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…Or how to squeeze flowers into those teeny-weenie drops
I’ve had several people text me about the earlier “Drops of Art (Carney)” post and that they appreciated the explanation of how refractions works. Some requested additional information about creating water drop photos, so I’m posting this older photo and original tutorial:
I have always been drawn to nature and wildlife photography. I love taking my camera way up north to capture images of seldom-seen animals and exotic scenery. Unfortunately, we can’t always plan distant adventures to shoot photographs of moose and northern lights. But we can train our eyes to find the unexpected beauty in our own backyards.
My fascination (some might call it an obsession) with water drops began when I bought a Nikon D200 last summer. Sadly, the lens I wanted was out of stock. There was no way I was going to just look at my camera body while I waited, so I picked up a Nikkor 60mm macro. Through that lens I discovered worlds of complexity hidden within the simplest tiny drops of water.
I’m often asked if the images inside the water drops are real or the product of Photoshop. Let me assure you they are real, and anyone can find them if they know how to look. Simple physics produces these tiny, beautiful and common images. Water is cohesive, it naturally bonds together in the shape of a sphere, and in that shape it functions as a miniature lens that will refract nearby objects. Using that organic lens as seen through your technological lens, will allow you to explore those tiny, complex worlds.
The water drop photos on my stream have been the result of an evolutional process. My most viewed, most faved and most interesting photo (according to flickr) was taken almost by luck, lying flat on my belly using a Diet Coke can as tripod. But after a great deal of trial and error, I’ve come up with a few simple, consistent steps for more easily creating a water drop photograph.
1. Focus
2. Focus
3. Composition
4. Background
1. Focus: No, that's not a typo; focus is listed twice, and for a very good reason. It’s necessary to consider the focus of the water drop itself as well as the focus of the subject displayed within the drop. My initial concern is the water drop itself and the plant on which the drop is located. I like to set my camera to aperture priority to control the depth of field. The trick is to have enough depth of field so the drop and the plant (and maybe some nearby drops) are all in focus, while leaving the background sufficiently blurred so it doesn't compete for attention. I generally use f8 to f10 but I’ll sometimes stop down to f18 if the background does not need as much blur. I also find I get a sharper focus by backing away just a little and cropping the photo, rather than getting as close as possible in an attempt to get maximum magnification.
2. Focus: As seen in the example above, the water drop is in focus as is the image of the flower seen through the water drop, but the flower itself is not in focus. That effect is achieved not by adjusting the camera, but by relying on the water drop to act as a fixed focal lens. In other words, instead of adjusting the camera I adjust the object I want to appear within the water drop. I simply move it back or forward until I've found the clarity of focus I want. Some photos look better with blurred refractions. For the greatest clarity I've found the object should be 3-4 inches behind the water drop. This, of course, may vary if using a different macro lens. Be sure to experiment.
3. Composition: Obviously, the guidelines for good composition apply to water drop photographs. Attention should be given to the Rule of Thirds, to simplicity, to the geometry within the frame, and to all the usual elements of visual composition. It's important to remember, though, when photographing water drops that the very shape of the drop influences compositional decisions. Since the lens of the water drop is spherical (or nearly so), slight adjustments in the camera position…left, right, up, down…can have a radical effect on what is seen within the drop. Again, experiment.
4. Background: If you're working from nature, your control over the background is necessarily limited. You have to work with what you've got. As mentioned earlier, the unique qualities of the organic lens formed by a drop of water allows you to make minor adjustments in the camera position that will have a profound effect on what's seen within the drop. With a few simple props, you can gain better control over the background. For example, I often rely on a large sheet of insulation, which is bright blue on one side. I originally used it to block the wind, but noticed that even on the dreariest of days it can mimic a perfect azure sky.
Other Considerations: Almost every time I set out to take photographs of water drops, I learned something new. There was always some new factor to consider. I learned, for example, I could get bigger, more cohesive and more interesting drops on humid days. I discovered that even the slightest wind could have disastrous effects on macro focusing, as well as on the water drops themselves. I found that very slightly adjusting the exposure (-0.3EV to –0.7EV) would compensate for the natural sheen of the surface of the water drop, keeping it from being somewhat burnt out. Most important, I had to teach myself to remember that because a water drop acts as an organic lens, it presents everything upside down and in reverse (just like a pinhole camera or a large format camera).
