s a funny story: I was ordering food at a restaurant in London. The waitress asked me if I liked my wine… and I answered "HH!", doing a sharp intake of breath. Thinking that something bad was rushing up behind her, the waitress jumped forward to avoid whatever it was, and spilled my wine over both of us. When she looked behind her and realized there was no danger in sight, she stared at me and snarled: “What was that sound for?” “I was was just telling you that I liked the wine!”, I answered. Years later, still in London, one of my best friends told me he thought I had pretty bad asthma sometimes… How to say “H” like a Norwegian Everyone uses it more or less frequently: little kids, old ladies, even World Ski Champions — with or without asthma! See how it’s done in this video! If the speaker’s mouth is slightly open from the start, then chances are you’ll just hear the “H!” - Er det du som heter Yngvil? - H. - Har du sett den filmen ? - H. - Har han gått? - H. Sometimes you can sort of "detect" the word “ja” in there… If the speaker’s mouth starts out closed, however it’s a whole other ballgame… Lips and tongue and throat add other smacking and snorting sounds to the "H", and that’s when you might start wondering if something is wrong with a person: - Er du snart ferdig med å kikke på facebook?? - H! ( sounds more like "-PTKH!") - Skal vi gå snart? - H And if two old ladies on the bus are gossiping about something? The emphatic H-H WITH voice will probably make you want to call for an ambulance! - Er’e SANT? - H! - Sa’an virkelig det? - H! - Rett opp i ansiktet på deg ? - H! Gasp of fear or Affirmative "H"? So how do you tell the difference between: “H” = “I agree with you” “H” = “I am having an asthma attack” or “H” = “There’s a werewolf behind you!” ? The following is not "medically proven", but I would say that in the case of a fear reaction or an asthmatic breath a person’s chest is tight, their shoulders would rise, and a tenser “H” is heard… But the affirmative "H!" ? It's all about Deep Breathing … If you’re good at it, you sound like you’ve been doing Yoga for years - So, is Norway the only country with this unique sound, then?.. No, the Swedes do the same thing (of course) and so, I believe, do the Irish! Apart from those two, I don’t know any other country where expressing that you agree with someone sounds as if you’re scared to death. (except perhaps in North Korea.) Do you know of anywhere else? Let us know! Use the comment window below. Check back next week for our Christmas Special Issue of Norskbloggen! Til then — H-a det bra!!!

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CC-MAIN-2018-13

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I call it The affirmative “H” It is hard to believe that Norwegian — the language of long words, and flawless logic — allows “Yes”, “that’s right”, “exactly” and many others, to be pronounced like this: It’s certainly not intuitive.

How to say "Yes" in Norwegian Did you know that when Tor takes a sharp intake of breath, he is not doing some strange kind of yoga exercise, he is simply agreeing with you! “H” in Norwegian means “Yes” ! Here we explore this rather strange phenomenon in the Norwegian language... The sharp intake of breath that we Norwegians sometimes do in the middle of a conversation, have you noticed it? I call it The affirmative “H” It is hard to believe that Norwegian — the language of long words, and flawless logic — allows “Yes”, “that’s right”, “exactly” and many others, to be pronounced like this: It’s certainly not intuitive. When I travel, my affirmative "H!" becomes the object of many misinterpretations… People often wonder what on earth is going on first time they hear me do it. The person they are talking to seems to be gasping for breath — it is slightly freakish! They look at me strangely, as if there is something wrong with me. Or they turn around quickly to look behind them as if someone is sneaking up on them… Here’s a funny story: I was ordering food at a restaurant in London. The waitress asked me if I liked my wine… and I answered "HH!", doing a sharp intake of breath. Thinking that something bad was rushing up behind her, the waitress jumped forward to avoid whatever it was, and spilled my wine over both of us. When she looked behind her and realized there was no danger in sight, she stared at me and snarled: “What was that sound for?” “I was was just telling you that I liked the wine!”, I answered. Years later, still in London, one of my best friends told me he thought I had pretty bad asthma sometimes… How to say “H” like a Norwegian Everyone uses it more or less frequently: little kids, old ladies, even World Ski Champions — with or without asthma! See how it’s done in this video! If the speaker’s mouth is slightly open from the start, then chances are you’ll just hear the “H!” - Er det du som heter Yngvil? - H. - Har du sett den filmen ? - H. - Har han gått? - H. Sometimes you can sort of "detect" the word “ja” in there… If the speaker’s mouth starts out closed, however it’s a whole other ballgame… Lips and tongue and throat add other smacking and snorting sounds to the "H", and that’s when you might start wondering if something is wrong with a person: - Er du snart ferdig med å kikke på facebook?? - H! ( sounds more like "-PTKH!") - Skal vi gå snart? - H And if two old ladies on the bus are gossiping about something? The emphatic H-H WITH voice will probably make you want to call for an ambulance! - Er’e SANT? - H! - Sa’an virkelig det? - H! - Rett opp i ansiktet på deg ? - H! Gasp of fear or Affirmative "H"? So how do you tell the difference between: “H” = “I agree with you” “H” = “I am having an asthma attack” or “H” = “There’s a werewolf behind you!” ? The following is not "medically proven", but I would say that in the case of a fear reaction or an asthmatic breath a person’s chest is tight, their shoulders would rise, and a tenser “H” is heard… But the affirmative "H!" ? It's all about Deep Breathing … If you’re good at it, you sound like you’ve been doing Yoga for years - So, is Norway the only country with this unique sound, then?.. No, the Swedes do the same thing (of course) and so, I believe, do the Irish! Apart from those two, I don’t know any other country where expressing that you agree with someone sounds as if you’re scared to death. (except perhaps in North Korea.) Do you know of anywhere else? Let us know! Use the comment window below. Check back next week for our Christmas Special Issue of Norskbloggen! Til then — H-a det bra!!!

