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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?
Screenshot taken with iPhone of computer monitor showing Epson flatbed scan of Kodachrome transparency originally taken on 1984 with Minolta SRT-101 camera. How’s that for a workflow!
Anyway, I’m traveling for a few days, so after some difficulties with the Flickr app on my iThings I’m now able to post something. When I return I’ll be digging deeper into my film archive.
Processed using my General Workflow Lightroom Preset (rich center light)
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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.
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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.
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/
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.
Juvenile Bald Eagle, fishing.
If you’re interested in nature photography, please check out my youtube channel!
www.youtube.com/channel/UC-nMVA45F8kWmJC0dwHkAkw
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©Matthew Schwartz, All Rights Reserved.
This image is protected by Copyright, and is not available for use on websites, blogs, videos, or any other media without the explicit written permission of the photographer.
05-01-2020
Singapore
OTA: SR60mm f/6.0 APO, w/Flattener
Imaging: ASI183MM Pro, w/ASI120-MM-S (Guiding - QHY MGS)
Mount: CEM25P
Filters: Optolong Ha, Oiii
Sequencing: ASIAIR
Integration: (Ha) 12x300s, (Oiii) 9x600s
Pixinsight, GIMP 2.0
Reprocessed to add synthetic red from Ha & Oiii Channels by PixInsight's PixelMath function.
Revised PI Narrowband workflow routine:
Phase 1 - QC and LRGB image generation.
Blink, Image Calibration (Superbias, Master Dark & Light Frames), Star Alignment (Pre-Integration), Image Integration, LRGB Combination or Channel Combination
Phase 2 - Image enhancement
Dynamic Crop, Dynamic Background Extraction, Background Neutralization, Color Calibration, Screen Transfer Function, Histogram Transformation, Unsharp Mask, Multiscale Linear Transformation, Curves Transformation
Optional - DynamicPSF, Deconvolution, TGVDeNoise
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.
I think I've described my workflow after a day's shoot in the past. Nothing special about it. I come back with 500-1000 shots (more or less). I go through all of them and delete the usually relatively small number that are out of focus, or where I missed what I was shooting at.
I go through a second time and delete some photos in cases where I shot in burst mode and there may be five or six essentially identical images. Over time that would cost a fair amount of storage space. I'll take the time to determine which two, or three are in the best focus, and eliminate the redundant exposures.
In that process I also save to a special file the photos -- generally a small percentage -- which I think are particularly worthwhile and which I would want to use for Flickr. All of this determined on a single pass through.
Generally my instincts are good as far as initially selecting the best shots for future use. A surprising amount of the time, though, a later return to look at the others seems to show me different images, or a different way of seeing some of them. Hence the value of the X-files...er...archives.
This photo was one skipped over five years ago, foir specific reasons...and not just overlooked. The out of focus bloom front left marred the composition. The position of the bee is not classic, and there were plenty of better posed shots.
Looking back now, with the advantage of highsight and always evolving preferences, I see something a bit special in this shot. Simply put, it has an out of the ordinary quality.
Bees on blue flowers are rather unusual. Bees on purple ones are as sympatico as peanut butter and jelly, or ham and eggs. My stream, and my archives, are filled with bees on purple flowers. Not many at all, though on blue ones.
So I re-evaluated this shot...as each of us should do every exposure from time to time. I gave additional value to the color of the flower, decided the bee's position and sharpness were fine, and actually sort of liked the out of focus bud.
All of that just explains this particular photo showing up after five years...as we await the 2016 return of the bees, bugs and butterflies.
Those who read and answered my question yesterday showed that most of you prefer black and white when it comes to a portrait.
Thanks again for your comments !!!
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We who spend time in the depths of Photoshop find tools and tricks we like. We repeat them. We try to learn, but we build on a mode of expression.
Shot from a helicopter landing in Vancouver's Coal Harbor yesterday. Tungsten white balance gives it the bluish hue, though I did dial it back a little in PP.
Had to clean a shitload of reflections from the interior glass of the helicopter bubble.
I always think that it's interesting to see someones workflow for photoediting so I recorded mine to show you :)
This was a more complicated task where I had to use Lightroom and Photoshop.
How do you edit your pictures?
Comet C/2022 E3 (ZTF)
The result of 30+ hours of "pushing the outside of the envelope" in PixInsight image processing. See the 3.5 hour time-lapse animation here: flic.kr/p/2ofokk7
C/2022 E3 (ZTF) is a non-periodic comet from the Oort cloud. It reached perihelion (1.11 AU from the Sun) on 01/12 for the first time in 50,000 years. Since its orbit has changed, the comet will either return in many millions of years or be ejected into interstellar space. On 01/24, the comet clearly displayed an ion tail, dust tail, and rare anti-tail as Earth passed through its orbital plane. The green glow in the coma is the emission of diatomic carbon. It passed 0.28 AU from Earth on 02/01.
On the morning of 01/20, I took a huge gamble and tried to shoot this comet with my new Tamron 70-200mm f/2.8 lens. It was a massive sacrifice to sleep 3 hours, wake up at 02:00 EST, set up/troubleshoot the previously untested rig, shoot until dawn, pack everything up, and leave for a long, exhausting work day. After stacking the images later that day, I was extremely disappointed with the result.
The otherwise fantastic lens suffers from internal reflections that are impossible to correct or remove. I spent days desperately trying to salvage the data with new calibration frames, different focus distances, etc., but I realized it was no use. From what I can tell it seems to be a pupil ghost (www.cloudynights.com/topic/536295-flat-not-correcting-cen...) caused by the glass elements and/or reflective rings inside, and there is no solution. I would have discovered the issue if I had tested it before. It was an excruciating lesson to learn.
