View allAll Photos Tagged workflow
Late afternoon light on Montana’s Reynolds Mountain.
I just recently put out a video that details my entire creative workflow from field to post on a fairly involved photo. You can find it at www.ryandyar.com ❤️ Thanks for scrolling to come across my post… you’re awesome.
Lincoln iPhoneography. Full workflow with images at each stage on my blog at skipology.com/iphoneography-workflow-commuting
I’m not a hardcore birder, I shoot only when both the opportunity and mood arise simultaneously, both of which does not happen very often.
I remember feeling challenged shooting this bird and as such it was a great experience.
1. Tiny bird, smaller even than the common Kingfisher but way more colourful.
2. This being a Forest Kingfisher, it’s always in the thicket, never in the open. Had to shoot at very low shutter speed hoping to catch it in between twitches just to keep ISO low enough to preserve details. Being as dim as it was, had to also boost up the EV to avoid having to do any shadow recovery.
3. 600mm even on APS-C crop was barely sufficient.
4. Trying to squeeze out as much details as possible. Used normal wireless release via OVF; MUP+EFC; Live-view, none made any consistent and significant difference. This was where I got a little mad at Nikon’s useless implementation of EFC on the D500, even more useless than the auto AF fine-tune feature. What’s the point of putting in features that don’t really work!? EFC in Live-view would have helped but infuriatingly, you can activate EFC in Live-view yet you can’t use EFC in Live-view, get your act together Nikon!
5. Getting the right pose with the beak pointing sideways and preferably upwards for the slightly haughty look plus some catch-light in the eye.
An experience to remember. a most beautiful bird, its red feathers extend down the centre back of its head to the collar in a narrowing ridge looking like its beak with the dark blue patches on each side of this ridge giving it the appearance of having eyes and beak at the back of its head! This is likely a defensive marking. Especially interesting when the Micronesia Kingfisher became extinct in the wild due to introduced brown tree snake sneaking up on it from behind while the bird was totally focused ahead and below as kingfishers normally do.
Shooting very small birds is always challenging as conditions constantly change with the subject constantly on the move while you aim for that perfect pose which can disappear in a twitch.
I toyed with the idea of getting the Sony a99ii with A-mount Tamron 150-600mm G2 after this but gave it up eventually. It’s not feasible to shoot with so many different systems.
Shot on tripod at 1/15s!
Uploaded a much better image (albeit cropped) with my latest post processing workflow.
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
A fiery sunset, REPLETE with virga, over Oregon's Alvord Desert. This image was made only 30 minutes before my lightning image from here, Voltaic Force.
HEY GUYS.
GUESS. WHAT.
I teach my processing workflow over Skype! I also offer in-field workshops, if you happen to be around the Midwest. Use the contact link on my website if you're interested in learning more: www.alexnoriegaphotography.com
♥ her... processed with Florabella Classic B/W photoshop action (Vintage layer turned on) + 1968 at 20% opacity (both from the Classic Workflow set) :)
Poznan, Poland
Bigfoot Coffee Shop
My workflow....big cup of coffee after I open the shop is the key ingredient to all of the work that I do... haha!
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and Behance
Processed using my General Workflow Lightroom Preset (rich center light)
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bit.ly/Photography_Workflow_2018
This is also a project I show you in my new course, I use blending modes in Photoshop.
Let me know you thoughts on those photos and if you got a chance to check out my new course that I just came out with, link is up there.
Honestly guys I am so happy of this one I feel this is the most upgraded course that I have with all my today techniques, go check it out!
I thought I'd experiment today with a different kind of processing workflow for this image than what I normally do.
I took 3 exposures for this shot (-2, 0, +2)...and then processed the HDR image in photomatix. I try to keep the strength setting normally between 20-50 depending on the type of shot I take. The other slider settings vary...luminosity normally around +2 and light smoothing on the 3rd or 4th notch.
After that straight into photoshop where I duplicated the layer and changed the blending mode to overlay to bring out some nice shadows. A few other normal adjustments such as curves and brightness were also done.
