My family and I try to get to downtown Chicago every year and we almost always visit the Cloud Gate (aka “The Bean”) in Millennium Park. We take goofy pictures in the reflections and pictures of other people taking goofy pictures of themselves. The shot above was taken at the end of our last visit to Chicago. It was cold and rainy but we were prepared with jackets, umbrellas, and a rain cover for the camera bag. The forecast for the day was sunny and warm early, turning to cold and rainy in the afternoon and for once the weatherman was completely correct. The shots below were only taken 5-ish hours earlier in the day. I liked how the blown-out sky and top of the bean blend together in the last shot. Someday I’ll get through all the photos and post some of the goofy ones.
While in Chicago a couple of months back I hoped to get some sunset pictures of Buckingham Fountain in Grant Park. Instead I got cloudy sky shots as it began to rain. Earlier in the day the sun was shining brightly on a 80-ish degree day. By late afternoon cold winds were blowing and it began to rain. We were prepared since this was precisely the weather forecast we had been hearing. However, I had held out hope that the transition from sunshine to clouds would occur more near sunset so that I’d be able to capture something dramatic with the fountain. It wasn’t meant to be.
I was able to get some shots off quickly before the rain got too heavy but I was very limited on my composition options due to the seemingly millions of white tents and blue porta-potties set up nearby in preparation for the Chicago Marathon which was being held a few days later. I chose to post an image without all that stuff, but unfortunately that meant not posting the best view of the fountain either.
Nothing fancy on the processing — Lightroom tweaks.
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.
On a still day Austin’s Lady Bird Lake (still Town Lake to me) is a great spot to shoot the growing skyline (note yet another construction crane gracing the view) and get great reflections off the water. I met an out-of-town friend at Lou Neff Point this morning and was surprised to find that the lake was completely overgrown with a plant called Eurasian Water Milfoil. In hindsight I might have expected it as we had seen a lot of milfoil while kayaking on the lake recently but even then I wouldn’t have expected so much of it on the surface. Adding to the disappointment was that the forecast of “some clouds in the morning” wasn’t to be (until well after sunrise anyway).
Well, we were there and figured we might as well shoot some “stuff”. We fought off the mosquitos and fired away. I decided to shoot a panorama in order to increase the resolution a bit. I shot 3 frames — each bracketed +/-1 stop — and used Nik HDR Efex Pro to create very subtle (IMO) HDR images. Photoshop stitched them together nicely and I used several curves and saturation adjustment layers to tweak the final image.
All I could think of when I saw these two conversing on the street in Boston: “One if by land, two if by sea! C’mon, lady, how hard can this be to remember?!” Heavily cropped, but not much processing on this photo otherwise.
This building, in the heart of downtown Boston amidst very modern skyscrapers, was once the home of Chadwick Lead Works (obviously). Given that it was built in 1887 it was amazing (and rather charming) to see it standing in a modern downtown area.
This shot is a panoramic stitch of five frames taken from the sidewalk across the street. I would shoot one frame then move down the sidewalk a bit to take the next shot. Having been stitched from several frames you can zoom in and see quite a bit of detail (click the image to get to flickr where you can view the larger size).
Last weekend, after spending the day touring Boston, I walked across the pedestrian bridge (near the left side of the above image) next to Seaport Blvd which connects downtown to the old seaport district. The bridge is part of the South Bay Harbor Trail. I stopped for dinner and waited for the sun to set behind the city. As I neared this photo spot I found that four photographers were already sitting there — tripods and cameras already set up. I walked toward them and without a word stopped 10′ in front of them and pretended to set up my tripod. Silence. After a few seconds I turned and said I was just kidding and relieved laughter set in. I asked if it was OK to set up just behind them and they were nice enough to extend an offer to make room in the middle of them if I wanted (I just set up behind and above them).
My intent was to bracket a bunch of exposures as it got darker using f/22 to get a starburst effect. I switched to f/8 because (1) I really wasn’t getting much of that effect, (2) f/8 is good and sharp, and (3) my exposures were getting longer than 30 seconds and I was too lazy to start timing the exposures manually even though I was using a remote 🙂 White balance was set to daylight. That’s somewhat arbitrary since I always shoot in RAW but it helps keep things consistent when viewed in the LCD. I included a couple of straight-out-of-the-camera exposures below so you can see a sample of what I was working with.
