View allAll Photos Tagged STACKABLE
A Class 220/221 Voyager stands at Bristol Temple Meads's platform 12 with 1V45, the 0744½ Stoke-on-Trent to Newquay service on Saturday 26th August 2017. The train should have started from Manchester Piccadilly but on that day there was an unspecified issue with the train crew that led to the curtailment.
This group is also some of my first two attempts with 'focus stacking. A couple are random photos that I had two similar images of that I then stacked in the software (Helicon Focus). The rest are from a IACC (local photo club) workshop with light boxes and rock quartz slices that I did repeat images of (tripod used) with changes to the F-stop to change (or expand) the focus via DOF. I then processed the groups to see what additional focus depth might appear. The software also has a 3-D tool that I like but have not managed to duplicate for viewing so far. The double images are a snapshot of one small portion of the 3-D workflow. Does anyone have experience or suggestions with 'focus stacking' or 3-D modelling that might be helpful to me and others out there? The ‘focus stacking’ is especially helpful for those of us that are trying macro and close up photography. Thank you.
Chan
Stacked chairs in a second hand store.
Minolta XD-7
Minolta MD 50mm 1:1.7
Ilford XP2 Super
scanned with a Minolta Dimage Dual II and Vuescan
Eventually, Paul finished wiring up the proxy’s arm. Leaning back to fully take in his work, he nodded. He flipped the welding mask up, combing down his tall red mohawk and revealing his young, square-jawed face.
“Okay, should be good now.” He said.
“That’s what you said ten minutes ago.” Delaney replied.
“And like I said, different power rating." Paul snapped back. "Should be good, now with the right wiring.”
“Holdin’ my breath in anticipation...” Bradford said in a sarcastic tone.
Paul flipped a switchboard connected to the robot. The familiar sound of a proxy booting up hummed as Paul wheeled himself over to an adjacent table. An ancient, repurposed laptop was set up with even more wiring snaking from it and leading to the proxy. He typed in a string of commands on the computer’s hard-interface keyboard and hit enter.
He abruptly shoved off from the table and rolled back to his previous spot. Set behind him was a beat-up electric guitar leaning against one of the tables. He reached around and grabbed it in one hand. He stopped over the dormant proxy, glancing back and forth between it and the laptop screen.
Suddenly, the robot’s arms jerked to life, holding them out at waist height as its hands grasped blindly at the air. Paul placed the guitar in front of it as it instinctively found its grip. A rudimentary artificial intelligence program. It promptly levelled the instrument into a traditional playing posture and froze in waiting.
Satisfied, Paul went back over to his diagnostics laptop, started the next command prompt, and turned to the proxy.
The four of them waited for a moment in silence.
The proxy jerked the slightest bit, readjusting its finger positions accordingly. It then began strumming out the first half of ‘Ace of Spades’. Part of Paul’s ‘dexterity tests’ for proxy units. The fingers raced back and forth across the strings, while the rest of the body remained unnervingly still.
Paul grinned viscously, let out a cackle, and banged his head to the beat. The momentum flicked his welding mask back down over his face, startling him. He quickly swung it back up, gave a brief awkward look, before resuming his headbanging as if nothing happened.
The last note hung in the air as it reverberated through the room. With the sequence ended, the proxy froze and loosened its stiff grip on the guitar. Paul grabbed the instrument by the neck and swiftly snatched it from the robot’s lap.
He looked up at the group.
“Never gets old!” he beamed.
“Yeah, but how’s that apply with remote operation?” Delaney said.
“Look buddy, if it can match Fast Eddie, it’ll do anything.” Paul replied plainly.
“As long as you can still work a stud welder without turning into butterfingers, that’s all I care about.” Bradford added.
“Just gotta do a few more tests, make sure there ain't any kinks...” Paul began.
Kelly pushed off from the workbench.
“Well, it seems you boys are having fun here. But I’ve got to go pick up my girl from the tram station.”
“Oh!” Paul jumped up, as if remembering something.
“Since you’re here, Bradford was mentioning a job offer earlier. Something you might be interested in?"
“A job? You?” She turned her attention to Bradford with a brow raised. “What kind of job?”
“Aaahh,” Bradford hand waved. “It was just small-talk. Salvage job across town. Nothing concrete at the moment, but me and a few ‘a the boys think there’s somethin’ to it.”
“Well, keep in touch with Paul. Its about time he starts organizing his own outings.”
“Hey, that Bakery Square op’ two months ago was all mine!”
