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Website www.vulturelabs.photography
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My next B&W fine art long exposure photography workshop will be held in London on the 5th and 6th of March, and again on the 12th and 13th of March, learn my complete post processing workflow, and lots more. please email vulturelabs@gmail.com for more info
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Gegen 21:15 und windig war ich am 2.7. unterwegs. Was jetzt noch tun? Zum Glรผck war da die Schnepfenfliege auf einem kaum bewegten Brennesselblatt, die sich gut stacken lieร (58'er-Stack).
Einen kompletten Workflow zeige ich zu dem Bild in der nรคchsten Makrowelt Nr.4 von A-Z (Aufnahme und Stack).
www.traumflieger.de/reports/Makro-Fotografie/Traumflieger...
Lots of StarStuff...
A widefield mosaic of the Sagittarius Trio - M8, M20 and NGC 6559. This is a dense region of stars, interstellar dust clouds, and dark nebulae, reflection nebulae and emission nebulae.
Image Acquisition:
Sequence Generator Pro with the Mosaic and Framing Wizard.
Plate Solving:
Astrometry.net ANSVR Solver via SGP.
Processing:
Pre-Processing and Linear workflow in PixInsight,
and finished in Photoshop.
Astrometry Info:
View Annotated Sky Chart for this image.
RA, Dec center: 271.636470386, -23.829939492 degrees
Orientation: 2.08453689517 deg E of N
Pixel scale: 7.63283615011 arcsec/pixel
View this image in World Wide Telescope.
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About the Milky Way, and Earth's place within it:
The Milky Way Galaxy is estimated to have over 400 billion stars. Stars are suns, and just like in our Solar System, many of the stars have planets and moons. Our sun is a middle aged Yellow Dwarf star, located in the Orion Arm (or Orion Spur) of the Milky Way Galaxy. Itโs a minor side spiral arm, located between two larger arms of the Milky Way Galaxy's spiral. The Milky Way is merely one mid-sized barred spiral Galaxy, amongst over 100 billion other Galaxies in the observable Universe. When we look up at the night sky from Earth, we see a glimpse of the CarinaโSagittarius Arm of the Milky Way Galaxy. It takes about 250 million years for the Milky Way Galaxy's spiral arms to complete one rotation.
The size, distance and age of the Universe is far beyond human comprehension. The known Universe is estimated to contain over One Billion Trillion stars (the latest estimates are substantially higher).
Billion Trillion Stars:
1 000 000 000 000 000 000 000
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Martin
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How does it last the blink of an eye? You could measure it, if you really want to, but the truth is that we are so accustomed to blink our eyes that we are almost entirely unaware of the whole thing. Our brain compensates for it. So, in a way, we could say that a blink of an eye has an infinitesimal duration. The amazing thing I was thinking of while processing this fireflies shot - while recalling the actual experience - is that a whole, huge lot of things happen in the blink of an eye. Proteins in our cells are freshly synthetised; old, worn-out proteins are digested and reduced to aminoacids to be recycled; tiny yet powerful molecules of ATP continually bind to enzymes, allowing them to perform their "unlawful" duties at amazing rates; B lymphocytes produce and refine astronomical quantities and varieties of antibodies to fight some intruding pathogen; neurons alternately fire and rest in what we could envisage as, well, an astoundingly complex network of hyperfast fireflies. In the blink of an eye whole universes are born, and whole worlds are destroyed. We are so bound to our perception of time, to our own timescale, that it is utterly difficult for us to imagine what is happening on different timescales. In a mere hour a bacterial colony can proliferate enormously and, sadly, viruses can get huge hordes of self-copies at the expense of an unwittingly complicit cell.
There are further non-human timescales though, well beyond the microscopic word of cells or molecules. It is not by chance that for centuries people have been believing that the world had truly been created in seven days (well, actually six) and that everything - from geology to animals and plants - have remained basically unchanged since then. And that fossils were either remains of antediluvian creatures or tricks of the devil to test our faith and potentially lead us astray.
Well my friends, somehow this photo has reminded me that the world - both the micro- and the macroscopic - is something unutterably complex, almost beyond our grasp (almost being the key of everything). The quest for its understanding is a collective, neverending adventure. I often feel so small that even these fireflies, with their wonders, humble the feeling of being part of the species who believe to be master of the world. My mind is a minute firefly lost in a vast expanse of darkness. Yet I cannot give up. We cannot give up, since we "were not made to live [our] lives as brutes, / but to be followers of worth and knowledge" (Divine Comedy, Inferno, 26). Maybe our lives are the blink of an eye in the unutterable spatial and temporal vastness of the universe. But they are well worth living.
It has always been one of my unfulfilled dreams to photograph fireflies, which, sadly, are becoming a rarity in our countryside; the positive effects of the lockdown for the environment have probably favoured a blooming this year, so I decided to have a try. I followed the advices of a master of fireflies photography, the Bulgarian photographer Hristo Svinarov. However I will eagerly accept hints and positive criticism from everyone who will be so kind to offer it.
In my second fireflies session I have become a little more confident in my possibilities. I have tried to lower the ISO below 1000, and this is by itself a huge step towards better photos; moreover I have somehow dared more in composition. I am forced to use my Samyang 14 mm, which is the only fast-aperture lens I have in my gear, so I ventured nearer and nearer, until I was literally surrounded by dancing fireflies.
