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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.
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.
In December i was taken photographs in the Tank La Union in Antigua Guatemala, When some tourists was being the mountains.
I asked to another Guatemalan people and tell me that Fuego Volcano was active again.
I was lucky because whit me was the Nikkor 200-500mm.
Inmediatle put the len in my body camera and began to take pictures.
Fuego Volcano is to 18.4 kilometers from Tanque la Union in Antigua Guatemala. (i consult photopills app) most of the pictures was taken to 50mm.
The workflow was Lightroom for lens corrections and noise reduction with a plugin from Franzis software.
After i increase a little the high lights and down the blacks.
At the end increase the reds and yellow using Tonny Kuypper panel.
I hope you enjoy my pictures.
HAPPY NEW YEAR TO EVERYBODY.
I've always been inspired by the visual beauty of cinematography and film.
As a side project, I've been working on a set of Adobe Lightroom and Photoshop tools to help recreate cinematic beauty in photography with ease.
Available now : crmrkt.com/qO1qP
Experimenting a new workflow
Please don't post your photos here nor GLITTERY IMAGES. They will be removed. Don't invite me to any group. I will not accept ;-)
Taken from one of the rarely used fountains in Olive Park. I think this is my 4th visit to Olive park this year and each time I hoped to find some standing water in one of the fountains to take a reflection shot. Last night was the night.
It was pretty windy last night. Somehow I managed to get a couple of brackets off without having the wind wipe away the reflection. Stupid wind. Also I nearly took a header stalking around what was apparently a rather slippery fountain. Who knew slip resistant water shoes are an essential photography requirement.
Processed in Lightroom after using Photomatix to create a 32-bit HDR TIFF. I've tried this workflow a couple of times before but didn't like the result as much as tonemapping or blending by hand. This time the 32-bit version turned out the best.
© Ben Heine || Facebook || Twitter || www.benheine.com
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A photo I took in Braives (Belgium) during Christmas Eve.
We hadn't seen so much snow in Belgium since decades.
(I used 6 photos from my own stock to make this pic...)
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For more information about my art: info@benheine.com
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Turn Back To My Dream
A poem by Peter S. Quinn
Turn back to my dream
From your realities of sparkless night
Where its veracity always seem
Lost in its shadowed flight
Everything is out to play
Given if it's of child's fairytales
Coming through dark woods in its ray
Holy like the holiest of grails
A dream to take notice of and believe
When everything is downhill going
It shall take away your grieve
Around its sun and moon haloing
Bring every light through afar
Dance on the waves
Of the Milky Ways circular motion
Give you a wish from its falling star
Anything man craves
From the depth of the deepest ocean
please check out large | original | My top 100
Follow my posts on Twitter: www.twitter.com/ecstaticist
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.
O-M-G are you tired of me posting pictures of this place yet? Hehe.
Sorry, I've been semi absent these last two weeks. I was the "photographer" for my niece's quinceañera. If you've never been to one of these, its basically like a dang wedding, except with teenagers. There's a court, a huge cake and father daughter dance, etc. Took 1400 pictures and have been processing them for the last week and a half. I don't know how wedding photogs do it. I guess I'm not much of a people picture taker kind. I don't mind taking the pictures, its just processing them that's tedious and mind numbing. I'm sure my workflow isn't meant for this. I'm also glad that it isn't. The stress to shoot everything in such little time is not very pleasing to me. As well as processing them in a timely matter so the videographer can use some of them. I'm glad I don't do weddings. I'm certainly more of the take my time and enjoy the view type of photog. Oh well...
Hope everyone is doing well and hope to catch up with some of your posts.
Image: Single image, B&W110
Today's image is from Cleethorpes in North East Lincolnshire, where I captured some nice fine art groyne images. Check out my latest video for behind the scenes workflow on capturing this image. youtu.be/OJA5jTYybjM
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!
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
Lost and found in Venice - Long exposure and fine art photography workshop curated by LEMAG - The Long Exposure Photography Magazine..
Join us to discover the beauty of Venice and the art of long exposure. We have prepared for you a busy schedule (from early morning until after sunset) during three days of shooting at iconic spots.
Experience: Beginner to Advanced
Max Places: 10
Cost: £500
LEMAG group members enjoy 20% discount.