So now I’m one of the few people who looks forward to really still, stifling, humid days. And even though my beautiful Nikkor 18-200mm has arrived, I still have my macro on more than half the time. Water drop photos are not only real, but also addicting to try to master.
That's it. That's how it's done. It's as simple as learning how chess pieces move, and just as complex as a game of chess. Good luck and think small.
Thanks!
Steve
As quite a number of you have asked here is how I do the texture.
First of all you do need to have Photoshop, I am sure you can do it in another way but I don't know that and maybe someone else does.
Oi gente....
Fiz um Tutorial (que tá hilário) de um look que eu uso de dia e de noite...
Veja aqui!!!
Estou aguardando o feedback de vcs, gente....
É a primeira vez q eu faço um vídeo e eu tava meio nervosa....rs...
Perdoem os erros, ok?!?
Espero opiniões e sugestões!!
E críticas tbm...
rs
Bjoooooos
EDIT
Meninas....
Disponibilizei o video numa qualidade melhor aki ó
My new tutorial in youtube
www.youtube.com/channel/UChARxKHm9NvFsN52nnvpxRw/videos
thank you for watching
When the worldwide Covidcorona shutdown happened, I decided to take my best photography tutorial from store.stuckincustoms.com and make it FREE so people could learn from the Beginning Photography videos while they were all cooped up. We just checked Shopify and we gave away $125,000+ worth so people really seem to love it! Anyway, this is a last warning that it will only last another 24 hours... so get on in there if you haven't yet!
Instagram: www.instagram.com/jorgeciscar
Facebook: www.facebook.com/jorgeciscar
EN/ES
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Badia fields at spring (Dolomites – Italy).
Post-processing with Luminar (get 10€ discount with the voucher “CISCAR”).
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Campos de Badia en primavera (Dolomitas – Italia).
Visita mi tienda para descubrir mis tutoriales de procesado y artículos de formación fotográfica. También clases online one to one.
Visita mi tienda para descubrir mis tutoriales de procesado y artículos de formación fotográfica. También clases online one to one.
Procesada con Luminar (consigue 10€ de descuento con el código “CISCAR”).
También descuentos en: Vanguard (-20% con el código “CISCAR20VAN”) y LucrOit (-10% con el código “CISCAR”)
This is actually one of the locations that Lee and Patrick from Fstoppers.com and I used as a lesson while filming Photographing The World. While some of you already know that, something you may not know is that Lee almost got us kicked out of here for flying his DJI Phantom 2! Apparently local building security thought we were using it to spy on people in their tiny apartments. Thankfully I was able to sweet talk my way out of the situation and still come away with the shot!
It’s unbelievable to me that people can live so tightly packed in like this. On the other hand, it’s also really cool to think that a place that most people rarely give a second look, or consider to be so ugly, can look so beautiful and interesting to a photographer. It reminds me of all those years ago when I was wandering the Stockholm Underground and came across what has always been one of my favorite photos in my portfolio, Belly of the Beast. It’s seeing places like this that always remind me that beauty is truly in the eye of the beholder.
To learn the techniques I used to shoot and post-process this image, you can find all the info about my new tutorial video series by visiting: bit.ly/landcape-cityscape-photography-tutorials
Dec 12
Well since I didn't feel like ordering a bunch of legos flashmasks a decided to try to make my own.
You will need:
-Green stuff (or something like it)
-A thin but hard plastic sheet
-A stud
-A lego head to sculpt on
This is how you can do it for yourself step by step:
1-Cut of the antistud-ring part of a stud.
2-Glue a thin piece of plastic on top of the ring on the side you cut.
(to prevent the sculpting material to get in the antistud)
3-Put it onto a lego head (tip is to take a scrappy head and glue a stud underneath to make it easier to remove it afterwards and then put lots of oil(for example olive oil) on top of the head)
4-Make a thin pretty rough sculpt around the head.
5-Cut out the eye parts and the underline of the mask and sand it.
(sculpt again if needed)
6-Remove it from the head. (It won't stick to the head if ypu use the oil on the head)
7-Paint it as you want.
(8-Add other details to it. You can use for example a hard, thin plasticsheet or just sculpt)
Hope you feel inspired :)
Comment if you did get inspired and what you think of it.
This helmet is not done for what I'm going to use it for. :P
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THE IMAGE:
Literally chasing monsoon light (thunderstorms) led me here for a wonderful payoff! This is a quick handheld at 11mm.
This is actually really old but yesterday I noticed I never posted it, so here it is, a tutorial on light stencils.
