I’m headed to Seattle next week and that put this picture in mind (a rerun on the blog). During our last Seattle trip the weather consisted of cold temperatures (50-ish) with rain — *every* day. The sun partially peaked out *one* afternoon for a couple hours. The picture above is a good reflection of that I think. To be fair, we knew in advance that the weather would stink that time of year but visiting family (with 3 new babies among us) was worth it and we had a great time. I have hopes of someday getting a clear-weather shot from Kerry Park with Mt. Rainier in the background but it’s not likely to happen next week as I doubt there will be much time for photographic adventures. In fact, I might not even pack more than the camera body, a single lens, and a flash (for the baby snapshots of course). We’ll see though — my tripod might sneak into the luggage.
Aside from a family photo shoot a couple of weeks ago (which I’ve been asked not to post online) I haven’t taken any pictures. Work at “work”, work at home, and family this and that have consumed all my time. That’s not a bad thing necessarily — those are the right priorities — but I hope to get out shooting sometime soon.
It’s pouring rain again tonight. Lots of lightning and thunder too…awesome. Last night after the rain I noticed some clouds to the east so I shot about 20 handheld frames along the horizon. The above image was cropped from the resulting stitched panorama (probably about 10 frames worth). I did some basic contrast adjustments in Photoshop after the stitch then went back into Lightroom. I’d recently seen a very cool cloud/lightning image done in black and white and decided to go that route with this one. I used the channel mixer in Lightroom to adjust the image to taste. In very rough terms that meant darkening the blues and brightening the reds.
I was headed to my trolley tour stop in Boston when I spotted this picture. Sun peeking from behind the building, moderate interest in the sky, sky and cloud reflections in the windows of the tall building, and dappled reflections of light in the short one. As I took the shot I got a bonus lens flare and guy crossing the street. It’s not an *amazing* scene, but pleasant enough IMO.
This is an HDR and naturally it bugs me that there’s a slight halo around that tall skyscraper. The thing is, that halo is present in the original exposures too. Despite the fact that there will be those who attribute the halo effect to “bad HDR”, I decided to leave it as is. For those of you interested in one method of fixing this (particularly in difficult, detailed scenes), see Dave Wilson’s handy tips here.
The bright portion of the street (and the guy walking across) were masked in from a single exposure. That exposure (fast shutter speed to freeze his motion somewhat) was tweaked a bit to match the scene as I saw fit. Given that it was a bright, sunny day I wanted it to still look “bright” and I wanted the portion of the street at the left to remain in shadow. One could argue that I should have used a slower shutter speed to show his motion but that’s simply a matter of personal preference — neither one is more correct than the other IMO. Various curves were masked in all over the place as usual.
“If you own a house which faces west on an island in the Indian Ocean and your youngest sibling is left-handed and your primary vehicle is white, then subtract line 21 from line 13, multiply by 0.285, subtract your latitude and longitude and enter the result on line 85.” What’s that got to do with anything? I just did my income taxes and it seems like half the directions are as nonsensical as the one above. So, I’m just venting…our tax code is too complex and MESSED UP. It doesn’t matter what political party affiliation you claim, whether you think the system is fair or unfair, or you think the rich should pay more or less — I don’t see how anyone could disagree that it’s a mess. Solutions? I don’t get into those kinds of debates online 🙂
In a previous post I showed a bokeh panorama (or “bokehrama”) from the same place the above picture was taken. The one above was a quick snapshot as we packed up to get out of the rain. I hadn’t planned on doing much with it but as I continued to see it among my photos it grew on me — I like the overall gloomy mood contrasted with the random colors of the skyscraper windows for example. Having a bit of detail and drama in the clouds helps too and I don’t think I would like it as much if the skies had been a flat gray.
This image is from a single frame captured with a 50mm lens. You may note the odd settings used — not typical for a landscape shot. The fact of the matter is that I had just used roughly the same settings for the panorama I linked to above. For this skyline image I sped up the shutter one stop with a flick of the dial (didn’t need quite the length of exposure that I needed for my daughter’s dark skin) and snapped this quickly so we could get going. Something like f/8 would’ve been sharper, etc. but there was no time to worry about that stuff. I cropped to a more panoramic aspect ratio (and cropped out another visitor to the park who was in the left side of my frame) then processed mainly with a bunch of curves and masks to selectively adjust contrast. I tweaked the white balance a bit to move from a completely black and white cast toward having a wee bit of warmth.
I’m posting another HDR that I processed in my Photomatix vs Nik HDR Efex Pro evaluation war. The subject here is the lobby of the St. Regis Hotel on the Hawaiian island of Kauai. There was a multi-level water feature (a bit of which you see in this image) which provided all sorts of reflections and begged to be turned into some HDRs. I didn’t have a tripod with me so I simply plopped the camera down on a ledge and fired of 9 bracket exposures in several locations. This limited my composition choices but I was able to get the main thing I was after — the reflections in the water. The hotel is situated in a beautiful spot on the island and commands a gorgeous view the mountains across a small bay. If I’d had a tripod I would have taken shots from other positions to include a nice view of the ocean and mountains through the windows.