Includes: Long Exposure Fine Art Photography workshop tuition, post processing workflow for colour and monochrome.
Does not include: Flights, airport transfer, transportation in Venice (best is Vaporetto pass – let you hop on and off all boats), accommodation, travel insurance, food. For information on transportation passes in Venice please visit: www.tripadvisor.co.uk/Travel-g187870-c135096/Venice:Italy...
Duration: 3 full days from 6am to 6pm
Introduction:
My name is Derek Michalski and I would like to invite you to join me for three days of photographing Venice - one of the most inspiring and photogenic cities in the world.
I have been visiting Venice for over 10 years now, and am returning there shortly to check locations and viewpoints and make sure you will receive the most from the workshop. I am passionate about very long exposure photography and will lead you thorough one of the most beautiful cities in Europe with a wealth of classic compositions and stunning locations to shoot fine art long exposure photography.
Location and workshop overview:
This workshop will give you a fantastic opportunity to explore Venice outside of the holiday season It is designed for anyone interested in exploring the world of Fine Art Long Exposure black and white or colour photography, from beginners wanting to learn a new type and style of photography to those wishing to take their photography to another level.
The beautiful City of Venice is a true photographers’ paradise – and an ideal location for long and very long exposure photography, both black and white and colour.
We will visit many of the iconic locations Venice has to offer and will also explore some of the less well known areas that lend themselves well to fine art minimalist photography. Each day will begin just before sunrise and finish just after sunset to maximise the amount of shooting time available. After the morning shoot we will return to the hotel for breakfast and a little downtime to recharge batteries and refresh ourselves. We will then explore the city further until lunch. After lunch there will be an hour break after which we shall resume the session. Every day will finish after sunset.
Some of the locations we will photograph:
Rialto Bridge
Piazza San Marco
Palazzo Ducale - The Doge’s Palace
Ponte Dell’Accademia
Bridge of Sighs
St. Michael's Cemetery
Church of San Giorgio Maggiore
Le Zitelle church
Riva Degli Schiavoni
The Grand Canal
What will you learn:
A complete and comprehensive overview for shooting long exposure photography using ND filters and ND grads.
Create beautiful compositions for architecture and cityscapes.
In-camera settings to achieve clean and sharp images ready for post processing.
Using live view manual focusing.
Understand depth of field and hyperfocal distance to get the maximum sharpness from your lens and out of your RAW files.
Accurately calculate long exposure times to get perfectly exposed images using 6, 10 and 16-stop filters and grads.
Correctly read histograms to get the most out of your RAW files.
Post Processing: A complete step by step demonstration of my black and white post-processing workflow (using Lightroom CC, Photoshop CC, Nik Silver Efex Pro and DxO Optics Pro 10)
Booking deadline: February 15th, 2018.
Please note the weather conditions in Venice in March can be challenging and you will need a set of warm clothes and wellingtons in case of high water.
Further info: www.facebook.com/events/1360828237377602/
As a Welcome into the New Year, I made a quick 60 second video of one of my typical workflows for creating digital painterly collages in Procreate. This is also a taster of what’s to come in 2020.
To see the video, please visit my website iPhoneographyCentral.com, the video is currently featured on the homepage.
You can also view it on YouTube here: youtu.be/Y0AnFBV_ciM
All my images start with photos shot on an iPhone. This is a 60 second, step-by-step video I created in Procreate 5 on my iPad Pro. I work quickly with paint and then combine several layers to give a loose painterly feel to the image. I work with the Apple Pencil as this allows for more detailed work and also means less greasy fingermarks on the iPad screen.
If you'd like to learn more about creating digital collage and painterly images, you stay in touch by signing up to my occasional newsletter:
You might also enjoy my iPhone and iPad photo art courses which you can find here:
iphoneographycentral.com/onli...
Have a wonderful creative New Year for 2020!
Let me know if there are any iPad / iPhone art topics you'd like me to do videos on...leave comments and questions in the comments section below.
Maybe, blending, layers, drawing, painting, cutting out, creating textures, colour.....etc,
= Nicki FitzGerald =
Founder iPhoneographyCentral.com
for those interested in iphonography, the itemization of the workflow used for the images in this series might prove helpful.
oh, and i've created a group for black and white images. you might wanna join.
