Canon 5Ds and 5DsR Workflow
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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.
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.
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.
This image is an HDR pano of Hidden Lake, which Andrew Cook demonstrated in my recent workshop with him and friends at Glacier National Park. This was one of the most fun, and arduous hikes of the trip. It formed part of a ten-mile day, and I found myself unable to make the evening hike after toting my equipment up and down slopes for over ten miles. But it was fun. The hike is at Logan’s Pass where Big-Horn Sheep and Mountain Goats abound. I hope to get back there one day with my wildlife equipment and spend more time on wildlife, primarily in this location. We did see a black bear, luckily crossing upstream of a waterfall Bob and I were photographing and came close to seeing a grizzly and a moose or two. There’s lots of wildlife at Glacier and I got used to calling out “Hey Bear”, part of the protocol of not surprising one in the woods.
For photographers: In the past, I generally hand bracketed my shots, meaning that I would watch the histogram and take as many shots as to bring the shadows off the left edge and the highlights off the right edge. Since my workflow wasn’t uniform, meaning sometimes I took two shots, sometimes 3 or more, Lightroom couldn’t perform an HDR pano. However, if each slice of the image uses the same bracket, and there is sufficient (usually 1/3) overlap between frames, Lightroom or Camera Raw can combine them in one step, saving a lot of painstaking labor doing it individually. In this shot I combined, 5 sections of the scene, each one a set of 3 bracketed shots. Each set of 3 was combined by Lightroom into an HDR of that section of the scene and then stitched together with the others to get one end of the lake to the other. After that I processed the image like any other. (Sony a1, 24-105 f/4 at 24mm, f/11, ISO 640 and shutter speeds ranging from 1/160/second to 1/2500/second)
Unfortunately obtained after a workflow of only one raw file instead a +/- 1stop 3 shots BKT.
Enjoy to everybody...and have a nice comments
EF
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.
Now I’m reviewing my workflow, including photo equipment and software. It will be two months before I finish it…
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.
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My latest London visit was Last Saturday 2nd December. I led a group of 15 from Bognor Regis Camera Club for an Architecture and Night Photography trip round the City of London. This was also my first shoot with my new Camera a Sony Alpha 68 bought a week ago. This shot was taken on the South Bank by the Millennium Bridge looking towards St Paul’s Cathedral. The bridge was designed to line up perfectly with the Cathedral Dome.
The new camera was a little overdue. My trusty Sony A700 was first released in 2007 and bought second hand in 2012 while the A68 was released in 2016. The Camera takes the same lenses and is a crop sensor though with much higher resolution and far better focusing. One problem I had to resolve was that as I use Photoshop CS5 the Camera Raw available cannot recognise the cameras files. As I was determined not to be forced by Adobe into their subscription system another RAW editor was required. A little research turned up a little known RAW editor, Capture One, which is better than Camera RAW which is increasingly used by professionals. Even better is that it is free for Sony users though it costs £250 for other file types. It also does HDR type editing and a catalogue system similar to Lightroom. I wanted a simpler workflow for single images and found that I could use the right click menu to open a single RAW file, process it, export as a TIFF and then edit further in Photoshop
The picture was taken on a tripod with a Sony A68 with a Sigma 10-20 mm lens at 17mm. No HDR but one image RAW processed in Capture One including Dynamic range editing. Then processed in Photoshop include Topaz DeNose and Adjust.
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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
Budapest Juli 2011; Párisi Udvar; Lightdome; HDR 3 exposures -2/0/+2; Photomatix; Photoshop
(Thanks to Klaus Hermann for sharing his workflow: farbspiel.wordpress.com/)
I didn't do much to this one as what passes for my usual processing workflow didn't seem to like this image much. As a result this is pretty much SOOC.
HFF!
Website www.vulturelabs.photography
My next B&W fine art long exposure photography workshop will be held in London on the 9th and 10th of April, and again on the 23rd and 24th of April, (only one place available) Learn my composition techniques, and my complete post processing workflow. Please email vulturelabs@gmail.com for more info
If you would like one to one tuition, at a time that suits you, then please get in touch
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Thank you all, for visits, comments and faves, most appreciated ;-)
After six months of redevelopment, the Natural History Museum this month reopened its centrepiece, Hintze Hall, with Dippy the Diplodocus replaced by the skeleton of a 25-metre blue whale named Hope. I was fortunate to be able to visit the museum a few days after it opened, and to behold the remarkable sight of this creature -- the largest ever to have lived -- suspended from the hall's ceiling and diving downwards with its jaws open.
Having last photographed Hintze Hall more than two years ago, it was fun to return to the location and to try an angle I hadn't photographed in a while. The challenge here is always the immense number of visitors the museum welcomes each day, and my workflow to capture the scene nearly empty was similar to my previous take, which is to say about 45 minutes of continuous shooting and then using Photoshop's Statistics function within the Scripts menu to calculate and remove any inconsistent elements. In addition to bracketing my exposures so that I could later blend them using luminosity masks, I was also drawn to the dramatic mid-morning sunlight coming through the windows, which cast a warm glow on Hope and created a wonderful array of patterns along the hall's floor. The sun on this particular morning was constantly dipping behind the clouds, however, so I was restricted to shooting only when the sun reappeared, as well as trying to capture each part of the scene without people at least once to ensure a clean and straightforward editing process.
