childs play - photoshop actions
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A 4X5 crop that includes 3 pillars and creates the perspective that leads the eye to the distant bathers. A slight rotation was made to correct the horizon.
Bit of a Flickr slow-down while I struggle with a non-Adobe workflow for the first time in a long time (trying to break the addiction). I'm also pausing the 'pro' account on a trial basis, while I save up to buy a dozen eggs.
So hopefully all have a fine weekend. I'll be shooting a little but may or may not get more images up. I won't be Flickring much tonight but will try to fave from the mobile.
What you’re looking at is a starless edit of IC2944, an emission nebula in the Centaurus constellation, around 6500 light years from earth.
While I normally almost never do starless edits (they generally don’t appeal to me), I’m making an exception for this one. As part of my editing workflow, I always split nebulosity from star fields and edit them separately (what makes stars look their best doesn’t necessarily apply to nebulae and vice versa). In this case, the resulting nebula appealed to me so much, I decided to not put the stars back in.
So what is it that’s so interesting/appealing then? If you look closely at some of the larger structures in the image, you’ll be able to make out some fine detail/patterns. This is actually the result of gravitational and stellar radiation interactions within the system, shaping the interstellar gas/dust. You can compare it to wind sculpting dunes over time, just on a much larger scale.
Setup:
Planewave CDK24
Moravian C3-61000 Pro
Planewave L-600
Image acquisition details:
22x900" HA
27x900" OIII
29x900" SII
Someone asked me how I processed my photos which led me to write my workflow out on my "About" page. After some confusion, I decided to do a visual as you see in the attached image.
Happy Monday!
For those who have the day off for Labor Day, enjoy it, I hope your weekend was good!
Bear with me with the new watermark, it won't stay, it was just so my boys think I'm the coolest mommy ;)
This was edited with Vanilla BW and matching overlay, from the Soulful BW Workflow.
During the pandemic, I've been using my cell phone for almost all my pictures. I just wanted to pass along my workflow for others who haven't tried their phones yet. Just remember that a RAW file gives you much more room to adjust contrast.
- Thanks to everyone who looked at my picture, favors and have commented. Please press "L" or "Z" for a large view - an absolute must to fully enjoy this picture!
Said Bear has had a word with me about improving my workflow - whatever that means - and we published this picture directly from within Shotwell (a photo manager for Linux).
Said Bear has definitely settled into his new home, and I think he is actually taking over. No bad thing tbh.
This is an image from Drakesbrooke Weir I took captured back in October that I decided to re-edit since lately I have been integrating h-alpha data into my post-processing workflow. This process demands a bit more processing time and a slight readjustment to my workflow but the results highlights more details around the hydrogen alpha emission regions of the sky.
Sky
Nikon D5500 (fullspectrum mod)
Samyang 24mm f/1.4
Star Adventurer Pro 2i
Hoya UV/IR cut filter - 6 x 60s, f/2.8
Optolong Ha 7nm - 6 panels (a stack of 10 each) x 60s, f/1.8
Ground (shot by my partner Barbora Novakova)
Nikon D5200
Samyang 24mm f/1.4
4 x 1.6s, f/8
hybrid workflow Mint SLR670S/instant Lab, Polaroid bw 600 film film, Bonn Germany, day one 1/2
Happy PolaroidWeek to you all! so looking forward to see your great polas this week. this community is so inspiring, glad to be a part of it.
don't forget to join the polaroidweek 2025 group:
and please follow Polaroid Week on Bluesky:
- bsky.app/profile/polaroidweek.bsky.social
you can find me or my work here:
... almost ; ))
On top of the Säntis, 2,502 m (8,209 ft) above sea level.
The Säntis is the highest mountain in the Alpstein massif of northeastern Switzerland. The panorama from the summit is really spectacular. Six countries can be seen if the weather allows: Switzerland, Germany, Austria, Liechtenstein, France, and Italy.
