street and I what you said to me ghost ghost a ghost ghost ghost you're a ghost ghost ghost put your mind a ghost ghost you're a ghost ghost of the best kind of ghost ghost a ghost
I do a bunch of those pan blur stuff as well, where it's slow shutter speeds on the camera, and then it's a strobe filling in and you get these ghosting features. And basically, I'm running with the camera and have an assistant running with the strobe, and you just click off, you know, that's a shot every few seconds as the strobe recycles.
I was doing was trying to spread the words out hoping that as, that my colleagues and I could figure out ways to use this spread out stuff. So, that's ten year ago. We'll kind of ghosted here, this is actually probably ten thousand calls from a routine into here, so that's the execution point and the white line is my insertion point of how I, how I
Um, there's, there's a few other little tricks you can do, but those are the two big ways. A lot of time I leave ghosting , like in this ocean shot. I left ghosting in the waves because I feel like it has a, an element of emotion. Right? It seems to make sense that there's movement in water, and one with here in Boston. It just feels right that there's some motion there.
off, you know, that's a shot every few seconds as the strobe recycles. And you if you look close, she's actually ghosted just a little bit but she's sharp enough because the flash is sharpening the person, the
do it again. This is the same process I do with everything and it just seems to work out very, very well. I encourage people to try that. Um, you'll notice that, ah, um, one of the problems commonly with HDR photography is something called ghosting . Okay. Ghosting is when you take, um, multiple photos and some of these photos, um, are going to have a, let's say a dog running across, right?
pictures, make them all in raw and pick the one raw file where the dog is in the most interesting position and use that to make the HDR. That's one method. Another method is to go ahead and, ah, allow the ghosting and then bring that ghosted image into Photoshop as a top layer, bring one of the original raws underneath, and then remix the two by masking through or erasing through and putting in the proper dog. That's another way to do it.
exactly how they saw it. And, uh, it was very off putting to old school. Um, so the reason I want to know all that is say that, ah, ah, there's not really necessarily a right way to go about it, and when it comes to ghosting it's okay to have some adjustment there. Let the viewer guess what's happening.