I have stacked 15 5-second photos with the Gimp. As the basic layer I used an image I have obtained by averaging the photos with John Paul ChaCha's Chasys Draw IES Artist: the fireflies themselves were almost obliterated but the landscape were effectively denoised, while the details were improved. In this photo I have processed separately the image which would have been the basic layer, just in the same way as any other photo - luminosity masks, and so on. When I was satisfied with the landscape I faced a new problem: it was just like I wanted it to be, so the 15 layers to be blended (those actually containing the fireflies) should not alter it - they should only add the precious fireflies. After a good bit of trial and error I developed my own workflow: a) duplicate one of the fireflies layers; b) extract LAB L component; c) in the bw image so obtained play with levels to force all the dark tones to black, then lower the light tones slider to better the fireflies signal; d) manually paint out the sky and the trees, and the other unwanted parts still visible (e.g. the water in the ditch); e) use this image showing only the fireflies as the layer mask of the original photo; f) set the blending mode to Addition: at this point the fireflies appear in the scene; g) duplicate 4 times the layer and then merge down the copies to get only one layer with the fireflies signal very naturally amplified; h) proceed in this way for all the (gasp) 15 shots; i) after all this, you can inspect the contribution of every layer to the result and, if needed, you can duplicate it and blend with Addition or Dodge to amplify it.
โฅ her... processed with Florabella Classic B/W photoshop action (Vintage layer turned on) + 1968 at 20% opacity (both from the Classic Workflow set) :)
So I saved my Photoshop workflow as an action and used it again on this couple pose. What do you think?
Goofing around...a version of this image was posted some time ago, but I'm practicing my new workflow.
The Clyde Auditorium, familiarly known as "The Armadillo", is a concert venue and auditorium in Glasgow, Scotland. The building sits on the site of the now infilled Queen's Dock on the River Clyde, adjacent to the Scottish Exhibition and Conference Centre.
Plans for a new building to increase the capacity of the SECC complex were initiated in 1995. Designed by award-winning architects Foster and Partners, the 3,000 seat venue was completed in 1997, by which time it had earned its affectionate nickname due to the similarity of its shape to that of the animal of the same name. Many comparisons have been made with the Sydney Opera House, although this was not the architects' inspiration for the design, which was in fact an interlocking series of ship's hulls, in reference to the Clyde's shipbuilding heritage.
The building has quickly become one of the most recognisable on Clydeside and one of the iconic images of modern Glasgow. Its success has led to the construction of a third venue on the complex, the Scottish Hydro Arena.
Equipment=Nikon D750
Lens Used=Tokina 17-35mm Lens
Exposures=7
Location=Glasgow Scotland
Workflow=32 Bit
Adobe Lightroom 5
ON1 Photo 10= Increase Color, Darken Sky, Dark Glow, Angel
Glow and Dynamic Contrast
Love this area near Queenยดs Park and University of Toronto.
Disfrutando de un paseo otoรฑal en Toronto, Canada.
This week I started using lightroom in my workflow, I really enjoyed it!
Adjust: Desaturation, more contrast and sharpening mask.
Processed using my General Workflow Lightroom Preset (rich center light)
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Qualcuno di voi usa FLIPBOARD?
Ho appena creato una rivista su Genova, se siete interessati, qui c'รจ il link:
LOCATION AND DATE - DATA e LUOGO DI SCATTO
Genova, (Liguria, Italy), 6th May 2013
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
ยฐ Rename: XnView
ยฐ RAW conversion: DxO Optics Pro
ยฐ HDR Processing: Photomatix
ยฐ Noise reduction / Riduzione rumore: Noiseware
ยฐ Perspective correction / Correzione prospettiva: PTlens
ยฐ Cropping: GIMP
ยฐ Curve correction / Correzione curve: GIMP
ยฐ Resizing, watermark: Fastone viewer
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.
=====================
Ich hatte schon immer ein Faible fรผr Street Art und irgendwann hatte ich Bock, es auch selbst zu versuchen. Es gibt so viele Mรถglichkeiten, Street Art zu prรคsentieren. Schablone, Graffiti, Strahlen, Sprengung, Kleben mit Bรคndern ... 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 spรคter besprรผht. 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 Kรผnstler. Und ich habe ein Faible fรผr 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 :
Sunken City
San Pedro, CA
01-09-2016
Processed: 10/30/25
An old sunrise photo taken in Sunken City in San Pedro in January 2016 and just now processed with my current HDR workflow.
EDIT: Explored at 173 on 10/31/25. Thank you to everyone who views, faves, follows, and comments on my images! ๐๐๐๐๐๐๐๐๐๐๐๐๐๐๐๐๐๐๐๐๐ฎ๐ฎ๐ฎ๐ฎ๐๐๐๐
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.
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.
Whisper of Elegance
Her presence whispers of ancient tales,
Like a breeze that through time sails.
Elegant, poised, a gentle might,
In her shadow, day turns to night.
HaPPY WaRHoLiCiouS GReeN THuRSDaY
Oh yeah, today my idols birthday is, 6th of August.
Happy Birthday, Andy Warhol
Click on the blues and look who he was The BLueS
For those who are arguing about this notes on my pictures
Go and click under the picture the blue line for having a look on large and without the notes
And for all who make notes?
Go on, I love it !!!
I have to thank again my dear friend Angela for the textures I used
Look here at here stream, amazing textures
Danke, Angela
here are the 2 links to the textures I used
first this one
I turned it 180 degrees
and the flowery one, you find on this click
Put on the sunglasses andโฆโฆโฆโฆ..
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.