-> en.wikipedia.org/wiki/S%C3%A4ntis
Hiking "light" ... cheating by taking the funicular : ))
This is another test:
Switching a 'private' image to 'public' (my usual workflow) as Flickr staff stated that they implemented a fix that should solve the problems of late (see the notes on my last image).
Part of my "workflow" is, after I've hacked and sawed on a picture for a while, I look at the original to see if I've gone...too far. In this case, I may have overdone it just a smidge. See the previous picture.
I enjoy hacking and sawing, so I really do have to check to see that I have not lost the plot.
Usually, when I make a different version of a picture, I wait a while before posting it. In this case, I thought it would be interesting to show the pictures next to each other.
After thoroughly creepyfying the picture I looked at the original and thought, "dang, it was pretty creepy to start with."
So I present the original to you so you can compare. Creepyfied versus just going with flow. Other than the crop, this is SOOC. This is one of the reasons I like to hunt for murder shacks on overcast days...they already have some atmosphere.
Northwest Indiana
February 26, 2026
*In no way do we imply that a felony was actually committed here, or that a felon occupies this space. We jest. But you have to admit…kinda creepy.
More of my murder shack pictures
COPYRIGHT 2026 by Jim Frazier All Rights Reserved. This may NOT be used for ANY reason without written consent from Jim Frazier. This is a real photograph taken with a real camera, and not created by AI.
20260226cz7-2655-1000short-2
So this is my first proper panoramic image. Up to now I've simply cropped but what I realise is that the detail in a pano and its look is very different to a cropped image.
This is six images merged into one with a 50% overlap. I had some help setting up the pano gear but once I had that then the rest flowed and I got into the groove. I have some ideas for more panos but a bit to get my head around - but I now have a workflow for panos so all up from here with a bit more practice.
Brendan is a photographer based in Sydney Australia who loves exploring and shooting sea/and landscapes/nightscapes, in different areas sometimes with good mates other times by himself to improve his skills. You are welcome to follow me on my photographic adventures.
You can also follow me on Instagram @bgoodphotos.
I FINALLY HAVE A TUTORIAL FOR SALE!!
raw.exchange/product/epic-composition-with-robert-corneli...
I often get asked if I have any workshops, tutorials, or even just slower versions of my speed edits that people can learn from ... well that day is finally here! How about almost 8 hours of videos!? During which I take you through my whole process from shooting, posing, and lighting all the way to the nitty gritty details of my Photoshop workflow.
Also, I do have a new blog post for this image if you're not quite ready to dive into a whole tutorial...
www.robertcorneliusphotography.com/blog/easy-tip-for-comp...
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From a shoot tonight . . . cause you know I can't go more than a week without posting a shot like this. Just love tea parties and tutus, lol!
And of course, edited with my soft pop action from my workflow set
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?
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
Psalm 19:1… “The heavens declare the glory of God;
the skies proclaim the work of his hands.”
That correlates with Psalm 8:1… “LORD, our Lord, how majestic is your name in all the earth! You have set your glory in the heavens.” I cannot fathom how anyone can stand amid such glory and not come away with this understanding… and that’s coming from someone who has a great understanding of the science behind this scene. Unless you want a lesson in physics, don’t test me.
I’ve been practicing stacking star images to highlight some iconic structures and landscapes here in North Carolina… it’s best to photograph the Milky Way on a moonless night, though I’ve either not been able to get to these places in a timely manner or the weather hasn’t cooperated. The mountains and the coast are likely targets with barns and rockscapes and piers and lighthouses… I have them picked out; I just need to get there!
This was taken in Death Valley in March of 2015… you couldn’t ask for a darker sky than it is there. The light on the horizon isn’t light pollution from some distant city… it’s from the first rays of light from the rising sun. That was not quite that evident as I shot this scene, though the sensitivity of the camera over the long exposures easily picked it up. By the way, the exposure time mentioned in the EXIF is an accumulation of the time for each of the nine images used in the stack. By "stack", I mean that multiple images were digitally stacked to eke out as much detail as the images would allow and also eliminate the digital noise inherent with long exposures at high ISO values. I used Sequator to stack the images and freeze the foreground for this image… color correction, sharpening, and further noise reduction was done in Adobe Camera Raw and Photoshop CC.