I tried to clone out that stupid bin in the shot, but it just wasn't happening in the way I wanted it too. I did try and move it physically before I captured it, but those things sure are heavy and I didn't want to strain too much or I would have ended up in one of those hospital beds with a bad back.
Rain over the Amazon rainforest, in the Anavilhanas archipelago
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Raw file reprocessed with my current workflow, image updated on 23th June 2019.
Originally uploaded on 2nd May 2015. Upload date changed to bring the much improved version to the top of my Photostream.
First time using Topaz Studio 2. I don't expect to use it very often. Awkward in my workflow. But, can't argue with free!
From a window, a view, perfectly divided.
One half is occupied by a city, and the other half, occupied by the gray, cloudy sky.
A picture of Tokyo, Japan, taken from the top of the Tokyo Skytree tower.
Also, I have made a few changes to my current workflow, and there might be some changes regarding the processing of my photos. For this, I apologize in advance.
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 :
HAPPY NEW YEAR and all the best for 2017!
This is a long exposure image I've shot in the summer but for some reason it seems fit for this day when we change the year. There is always the hope on this day that the new year will be better and I'm wishing you that from all my heart and to make all your dreams come true this year.
NEW VIDEO TUTORIAL
Recently I've launched my 3-hour long new Video tutorial Creating (en)Visionography - Long Exposure, Architecture and Beyond where I go further with exploring fine art photography and (en)Visionography and talk about my creative process and how you can put this in practice. The video comes with an eBook describing my processing workflow that was very useful to those reading it from the feedback I received. Here's where you can order the video and eBook. blog.juliaannagospodarou.com/creating-envisionography-vid...
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Book - From Basics to Fine Art – B&W | Video Tutorial – Creating (en)Visionograhy | Website | Facebook | Facebook Page | Google+ | 500px | Art Limited | 1x.com | Twitter | LinkedIn
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.
The past 2 days I have been organising by back catalog of photos, So far I have deleted 6000 photots, that was either duplicate, blurry or unintresting, I advise anyone dont be like me always keep on top of your workflow, On the plus side I did come across some unprocessed gems that I forgot about like this one.
This place was filled by these piled rocks, called "Cairns" (I didn't know it, but wikipedia did)
If you are on facebook you can subscribe to my Facebook page :-)
LOCATION AND DATE - DATA e LUOGO DI SCATTO
Cap Frehel (Bretagne, France), 14th August 2012
CAMERA
Nikon D5000
LENS - OBIETTIVO
Grandangolo, wideangle Sigma 8-16mm f/4.5-5.6 DC (16 mm)
SHOT DATA - DATI DI SCATTO
ISO 200; f/11
HDR from 3 exposures (-2; 0; +2), handheld
Other EXIF on flickr / Altri EXIF su flickr
WORKFLOW - FLUSSO DI LAVORO
° Rename: XnView
° HDR Processing: Photomatix
° Noise reduction / Riduzione rumore: Noiseware
° Perspective correction / Correzione prospettiva: PTlens
° Cropping: GIMP
° Curve correction / Correzione curve: GIMP
° Resizing, watermark: Fastone viewer
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.
(Nominee in the fine art category, 7th Annual Black & White Spider Awards)
(Published in Advanced Photographer, December 2012)
(Published in Photo Technique, Spring 2013)
So, it's a dark and windy start to 2012 - and a dark and windy (as in curvy!) first upload from me for the beginning of the year.
This is probably the darkest shot I've done to date in terms of tonal balance, and for those of you familiar with the zone system pioneered by Ansel Adams and Fred Archer, I really wanted to reduce this image to a fairly basic construct by representing the wall and ground primarily in zones 1 and 2. Accordingly, whereas I often might strive to process highlights (particularly specular ones) closer to zone 9 or occasionally 10, here the whole scale was anchored much lower, hence nothing other than the brightest tones of the light hitting the top of the wall itself register between zones 7 and 8. Of course, unless you're viewing on a properly calibrated monitor (you are, right?), then much of this is meaningless...
