View allAll Photos Tagged FTZ
@ Katase-Enoshima Beach, Kanagawa / Japan
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They are born with the art of meditation.
@ Katase-Enoshima Beach, Kanagawa / Japan
Check out my photostream!
Thanks.
--
Thank you for visiting.
Don't use this image without my explicit permission.
Please refer to tag about equipments.
2次利用の際は事前に声をかけて下さい。
使用機材に関してはタグを参照してください。Early autumn -5-
Pre-Hover this morning. Really enjoying playing with the Nikkor 14-24mm.
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Nikon Z6, FTZ, Nikkor 14-24mm f/2.8
Capture One
Glanced down here and nearly walked on, without taking a shot. Glad I didn't!
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Nikon Z6, FTZ, Nikkor 18-35mm f/3.5-4.5
Exposure X7, Analog Efex Pro 2, Silver Efex Pro 3
Alexander-Dennis Enviro 400 City/E40D, new to Go-Ahead Plymouth Citybus in August 2017.
Seen here before operating a GWR rail replacement service to Exeter.
Seen promoting the Illuminations event at the Royal William Yard between Thursday the 22nd and Sunday the 26th November, WA17 FTZ is seen halfway through it's first evening out in these bright lights.
Another from yesterday. It was difficult to choose between colour and b&w.
Really happy with how many narratives there are in this shot
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Nikon Z6, FTZ, Nikkor 18-35mm f/3.5 - 4.5
Exposure X7, Color Efex Pro 4
@ Katase-Enoshima Beach, Kanagawa / Japan
Enlarge & Have fun!
Check out my photostream. Thanks.
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Thank you for visiting.
Don't use this image without my explicit permission.
Please refer to tag about equipments.
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使用機材に関してはタグを参照してください。
@ Showa Kinen Park / Tokyo, Japan
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使用機材に関してはタグを参照してください。
@Tokyo / Japan
Check out my photostream!
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使用機材に関してはタグを参照してください。Observation Deck
@ Katase-Enoshima Beach, Kanagawa / Japan
Check out my photostream!
Thanks.
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Thank you for visiting.
Don't use this image without my explicit permission.
Please refer to tag about equipments.
2次利用の際は事前に声をかけて下さい。
使用機材に関してはタグを参照してください。Early autumn -5-
We noticed this group of painters on the slipway, painting HMS Warrior. I think this one works :)
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Nikon Z6, FTZ, Nikkor 18-35mm f/3.5-4.5
Exposure X7, Color Efex Pro 4, Silver Efex Pro 3
The comet appeared between the clouds and the horizon and I only had a few minutes, so I eyeballed the focus on infinity using the scale on the 70-200mm f/2.8 lens (mounted on the Nikon D850). It wasn't very sharp. It was hard to keep the comet framed well at 200mm, as the comet kept moving. It did not show up in live view on the D850, even with the ISO temporarily raised to 25,600, so framing it was trial and error. I ditched the D850 (image above).
Running out of time, I switched to the Nikon Z8 with FTZ-II adapter. The lens was mounted on a fixed tripod, so I could simply swap cameras off the back of it and didn't need to find the comet again. On the Z8, the comet was easily visible in the sky using live view with starlight mode on.
This is the result from five exposures bracketed 1/3 stop, sky-stacked in Sequator and adjusted in Lightroom.
To test FTZ mount, I shot it in jpg. No noise reduction or, post processing done out of the camera except, cropping.
Tynemouth Castle is located on a rocky headland (known as Pen Bal Crag), overlooking Tynemouth Pier. The moated castle-towers, gatehouse and keep are combined with the ruins of the Benedictine priory where early kings of Northumbria were buried.
After the monastery was suppressed during the reign of Henry VIII (1509–47), Tynemouth headland became a coastal fortress, and remained so until 1956 because of its strategic position at the mouth of the river Tyne.
The sunflower field is lit up from porch lights on farm houses across the street. Jupiter is the big bright object in the sky just to the right of the Milky Way. Saturn is the brightest object just to the left of the Milky Way but it’s hard to point out, look for three “stars” in a diagonal and Saturn is the bottom right of the diagonal.
Nikon Z 7, FTZ lens adapter with NIKKOR 14-24mm f/2.8 lens, all shots at 14mm. Like most of my Milky Way images this is a result from star stacking and focus stacking.
The sky is from 20 images at ISO 6400 and f/4. I normally would use f/2.8 for the sky but there was a lot of light pollution here making the sky pretty bright, so I used f/4 to tighten up the stars in the corners a bit and still was able to capture plenty of light. The 20 exposures were stacked in Starry Landscape Stacker (macOS only) for low noise. You can also use Sequator to do this on Windows.
The foreground is from 3 exposures all at f/4, ISO 1600, 4 minutes, and all taken at different focus distances and then focus stacked with manual blending in Photoshop to get the entire field in focus. I tried Photoshop’s auto-blend but it didn’t do so well for this image — it sometimes gets confused when there’s noise and ends up thinking the noisy parts of an image are sharp and in focus. You could stop down to, say, f/8 and get good depth of field but then you’re waiting 16 minutes to capture the same amount of light. But in that 16 minutes a car could come along and ruin the shot. So I prefer to stack more shorter exposures with less risk of losing a shot to a car.
After star stacking and focus stacking, the sky and foreground are blended manually in Photoshop, which in this case was a simple matter of a gradient mask. Sometimes it’s way more complex, and I teach blending techniques in my Exposure Blending for Landscape Astrophotography video tutorial.
I used the the GradientXterminator plug-in for Photoshop to remove some really ugly color casts and gradients from the sky. This is one of my favorite plug-ins for deep space photography and it works with wide angle sky images as well, you just have to force it to use only the sky in it’s calculations and not include the foreground.
For additional noise reduction once in Photoshop, I used the Space Noise Reduction action in the Astronomy Tools action set for Photoshop just on the sky, and I also used both Nik Dfine and Topaz DeNoise AI on most of the image. I tend to use them sparingly to just get down the harsh noise. Topaz DeNoise AI is quite amazing in what it can do, and as a software engineer its artificial intelligence (machine learning) really interests me so I just enjoy testing it out, but it does have a tendency to make things look plasticky or fake if you go too far, and it also sometimes creates detail from noise patterns — meaning if there’s some particularly bad noise with an odd texture it will sometimes confuse it for actual detail in the image and make that part of the noise worse, which is why I also use Nik Dfine for some areas of the image. But I don’t always use additional noise reduction, it just depends on the image. In some cases I will actually add a tiny bit of noise back with the Add Noise filter in Photoshop to balance out areas of the image that look too smooth compared to the rest of the image. It’s usually easier (and often looks better) to have a little bit of noise than to have the noise reduction cranked up so high that the image looks splotchy. I used that method here to add just a little bit of “noise” back to the bottom of the sky where it was looking too splotchy from noise reduction.
Visit my website to learn more about my photos and video tutorials: www.adamwoodworth.com