<urn:uuid:b465692f-6d91-4c0a-818b-1eff58ef221b>

CC-MAIN-2018-13

https://norskbloggen.no/how-to-say-yes-in-norwegian

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<urn:uuid:b465692f-6d91-4c0a-818b-1eff58ef221b>_6

becomes the object of many misinterpretations… People often wonder what on earth is going on first time they hear me do it.

How to say "Yes" in Norwegian Did you know that when Tor takes a sharp intake of breath, he is not doing some strange kind of yoga exercise, he is simply agreeing with you! “H” in Norwegian means “Yes” ! Here we explore this rather strange phenomenon in the Norwegian language... The sharp intake of breath that we Norwegians sometimes do in the middle of a conversation, have you noticed it? I call it The affirmative “H” It is hard to believe that Norwegian — the language of long words, and flawless logic — allows “Yes”, “that’s right”, “exactly” and many others, to be pronounced like this: It’s certainly not intuitive. When I travel, my affirmative "H!" becomes the object of many misinterpretations… People often wonder what on earth is going on first time they hear me do it. The person they are talking to seems to be gasping for breath — it is slightly freakish! They look at me strangely, as if there is something wrong with me. Or they turn around quickly to look behind them as if someone is sneaking up on them… Here’s a funny story: I was ordering food at a restaurant in London. The waitress asked me if I liked my wine… and I answered "HH!", doing a sharp intake of breath. Thinking that something bad was rushing up behind her, the waitress jumped forward to avoid whatever it was, and spilled my wine over both of us. When she looked behind her and realized there was no danger in sight, she stared at me and snarled: “What was that sound for?” “I was was just telling you that I liked the wine!”, I answered. Years later, still in London, one of my best friends told me he thought I had pretty bad asthma sometimes… How to say “H” like a Norwegian Everyone uses it more or less frequently: little kids, old ladies, even World Ski Champions — with or without asthma! See how it’s done in this video! If the speaker’s mouth is slightly open from the start, then chances are you’ll just hear the “H!” - Er det du som heter Yngvil? - H. - Har du sett den filmen ? - H. - Har han gått? - H. Sometimes you can sort of "detect" the word “ja” in there… If the speaker’s mouth starts out closed, however it’s a whole other ballgame… Lips and tongue and throat add other smacking and snorting sounds to the "H", and that’s when you might start wondering if something is wrong with a person: - Er du snart ferdig med å kikke på facebook?? - H! ( sounds more like "-PTKH!") - Skal vi gå snart? - H And if two old ladies on the bus are gossiping about something? The emphatic H-H WITH voice will probably make you want to call for an ambulance! - Er’e SANT? - H! - Sa’an virkelig det? - H! - Rett opp i ansiktet på deg ? - H! Gasp of fear or Affirmative "H"? So how do you tell the difference between: “H” = “I agree with you” “H” = “I am having an asthma attack” or “H” = “There’s a werewolf behind you!” ? The following is not "medically proven", but I would say that in the case of a fear reaction or an asthmatic breath a person’s chest is tight, their shoulders would rise, and a tenser “H” is heard… But the affirmative "H!" ? It's all about Deep Breathing … If you’re good at it, you sound like you’ve been doing Yoga for years - So, is Norway the only country with this unique sound, then?.. No, the Swedes do the same thing (of course) and so, I believe, do the Irish! Apart from those two, I don’t know any other country where expressing that you agree with someone sounds as if you’re scared to death. (except perhaps in North Korea.) Do you know of anywhere else? Let us know! Use the comment window below. Check back next week for our Christmas Special Issue of Norskbloggen! Til then — H-a det bra!!!

