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Florabella Actions used: Subtle Color + Buttercream + Blush Brush from Colorplay and 1968 from Classic Workflow
Kitty + Sasha = love. ♥ I grabbed my camera and a vintage hat for a quick shoot with Sasha this morning, but Pierre stole the shot (so sweet)!
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Matthew
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Yellow Legs - MRS_20150524_500_LM_web_v1_800w_iwm
Processed using my General Workflow Lightroom Preset (rich center light)
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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.
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 :
I have reprocessed this using different Pixinsight workflows.
This is just a small part of the North America Nebula. This is the part showing the central America and Gulf of Mexico area. In fact it is the main star forming area and is known as the Cygnus Wall. The wall is lit by bright young stars and partly hidden by dark dust clouds. This gives the amazing shapes that my image is trying to show.
Images were taken with my TS APO65Q Refractor and the imaging camera was Atik 490EX. Guiding was QHY5L. Software was Artemis capture and PHD Guiding. All processing was in Pixinsight including stacking. Data collected 21st, 29th and 30th June and 1st July 2014
HA x38 300 seconds 1x1 Total 3 hour 10 minutes
L x10 180 seconds 1x1 Total 30 minutes
R x10 180 seconds 2x2 Total 30 minutes
G x10 180 seconds 2x2 Total 30 minutes
B x10 180 seconds 2x2 Total 30 minutes
Total Integration 5 hours 10 minutes
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/
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.
This tiny gem has taken me quite a bit of time to clean up and get perfectly sharp, and now embodies a true-to-form beauty created in the sky. View large!
Some snowflakes end up lower on my priority list because I know they’ll take extra time in editing. This snowflake had clutter on top of it and was actively melting when I shot it, which meant that I needed to do a certain level of reconstructive editing to bring it in line with how I found it. The biggest challenge is working quickly in the field, and the post-processing workflow simply takes time.
When photographing snowflakes near the freezing point, you need to work lightning fast. Many times the snowflakes have already started melting, and adding the camera flash accelerates the process. You can see some of this melting on the bottom branch, seen as ripples or scars on the surface of the snowflake. It takes me less than 10 seconds to get the camera focused on the subject and aligned to get a reflective surface, and less than 5 seconds to take all of the necessary images. After that, the snowflake has faded too far and is no longer useful. These conditions are NOT ideal.
While the conditions leave a lot to be desired, I choose to shoot these snowstorms when they present interesting snowflakes. Sometimes these kinds of snowflakes fall on colder days, but I never know when the right conditions will come next and I try to make the most out of every snowfall. Especially when I notice colourful snowflakes (due to the magic of thin film interference), I usually stick it out for the entire storm no matter the difficulty. This snowflake fell about an hour before the remarkable beauty I shared on Christmas Day (snowflake #25 in this year’s series), which proves that my stubbornness for the subject pays off.
Working this quickly means that I need to be shooting handheld – there’s no other way. At 12:1 magnification, this is nearly impossible and I would only recommend attempting it after plenty of practice – that’s 12 times closer than the average macro lens. The camera is rotated around the subject as the center of rotation to find an angle that gives “glare” off the surface of the crystal. I’ve gotten pretty good at finding the right angle in a second or two after getting the snowflake in the viewfinder, but it has taken a few years of practice to work that quickly.
I hold the edge of my ringflash (attached to the end of my camera) with my index finger and thumb of my left hand. Gently moving my thumb I can shift the camera through the focus of the snowflake, which would represent around a millimeter or two of movement while taking many, many photographs. In total there were only 21 used for this crystal, fewer than the average by far due to its size and the lack of luxury of having more frames to work with before the snowflake degraded.
If you want to make your own adventure out of snowflake photography, I wrote the book on the subject. Pick up a copy of Sky Crystals: www.skycrystals.ca/book/ - and learn every technique I use to create images just like this, including all of the post-processing steps involved. If you’re a naturalist and just enjoy the natural world around us, the book details all of the physics for how snowflakes come to be. A great book for anyone!
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.
A Narrowband HOO Palette image of the faint emission nebula Sharpless 308 (also cataloged as Sh2-308, RCW 11, and LBN 1052), or simply referred to as the Dolphin Nebula.
Sh2-308 is an emission nebula and HII region located near the center of the constellation Canis Major, composed of ionised Hydrogen. It is about 8 degrees south of Sirius, the brightest star in the night sky. The nebula is bubble-like, surrounding a Wolf-Rayet star named EZ Canis Majoris. This star is in the brief, pre-supernova phase of its stellar evolution.
About this image:
This image is the result of photographing over several nights from the Southern Hemisphere (from dark rural skies, to my Pier at home). Deep Sky Objects like this is a challenge, as it pushes the limits of my modest Telescope gear.
Technical Info:
24 x 600 sec. 7nm Hydrogen-Alpha (Ha).
24 x 600 sec. 6.5nm Doubly Ionized Oxygen (OIII).
William Optics Star 71mm f/4.9 Imaging APO Refractor.
Sensor cooled to -15°C on my QHY163M.
Calibration frames: Bias, Darks and Flats.
SGP Mosaic and Framing Wizard.
Astrometry.net ANSVR Solver via SGP.
Pre-Processing and Linear workflow in PixInsight,
and finished in Photoshop.
Astrometry Info:
Center RA, Dec: 103.602, -23.925
Center RA, hms: 06h 54m 24.409s
Center Dec, dms: -23° 55' 29.074"
Size: 1.48 x 1.11 deg
Radius: 0.925 deg
Pixel scale: 3.33 arcsec/pixel
Orientation: Up is 113 degrees E of N
View an Annotated Sky Chart for this image.
View this image in the WorldWideTelescope.
&creditsUrl=&ra=103.471069&dec=-24.191961&x=1014.6&y=829.3&rotation=66.75&thumb=http://nova.astrometry.net/image/5838916){kind=link}
Nr. 1 in Flickr Explore:
Top 25 Photos on Flickr in 2019:
www.flickr.com/photos/flickr/galleries
blog.flickr.net/en/2019/12/19/top-25-photos-on-flickr
APOD GrAG on 2020/01/01:
apod.grag.org/2020/01/01/sharpless-308-the-dolphin-nebula
The Art of Astrophotography:
Also visit my Flickr Group: The Art of Astrophotography, that features the work of Astrophotographers from around the world.
This image is part of the Legacy Series.
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 P. Heigan
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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?
Shot at Mono Lake, CA.
Here's a frame from a time-lapse I'm working on!
Check out this tutorial I made on my workflow for editing these Milky Way shots: www.youtube.com/watch?v=FOAmP7A_x6c Any suggestions or tips would be appreciated!
I recently spend quite some time to figure out an optimized hybrid workflow. Developing film for scanning involves different considerations than developing for analog print. Some research and experimentation finally brought me to Diafine developer. It is a two bath development solution that yields excellent results for scanning. Nice grain, good sharpness and a very manageable amount of negative contrast with a reasonable gamma. Especially combined with Fuji Acros and Kodak 400TX it is a very fine solution for hybrid photography.
This image was shot with a Hasselblad 500c/m analog film camera using a Carl Zeiss 80mm Planar T° f/2,8 at f/11. Exposure time was 2 minutes. Developed in Diafine solution A 4,5 minutes and solution b 4,5 minutes.
I am looking forward to hear your thoughts. Any comment and feedback is very welcome.
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