I know my profile says I am not here to sell tutorials, and I am technically not changing that because it is not for sale, it is purely a community service - So here goes.
Jaap's cellphone photography course - Chapter one.
When photographing wildlife with a cellphone it is a little known but highly effective technique to point the phone in the general direction of the subject.
hehehehe
I have told you about GIMP, a free Image Manipulation Program. It works really well, and I´d say as well as Photoshop, and the bonus...IT´S FREE!
I took the originals of few of my photos that I´ve manipulated in Photoshop and re-did them in GIMP, getting the same results.
But as always, it´s best to start slowly and get to know the program and first of all, learn how to download GIMP. For those of you who don´t have gimp, here is a link to how to download it:
www.flickr.com/photos/soffia/2339766783/
The tutorial with explanation images is here: www.soffia.net/gimptutorial02.html
1. Select from the menu: File → Open and choose the Image you´re gonna work with
2. Select from the menu: Colors → Brightness-Contrast...
3. Drag the slider up to 20 or write the number 20 in the box next to contrast. Click OK. Play around with different numbers in both brightness and contrast.
This tutorial is done in Photoshop CS3, and you need some basic knowlegde to follow it. The numbers are the exact ones I used.
Step by step snapshots at www.soffia.net/tutorial.html
1. I duplicade the layer twise, on one layer I erase out carefully the mountain with soft eraser, opacity 100 flow around 60. (you can also use masks) One layer is just to have the photo as it is.
2. Name the layers ( image01) mountains, clouds and just_in_case_layer.
3. Go to creatae new fill or adjustment layer and choose Levels. (Image 02) I tweeked the 3 arrows untill I got 8 ~ 0,73 ~ 200
4. Go to creatae new fill or adjustment layer again but this time choose Brightness/Contrast. and put in -12 for brightness and contr. -28 (Image03)
5. Go to creatae new fill or adjustment layer again and choose Hue/Saturation. (Image 04)
take up saturation to 22
6. For now, I´m fairly happy with the mountains, so now I drag the Clouds layer on top of all the layers. (Image 05)
7. Then I merge the mountains with all the adjustment layers by selecting all the layers, and choose merge layers (Image 06)Name the Layer mountains again if it´s called hue/saturation.
8. Now we can work on the clouds, you can turn off the mountains layer by clicking on the eye on the left. Go to creatae new fill or adjustment layer and choose Levels. (Image 02) I tweeked the 3 arrows untill I got 18 ~ 0,84 ~ 215
9. I want a little more contrast in the big cloud so duplicade the clouds layer, name it cloud-contrast go to Image - Adjustment - Levels. Use 59~ 0,64~ 195. The reason why I choose levels from there is cause I only want it to affect the new cloud layer(Image 07)
10. with the cloud-contrast layer picked, go to Image - Adjustment - Brightness/Contrast and put brightness to +36 and contrast +17
11. I find the cloud too red, so go to Image - Adjustment - hue/saturation, in Edit: choose
Reds and take the saturation down to -42. After that I rease around it so the layer would look like this (Image 08)
12. Let´s go to the Clouds layer again, Go to creatae new fill or adjustment layer and choose Brightness/Contrast. put in +45 for brightness (Image03)
13. Go to create new fill or adjustment layer (Image 04) and choose Hue/Saturation. In Edit:
Blues hue: -13 sat: -67
Cyans hue: -10 sat: -57 (or tweek the numbers untill you´re happy with the colors......)
15. Merge the layers by selecting Cloud-contrast,clouds and the all the adjustment layers(image 06) (you can also select the layers and hit Ctrl + E )
16. Turn on the Mountains Layer. Flatten image. Then I did some more adjucstment with hue/sat, cyan -9 and -39 then blues -4 and -22 and Yelloes -35. And then I went to levels and did 8 ~ 1,16 ~ 255.
17. Then I put the lomo gradient fill with 40 % opacity on that layer
I did use the clone stamp to erase out a part of the sky, the dark bottom part... :P
And finally I ran it through Neat Image, a software I bought the other day. neatimage.com/
I could probably spend another hour tweeking and tuning. But let´s say this done for now.
This Bunny was based on this tutorial: tutsplus.