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CC-MAIN-2018-13

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<urn:uuid:b465692f-6d91-4c0a-818b-1eff58ef221b>_7

The person they are talking to seems to be gasping for breath — it is slightly freakish!

How to say "Yes" in Norwegian Did you know that when Tor takes a sharp intake of breath, he is not doing some strange kind of yoga exercise, he is simply agreeing with you! “H” in Norwegian means “Yes” ! Here we explore this rather strange phenomenon in the Norwegian language... The sharp intake of breath that we Norwegians sometimes do in the middle of a conversation, have you noticed it? I call it The affirmative “H” It is hard to believe that Norwegian — the language of long words, and flawless logic — allows “Yes”, “that’s right”, “exactly” and many others, to be pronounced like this: It’s certainly not intuitive. When I travel, my affirmative "H!" becomes the object of many misinterpretations… People often wonder what on earth is going on first time they hear me do it. The person they are talking to seems to be gasping for breath — it is slightly freakish! They look at me strangely, as if there is something wrong with me. Or they turn around quickly to look behind them as if someone is sneaking up on them… Here’s a funny story: I was ordering food at a restaurant in London. The waitress asked me if I liked my wine… and I answered "HH!", doing a sharp intake of breath. Thinking that something bad was rushing up behind her, the waitress jumped forward to avoid whatever it was, and spilled my wine over both of us. When she looked behind her and realized there was no danger in sight, she stared at me and snarled: “What was that sound for?” “I was was just telling you that I liked the wine!”, I answered. Years later, still in London, one of my best friends told me he thought I had pretty bad asthma sometimes… How to say “H” like a Norwegian Everyone uses it more or less frequently: little kids, old ladies, even World Ski Champions — with or without asthma! See how it’s done in this video! If the speaker’s mouth is slightly open from the start, then chances are you’ll just hear the “H!” - Er det du som heter Yngvil? - H. - Har du sett den filmen ? - H. - Har han gått? - H. Sometimes you can sort of "detect" the word “ja” in there… If the speaker’s mouth starts out closed, however it’s a whole other ballgame… Lips and tongue and throat add other smacking and snorting sounds to the "H", and that’s when you might start wondering if something is wrong with a person: - Er du snart ferdig med å kikke på facebook?? - H! ( sounds more like "-PTKH!") - Skal vi gå snart? - H And if two old ladies on the bus are gossiping about something? The emphatic H-H WITH voice will probably make you want to call for an ambulance! - Er’e SANT? - H! - Sa’an virkelig det? - H! - Rett opp i ansiktet på deg ? - H! Gasp of fear or Affirmative "H"? So how do you tell the difference between: “H” = “I agree with you” “H” = “I am having an asthma attack” or “H” = “There’s a werewolf behind you!” ? The following is not "medically proven", but I would say that in the case of a fear reaction or an asthmatic breath a person’s chest is tight, their shoulders would rise, and a tenser “H” is heard… But the affirmative "H!" ? It's all about Deep Breathing … If you’re good at it, you sound like you’ve been doing Yoga for years - So, is Norway the only country with this unique sound, then?.. No, the Swedes do the same thing (of course) and so, I believe, do the Irish! Apart from those two, I don’t know any other country where expressing that you agree with someone sounds as if you’re scared to death. (except perhaps in North Korea.) Do you know of anywhere else? Let us know! Use the comment window below. Check back next week for our Christmas Special Issue of Norskbloggen! Til then — H-a det bra!!!

<urn:uuid:b465692f-6d91-4c0a-818b-1eff58ef221b>

CC-MAIN-2018-13

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They look at me strangely, as if there is something wrong with me.