“Hopefully it won’t be nearly as sloppy as that one was...” She said under her breath. “Right now, I’ve got my own job to wrap up.”
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I have mixed feelings how this part turned out. It was a lot more complicated than I initially thought, but the end result is still pretty good. Not much visual story-telling going on though. I want to try improving on that with upcoming parts.
Also did more focus stacking for this, because I'm a masochist who loves creating needless amounts of extra work for myself. And to top things off, a lot of facial edits on the figures (which I'll admit aren't the best).
If you fave, comment as well!
"7 Days of Shooting" "Week #52 - Members Choice" "Macro Monday"
Beach theme ... most Australian beaches are fine sand but the two beaches between Skennar's Head and Lennox Head are made up of rocks varying in size from too big to move to fine gravel. Strangely enough they are known as Boulder's Beach. I started there today and walked along the cliff top to Skennar's Head and back. An amazing winter's day!
Our Daily Challenge ... feel.
The rocks are a bit difficult to walk on and I know from experience that they feel very hard if you take a tumble. Despite this, I love these beaches because they are usually quiet and peaceful and I feel very relaxed and happy when I spend time there. The crashing of the waves on the rocks produces a soothing and restful white noise which completely hides the sound of traffic nearby.
An eastbound intermodal passes beneath the venerable and fading PRR signal bridge at Newport. Someday, it'll all be gone and this image will preserve what once was the Middle Division.
Update: It's gone.
A focus-stacked shot with 60 layers spaced 0.07 mm apart, taken by Sophia, using our new automated wooden flexure stage.
Sea Stacks, Bandon Beach, Oregon.
This image was shot during the early morning hours. At this time, these sea stacks were perfectly lit up with an orange glow. The early morning sun was casting long shadows over the beach and the sky started to brighten up with a typical blue hue. I used a HDR image for the foreground that provided the realistic sharp image I was looking for. For the sky, I used a frame that was under exposed two stops. I composited these two images in normal blend mode in CS6. For a change, I did not overwork this image and I left it as real as I could. A lonely photographer (DW) gave a much needed scale to this image!
Please visit My WebsiteF11.
I have been promoting noise reduction by stacking for years, but while I was able to recommend "Starry Landscape Stacker" for MAC users, there was no easy to use Software for Windows.
This has changed lately, with the release of SEQUATOR, a very easy to use program for stacking untracked nightscapes (for noise reduction) and the best of all: It is freeware!
sites.google.com/site/sequatorglobal/home
So far, I have been using fitswork, a dedicated software for stacking tracked star images. While I learned to use it for untracked images as well, this process is painfully slow. It would therefore be immensely helpful if SEQUATOR was able to perform as beautifully as fitswork, without all the slow manual interventions needed…
Today, I was able to do my first test of SEQUATOR. To see how it performs, I did a side by side comparison with an image I already processed with fitswork.
First I had to find an untracked image sequence. I have been doing mainly tracked shots lately, but I found my Bisti Eggs image which I shot from a fixed tripod:
To get a meaningful comparison, I decided run SEQUATOR with the same preprocessed TIFFs I have used for stacking in fitswork and publish some 100% crops taken from the resulting TIFFs right out of SEQUATOR and fitswork and without further processing. SEQUATOR has several options for stacking, but I found that “Freeze Ground”, “Auto Brightness OFF” and “High Dynamic Range ON” worked best for me.
As you can see, SEQUATOR does an extremely nice job. There are no star trails and no stacking errors and I really like how the foreground and the horizon are razor sharp. Very impressive indeed!
On closer scrutiny, the SEQUATOR result has a tad more saturated colors than my fitswork resut, but selecting “High Dynamic Range ON” avoided burning the stars. The increased saturation leads to slightly increased color fringes around the brighter stars, but this would have happened with the fitswork image as well during post processing and there are techniques to reduce this effect during processing.
SEQUATOR is really easy to use and it took me less than 5 minutes to produce the result, while my normal workflow in fitswork takes about 3 hours to arrive at the same stage.
Conclusion:
I can highly recommend SEQUATOR! If I ever have to process an untracked image sequence again, I use SEQUATOR instead of my fitswork workflow.