Although I'd bracketed nine exposures and had a range of tonality to work with, the bulk of my workflow was geared towards the darker exposures, which captured all of the detail in the museum's windows and a moody sense of mystery beneath its arches, as well as emphasising the pattern of light and shadow along the ground. With this said, I used the brighter exposures to gently restore detail to the brickwork and to emphasise portions of the building's architecture, for example J. W. Beaufort's portrait of Alfred Russel Wallace to the right of Darwin's statue. After this, I used a mixture of Curves, Hue/Saturation, Colour Balance, Selective Colour and Gradient Map adjustments to find the right shade of blue for the shadows and to emphasise the warmth of the sunlight streaming through the windows. Inside Nik's Colour Efex Pro and Silver Efex Pro, I significantly lowered the midtones and softened the structure across the museum's floor, as well as applying a small amount of the Detail Extractor and Tonal Contrast filters to the walls to bring out their texture.
The mother and son beneath the whale were added further along in the workflow, but I felt they completed the image. Besides providing a sense of the scale of the skeleton towering over them, there seemed to be something meaningful about their presence beneath a display that's intended as a symbol of humanity's power to shape a sustainable future. This particular whale was stranded at Wexford Harbour in southeast Ireland in 1871, but the species was hunted to the brink of extinction during the 20th century, with the blue whale being the first species that humans finally resolved to save on a global scale. Their population has steadily begun to climb again, hence the name Hope, and there seemed to be something very hopeful about a parent and child visiting an environment where everyone is encouraged to be a part of that change.
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A narrowband (HOO Palette) image of an interesting section in the Vela Supernova Remnant (also known as Vela XYZ; Gum 16; SNR G263.9-03.3; 1E 0840.0-4430; RE J083854-430902).
The Vela Supernova Remnant is in the Southern constellation Vela. Its source (a Type II Supernova) exploded approximately 11,000–12,300 years ago, at a distance of about 800 light-years away. The association of the Vela Supernova Remnant with the Vela Pulsar, is direct observational evidence of Supernovae form Neutron stars. The Vela Supernova Remnant includes NGC 2736, and it also overlaps with the Puppis Supernova Remnant. Both the Puppis and Vela Remnants are among the largest and brightest features in the X-ray sky.
Elements are made at different stages in a star's life-cycle, and spread through the Universe in Supernova explosions. “The Nitrogen in our DNA, the Calcium in our teeth, the Iron in our blood, the Carbon in our apple pies were made in the interiors of collapsing stars. We are made of starstuff.” ― Carl Sagan, Cosmos.
Technical Info:
Lights/Subs total integration time: 15 hours.
42 x 600 sec. 7nm Hydrogen-Alpha (Ha).
48 x 600 sec. 6.5nm Doubly Ionized Oxygen (OIII).
William Optics Star 71mm f/4.9 Imaging APO Refractor.
Sensor cooled to -20°C on my QHY163M.
Calibration frames: Bias, Darks and Flats.
SGP Mosaic and Framing Wizard.
PlaneWave PlateSolve 2 via SGP.
Pre-Processing and Linear workflow in PixInsight, Starnet++ and Straton was used for star separation, and final processing was done in Photoshop.
Astrometry Info:
Center RA, Dec: 127.762, -43.909
Center RA, hms: 08h 31m 02.897s
Center Dec, dms: -43° 54' 30.752"
Size: 1.62 x 1.32 deg
Radius: 1.046 deg
Pixel scale: 3.65 arcsec/pixel
Orientation:Up is 87.3 degrees E of N
View this image in the WorldWideTelescope.
&creditsUrl=&ra=127.871953&dec=-43.999185&x=886.1&y=567.3&rotation=92.70&thumb=https://nova.astrometry.net/image/11230571){kind=link}
This image is part of the Legacy Series.
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Photo usage and Copyright:
Medium-resolution photograph licensed under Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 International Terms (CC BY-NC-ND 4.0). For High-resolution Royalty Free (RF) licensing, contact me via my site: Contact.
Martin
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Red Dawn !
"Let this be the hour when we draw swords together. Fell deeds awake. Now for wrath, now for ruin, and the red dawn. Forth, Eorlingas!" Quote from the two Towers
A dramatic sunset taken in the french alps during past summer
Many of the tecniques used for edit this picture are described in my processing video "Introduction to creative Workflow" that you can purchase here: www.enricofossati.it/Instruction
Don't foget to check my workshops page here: www.enricofossati.it/Workshops
Spots are available in the Febbruary Workshop in Lofoten with Javier de la Torre.
Gare do Oriente or alternately, the Lisbon Oriente Station is one of the main Portuguese intermodal transport hubs, and is situated in the civil parish of Parque das Nações, municipality of Lisbon.
In 1994, the station was proposed as part of the modernization of the Linha do Norte, a modification to the rail line to facilitate the future development of an Oriente station. Located along Avenida D. João II, over Avenida de Berlim and Rua Conselheiro Mariano de Carvalho, the station was planned to occupy the lands once occupied by Apeadeiro dos Olivais, which was demolished in the 1990s in order to make way for the new station.
Equipment=Canon 6D
Lens Used=Tokina 17-35mm Lens
Exposures=7
Location=Lisbon, Portugal
Workflow=Luminosity Masks
Adobe Lightroom 5,
ON1 Photo 10=Dynamic Contrast, Angel Glow and Increase Color
Nik Color Efex=Glamor Glow
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