How to say "Yes" in Norwegian Did you know that when Tor takes a sharp intake of breath, he is not doing some strange kind of yoga exercise, he is simply agreeing with you! “H” in Norwegian means “Yes” ! Here we explore this rather strange phenomenon in the Norwegian language... The sharp intake of breath that we Norwegians sometimes do in the middle of a conversation, have you noticed it? I call it The affirmative “H” It is hard to believe that Norwegian — the language of long words, and flawless logic — allows “Yes”, “that’s right”, “exactly” and many others, to be pronounced like this: It’s certainly not intuitive. When I travel, my affirmative "H!" becomes the object of many misinterpretations… People often wonder what on earth is going on first time they hear me do it. The person they are talking to seems to be gasping for breath — it is slightly freakish! They look at me strangely, as if there is something wrong with me. Or they turn around quickly to look behind them as if someone is sneaking up on them… Here’s a funny story: I was ordering food at a restaurant in London. The waitress asked me if I liked my wine… and I answered "HH!", doing a sharp intake of breath. Thinking that something bad was rushing up behind her, the waitress jumped forward to avoid whatever it was, and spilled my wine over both of us. When she looked behind her and realized there was no danger in sight, she stared at me and snarled: “What was that sound for?” “I was was just telling you that I liked the wine!”, I answered. Years later, still in London, one of my best friends told me he thought I had pretty bad asthma sometimes… How to say “H” like a Norwegian Everyone uses it more or less frequently: little kids, old ladies, even World Ski Champions — with or without asthma! See how it’s done in this video! If the speaker’s mouth is slightly open from the start, then chances are you’ll just hear the “H!” - Er det du som heter Yngvil? - H. - Har du sett den filmen ? - H. - Har han gått? - H. Sometimes you can sort of "detect" the word “ja” in there… If the speaker’s mouth starts out closed, however it’s a whole other ballgame… Lips and tongue and throat add other smacking and snorting sounds to the "H", and that’s when you might start wondering if something is wrong with a person: - Er du snart ferdig med å kikke på facebook?? - H! ( sounds more like "-PTKH!") - Skal vi gå snart? - H And if two old ladies on the bus are gossiping about something? The emphatic H-H WITH voice will probably make you want to call for an ambulance! - Er’e SANT? - H! - Sa’an virkelig det? - H! - Rett opp i ansiktet på deg ? - H! Gasp of fear or Affirmative "H"? So how do you tell the difference between: “H” = “I agree with you” “H” = “I am having an asthma attack” or “H” = “There’s a werewolf behind you!” ? The following is not "medically proven", but I would say that in the case of a fear reaction or an asthmatic breath a person’s chest is tight, their shoulders would rise, and a tenser “H” is heard… But the affirmative "H!" ? It's all about Deep Breathing … If you’re good at it, you sound like you’ve been doing Yoga for years - So, is Norway the only country with this unique sound, then?.. No, the Swedes do the same thing (of course) and so, I believe, do the Irish! Apart from those two, I don’t know any other country where expressing that you agree with someone sounds as if you’re scared to death. (except perhaps in North Korea.) Do you know of anywhere else? Let us know! Use the comment window below. Check back next week for our Christmas Special Issue of Norskbloggen! Til then — H-a det bra!!!

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CC-MAIN-2018-13

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Or they turn around quickly to look behind them as if someone is sneaking up on them… Here’s a funny story: I was ordering food at a restaurant in London.