On Windows, it is by far the easiest to use and fastest stacking software for nightscapes and produces very good results. Even beginners can immediately produce excellent results. There are no excuses anymore for noisy single shot nightsapes… ;-)
PS:
1. Of course I still highly recommend using a tracking mount to achieve “deeper” sky exposures, by using lower ISO and higher exposure times. This means that you have to shoot the foreground separately with your tracker off and merge the two exposures during post processing. For this techique SEQUATOR might not be the best software out there, but to stay fair, that is not what it was built for…
2. Here is a very nice quick tutorial for SEQUATOR. The only point where I disagree with Mike, is that for better sharpness and no burned highlights, I recommend to use HDR instead of Auto Brightness.
Ben Stack, Sutherland on a winter's late afternoon.
Copyright www.neilbarr.co.uk. Please don't repost, blog or pin without asking first. Thanks
his photo was taken at thursley common on the 18th July 2017.
This is stacked from 3 images using my Olympus omd 1 mark 2 and the Panasonic 100-400 lens
The morning of July 20, 2019 finds eastbound double-stack train 294 (Chicago, IL - Elizabeth, NJ) charging through Annandale, New Jersey on the former Lehigh Valley mainline.
One of the cheapest sources of protein worldwide. No exception in Bangladesh...
Meradia Bazar, Dhaka
Some more from Pyrmont shooting towards International Towers, Barangaroo and Cockle Bay Wharf.
This is a single frame image with about 20 images stacked again as per the previous images. These are 30 second exposures which give a smoother water but slightly more harsh highlights. Still looks alright to me.
bring this back around for the Digging in the Archives Tuesday group :)........the URL is here, if you'd like to add a picture or 2 :)
www.flickr.com/groups/2730574@N22/
29/365.........
~~grinning~~
ANSH scavenger20 Stacked
1171/10/30
Inspired to experiment by an article on Petapixel today about the photographer Frank Machalowski got me out at lunch time testing his ideas out.
I kind of like this shot but it is a little too busy. I needed more background separation but I only had a 56mm lens so had to be far away. Next time I'd be a bit more scientific and measured, use a wide angle lens and find a subject with better background separation. I walked an arc about 120 degrees around this tree at a constant distance shooting every 1.5 m or so for a total of 30 images.
This is a blended colour / B+W image. The B+W blending reduces saturation and adds contrast.
In summary you need to look at this guys amazing website:
My new photo in my portfolio. This photo is stacked from 687 photos in zerene. I have stacked 8 parts individually and after I had 8 stacks from zerene I have stacked them manually in PS. All together with postproduction it was more than 12 hours work.
Stay tuned and check my extremelly wide portfolio at My Facebook: www.facebook.com/FlozyaCreative
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The South Stack Lighthouse is built on the summit of a small island off the north-west coast of Holy Island, Anglesey, Wales. It was built in 1809 to warn ships of the dangerous rocks below. The 91-foot tall lighthouse was designed by Daniel Alexander.
South Stack Anglesey,Wales
Hamilton, Ontario has a large industrial sector and, as a result, shipping is an essential element in keeping that sector operating. To that end, standardized shipping containers are used and, when they are awaiting either loading onto ships for transport to their ultimate destination or awaiting further distribution following off-loading from ships, the containers area stacked neatly, as seen here. The resulting pattern of multi-coloured ‘boxes’ is captured here in an industrial area. - JW
Date Taken: 2024-04-22
Date PP: 2024-04-24
(c) Copyright 2024 JW Vraets
If you are interested in prints or licensing of any of my images, DM me with a brief description of what you may be looking for.
Tech Details:
Taken using a hand-held Nikon D800 fitted with an Tamron 100-400mm 1:4.5-6.3 DI VC USD lense set to 290mm, ISO220 (Auto ISO), Daylight WB, Matrix metering, Shutter Priority Mode, f/6.0 (wide open), 1/800 sec. PP in free Open Source GIMP from Nikon RAW/NEF file: scale image to 9000 px wide, apply distortion correction to remove pincushion distortion, level the image, apply Tone Mapping as well as Dynamic Range Compression at default levels to bring out textures and tame the extreme brightness range, darken overall by setting Exposure Compensation to EV-0.52, boost Contrast as well as Chromaticity in L-A-B mode, adjust colour temperature by setting it to 5500K (slightly warmer), sharpen (edges only), save. PP in free Open Source GIMP: use the Contrast/Brightness tool to both increase contrast and also brighten somewhat, use the Hue-Saturation-Brightness tool to boost overall saturation, sharpen, save, add fine black-and-white frame, add bar and text on bottom, save, scale image to 3000 px wide for posting online, sharpen, save.