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Valley View - Yosemite National Park
Nikon D7000
Tokina 11-16mm at 16mm
10 stitched images
1 - 3 Seconds
f22
ISO 100
Singh-Ray ND Grad
I completed this 10-image panorama version of Valley View about thirty minutes after an earlier post, taken at this exact spot. For this panorama image, I changed my usual workflow routine by adding post-processing before exporting the images into the panorama software. I blended two separate exposures of several parts of this scene, before stitching the images. I then opened the stitched panorama in Adobe Camera Raw to make adjustments to Curves and HSL. Finally, I opened the panorama in Photoshop, where I complete any necessary tweaks, before sharpening in Lab Mode, and saving the final image in RGB Color.
Made with Blender 2.92
Blender 2.93 is out, I so just downloaded and installed it, so my future blends will be made with the new release - although so many new things have been added and previous workflows changed that I can start learning all over again.
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.
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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.
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.
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.
please check out large | original | My top 100
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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’m posting this photo late at night because I just got back from a shoot. I didn’t want to break my daily posting streak.
Birds walk within a few feet of me when I’m wearing my ghillie suit. Sometimes they make eye contact, either out of coincidence, or if I make any suspicious movements. Shortly after their curiosity subsides, they return to feeding and preening. Being at the bird’s level and in their environment is a very satisfying experience (though sometimes painful and uncomfortable - worth it!)
Editing Disclosure: Some background and water areas modified to remove distractions.
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MRS_20150524_289_LM_web_v2_767w_iwm - ©Matthew Schwartz, All Rights Reserved.
This image is protected by Copyright, and is not available for ANY use without the explicit written permission of the photographer. Thank you for being respectful of the years of learning and practice, thousands of dollars, and extremely hard work and time I put into creating my fine art images.
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?
►►► Explore the world of HDR with me at farbspiel-photo.com - View. Learn. Connect.
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About | HDR Cookbook | Before-and-After | Making-of | Pics to play with
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(Hit 'f' to fave this image)
Watch the Before and After - Comparison to see where this photo comes from!
The story of this photo:
This is a 9-shot pseudo HDR panorama of the famous "James Bond" rock in the bay of Phang Nga, Thailand. You can find another (real) HDR shot of this rock here. The rock appeared in the 1974 James Bond movie "The Man With the Golden Gun" and has been a major tourist attraction every since. The shot was taken from a different position with a better view over the whole bay than the previous shot I uploaded. This place is awesome and mystical in a way.
It is the first time I have tried to do a proper HDR panorama and it was quite interesting to discover the corresponding workflow. Thank god, I have a fast 64bit PC with a 64bit operating system and lots of memory. During post processing, the document got more than 3 GB big at times. I have done panorama shots before with different gear, some of which was self-made. This was the first time I traveled with a monopod fitted with a simple but flexible and effective macro rail that I use as a panorama head. I have been searching and experimenting for some time to find the ideal solution to shoot panoramas quickly, reliably (avoiding problems in stitching) and at a reasonable price. And this is the perfect combination.
Take a look at my "HDR Cookbook"! It contains some more information on my techniques.
How it was shot:
> Taken with a monopod (using a Kirk macro rail as panorama head)
> 9 Exposures (stitched later)
> Camera: Nikon D90
> Lens: Nikon AF-S DX Nikkor 18-200mm 1:3,5-5,6G ED VR
> Details can be found here
How it was stitched and tonemapped:
> Developed three TIFs from each of the 9 RAW files using Adobe Camera Raw (+2, 0, -2 ev)
> Created 9 HDRs (32 bit) using Photomatix version 3.1
> Stitched the 9 HDRs using Photoshop and saved in OpenEXR format
> Tonemapped resulting panorama HDR using Photomatix version 3.1 (Detail Enhancer)
> Saved as 16bit TIF
> Take a look here for a more detailed description.
How it was post-processed:
> Post-processing was done in Photoshop
> Topaz Adjust on the foreground (everything except the sky) to enhance the details and the colors [details]
> Curves layer on the water to enhance the reflections and the contrast
> Photo filter layer with a gradient mask on the water to enhance the orange tones in the foreground
> Saturation layer on the water for overall color enhancement
> Saturation and Levels layers on he sky to enhance the blue tones and the contrast
> Saturation layer on the rocks to tone down the reds and increase the yellows
> Curves layer on the rocks to tune the contrast
> Halo reduction in the sky using a levels adjustment layer (gamma ~ 0.8) and delicate masking to blend this darker layer into those halo spots [details]
> Topaz Denoise [details]
> Sharpening on the foreground using the high-pass filter [details]
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Learn these techniques at farbspiel-photo.com - View. Learn. Connect.
- Thanks for viewing!
I used a different workflow to achieve this. I shot in RAW then used Olympus Viewer to do a couple of things:
1. Apply the Diorama Art Filter
2. I applied a STANDARD Noise Filter - Auto ISO picked ISO 1600. To the naked eye in regular web viewing there's no difference to having Noise Filter OFF. In fact that's my setting in camera, I always have Noise Filtering set to OFF. If you pixel peep however, that's a different story. When I switched to Olympus one of the things I noticed when you pixel peep is that there's this artifact created by the JPG engine. Again, you can only see this if you view it 100%. There's many ways to get rid of it if you don't like it. But if you could care less, you could simply shoot in JPG mode and ignore the pixel peeping people's comments and keep on shooting.
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]
I generally do not like to complain...about anything. BUT I need some relief! She's only 7 lbs. but she's either in my lap (worse) or on the keyboard or in front of the screen. If I lock her out she scratches at the door and wines. My wife helps but she's got the sister cat to contend with. That's right - double trouble!
It's a wonder I get anything done.
Visit my website at akikorhonen.org for more projects, thanks!
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My DIY ringflash that I've been doing for the last few days.
(Photo, starting from top left) Description
(1) I started with a 24 cm diameter steel bown and a normal food can.
(2) Added some tape on the bowl and drew the cutting lines with the can as a guide.
(3) Bottom from the bowl and can removed. I also shortened the cat a little bit. I first drilled a hole on the bottom of the bowl and then cut the metal with metal cutters.
(4) The two parts connected with strong epoxy that was meant for metals.
(5) Hole for the flash made and few connecting holes drilled. Also the needed aluminum parts are cut and bent in shape.
(6) The bottom part covered with black hockey tape. In the photo it has a Manfrotto quick attachment plate on it. Also has a hole for attaching it to the tripod mount of the camera.
(7) The top part where the flash is attached. Made some holes for the DIY TTL flash cord.
(8) I added some plastic parts for the flash hole to make it look nicer and to prevent light from escaping too much. Next I added some putty to finish it (wasn't necessary but I got too carried away again with the building).
(9) Putty and the bowl fully sanded and waiting for some gray primer and matte black finish.
(10) Painted and finished. Added some black hockey tape on the can's edge to prevent it from scratching the camera.
(11) Close up of the flash hole. A little bit of aluminum foil tape on the inside and black hockey tape on the edge.
(12) White thin fabric streched and being glued on the edges to get some diffusion to the light. There is a rubber band holding the fabric to the can.
See the finished righflash:
* DIY ringflash finished, without camera
* DIY ringflash finished, with camera
Cost: bowl 3€, can 0€, aluminum 1€ + some extra costs from paints etc. but I'm not going to count them to the total. Cheap anyway.
20090114: Added to favorites 100 times.