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The Milky Way rises over a sunflower field during twilight on a recent night.
Young sunflowers follow the sun through the sky each day, turning back east during the night to greet the sun again the next day, but when they mature they stop that and only face east. This makes it a little challenging to find a composition with sunflowers at least somewhat facing the camera when the Milky Way is in the south/southwest, but I liked this angle with the road going by the field, leading toward the Milky Way core, which lined up nicely late in twilight when the sky still had a lot of blue. I really love shooting during twilight because of the blue tones, and of course it makes getting foreground exposures quite a bit easier, especially with flowers that could move with any little hint of wind. And with enough ambient light, I can stop down the lens for greater depth of field without the exposure taking an eternity.
Nikon Z 7 with FTZ lens adapter and Nikon 14-24mm f/2.8 lens @ 14mm and f/2.8 for all shots.
Sky: Star stack of 20 exposures, each at 10 seconds and ISO 3200.
Foreground: Focus stack of two exposures, one at 2 minutes and one at 1 minute, both at f/5.6 and ISO 1600.
This one took quite a while to process, which isn’t unusual for my night landscapes, but I was trying a few new techniques.
When I was out shooting, I made the decision to skip long exposure noise reduction for the foreground shots, which gets rid of most of the hot pixels at the expense of the exposure taking twice as long, since I wanted to move onto the next shot while there was still good ambient light during twilight, and/or capture the Milky Way before it moved too much. I decided I would try editing the raw files in Capture One Pro, instead of Lightroom, for two reasons. First, it has much better hot pixel reduction than Lightroom. Not only does it reduce hot pixels much more effectively as part of its normal raw processing, but it also has a “Single Pixel” slider in the noise reduction panel that you can use to eliminate the more stubborn hot pixels. I had tried it in the past and found it worked amazingly well, so I figured I could skip long exposure noise reduction and just rely on Capture One to get rid of the hot pixels, and it did (your mileage may vary, I didn’t have that many hot pixels to begin with). Second, Capture One allows you to completely disable the built-in lens corrections that are embedded in Nikon Z camera raw files (and the raw files of many other mirrorless cameras from other manufacturers). These built-in lens corrections cause no end of pain in Lightroom on dark images, resulting in banding artifacts that can’t be fixed. Even if you completely disable the lens corrections panel in Lightroom, it will still apply the built-in lens profiles. If you use Lightroom, the only way around this problem is to convert the raw files to DNG and then strip the built-in lens profiles from the DNG files using the exiftool command line tool, and import those DNG files into Lightroom. It’s an annoying although doable workaround, but given that Capture One can also easily get rid of the hot pixels, I went the Capture One route this time. Another way around this with Lightroom is to use a non-OEM lens so that the camera won’t embed a lens correction profile in the raw file.
After doing basic adjustments in Capture One on the two foreground shots, I exported them as TIFF files for focus stacking using Helicon Focus, which often works far better than Photoshop for complex focus stacks, such as a field of flowers.
The sky shots were stacked using a beta version of Starry Landscape Stacker that supports reading raw files, which gets around the Lightroom lens corrections profile issue for the sky shots since Starry Landscape Stacker will ignore the built in profiles.
The biggest pain was getting the sunflower that sticks up into the sky to focus stack cleanly. In the sky image the focus is on the stars of course, so the sunflower is way out of focus and blurred quite a bit beyond the sharp edges of the in focus sunflower in the foreground image. I ended up using a combination of warping and clone-stamping to manually do that part of the focus stacking.
Visit my website to learn more about my photos and video tutorials: www.adamwoodworth.com
© 2016 Bill Lim. All rights reserved.
The evening ocean breeze dragging the fog over the coastal range.
Camera details:
• Olympus E-30
• Zuiko Digital 70-300mm f 4.0/5.6 lens
• Polarizing filter
• Save to Olympus RAW (ORF)
• Panorama stitched from seven images.
Workflow
• rawtherapee v4.2 to "develop" seven RAW ORF (Olympus RAW) images. For each of the seven adjust their exposure to -0.5ev, 0.0ev, and +0.5ev. Save each exposure to a 16-bit TIFF for a total of 21 TIFF images (7 images x 3 exposures = 21).
• enfuse v4.1.2 to blend each image's exposure stack. I.e. (en)fuse the -0.5ev, 0.0ev, and +0.5ev images into a single 16-bit TIFF image. In the end there will be a panorama stitched (next step) from the seven (en)fused TIFF images.