On my flight home I plugged six exposures into Nik HDR Efex Pro. My personal default is to use the realistic-subtle preset as a starting point 99% of the time and I tweak a bit in Nik. Tweaking and saving complete, I took the Nik output into Photoshop along with a couple of the darker exposures and masked in a few spots which were still over-exposed after the HDR junk. I toned down the colors in the water and burned the sidewalk darker a bit (more on the dodging and burning below). Relative to colors, I did want an “HDR look” to this image but I sometimes find the reflections and colors on the water to be a bit overdone for my taste in these skyline shots. I also dropped the overall saturation by 20 points to bring it back to realistic colors as tools like Nik HDR Efex Pro and Photomatix tend to saturate everything a lot.
Finally, since the perspective wasn’t too bad I decided to fix it by stretching out the top corners a bit and aligning the buildings with rulers to make them more upright on the edges (the SOOC images above do not have that correction). If you do too big of an edit like this it can degrade the image but it’s fine for this one. The final image turned out crisp and sharp at high resolution.
This screenshot shows my dodging and burning layer. A trick I learned watching a Joe Brady video (something about Photoshop for landscapes sponsored by Xrite) is to create a new layer, fill it with 50% gray, then dodge and burn on that with black/white. There’s no real need for that but the layer gives you a visual to show where you’re doing your adjustments.
My daughters and I went to downtown Seattle today to hang out and on the way we stopped in Kerry Park (thanks, Jim Nix for suggesting it). I had low expectations regarding the weather but did hope to grab a skyline panorama in any case. Long story short, the rains came and other visitors got in the way somewhat so all I managed was the quick, handheld bokeh panorama (from 16 frames) shown above. I look at it as making lemonade out of lemons — we did what we could given the conditions. I gave up on my plans for a high-res (zoomed in and in-focus) panorama since the rain was hard and blowing directly on to the lens. We headed to lunch at Pike Place Market and afterward the clouds broke and the sun peeked out. We headed back to Kerry Park on our way back home but by the time we got there it was raining hard again — could barely even see across the water. I didn’t bother trying any more photos. I may try some black and white treatments with this one someday…
My daughter and I were on a walk in downtown Austin today and ran across this shattered glass in a door. I snapped a shot of my reflected portrait. I had a mind to see what I could bring out of it using Photoshop’s curves layers. I knew from past experience that curves could do some cool stuff to images like this.
The images at the bottom of the post were taken inside the decommissioned Seaholm Power Plant in Austin (posts about that here and here and here). The blown-out spots in the original image are from bright daylight coming in through windows on the opposite side of the building. Inspired by David Nightingale’s tutorials on creating dramatic images, I experimented with all sorts of wacky curves and masks. With some of those wacky curves adjustments the blown-out spots really created problems so in the end I just cropped them out. The final image is rather abstract — the hand is obvious but the camera, tripod, and my body are there but not completely obvious. There are a few issues (knuckles on the hand for example) but it’s fun nonetheless.
Back to the images at the top of the post. You may already know that curves adjustments can cause a color shift depending on the blend mode of the layer. I took advantage of this to bring out a bunch of color in this image. It would have been nice if I’d been wearing something other than a black jacket but I didn’t exactly plan this in advance. The adjustments on this image were just a strong s-curve and a combination of curves which lightened/darkened the midtones — all in normal blend mode and masked a bit here and there. Some selective sharpening, noise reduction, and a small bit of overall saturation were added.
To do this image justice it really needs to be viewed large. Click here for the full-res version.
On a photowalk last weekend (see previous post) I shot some frames in hopes of stitching a panorama of the Austin Skyline as viewed from the SRV statue on Auditorium Shores. I bracketed my shots with a mind toward using HDR and/or compositing to capture most of the dynamic range. I had no intention of filling in the deep shadows of course — It was getting dark after all.
In processing I set off to try the HDR route (I believe this is my first ever pano in HDR) and based on advice from Dave Wilson I first tonemapped the separate frames (3 exposures used for each) using the same settings in Photomatix. I used something on the order of 60% “strength” and tried to keep the HDR look toned down (FYI, the original exposures really do have this much blue in them). I tweaked the perspective of the individual frames a bit in Lightroom then merged to a panorama in CS5 using the ‘cylinder’ setting for the stitch. I could write an entire post about my perspective and stitching issues but suffice it to say that using the ‘auto’ setting was giving me very skewed perspectives from my wide-ish angle frames (30mm on a full-frame body). The automatic blending of the exposures after the stitch usually does a bang-up job of matching colors and creating a seamless stitch but I did have to manually tweak one area to make it match. Hopefully it’s not too noticeable…I won’t point it out of course. The HDR was a bit too saturated for my taste (it still kind of is…can’t make up my mind how I want this to look) so I used the vibrance adjustment to tone it down. Curves adjustments were used in various places for some final tweaks. No original exposures were masked into the final image.