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Dusk sets in over the Alvord desert, as storms approach.
Made the same day as my images The Shadow of Death, Alvord Flame, and Voltaic Force. Between this trip and my first, when I shot Our Place in the Cosmos, I consider myself very lucky to have caught such a wide range of conditions, especially given the remote nature of this location and time/difficulty involved in reaching it.
If you like how my images look, you might be interested in knowing that I teach my processing workflow over Skype! Use the contact link on my website if you're interested in learning more about workshops, prints, or licensing: www.alexnoriegaphotography.com
Textured iPhoneography still life floral image. Full workflow with images at each stage at skipology.com/iphoneography-floral-workflow-allium/
This is a re-edit of a Winter moon rise I captured at Mono Lake in 2009. I think this may be the first time I've posted this particular image to Flickr though.
Both the original edit and the new one are HDRs produced in Photomatix, but the new one I also port-processed in Adobe Lightroom before and after the HDR to make the result a little more realistic. The earlier one ended up too saturated. The sunset and moon were both bright and colorful, and with my updated software and workflow, this is more true to the event.
These light rays in the sky at sunset, appearing to come from a point just over the horizon opposite where the sun set, are anticrepuscular rays. Sun rays, also known as crepuscular rays, usually converge on their source, the sun. But sometimes they appear to come from, and converge on, a point on the opposite horizon. Known as anticrepuscular rays, their appearance of coming from some distant point on or just over the horizon is very convincing. Yet it's an illusion. They're actually nearly parallel beams of light, and they appear to converge towards that point in the distance, a vanishing point, much like railroad tracks do.
So in this photo the light rays do not come from the distant hills, the light is not radiating out from them, as it appears. The hills are simply so far away that the more or less parallel beams of light travelling overhead towards them have that illusion of convergence towards a vanishing point.
This phenomenon is most best seen when the sun is low in the sky, and the light rays are travelling overhead towards the far horizon.
I used a vertical crop from this image as the chapter header for the Mono Basin chapter of my 320-page guidebook Photographing California Vol. 2 - South, page 47.
The Colosseum or Coliseum , also known as the Flavian Amphitheatre , is an oval amphitheatre in the centre of the city of Rome, Italy. Built of concrete and sand, it is the largest amphitheatre ever built. The Colosseum is situated just east of the Roman Forum. Construction began under the emperor Vespasian in 72 AD, and was completed in 80 AD under his successor and heir Titus. Further modifications were made during the reign of Domitian (81–96). These three emperors are known as the Flavian dynasty, and the amphitheatre was named in Latin for its association with their family name (Flavius).
The Colosseum could hold, it is estimated, between 50,000 and 80,000 spectators, having an average audience of some 65,000; it was used for gladiatorial contests and public spectacles such as mock sea battles, animal hunts, executions, re-enactments of famous battles, and dramas based on Classical mythology. The building ceased to be used for entertainment in the early medieval era. It was later reused for such purposes as housing, workshops, quarters for a religious order, a fortress, a quarry, and a Christian shrine.
Equipment=Nikon D750
Lens Used=Tokina 17-35mm Lens
Exposures=9
Location=Rome Itay
Workflow=32 Bit Processing
Adobe Lightroom 5,
Nik Color Efex=Glamor Glow
ON1 Photo 10=Dynamic Contrast, Increase Color, and Dark
Glow
My new BW post processing video tutorial is now ready for download, for a limited time get all 6 videos for the price of 1
Video 1 My Complete BW Workflow
Video 2 Mastering BW Conversions
Video 3 Fine Art Architecture
Video 4 Fine Art Landscape
Video 5 Fine Art Seascape
Video 6 Fine Art Cityscape
also included are my photoshop files and post processing notes!
An extremely comprehensive post processing tutorial for fine art BW photography
www.vulturelabs.photography/product-page/b-w-post-process...
BW Long Exposure Photography Workshop Berlin, May 3rd - 5th, EARLY BIRD PRICING
3 full days of Long Exposure Fine Art Photography, Learn My BW Post Processing Workflow
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New BW Long Exposure Photography Workshop January 19th - 20th SAVE £150...... 2 full days, Learn my BW Post Processing Workflow
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New BW Long Exposure Photography Workshop London February 16th - 17th SAVE £150......2 full days, Learn my BW Post Processing Workflow
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Yeah....I taped postcards to my shower curtain rings....so what.........
Part UNO here.....
Been sending out more postcards, I've had a pretty good workflow. I think this is the first new year's resolution I've ever kept. This is turning into something beautiful. LEMME KNOW IF YOU WANT ONE.....WHOEVER YOU ARE......Awesome, popular Flickr people who are getting them too:
Thanks for participatin' yall......