In this case Photomatix was dramatically better for quickly coming up with a result I liked. The photo above is almost straight out of Photomatix — I only added some clarity/sharpening/noise reduction after that. Nik gave some interesting results but did a lousy job keeping the clouds outside from being blown out. Whenever I used the more realistic presets (realistic HDRs are generally my preference) the view out the windows was completely blown out. No doubt I could have figured out how to get an acceptable result but it was taking a lot of time to begin to match what I got out of the Photomatix effort.
You’ll note the large shift in color cast across the image. This was due to the prominence of daylight through the windows on the left side versus the interior tungsten lighting on the right. It bothered me at first but it’s more realistic this way so I decided to leave the color as-is.
Today I’m posting an HDR panorama of the Hanalei Valley in Kauai, Hawaii. The main crop in the valley is taro. I mentioned in another post that I rarely lugged the tripod around while out with the family but I did usually have it in the car. When we stopped at this lookout I went ahead and used to capture images for a pano of this valley. As you can clearly see the dynamic range was quite large, especially with the bright clouds. I quickly picked an exposure (using manual mode) and fired off 3 exposures per position. I didn’t want to hold the family up so I didn’t take the time to capture the whole dynamic range. As such, the clouds still are blown out in spots but it’s still a picture worth having from the trip.
I tonemapped each set of brackets using the same settings then used Photoshop to stitch them together. After that I simply tweaked the contrast. One obvious improvement would be to clone or crop out the branch sticking into the top left part of the frame but I haven’t yet taken the time…
I recently downloaded a trial version of Nik Software’s HDR Efex Pro. I’d been semi-disappointed in many HDRs I’d created in Photomatix and had heard many people say they’d made the switch to Nik. If you’re hoping for a complete review of Nik HDR Efex Pro I apologize in advance — I’m only going to give some impressions here.
First, a bit on Photomatix. It’s great software in many ways and I’ve used it to make many cool (IMO) images. However, in many of my HDRs of late I’ve ended up doing so much masking in Photoshop after tone mapping in Photomatix that I’m practically producing a composite of the original exposures. Photomatix often doesn’t handle motion to my liking — leaving way too much work to do afterwards. I’ll readily admit that it could be the user — I’m no wizard with Photomatix. It could also be that I’m getting pickier as time goes on. On the plus side, I find Photomatix to be much faster than Nik but I don’t process all that many HDRs so that’s not a huge factor.
I used Nik HDR Efex Pro to process all but one of the images in this post. For my own comparison purposes I processed another Hawaii coast photo — similar to the one at the top of this post — with Photomatix. It’s not completely apples-to-apples since I didn’t process the *same* photo but I ended up having to spend a ton of time in Photoshop fixing up the Photomatix image (basically ending up with a composite as I mentioned above).
As for the mechanics of using Nik HDR Efex Pro, it’s quite simple. In each of the images (5-ish?) that I’ve processed with it I’ve started out with a preset and tweaked from there. Of course I’m still learning all the sliders, etc. but I’m happy with it so far. I find the “control point” concept useful (it defines circles in which you can separately tweak portions of the image) but I would prefer that it worked more like the adjustment brush in Lightroom where you can choose exactly where the effects are applied. The final images here aren’t completely to my liking (some spots would get fixed if I were to spend more time on the images) but are illustrative enough for this post.
A recent sunrise over the Gulf of Mexico along Padre Island National Seashore. The image was processed with 4 or 5 different textures in OnOne’s Perfect Photo Suite. After that I did a few Photoshop curves adjustments…that’s it.
“I will live in Montana. And I will marry a round American woman and raise rabbits, and she will cook them for me. And I will have a pickup truck… maybe even a “recreational vehicle.” And drive from state to state. Do they let you do that?”, Captain Borodin, Hunt For Red October.
I always think of that quote when I think of Montana. It cracks me up. I thought I’d post a few more of my favorite pictures from our summer Montana trip. A very friendly horse and some very green fields with a background of snow-capped mountains at sunrise.
Both images were processed with a series of curves adjustment layers to balance out various areas of the image. Nothing fancy…
My wife saw that quote on a billboard as we drove out of the DFW area last weekend (I believe the billboard used a military ship as the backdrop). I had just attended the Alliance Airshow in Fort Worth the day before and I thought the quote was appropriate for a shot of the Thunderbirds.
A friend and I bought photographer passes for the show. The passes were sold to 70-ish photographers and granted access to the show 2 hours before the general public so we could photograph the static displays without the crowds. We also had a designated area at the flight line — just to one side of the show’s announcer at show center. Plenty of room, free water ($3 per bottle if you buy at the concession stand), and lunch provided. It was well worth it.
Editing was simple: “Auto” preset in Lightroom, set daylight white balance, added some clarity and a little fill light. Vignette and deep blue sky are courtesy of the polarizing filter I was using.
I had to snap this photo of all the glass in the photo area. All I could think of is Mark Garbowski’s blog title “Too Much Glass”. It was entertaining to watch the chorus of lenses scanning the sky in synchronicity as planes flew by. I had some serious lens envy with my puny 70-200mm f/2.8 IS.