Sequator is a free software that can be found here: sites.google.com/site/sequatorglobal/
A good tutorial can be found here: www.youtube.com/watch?v=C-MCvbYj-hA&t=20s
If you have other questions about the workflow that I can help with, just let me know in the comments.
I'll be appearing on the next episode of The Two Hosers Photo Show, and they've given me the weekly photo challenge.... "the longest day" (in honour of the summer solstice). Wide open to interpretation, and this is what I've come up with.
This image is photographed at The Wildflower Farm, a favourite location of mine to go shoot flower, insects and water droplets. Closed to the public, but they still let me poke around. One of the interesting things they have are these strange bicycle-based lawn mower contraptions. The front wheel is replaced with a grass-cutting blade apparatus, surely intended to make lawn mowing a faster task.... but it looks painfully labour intensive and time consuming.
Imagine cutting an entire field with a tool such as this? I think it would be the longest day of my life. Right behind this apple tree is a fledgling meadow, but the foreground grass is carefully manicured. I hope they aren't using these bikes to get the job done!
Oh, and this is a false-colour infrared image, shot with a modified camera. In infrared light, anything capable of photosynthesis typically glows brightly, giving a ghostly surreal look to the scene. The sky in this spectrum is often dark, and I was trying to frame the bright tree in the dark sky. This required me to set my tripod at nearly ground-level (thank you Gitzo for a removable center column) to find the right angle.
When shooting infrared, the camera will only capture the deepest reds in the visible spectrum, and also capture colours beyond our visual perception. These colours can be remapped into a range more natural to the way we see the world, usually done by swapping the red and blue colour channels as a starting point. I think I'll write a tutorial on my workflow in the near future. :)
My Portfolio: www.donkom.ca | Google+
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As street photographers, we are only too well aware of the devastation wreaked on the high street by Covid-19. With most retail being forced to close as wave-after-wave of restrictions have been imposed, foot traffic has fallen off a cliff. People are in the most part nowhere to be seen. If they are, it is scurrying to the supermarkets and food shops masked and keen to avoid the eye of anyone they meet.
Although initially the pain of cinemas was shared in the press, for the most part, their pain has been relegated to the back pages of the business section, as other larger and more visible businesses cry out for help. Unfortunately, any business, local or global within the hospitality sector has been particularly hard hit. Cinemas with their business model relying on packing in as many customers into a confined space for several hours have virtually nowhere to go. Even after the restrictions are lifted, people are going to be highly reticent for some time yet to spend several hours in darkness within inches of unknown strangers.
In North London, we had been blessed with a number of independent cinema groups, who invested heavily to innovate and offer unique film going experiences. Whether in the food they offered, the range of films shown or the comfort and luxury of the cinemas themselves. Prices while slightly higher than the mass-market cinema chains were not exorbitant and business was good.
They now lie forlorn and in darkness on the high street. Almost as if a display of defiance, the Arthouse cinema in Crouch End continued to light its façade, perhaps sending out the message that it had not given up and intended one day to return to its former glory. I felt I wanted to capture its pain as it remained under enforced closure.
When photographing the cinema, I looked to isolate the building from the surroundings, which were either unattractive or on the adjacent side, a building site. To achieve this I exposed for the highlights and allowed parts of the building to fall into shadow. At f11 I was able to create a small sunburst from the main light just above the statue. The 6400 ISO did not appear to create a significant amount of noise and with image stabilisation, I was able to achieve a relatively sharp image at 1/10s handheld.
In post-production, I used Adobe Camera Raw for my initial workflow and firstly worked to bring out the maximum amount of detail in the colour shot. I then imported the final DNG into Photoshop for some cleaning up and curve adjustments before importing into Silver Effex to create deeper shadows and more definition in the highlights.