It took me a little while - and now I see that I have chosen the wrong export cmyk instead of rgb. UPDATED: its changed back to the right colors :-)
1 » foto original;
2 » Selecione o rosto sem selecionar olhos, boca e narinas;
3 » Após selecionar, copie (ctrl+c), cole (ctrl+v) e duplique a camada colada (ctrl+j). Na cama da meio, aplique um desfoque gaussiano (Menu Filtro/Desfoque/Desfoque gaussiano/5,0 OK). Na última camada (a de cima), você vai aplicar uma alta frequencia (Menu Filtro/Outros/Alta Frequencia - high pass/1,5 OK). A imagem ficará cinza, então mude para sobrepor (overlay) e una as camadas. Obs.: Caso precise arrumar alguma coisa que ficou "embaçada demais", vá na camada do desfoque gaussiano e passe uma borracha macia com uma opacidade baixa.
4 » Boca: Selecione a boca e vá em Menu Camada/Nova camada de preenchimento/Cor sólida. Escolha uma cor que fique boa pra boca e clique em OK. Caso fique borrado, é só usar a borracha macia (sempre usando a borracha macia =))
5 » Como fica a camada =)
6 » Olhos (oba!): Os olhos são que nem a boca. Você seleciona onde você quer a sombra e o lápis. Nesse passo, fiz o lápis e o delineador. Junto à foto tem as camadas. =)
7 » Mesma coisa. Selecione os olhos e pinte com o preenchimento de camada. Caso precise, dê um desfoque gaussiano pra ficar mais realista e tire um pouco da opacidade ou use a borracha, também. Mudei a cor dos olhos, também. Deixei mais viva a cor. É o mesmo passo. =)
8 » Como os olhos ficaram e o blush, que é a mesma coisa. Selecione as maçãs do rosto e vão em Menu Camada/Nova camada de preenchimento/Cor sólida/Escolha a cor OK e tire a opacidade. Será necessário dar uma desfocada (ctrl+f, caso tenha sido o último filtro que você usou =))
9 » Resultado.
Espero que tenham gostado e que eu tenha ajudado! hehe.
Qualquer dúvida, perguntem! =D
Hey everyone. Here's a basic tutorial for the wall technique that you can find in my Wizard's Gate build.
1. Start with a row of headlight bricks attached together. This row can be as long as you want the wall to be.
2. Place one plate on the front-most headlight bricks and two plates on the bricks that are further back. add headlight bricks, alternating studs on the back row and 1x1 tiles on the front.
3. Attatch 1x1 with one stud out to the headlight bricks and 1x1 bricks to the studs left on the front row.
4. Add alternating clips on top of the front row as seen in the picture.
5. Attach 1x1 and 1x2 plates onto the clips leaving a small gap between each to achieve a stonework effect. In long sections of this wall, you will run out of space to slide the 1x2 tiles along the clip to acheive the horizontal gap. But that's ok! Just skip one stud and continue the pattern with the clips attached to the other side of the 1x2 plates.
6. You can achieve a streamlined base to the wall using a bracket or any other half plate offset and three plates on top of that. The wall is 3.5 plates out from the headlight bricks and 7 plates above the initial starting plate. Feel free to use your own brickmath to close those gaps, I just showed what worked for me.
Hope that this helps anyone who was wondering how the wall was constructed. Feel free to try it out for yourself!
Tutorial.
Duplicate layer, right click on layer and choose duplicate layer, name it 01.
Now you have 2 Layers, called Background and 01. Make sure the 01 layer is chosen.
Go to Layer - New Adjustment layer - Brightness Contrast. brightness 0 contrast +17
Go to Layer - New Adjustment layer - Levels - the numbers are 12, 1,00, 215.
Now I´m happy with the sky for now, so now we´ll fix the rocks in the forground.
Duplicate the Background layer, name it 02, and drag it on top of all the layers.
Go to Image - Adjustment layer - Levels ( nb, now go to IMAGE not LAYER) Set it to 17 , 1,91 , 196
With the Erase tool(or Masks) erase the sky and the hill.
Go to Layer - New Adjustment layer - Hue/Saturation. Choose:
Cyan, -18, -31, 0
Blues, -16, -23, 0
And finally I put a little lomo vignette ( how to? you´ll find that here www.flickr.com/photos/soffia/1398672858/in/set-7215760238...
The opacity on the vignette layer on this photo here is 50%
In this advanced Photoshop tutorial I will show you how to create a nice floating woman in a forest. We will turn the forest from day to night effect in Photoshop and we will mask the sky using Calculations. We will create realistic depth of field using a Depth Map and we’ll paint realistic hair and light effects.