How to say "Yes" in Norwegian Did you know that when Tor takes a sharp intake of breath, he is not doing some strange kind of yoga exercise, he is simply agreeing with you! “H” in Norwegian means “Yes” ! Here we explore this rather strange phenomenon in the Norwegian language... The sharp intake of breath that we Norwegians sometimes do in the middle of a conversation, have you noticed it? I call it The affirmative “H” It is hard to believe that Norwegian — the language of long words, and flawless logic — allows “Yes”, “that’s right”, “exactly” and many others, to be pronounced like this: It’s certainly not intuitive. When I travel, my affirmative "H!" becomes the object of many misinterpretations… People often wonder what on earth is going on first time they hear me do it. The person they are talking to seems to be gasping for breath — it is slightly freakish! They look at me strangely, as if there is something wrong with me. Or they turn around quickly to look behind them as if someone is sneaking up on them… Here’s a funny story: I was ordering food at a restaurant in London. The waitress asked me if I liked my wine… and I answered "HH!", doing a sharp intake of breath. Thinking that something bad was rushing up behind her, the waitress jumped forward to avoid whatever it was, and spilled my wine over both of us. When she looked behind her and realized there was no danger in sight, she stared at me and snarled: “What was that sound for?” “I was was just telling you that I liked the wine!”, I answered. Years later, still in London, one of my best friends told me he thought I had pretty bad asthma sometimes… How to say “H” like a Norwegian Everyone uses it more or less frequently: little kids, old ladies, even World Ski Champions — with or without asthma! See how it’s done in this video! If the speaker’s mouth is slightly open from the start, then chances are you’ll just hear the “H!” - Er det du som heter Yngvil? - H. - Har du sett den filmen ? - H. - Har han gått? - H. Sometimes you can sort of "detect" the word “ja” in there… If the speaker’s mouth starts out closed, however it’s a whole other ballgame… Lips and tongue and throat add other smacking and snorting sounds to the "H", and that’s when you might start wondering if something is wrong with a person: - Er du snart ferdig med å kikke på facebook?? - H! ( sounds more like "-PTKH!") - Skal vi gå snart? - H And if two old ladies on the bus are gossiping about something? The emphatic H-H WITH voice will probably make you want to call for an ambulance! - Er’e SANT? - H! - Sa’an virkelig det? - H! - Rett opp i ansiktet på deg ? - H! Gasp of fear or Affirmative "H"? So how do you tell the difference between: “H” = “I agree with you” “H” = “I am having an asthma attack” or “H” = “There’s a werewolf behind you!” ? The following is not "medically proven", but I would say that in the case of a fear reaction or an asthmatic breath a person’s chest is tight, their shoulders would rise, and a tenser “H” is heard… But the affirmative "H!" ? It's all about Deep Breathing … If you’re good at it, you sound like you’ve been doing Yoga for years - So, is Norway the only country with this unique sound, then?.. No, the Swedes do the same thing (of course) and so, I believe, do the Irish! Apart from those two, I don’t know any other country where expressing that you agree with someone sounds as if you’re scared to death. (except perhaps in North Korea.) Do you know of anywhere else? Let us know! Use the comment window below. Check back next week for our Christmas Special Issue of Norskbloggen! Til then — H-a det bra!!!

<urn:uuid:b465692f-6d91-4c0a-818b-1eff58ef221b>

CC-MAIN-2018-13

https://norskbloggen.no/how-to-say-yes-in-norwegian

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<urn:uuid:b465692f-6d91-4c0a-818b-1eff58ef221b>_10

The waitress asked me if I liked my wine… and I answered "HH!

How to say "Yes" in Norwegian Did you know that when Tor takes a sharp intake of breath, he is not doing some strange kind of yoga exercise, he is simply agreeing with you! “H” in Norwegian means “Yes” ! Here we explore this rather strange phenomenon in the Norwegian language... The sharp intake of breath that we Norwegians sometimes do in the middle of a conversation, have you noticed it? I call it The affirmative “H” It is hard to believe that Norwegian — the language of long words, and flawless logic — allows “Yes”, “that’s right”, “exactly” and many others, to be pronounced like this: It’s certainly not intuitive. When I travel, my affirmative "H!" becomes the object of many misinterpretations… People often wonder what on earth is going on first time they hear me do it. The person they are talking to seems to be gasping for breath — it is slightly freakish! They look at me strangely, as if there is something wrong with me. Or they turn around quickly to look behind them as if someone is sneaking up on them… Here’s a funny story: I was ordering food at a restaurant in London. The waitress asked me if I liked my wine… and I answered "HH!", doing a sharp intake of breath. Thinking that something bad was rushing up behind her, the waitress jumped forward to avoid whatever it was, and spilled my wine over both of us. When she looked behind her and realized there was no danger in sight, she stared at me and snarled: “What was that sound for?” “I was was just telling you that I liked the wine!”, I answered. Years later, still in London, one of my best friends told me he thought I had pretty bad asthma sometimes… How to say “H” like a Norwegian Everyone uses it more or less frequently: little kids, old ladies, even World Ski Champions — with or without asthma! See how it’s done in this video! If the speaker’s mouth is slightly open from the start, then chances are you’ll just hear the “H!” - Er det du som heter Yngvil? - H. - Har du sett den filmen ? - H. - Har han gått? - H. Sometimes you can sort of "detect" the word “ja” in there… If the speaker’s mouth starts out closed, however it’s a whole other ballgame… Lips and tongue and throat add other smacking and snorting sounds to the "H", and that’s when you might start wondering if something is wrong with a person: - Er du snart ferdig med å kikke på facebook?? - H! ( sounds more like "-PTKH!") - Skal vi gå snart? - H And if two old ladies on the bus are gossiping about something? The emphatic H-H WITH voice will probably make you want to call for an ambulance! - Er’e SANT? - H! - Sa’an virkelig det? - H! - Rett opp i ansiktet på deg ? - H! Gasp of fear or Affirmative "H"? So how do you tell the difference between: “H” = “I agree with you” “H” = “I am having an asthma attack” or “H” = “There’s a werewolf behind you!” ? The following is not "medically proven", but I would say that in the case of a fear reaction or an asthmatic breath a person’s chest is tight, their shoulders would rise, and a tenser “H” is heard… But the affirmative "H!" ? It's all about Deep Breathing … If you’re good at it, you sound like you’ve been doing Yoga for years - So, is Norway the only country with this unique sound, then?.. No, the Swedes do the same thing (of course) and so, I believe, do the Irish! Apart from those two, I don’t know any other country where expressing that you agree with someone sounds as if you’re scared to death. (except perhaps in North Korea.) Do you know of anywhere else? Let us know! Use the comment window below. Check back next week for our Christmas Special Issue of Norskbloggen! Til then — H-a det bra!!!