• hugin v2016.0 to stitch a equirectangular panini projected panorama image from the seven enfused 16-bit TIFFs. Save the panorama as a 16-bit TIFF image.
• Perform noise reduction with Noise Ninja.†
• Back to rawtherapee v4.2 to boost constrast, increase saturation, and lastly down-scale and save as TIFF image.
• gimp v2.8.10 to add a copyright string to the image. Save image to JPEG.
• Apply output sharpening with Focus Magic.†
• exiftool v9.46 to copy the .ORF EXIF tags back into the final JPEG. And to set other tags, e.g. keywords.
• digikam v3.5.0 to geotag image (using its GPS track log time-correlation feature).
• Linux Kubuntu 14.04 LTS (Trusty Tahr).
• MSI GT683 laptop with an Intel i7-2630QM Quad-core 2.0GHz processor and w/16GB RAM.
† Noise Ninja and Focus Magic are Windows applications. In order to run them on Linux they are executed via WINE v1.6.2.
The leaf is shedding a heartfelt tear.
This may be one of the saddest pictures I’ve ever created.
Look as deep as you wish, but beware, it’s hard to come back out again.
2500 hours across five years went into creating one of the most exhaustively complex and unique images I have ever created: "The Snowflake", featuring >400 snowflakes all in relative size to one another.
It's up for auction as of this minute as an NFT: opensea.io/assets/0x495f947276749ce646f68ac8c248420045cb7...
On average, 40 separate images are combined for each snowflake photograph. This is required to get the crystal in focus from tip to tip with a process called focus-stacking. Due to the nature of the subject and the hand-held approach to photographing each snowflake, 4-5 hours are spent on each image in post-processing.
Measuring snowflakes is a time-consuming task, and the right equipment is needed to get accurate results. Thankfully, a hidden piece of metadata recorded by the Canon MP-E 65mm F/2.8 1-5x Macro lens makes this possible: the magnification factor. Combined with the physical size of the sensor and the total number of pixels across the sensor, an algebraic equation allows us to calculate the number of pixels per millimeter and measure the crystals.
The process of measuring snowflakes is made more difficult by the removal of certain metadata when editing. The “magnification factor” value is stored in a special area of image metadata called “makernotes”, and can be extracted by tools such as exiftool. This special section of metadata is removed from the file when processed through any Adobe software (and I’m sure others), requiring me to revisit the original raw files for each snowflake to obtain the proper value.
The largest snowflakes measure just over 11mm in diameter, and the smallest are 0.2mm across. Different storms create different kinds of crystals, some symmetrical but always unique. No two snowflakes falling from the sky will ever be identical. This poster shows the beauty in their variety.
Aqueduc du guindy. Il y a encore le tuyau en fonte mais une grosse fuite déverse l'eau dans la rivière.
La dolérite est sombre et basique à la même composition que le basalte. Quand les roches n'ont pas la même dureté le dike peut faire un mur comme une digue (d'où le nom). Voir www.editions-apogee.com/curiosites-geologiques-bretagne-t... (Un plan plus large et en noir et blanc).
Bolder conversion of www.flickr.com/photos/144837857@N06/51719126945/in/photos... , gaining the lens sharness module in DxO by editing focal length with EXIFTool vs. my former attempt to use USM for sharpening.
One of the large number of common wasps (Vespula vulgaris) which were climbing all over the infloresences of the purple angelicas (Angelica gigas).
They were not a 100% cool with me sticking a big camera lens in their face - but definitely more relaxed than on many other flowers.
Shot using the Canon MP-E65mm set to 2.2:1 magnification.
Since the MP-E65 stores the level of magnification used for the shot in the image's EXIF data it is possible to extract (though only from the RAW image - it is stripped when saving the JPEG in Photoshop). Using the program EXIFTool I can extract this quite handily (it's not showing up automatically in Adobe Bridge) - sen me a meaasage if you want me to share how do this for your MP-E65 shots.
Better view at www.facebook.com/photo.php?fbid=1878993215752101&set=... Select Full-View from the link.
- The photo is stitched using Microsoft ICE
- The total number of photos used...60 for the ground level, unknown number for the sky since I didn't count the shots I was taking on my Camera App. I'm guessing at least 100.
- The software or other method used for stitching: Microsoft ICE and Camera App for Android. The two hemispheric stitches were then manually stitched together using GIMP then given VR compatibility by transferrring the data from another photo using Exiftool.