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♥ her... processed with Florabella Classic B/W photoshop action (Vintage layer turned on) + 1968 at 20% opacity (both from the Classic Workflow set) :)
The Sol Duc River (also spelled Soleduck) is a river in the U.S. state of Washington. About 78 miles (126 km) long, it flows west through the northwest part of the Olympic Peninsula, from the Olympic Mountains of Olympic National Park and Olympic National Forest, then through the broad Sol Duc Valley. Near the Pacific Ocean the Sol Duc River joins the Bogachiel River, forming the Quillayute River, which flows about 4 miles (6.4 km) to the Pacific Ocean at La Push. Although the Quillayute River is short, its large tributary rivers—the Sol Duc, Bogachiel, Calawah, and Dickey Rivers—drain the largest watershed of the northern Olympic Peninsula, 629 square miles (1,630 km2). The Sol Duc's watershed is the largest of the Quillayute's tributaries, at 219 square miles.
Equipment=Canon EOS 6D (Canon 6D)
Lens Used=Tokina 17-35mm F/4 AT-X Pro FX Lens
Exposures=3
Location=Port Angeles, Washington
Workflow=Adobe PhotoShop Cs6,
Luminosity Masks=Rapid Blend IF
Adobe Light room 5
Nik Color Efex=Glamor Glow, and Brilliance/Warmth
Topaz Adjust=Photo Pop
Processed using my General Workflow Lightroom Preset (rich center light)
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On the past few days, I was assigning and scanning a lot of model and property licenses from Getty Images. Finally I find this method to do it super fast O_O
No, seriously, I finally can sell my work, and gain a few money with my photographs, I am so excited!
Hope you like this concept!
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En los últimos días he estado firmando un montón de licencias de propiedad y modelo de Getty Images. Al final descubrí este método super rápido O___O
No, en serio. Por fin puedo vender mi trabajo y ganar un poco de dinero con esto, estoy muy emocionado ^^
¡Espero que os guste el concepto!
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 :
ICED COFFEE
• Paris is an iconic destination for photoshoots, especially for women, due to its timeless elegance and romantic atmosphere. The city’s historic landmarks, such as the Eiffel Tower, Louvre, and Notre-Dame, create stunning backdrops that exude sophistication. Parisian streets, with their charming cafés, cobblestones, and Haussmann-style architecture, offer a blend of classic and modern aesthetics. The city’s association with high fashion and luxury enhances its allure, drawing top photographers inspired by its artistic heritage. Paris also offers soft natural light, ideal for portraits, and a vibrant creative culture that fosters innovative and breathtaking photography.
Thanks for your faves and comments 👍
ISO 100, f8 @ 35mm, 20:19, 30sec.
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Or have a look at my book: "Fairytales and Nightingales": www.markuslehr.com/fairytales-and-nightingales/
New Workflow
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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 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 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?
Tiny plate-like snowflakes always impress me. Their lack of complexity doesn’t diminish their beauty; I think it only enhances the appreciation of the geometry and the fractal patterns we see. View large!
There is a small bit of “debris” on the crystal in the upper left. Usually I try to clear away obstructions with a small paintbrush to isolate a single snowflake, but in windy conditions it can be hard to get it completely isolated. Finding the snowflake in the viewfinder is also a difficult task, and if I decide to clear away debris a second time, I might not be able to find the snowflake in my frame again before it melts, sublimates, blows away etc. Timing is everything!
Because snowflakes are often hard to find on the black mitten where I photograph them, I sometimes use larger clumps of snow as a “landmark” of sorts. If I take a small clump of snow with the paintbrush and position it nearby the snowflake I want to photograph, my challenge becomes a little easier. I look for the large clump, and then I know where to move the camera to try and locate the snowflake I’m after. This can save me time, and I need to work as quickly as possible.
All of my snowflakes images are lit with a ring flash, usually with a 7:1 ratio of power on one side or the other. Ring flashes allow you to control each half of the ring independently, and I try to get exactly the right amount of light hitting the surface of the crystal from the right angle. This angle is very important; If you choose any “convenient” angle, you are likely to get just the edges of the crystal illuminated. If you carefully rotate the flash and the camera such that the light from the flash bounces off the surface of the crystal and into the camera, you can get all of the surface detail you see in my images. It makes the snowflakes sparkle, and sometimes also reveals colour in the snowflakes.
I shoot all of these images entirely handheld. You need to rotate the camera around the subject being the center of rotation, and you need to work as quickly as possible. For these reasons, no tripod has ever been used in any of my snowflake images. It makes the editing process more challenging, but it also allows for more snowflakes to be photographed when the conditions are perfect.
To learn every one of my secrets to snowflake photography, the entire photographic workflow is explained in comprehensive detail is my book Sky Crystals: skycrystals.ca/book/ - the good snow is about to start falling, so get out and photograph it! :)
To see what happens when you spend 2500 hours across five years working exclusively on snowflakes, the result is “The Snowflake” print: skycrystals.ca/poster/ - all crystals are accurately measured and placed in relative size to one another!
Wishing everyone a great New Year's Eve and a wonderful year to come!
The workflow to process your photos is for many photographers a well kept secret.
Left: Direct from the scanner and unprocessed. Here the image looks very bad, and most of you wouldn’t even take the time to process the file. But if it wasn't for that I really knew that I got something that morning, I wouldn't too.
Middle: Color corrected, I set every channel with curves. Spot removal (there is a lot when I scan by myself =) Lighten it up a little with Levels. Then re sized the image to around 1800pix.
Right: The final crop, sometimes you have to see the image within the image. One more layer of curves, because in this image I was needed to reduce the red tones in its highlights a little more. Sharpening if needed. The last thing I do is to put that white frame around. For me, that really helps to bring out the best of the image.
Hasselblad H2 - HC 80mm f/2.8 at f/11 and a warming filter 81A - HM 16-32 magazine with Fuji Velvia 100 exp 2007 - Scanned with my Epson V800.
Svedala 2018.08.26
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]
QUICK NOTE: I now have a personal website - feel free to visit if interested - Infinite World Photography™
Thanks! Now back to the regularly scheduled photo post...
A Dowitcher relaxes in between feeding and preening
For the record, laying in rotting mud is no picnic - and the putrid smell lasts long after you get home. But it's very important to me that I get a strong connection to my subject by getting as low as possible. For wading birds and some other animals, this means getting in the mud and water (I wear waders)
A very low angle shot gives you the following benefits:
- a more intimate feeling to the image
- a direct eye-to-eye view
- more connection when you're shooting the photos, which adds to the experience, and enables you to anticipate and capture better moments
- a smoother / softer foreground and background
- shots that stand out, from those of the people who stand up when shooting
- plenty of odd looks and comments from gawking crowds
I appreciate all comments, faves, and follows.
Matthew
If you’re interested in nature photography, please check out my youtube channel!
www.youtube.com/channel/UC-nMVA45F8kWmJC0dwHkAkw
I appreciate all comments, faves, and follows.
Matthew
Editing Workflow Cheat Sheet:
Learn my workflow from import to export!
Workflow Cheat Sheet and Newsletter
YOUTUBE CHANNEL: Nature Photography Mastery Academy™™
FREE CONTENT / BLOG: Nature Photography Mastery Academy™
PORTFOLIO WEBSITE: Infinite World Photography™
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©Matthew Schwartz, All Rights Reserved.
This image is protected by Copyright, and is not available for use on websites, blogs, videos, or any other media without the explicit written permission of the photographer.
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