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Female Anna’s Hummingbird - Multi-flash “outdoor studio” setup shot in backyard.
If you’re interested in nature photography, please check out my new 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.
- MRS_20151128_001_LM_web_v2_800w_iwm
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
This is an image I processed using original narrowband data from Telescope Live. In my processing workflow, I used the Hubble Palette for the narrowband color mapping.
Exposure: 2h 10min
Telescope Live Information:
Observatory name: El Sauce Observatory
Location: Río Hurtado, Coquimbo Region, Chile
Coordinates: 30.472529° S, 70.762999° W (Google maps)
Elevation: 1525 m
Average seeing: 1.3'' - 1.8''
Date of capture: April 13, 2021
5 exposures per filter (Astrodon Sii, Ha and Oiii)
Total exposure time: 2.5 hrs
Telescope:
Officina Stellare RH200, a 20-cm F3 reflector
Aperture: 200 mm (8 inches)
Focal Length: 600 mm
F-ratio: 3.0
Mount:
Astro-Physics 1200GTO Equatorial Head Specifications
Minimum elevation: 32 degrees
Camera and Filters:
Camera Model: FLI ML 16200
Pixel Size: 6 μm
Pixel Array: 4500 x 3600
Pixel Resolution: 2.06 arcsec/pixel
Cooling: -20 degrees
Field of View: 2.58 x 2.06 degrees (155 x 124 arcmin)
Filters (50mm square): Astrodon LRGB 2GEN, Ha (3nm), SII (3nm), OIII (3nm)
for those interested in iphonography, the itemization of the workflow used for the images in this series might prove helpful.
oh, and i've created a group for black and white images. you might wanna join.
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.
Well yeah, this is one block up from Main Street Ventura close to where I do my laundry and about three block away from Ventura High School in a pretty rough neighborhood (not! :-))
Music: Morcheeba - Otherwise right click and open in new window/tab
INVITES ARE GREAT, BUT PLEASE IN MODERATION
All my public photos are free for personal use
In case your interested here's a sample of my convoluted workflow:
1. +2,0,-2 RAW (sometimes JPEG) files loaded into Photomatix and processed using the detail enhancer.
2. Base Photomatix Settings:
Main:
> Strength - 85 or less
> Saturation - 65
> Light smoothing - High (The further right, the more realistic)
> Luminosity - 0 (adjust based on the picture)
Tabs:
Tone
> White point - 2% (adjust up/down based on picture)
> Black point - .5% (adjust up/down based on picture)
> Gamma - 1.00 (adjust up/down based on picture)
Color
> Temp - 0
> Highlights - 3
> Shadows - 0
Micro
> Contrast - 10
> Smoothing - 15
S/H
> Highlights - 18 (adjust up/down based on picture)
> Shadows - 18
> Clipping - 18
The light smoothing is the most powerful adjustment, so play with that setting first then adjust the others until you get the right look,
If your sky is a dull gray increase the S/H tab, “Highlights” up a bit
If you have to much light “halos” increase your “Luminosity” and the “White Point” settings.
3. Save as a TIFF file.
4. Open in "The Gimp" and re-size (save as____.tiff)
5. Make a layer copy.
6. Do an auto "levels" and see what it does, if it's cool I'll merge it down if not I'll play around with the setting and opacity then merge.
7. Make another layer copy.
8. Use the "local contrast enhance" script at about 50%, then adjust the opacity to fine tune it, then merge it down.
9. Make another layer copy.
10. Use the "vivid color" script and play with the opacity to fine tune it, then merge it down.
11. Save (still as a tiff) and close the picture.
12. Open in Photoshop (I have and old version and only use it to run the Topaz plug-ins)
13. Run the Topaz Adjust plug-in filter and see what the various presets do.............
14. Run the Topaz Denoise filter.
15. Save (still a tiff)
16. Open the original file (unaltered JPEG or RAW) in "The Gimp"
17. Re-size this to match the modified tiff file (don't worry about keeping the aspect ratio)
18. Drag the modified tiff file in as a layer (it will completely hide the unmodified version) then merge it down, this will recover the lost EXIF information.
19. Use the "smart eg sharpen" script at default settings (it makes it own layer copy) then play with the opacity to fine tune it, then merge it down.
20. Do a "save as" as a jpeg, and it's ready for Flickr!