Tutorial here: www.psdbox.com/tutorials/fantasy-photoshop-tutorial-float...
Hey everyone.
Isaac and John asked me to write a small tutorial for my waterfall design to be featured on their awesome site www.brickbuilt.org/.
Check it out here!
I create this image in my new video tutorial. It's all about Giants ;)
I shot the background in Dubai and the models in the studio ;)
If you like to see more: tutorial.adriansommeling.com
TUTORIAL ♥♥
A lot of people asked me how special shaped bokehs are done. I decided to put together a tutorial and explain things in details.
This is a single shot out of the camera! Nothing was added in Photoshop.
Special thanks to Tony who helped me with the picture formatting!
#28
Many of you have requested a Poseable Arms Tutorial, so here it is, as promised! I explained the best I can, but if you have further questions, don't hesitate to ask. Have extra pieces in case of an accident; you may need multiple test trials for this (I know I did :P). I hope you can use this tutorial to improve your figures! View on all sizes for close-ups on the instructions.
What you will need:
-Torso - www.bricklink.com/PL/973.jpg?1
-Arms - www.bricklink.com/PL/981982.jpg?0
-Old skeleton arm - www.bricklink.com/PL/6265.gif?0
-Lever - www.bricklink.com/PL/4593.gif?0
-A crafting knife
-Superglue
-Andrew
Copyright © Dave DiCello 2011 All Rights Reserved.
"Seeking is not always the way to find."
~Augustus William Hare and Julius Charles Hare
This is one of those shots that I've taken a few times before, but never at this exact time of day and never with my D700. So since I was up on Mt. Washington last night, I decided to give it a shot and see what kind of light trails I could get, and was pretty pleased with result. Ran this one through both Color Efex and onOne PhotoTools. You can see more shots from this area in the comments.
New blog post today, View from the top! Check it out if you have a chance!
I hope you all had a great weekend!
I don't mind invitations, but please no big, shiny, flashing, glitter graphics, they will be deleted. Also, please contact me if you would like to use my pictures for any reason, as all rights are reserved. Thanks!
My website: HDR Exposed - Website
My blog: HDR Exposed - Blog – View from the top
Follow me on Twitter
This is the south Moulton Barn on Antelope Flats road near Moose Junction in Grand Teton National Park. The panorama was constructed from two 12.5 megapixel hdr images( 5 exposures each). The full size original is 9551 x 3155 pixels. It was so easy to produce I thought I would share this as a tutorial.
View large - 'Moulton Panorama' On Black
View Orginal Size - Moulton Panorama
View the entire Tetons - East and West Set
View the Tutorial Set.
View my - Most Interesting according to Flickr
Other tutorials you may be interested in...
2. A Simple method of Dodging and Burning
3. Lab mode for Pumping up the Color
Few people were interested about the 'acrylic' fake nails I made for my Zero, so I decided to make a tutorial so everyone can make their dolls some fancy nails.
You can make any kinds of fake nails with this method, and maybe use other material than straw, but this is just how I do it.
Hope this is helpful!
Edit: Hotglue is perfect for this. Just remember to be quick when you glue them on, a small drop of glue on the hand and quickly place the nail and hold for a few seconds. It's better to be quick than super precise, because if the nail is crooked you can just peel it off and try again. If you wait too long and the glue starts to get cold, it won't stick as well and will come off a lot easier.
Gostaria do tutorial destes box, para passar para uma amiga muito querida Lelê Ceschini, se alguém tiver, agradeço!
bjos
This tutorial explains how I built the 45° roof of my Riften Watchtower, and also shows the method I used to make the plank siding underneath the roof-line.
Check it out on brickbuilt.
I was hoping to put this tutorial up a while ago, but never got the chance to complete it until now. I received a lot of requests from people who wanted to know the workflow on the Times Square image(below). It’s fairly similar to my previous tutorial (the first few stages relating to the camera setup and Photomatix processing are pretty much the same), although this one concentrates more on the post processing in Adobe Photoshop.
If anyone wants to practice with the original images, let me know and I’ll upload them. You can see my original HDR tutorial here.
* You can enlarge any of the screenshots below, by clicking on the image which will take you through to the larger image.
The tutorial can also be found over on my blog http://blog.sandmania.co.uk.
This is the second tutorial geared around the frame warping and a little more on shadowing using PS CS2. Also see below for the first tutorial on creating a OOB as well. Please let me know of any errors or if you have questions here.