This created a problem for me when preparing the JPEG for web display. I'm not sure whether there is some sort of algorithm that works on increasing overall contrast of photographs once uploaded, but certainly I see a noticeable difference between my web-hosted JPEGS and my original files unless I prepare a tailor-made JPEG, to resemble the original as closely as possible. Unless I'm losing the plot entirely (which admittedly is a distinct possibility), it seems to me that very dark/bright tones are more obviously affected. This is a complete pain in the proverbial when you primarily work in a mono colour-space where tones are so crucial. For this JPEG, I had to work on reducing the contrast below the horizon quite significantly in order to best replicate the original. I got pretty near in the end, but not without some effort - and I'd still feel much happier were I able to wave a proper print under your nose!
I appreciate there are all sorts of issues with internet colour-space, JPEG compression and suchlike (anybody else slave for hours on a shot only to see the web carve up your sky with banding?!), but does anyone have tried and tested workarounds or workflow solutions that they believe help and would care to share?
I shall be producing some... lighter shots as the year progresses (alongside some black ones!), but if I've whetted your appetite for The Dark Stuff then perhaps the question should be just how dark can you go and still get away with it? Well, maybe this example from one of my absolute favourite photographers on flickr, Jeff Gaydash, demonstrates better than I can express in words. Or, how about this one from the incredibly talented Joel Tjintjelaar. Enjoy!
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?
Seven images in one stop increments, taken with Nikon D600, Tamron 24-70, 2.8 @ f13. Workflow and final edit in Lightroom 5.7, Layer and fusing in Photomatix Pro 5, Color and effects in NIK Collection, Logo in Gimp 2.8. I started with nine images, but the 2+ and 3+ overexposed were blown way out, because of the sun, so I omitted them. The sky was also washed out so I used a ND Filter effect in NIK Collection.
•The truth about Yosemite: www.nbcbayarea.com/news/local/Sexual-Harassment-Common-in...
With my last post “Decorating a Tree” I used the term “torture”. With the recent Senate Intelligence Committee on CIA Torture; I’d like to elaborate on this. Like so many times before; the CIA lied and said they did not torture, and when it was exposed they called it Enhanced Interrogation. When the Committee’s report said this was torture; the CIA and many Politician tried to justify the use of torture, as the media fell in place and most Americans looked away. Power decoupled from responsibility has become the American way.
Federal Law defines torture as “the intentional infliction of severe physical or mental pain or suffering”. This is also banned by the Convention Against Torture; the International Treaty that the United States ratified in 1994. This requires prosecution of any acts of torture. Acts of torture are prohibited by Federal Law.
A Targeted Individual endures 24/7 Stalking, Harassment, Sleep Deprivation, Street Theater, Gas-Lighting, Workplace Mobbing. These are acts of Conspired Psychological Torture. This is done to US Citizens living on US soil; while our Government and Law Enforcement Look Away. This bombardment of Psychological Torture has been shown to increase the risk of cardiovascular disease, metabolic diseases, likelihood of diabetes and cancer. This at the hands of conspired perpetrators involved in Gang Stalking, Community Stalking and Workplace Mobbing. If your son or daughter came to you, said they exposed corruption and illegal activity and are Targeted; would you look away?
Gang Stalking, Community Stalking and Workplace Mobbing are Psychological Torture. These illegal and immoral acts are carried out by residents and contractors; in Yosemite National Park every day, while Yosemite’s Superintendent and Law Enforcement look away.
If you are not familiar with Street Theater and Gas-Lighting; please take the time to research. If you would like ti hear it, put on a good pair of headphones and listen
Thank you for taking the time to visit my photostream.
Cypripedium reginae, the Showy Lady's-Slipper orchid.
A nice darker form of a Showy Lady's-Slipper, photographed along the boardwalk at the Lady Slipper Scenic Byway Interpretive/Rest Area, near Pennington, Minnesota.
The 1st orchids we stopped to see on our drive from Edmonton, AB to Newfoundland, Canada.
Also the 1st set of photographs I've posted that were taken with my Canon 5D-IV. I'm still testing/learning the processing workflow with CaptureOne...
Lady Slipper Scenic Byway, Minnesota, USA.
IMG_5776-rev-Cyp-reginae