THEY'RE all gettin one!!!! Who else wants to be popular? C'mon...if nobody pipes up and gives me his/her address, then I'm going to have to hunt you all down and ASK....and then I'll feel like the lonely kid in elementary school who has to ASK his classmates if he can go over to their house to play. That would suck.
.......even overseas....it's only $.90 for Europe...sent ones to Rome and the UK already....no biggy.....just pipe up and ask to start a correspondance......
GIMME ADDRESSES.....whoever you are, I'll send......don't be shy.....
I'm at:
Boss-Master S.M. Bower
60 Clemson Place Circle
Clemson, SC 29631
USA
There's a new mobile Flickr app. Uploading directly from within Snapseed seems no longer possible. The workflow hasn't got easier. Indeed, the whole Flickr app seems to be slower. Adding tags seems to have changed, too. Only single words and no capital letters. What's your experience so far?
Path of Discovery
Not a path of self-discovery, but a path of discovery about processing this image.
Assume a very experience photographer took this image, applying all he knows or thinks he knows, choice of lens, setting correct White Balance, Exposure, thoughtful Framing, accurate Focus, et al . . . but, the image lacks life, polluted with haze, Noise, wind blowing dust, pollen, and moisture across the scene and Raw imaging captured it all. My eyes and mind's eye had a different vision. I made no less than 20 processing attempts, before accepting the above image. The classic struggle balancing Noise and Sharpness paled in comparison to reducing haze and maintaining correct colors and tones. And, the Trig (Survey) Marker at the top of the mountain was so important to provide that detail. Then, there was the more mundane hot pixel removal and spot removal.
There is a mentality that one should just be able to 100% faithfully reproduce what one sees in his/her digital capture. Maybe that is so, in a controlled environment, however without well thought out workflow or trial and error processing, this photo of this beautiful landscape scene would have been impossible. Could I reproduce the processing steps I took? No. There is no magic bullet. I actually combined three processing attempts at different percentages to render this for detail, sharpness, reduced noise, and accurate color.
A gentle reminder about copyright and intellectual property-
Ⓒ Cassidy Photography (All images in this Flickr portfolio)
Equipo Principal: ZWO ASI 1600 mm-pro + SW Explorer 250pds + SW Coma Corrector 0.9x + EQ6-R-Pro + ZWO EAF + ZWO 7x2" EFW
Equipo guía: guidescope 60/240 mm, ZWO ASI 120mm mini
*Gain 100, -25 º C, R-CCD 2" Svbony + L-Pro 2" Optolong, 50x120"
*Gain 100, -25 º C, G-CCD 2" Svbony + L-Pro 2" Optolong, 50x120"
*Gain 100, -25 º C, B-CCD 2" Svbony + L-Pro 2" Optolong, 50x120"
*Gain 100, -25 º C, L 2" Optolong + L-Pro 2" Optolong, 164x120"
50 Darks
50 Flats / filter
Polar Align: SharpCap 3.2
Adquisición: SGP 3.1
Procesado: Pixinsight 1.8.8, PS
Sometimes I wish I had recorded my workflow especially when the results are like this. I tried very hard to replicate it with another similar image but got nowhere near.
Selati Game Reserve
Gravelotte
Limpopo
South Africa
A single snowflake photographed at high magnification, revealing the intricate structure and symmetry that are difficult to appreciate with the naked eye. This image was created from a focus-bracketed sequence so the entire crystal could be rendered sharp despite the extremely shallow depth of field at this magnification. I photographed the snowflake with the Olympus OM-D E-M1 Mark III and M.Zuiko 60mm f/2.8 Macro using extension tubes and a Raynox DCR-250 for additional magnification.
See my complete setup, focus-bracketing settings, and processing workflow in How to Photograph Snowflakes with an Olympus OM-D Camera.
I took this shot from a rooftop in Manila, Philippines. I introduced it to my workflow in painterly post-processing and came out with this result.
A repost of a cinnamon-phase black bear I saw in Prince Albert National Park this past summer. I have learned some tweaks on my workflow for Photoshop that gives cleaner results. I reworked this shot, and have thus reposted it.
Equipment=Canon EOS 6D (Canon 6D)
Lens Used=Tokina 17-35 Lens
Exposures=7
Location=Budapest, Hungary
Workflow=Adobe PhotoShop Cs6, Photomatix Pro 5
Adobe Light room 5
Nik Color Efex=Glamor GLow
Processed using my General Workflow Lightroom Preset (rich center light)
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Sentinel Bridge marks the southeast corner of this hike (more east than south, really; It's famous for its view upstream to Half Dome, which serves at sunset as a sort of photographer flypaper. Odds are fair that at sunset the camera gear on the bridge adds up to have cost more money than any of the cars driving over it.