Working on a temple and decided to add an interior. Wanted to play around a bit with the floor and found some inspiration looking at -LittleJohn and Katie Walker’s work so I decided to make a tutorial :) Hopefully some people will find it useful. The full build should be done fairly soon so stay tuned ;)
This brings me up to nine entries for the Colossal Castle Contest XVI. The Great Wall category this year was one I liked a lot, and I quickly thought of building the fortified city of Carcassonne in France. While my model isn’t an exact replica of any section of the Carcassonne, I did base it mainly off of one of the gate areas, and every tower and wall setup was influenced by sections of the real thing. It is one of my biggest builds ever, weighing in at 35 pounds.
A group of knights leave Carcassonne after a tournament in the city, while various guards and peasants go about their business.
Lots more images to be seen on Brickbuilt!
Tutorials | Creations | Featured Tutorials | Build Logs | Commissions
Another addition to our ever growing series of furniture tutorials. This installment covers a weapons rack, bed, side cupboard, and cabinet. Check it out on brickbuilt.
Well... here's one last Vertorama from my visit to the Athabasca glacier in Canada's Banff National Park.
I really love the foreground in this photo... I love that the ice is close enough to lick (not that you'd want to)... I love the pale blue colour inside the ice-cave... I love the drops dripping off the glacier into the river below (see my notes)... and I also like how the layer of dirt covering the entire glacier is shown quite clearly here.
What I don't like (besides the blown clouds)... is how many litres per second were gushing out from below the glacier! It was really sad to see how quickly the Athabasca glacier has receded in the last few years... at this rate all the ice will be gone in less than a decade!! I'm glad I saw it when I did. :)
EDIT: I've now reworked and re-posted this photo. When I posted my first attempt earlier this afternoon, the clouds were blown-out and I asked for suggestions on how I could fix that. I didn't want to admit defeat on this one, I simply had to find a way to correct it. So I loaded the RAW file into CaptureNX... reduced the exposure by 10%... and then dragged the Highlight Protection slider up to 20%. That was enough to bring back most of the detail in the brightest part of the clouds... so I simply replaced my original sky with the new one. Thanks very much to everyone who made suggestions on how to fix the sky... without that... I might never have bothered! :)
Nikon D300, Sigma 18-200mm at 20mm, aperture of f11, with a 1/250th second exposure.
Click here to check out my Vertorama tutorial.
NEW VIDEO! iPhone Photography Tutorial: Lippen - Surreal Portrait #04 #video
Check link on my Instagram profile for my channel. OR here’s for direct link to video: youtu.be/Ok9e_PtsUGU
Enjoy!
#surreal #icolorama #superimpose #lensdistortions #mextures #iphoneart #mobileart #iphoneonly
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#instagram #mobileartistry #shotaward #artsick #fineartphg #expofilm #enter_imagination #graphicroozane #thecreativers #manipulationteam #moodcommunity #launchdsigns #milliondollarvisuals #imaginativeuniverse
#iphoneography #iphone #photography
What do you do when you have a cloudy night? Experiment and create.
1. Selfie with lantern at my belly, facing the hoodoo.
2. I walk in front of the hoodoos with the lantern, leaving an illuminated trail.
3. A blend of 1. & 2., adding a little highlight contrast to the foreground.
4. I’ve replaced the sky with a Milky Way I shot a few days later, taken in somewhat* the same southerly direction, and with the same 24mm lens (a composite image).
*Actually, the core of the Milky Way was to the left of the hoodoos. I rotated my camera about 30º to the left in order to place the Rho Ophiuchi cloud complex to the right of the hoodoos and create a better composition. I've only done about four composites in life and this is one of them.
DEFINITIONS: A “blend” is any combination of images taken from the same tripod location and blended together. A “composite” is any combination of images taken from different tripod locations.
EXIF: Canon 5D Mark iii • Canon EF24mm f/1.4L • Hoodoo exposures: f/2.0, 30 sec, 3200 ISO • Milky Way sky: Canon 6D astro modified, same 24mm lens, f/4.0, 360 sec, ISO 800, tracked • Illumination of hoodoos done with a Low Level Lighting filtered LED panel placed about 300 feet left of hoodoos
Check out my presentation at the 3-day NIGHT PHOTO SUMMIT • Feb 4-6, 2022.
PODCAST: You might enjoy this recent podcast I did on how to make your nightscapes more creative—including the joys of doing single exposure nightscapes.