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.
On a whim last weekend, my wife and I went to stay at a nearby resort called the Hyatt Lost Pines. It’s a great place set on 405 acres along the Colorado River near Bastrop, TX. Our goal was purely to get some relaxation time and we accomplished that in spades. The rough schedule was eat, read, nap, snack, walk, read…then repeat it all again. We had a thoroughly enjoyable time.
On a side note, many people who haven’t ever been to Texas think only of plains and tumbleweed (that pretty much sums up my picture of Texas when I lived in Illinois). However, the geography of Texas is quite varied and the eastern portion — starting around the location of this resort just east of Austin — is full of tall pine trees. Bastrop has dense areas of pines and this continues through much of the eastern part of the state. I’ll leave it to the reader to research where the “Lost” reference in the resort’s name originates but now you know why the “Pines” reference is applicable.
I managed a few pictures early Sunday morning. Normally on a trip like this I make it a point not to “do photography”. However, since the goal was to do whatever we found relaxing, I did spend about 45 minutes taking pictures early Sunday morning. There were many interesting things to photograph in the halls and main lobby but there were a surprising number of people milling about at 6am so I was limited somewhat.
The photo at the top of the post shows a table which was made from the trunk of one of six large pines which were removed from the property. It was a nice centerpiece for the main lobby and had a finish with the potential to provide some great reflected images. It wasn’t meant to be though as I didn’t find any pleasing compositions at the correct angles to make use of the mirror-like properties of the table. I tonemapped six exposures in photomatix then masked in pieces from the original exposures. One tricky thing about this image was controlling the white balance because the room was heavily tungsten-lit. I kept a lot of that warmth but found that each exposure had a bit of a different color cast and had to be individually adjusted in order to match the tonemapped layer for masking. I ran a copy of the nearly-finished image through Topaz Adjust and included that at about 60% opacity. Finally I used two curves adjustment layers to tweak parts of the image and selectively used Noiseware for noise reduction in parts of the frame.
This picture below of the main lobby was processed in much the same way as the above image. Note the light fixture hanging from the ceiling. It was also made from one of the pines on the property.
The final image is a panorama stitched from 10 frames. Due to the way I shot the frames I was left with a piece of sky which had no pixels and thus I either needed to crop the image accordingly or clone in some sky. I chose the cloning route and it turned out reasonably…I’m not overly skilled with the cloning tool. I increased the exposure of the buildings with an adjustment layer and mask. Then I increased the tonal range of the sky with a curves adjustment layer and mask. “Increased the tonal range of the sky” makes me sound really smart but I have to admit that I got that from David Nightingale’s tutorial on curves (see here: http://www.chromasia.com/tutorials/online/curves/). This really helped to sky out a lot. I added some noise reduction here and there and voila…a panorama of the main lobby area of the resort. It’s nothing too exciting but it was good shooting and post-processing practice. It really has to be viewed large to appreciate it (click on the image to view on flickr).
Recently I went on a photowalk on the University of Texas campus with my friend Beecher. It was early morning on a foggy, drizzly Saturday and we hoped to capture some cool shots of some structures lit up in the fog. We had imagined shots of the UT Tower or Littlefield Fountain glowing in the fog-diffused light. What we got instead was enough drizzle to prevent us from wanting our gear out in the open.
What did we do? We found other things to shoot. We stopped by the Bob Bullock Texas State History Museum where there are lots of overhangs under which to avoid the rain. I captured this shot of the (beautiful) lobby through the glass.
3-exposure HDR. Center exposure: 2s, f8, ISO 100, 12mm focal length
There were two tricky things to this shot. First, the reflections on the glass completely overwhelmed parts of the image so I leaned the lens hood on the glass and blocked the reflections with my hands. As you can see, there are some leftover reflections but I find them rather appropriate as they give a sense of where the shot was taken (outside the glass). In hindsight I’m glad that I wasn’t able to avoid the reflections altogether.
The second thing I had to deal with was the cleaning staff — they kept wandering around in the lobby and occasionally showed up in the exposures. I shot and re-shot. I timed my exposures such that the shutter would open when the staff was behind a pillar. This is much like when you are attempting a portrait in public and you have to ‘click’ at just the right time to avoid people in your foreground and background…just something you deal with.
Anyone else have tricks for shooting through glass? Or, do you have opinions on how to treat a shot from the standpoint of allowing/eliminating reflections? Do you purposely include them in your shots? Do you go through lengths to avoid them?