Equipment=Canon 6D
Lens Used=Tokina 17-35 Lens
Exposures=7
Location=Yosemite National Park
Workflow=PhotoMatix 5
Adobe Lightroom 5,
ON1 Photo 10=Increase Color
Nik Color Efex=Glamor Glow and Pro Contrast
Been looking at some older photos and re-editing them using a new workflow. This one is from our first salmon run in 2012. Our favorite bear of all time, a large, beautiful and somewhat goofy Coastal Brown Bear female nicknamed “Pavlov” got hold of a salmon and unfortunately for the fish, that was the end. Pavlov got her name from her propensity to stop whatever she was doing when she heard the gulls descending on the dump of fish guts along the beach, part of the routine for a fishing lodge in coastal Alaska. This was her “dinner bell” and she didn’t miss many easy meals, even when she became an accomplished fisher. Sadly Pavlov was killed by another bear in early 2015.
Part 1 in a series of many where I take you through my work flow from start to finish
I am working on 3 pictures at the same time in these.
This week was Placement and Color Matching. Next Sunday I will work on shadows and high lights
Video available :
ISO 100, f8 @ 35mm, 20:19, 30sec.
You can also find me here: website, facebook
Or have a look at my book: "Fairytales and Nightingales": www.markuslehr.com/fairytales-and-nightingales/
Alfred Hitchcock "Mister H." by JuliSonne :-))
I've always had a passion for street art, and at some point I was reluctant to try it myself. There are so many ways to present street art. Stencil, graffiti, blasting, blowing up, gluing with ribbons .... I tried a stencil. A stencil is a template work. Each part is drawn on stencils and everything that is to be made visible will cut out with a skapel or cutter and later sprayed. Depending on how much colours it should be and how many motifs or text should be visible ... there are several templates. There is a lot of work and time in it and I admire the right artists. And I have a penchant too for old Hitchcock movies so I thought ... HE should be him. There is no message in this picture. It was just the pleasure of tasting.
In the following you can see the workflow in a collage.
=====================
Ich hatte schon immer ein Faible für Street Art und irgendwann hatte ich Bock, es auch selbst zu versuchen. Es gibt so viele Möglichkeiten, Street Art zu präsentieren. Schablone, Graffiti, Strahlen, Sprengung, Kleben mit Bändern ... Ich habe ein Stencil versucht. Ein Stencil ist eine Schablonenarbeit. Jeder Teil wird auf Schablonen gezeichnet und alles was sichtbar gemacht werden soll, wird mit einem Skapell oder Cutter ausgeschnitten und später besprüht. Je nachdem wieviel farbig es sein soll und wieviele Motive oder Schrift sichtbar werden sollen...es werden mehrere Schablonen. Es steckt viel Arbeit und Zeit darin und um so mehr bewundere ich die richtigen Künstler. Und ich habe ein Faible für alte Hitchcock Filme also dachte ich mir... ER soll es sein. Es ist keine Message in diesem Bild. Es war einfach die Lust am Probieren.
Im folgenden seht ihr den Workflow in einer Collage.
Sooner or later, on my left or my right
I couldn't wait to see her, I would wait the whole night
I started to freeze, but I put up the fight
I had to see that woman, that woman in white
Gina Old
Thanks in advance for all your time and support :)
A workflow explanation. We were rained off on our visit to the Wildfowl Centre at Martin Mere. I grabbed two duck shots in the car park and left. We visited a nearby farm restaurant and saw a stuffed owl. It wasn't awfully inspiring in its case but I tried several clicks. All the preferable angles for the bird were worst for reflections. The best of several end results is probably bottom right rather than the one in my earlier post. Anyway here is how it went. Top left is the original unedited stuffed owl in its highly reflective glass case in the Brandreth Barn Restaurant. Top right is a phone shot of the moon and cherry blossoms. I extracted the owl from picture one and touched up the reflections by copying the left half of the image, pasting it to the right side of the face then introducing appropriate distortions so that it matched the original image but covered the bright face thus removing the reflection on the glass. For the lower left rather unsuccessful version I pushed the owl to the frame edge so that the moon was visible and added light and shade to the head. It is unfortunately looking out of the frame. The lower right version shows the head flipped horizontally so that it is now looking into the frame. I then rendered local highlights on the moon side of the face and a neutral density shadow on the other side. I drew a few tiny, curved feathery lines to soften the paste up. Introducing some "lens blur" to the background also helped the owl to sit more realistically in the frame. My original post was too sharp in the background.
I post this image of an Osprey gathering cut hay for a nest and being chased away by a Killdeer as a reminder to myself.
I need to have my gear and my settings ready before I get to a site. This image could have been so much better with a little more speed and concentration on my part. It was neat to see but not the kind of image I would have liked it to be.
Next time.