Somehow, I was lucky enough to get another clear morning on 01/24. This time, I switched back to my trusted and proven deep-sky telescope. I woke up at 01:00 (4 hours of sleep), set everything up to start shooting around 03:00, packed up at dawn, and left for another long, painful day at work. Comet image processing was another mountain to climb, but I figured out a good workflow (influenced by Adam Block's technique: youtu.be/TaEwvC1lzKM) after 10 days of experimenting. The hard work has finally paid off and I'm super proud of this result!!
Apparent magnitude: 5.6
Distance from Earth: 0.40 AU
Orbital period: 50,000 years (before) / unknown (after)
Velocity (relative to Sun): 24.6 mile/s (39.7 km/s)
Total integration: 2 hours 8 minutes
128 x 60 seconds ISO1250
01/24/23 07:55 to 11:25 UTC
Location: Summerville/Ladson, SC
SQM: 18.87 mag/arcsec^2 (Bortle 6)
Camera: Canon 7D Mark II (stock/unmodified)
Telescope: Explore Scientific ED80 f/6.0 Apochromatic Refractor (with ES field flattener)
Mount: Orion Sirius EQ-G
Guide scope: Svbony 50mm f/4.0 Guide Scope
Guide camera: ZWO ASI224MC
Capture software: N.I.N.A., ASTAP, PHD2
Processing software: PixInsight, Paint.NET
For anyone interested, I wrote up a thorough summary of my PixInsight image processing journey here: www.cloudynights.com/topic/862530-comet-c2022-e3-ztf-30-h...
The workflow to process your photos is for many photographers a well kept secret.
Left: Direct from the scanner and unprocessed. Here the image looks very bad, and most of you wouldn’t even take the time to process the file. But if it wasn't for that I really knew that I got something that morning, I wouldn't too.
Middle: Color corrected, I set every channel with curves. Spot removal (there is a lot when I scan by myself =) Lighten it up a little with Levels. Then re sized the image to around 1800pix.
Right: The final crop, sometimes you have to see the image within the image. One more layer of curves, because in this image I was needed to reduce the red tones in its highlights a little more. Sharpening if needed. The last thing I do is to put that white frame around. For me, that really helps to bring out the best of the image.
Hasselblad H2 - HC 80mm f/2.8 at f/11 and a warming filter 81A - HM 16-32 magazine with Fuji Velvia 100 exp 2007 - Scanned with my Epson V800.
Svedala 2018.08.26
Le Suquet is the old quarter of Cannes, probably best known to tourists as the climbing, winding cobbled lane lined with local restaurants, Rue St Antoine. Le Suquet contains a clock tower and church that sit high facing east overlooking the Bay of Cannes and Cannes itself. At the bottom of Le Suquet on Rue Dr. P. Gazagnaire is the Marché Forville, where the market is held in the mornings and early afternoon.
This area is the original fishermans' residential area of Cannes. The houses are all very old. The streets were laid out at least 400 years ago. It is a 5-minute walk from the beach and is full of restaurants around the Rue Saint Antoine and the Rue du Suquet. A lot of the area is pedestrianised and is a major tourist attraction for visitors to Cannes.
The rue du Suquet is the original main road into Cannes. It came in below the walls of the castle (for defence reasons). It is a pedestrian street again and has plenty of restaurants [Wikipedia.org]
Workflow & Credits
Track created on the Suno website.
Image generated with AI.
Concept and lyrics developed from my original idea, brainstormed and refined with ChatGPT.
This project was created with full AI assistance — openly, deliberately, and as part of the creative process.
Verse 1
The horizon split in iron light
The sea stood tall, the sky burned white
They begged my hand to turn the wheel
But pride was all I chose to feel
The compass shook, the mast-line cried
The ocean warned — I would not hide
No mortal wind would master me
I swore command upon the sea
Pre-Chorus
I heard the thunder call my name
I knew the cost — I stayed the same
Chorus
I saw the storm and chose it still
I would not bend, I would not kneel
Let heaven break and oceans roar
I am the vow I swore before
No harbor light, no guiding flame
Only the echo of my name
If fate would carve its mark on me
Then let it carve eternally
Verse 2
The sails were torn by unseen hands
The tide withdrew from mortal lands
No stars remained to mark the night
Yet still I steered into their sight
The crew fell silent, one by one
As if the dark had just begun
No prayer survived the salted air
No mercy lingered anywhere
Pre-Chorus
The sea did not need rage or cry
It answered me by standing high
Chorus
I saw the storm and chose it still
I would not bend, I would not kneel
Let heaven break and oceans roar
I am the vow I swore before
No harbor light, no guiding flame
Only the echo of my name
If fate would carve its mark on me
Then let it carve eternally
Bridge (piano + low strings)
There was a moment — brief and small
Where I could have turned at all
A single breath
A single choice
But silence drowned the softer voice
Final Chorus (reduced, darker)
I saw the storm and chose it still
Now time stands frozen at my will
No dawn will rise, no night will cease
Only this endless, salted sea
No cross to bear, no grave to find
Only the wind that binds my mind
If I defied what none command
Then I alone shall ever stand
Final Verse (quiet, ominous)
And still I sail where maps grow thin
Beyond the edge of what has been
No port will claim me, none can warn
Of oath and tide and pride forsworn
If ever through the mist you see
A tattered sail on silver sea
Turn your helm and mark this chart —
Pray you never cross my dark
For I am bound to wind and foam
Exile my crown, the sea my throne
I chose the storm — it chose me then
And still I sail… beyond all men.