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CC-MAIN-2018-13

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Thinking that something bad was rushing up behind her, the waitress jumped forward to avoid whatever it was, and spilled my wine over both of us.

How to say "Yes" in Norwegian Did you know that when Tor takes a sharp intake of breath, he is not doing some strange kind of yoga exercise, he is simply agreeing with you! “H” in Norwegian means “Yes” ! Here we explore this rather strange phenomenon in the Norwegian language... The sharp intake of breath that we Norwegians sometimes do in the middle of a conversation, have you noticed it? I call it The affirmative “H” It is hard to believe that Norwegian — the language of long words, and flawless logic — allows “Yes”, “that’s right”, “exactly” and many others, to be pronounced like this: It’s certainly not intuitive. When I travel, my affirmative "H!" becomes the object of many misinterpretations… People often wonder what on earth is going on first time they hear me do it. The person they are talking to seems to be gasping for breath — it is slightly freakish! They look at me strangely, as if there is something wrong with me. Or they turn around quickly to look behind them as if someone is sneaking up on them… Here’s a funny story: I was ordering food at a restaurant in London. The waitress asked me if I liked my wine… and I answered "HH!", doing a sharp intake of breath. Thinking that something bad was rushing up behind her, the waitress jumped forward to avoid whatever it was, and spilled my wine over both of us. When she looked behind her and realized there was no danger in sight, she stared at me and snarled: “What was that sound for?” “I was was just telling you that I liked the wine!”, I answered. Years later, still in London, one of my best friends told me he thought I had pretty bad asthma sometimes… How to say “H” like a Norwegian Everyone uses it more or less frequently: little kids, old ladies, even World Ski Champions — with or without asthma! See how it’s done in this video! If the speaker’s mouth is slightly open from the start, then chances are you’ll just hear the “H!” - Er det du som heter Yngvil? - H. - Har du sett den filmen ? - H. - Har han gått? - H. Sometimes you can sort of "detect" the word “ja” in there… If the speaker’s mouth starts out closed, however it’s a whole other ballgame… Lips and tongue and throat add other smacking and snorting sounds to the "H", and that’s when you might start wondering if something is wrong with a person: - Er du snart ferdig med å kikke på facebook?? - H! ( sounds more like "-PTKH!") - Skal vi gå snart? - H And if two old ladies on the bus are gossiping about something? The emphatic H-H WITH voice will probably make you want to call for an ambulance! - Er’e SANT? - H! - Sa’an virkelig det? - H! - Rett opp i ansiktet på deg ? - H! Gasp of fear or Affirmative "H"? So how do you tell the difference between: “H” = “I agree with you” “H” = “I am having an asthma attack” or “H” = “There’s a werewolf behind you!” ? The following is not "medically proven", but I would say that in the case of a fear reaction or an asthmatic breath a person’s chest is tight, their shoulders would rise, and a tenser “H” is heard… But the affirmative "H!" ? It's all about Deep Breathing … If you’re good at it, you sound like you’ve been doing Yoga for years - So, is Norway the only country with this unique sound, then?.. No, the Swedes do the same thing (of course) and so, I believe, do the Irish! Apart from those two, I don’t know any other country where expressing that you agree with someone sounds as if you’re scared to death. (except perhaps in North Korea.) Do you know of anywhere else? Let us know! Use the comment window below. Check back next week for our Christmas Special Issue of Norskbloggen! Til then — H-a det bra!!!

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CC-MAIN-2018-13

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When she looked behind her and realized there was no danger in sight, she stared at me and snarled: “What was that sound for?” “I was was just telling you that I liked the wine!”, I answered.