Seaworld again graciously hosted the annual United Way Leadership Appreciation Event yesterday and Lynn and I enjoyed a few hours at the park. It was a very pleasant day full of sunshine starting in the high 40s, and warming into the 60s after lunch. Seaworld is a favorite of ours and there are lots of good photos there.
This year, I carried a quite a bit more photo gear, although I didn’t use everything. The equipment I enjoyed using the most was my Canon G9 inside the WP-DC21 waterproof housing. I brought this out at the stingray lagoon. The rays in this pool are used to people and will come right up to you when you put your hands in the water. This first picture is a close up of an approaching stingray.
Stingray
And click on the link below to see a short underwater video of the stingrays swimming by and then trying to eat my camera! Stingrays eat my camera!!!
I will post the rest of my photographs from yesterday on my website as soon as I finish editing them (hopefully later today – I want to try to process a 360 degree panorama). They will be at this link: https://edrosack.com/seaworld2008/
Mary asked if I would print some of the photographs I’ve made around Cincinnati for her condo association so they could display them in the building hallways.
Brittany Exhibition
She picked out these and I printed them on A3 glossy paper as 11×14 black and white prints using my Epson R1900 printer last weekend and mailed them on Tuesday.
They ordered silver frames with black and white mats to mount them in, and hung them yesterday (10/19).
This is the story of a photograph that I made a couple of weeks ago when we were in Wisconsin at the Shalom Wildlife Sanctuary, and how I eventually made a print that I was happy with. Along the way, Lynn laughed at me for taking so much time to print a single photo and my photo friends gave me all sorts of suggestions on techniques to make this come out right (some of which I even used – thanks, Keith).
I knew when I saw this scene that there was a photo here. The lighting conditions were overcast and gloomy – exactly right for the kind of image I wanted, but this made capturing the photo a little difficult. And, it turns out – made printing the photo even more difficult.
I had my Canon G9 with me and used the built in flash in fill mode. I had visions of a 13×19 inch print, so I kept it in ISO 80 and saved it in RAW (like I always do). The skull on the ground looked like good foreground material, so I cranked the lens to the most wide angle setting and got up close to make this exposure (this is straight out of the camera, with no re-touching other than conversion from raw in Lightroom 2)(click on this image for a larger version).
Original photo - straight out of the camera
This is an interesting scene, I really liked the concept of this photograph, but the initial image left a lot still in my imagination. The sky is washed out, the skulls on the pole are way too dark, and the foreground skull is too bright. Also, the grass in the foreground is too bright and distracting (among other things).
I tried various methods over several days to make it work using mostly Lightroom2 and some Photoshop tools. Lightroom2 has some very nice new local adjustment tools which I played around with along with the usual curves, etc. to darken the sky and lighten the pole skulls. I also used the black and white conversion tools in Lightroom2 and generated the version of the photo that is posted in my previous blog entry. This was a lot better than the initial photo, but I thought it could be better. Here’s where Keith comes in. “Why not run it through Photomatix?” he said. “Why didn’t I think of that?” I said. And so …
Here are the steps I went through over several days (some of the steps multiple times – it’s a good thing Lightroom is a non-destructive editor)
1. Basic exposure, clarity, curves, etc. adjustments
2. Create 3 virtual copies of the image – one for the sky, one for the skulls on the pole, and one for the foreground. Adjust each one separately: First adjust the exposure and then convert to Black & White to highlight the appropriate features. Export these as 16 bit .tiff files.
3. Use Photomatix Pro 3.0 to create a combined HDR of the 3 B&W .tiffs, then tone map the HDR file and save.
4. Load the tone mapped file into Photoshop. Clone as needed from the appropriate B&W conversion file to highlight the skulls on the poles. Clone out a portion of the horn on the foreground skull. Crop to the final dimensions. Adjust levels, sharpen for output.
Here is the final image (click for a larger version):
The image after a "little" editing
If you want more details on the steps I went through, I’ve posted the intermediate photos for each step at this link .
It is quite a bit different from the original, and it looks pretty good enlarged to 13″x19″ (especially for a point and shoot camera). So I think it was worth the extra effort. What do you think?
We were up early last Saturday, and on the way out to breakfast, I happened to glance up and saw the sun lighting up the pine tree in our front yard. The pine needles in the top of the tree were a glowing golden color, while the lower ones still in shadow were dark green. The contrast against the blue sky was very pretty. I went back in to grab my D80 and see if I could capture what I was saw. Here’s the result (click to see a larger version):
Pine tree intercepts the rising sun
And here’s a different perspective:
Pine tree intercepts the rising sun (2)
After breakfast, we stopped at a little park in our neighborhood called the Bear Creek Nature Trail, and I took a few more pictures. They’re posted here. It sure felt good to make some photos. It’s been too long.
Now I need to figure out when to re-make this photo with the moon in the frame.
I hope you were able to see the lunar eclipse last Wednesday. It was quite a show in Central Florida.
I used my Nikon D80 with a 70 – 300 VR zoom on a tripod in the driveway to make these photos.
It was quite cloudy at the beginning, but fortunately turned perfectly clear during totality. This first photo was made early as the earth’s shadow started to move across the moon.
Eclipse photo 1
The three photos posted here are all croped versions of larger files. 300mm is not quite enough lens to get full frame magnification. I had thought about trying to make some photos through my telescope, but I don’t have a camera adapter for it and didn’t want to try to hand hold an exposure. I used the spot meter mode in the camera and bracketed +/- one stop. The one stop underexposure was the best choice (as you might guess), since the meter coverage is a bit larger than the moon was in the sensor. I used both ISO 100 and 400. During totality, ISO 400 helped to reduce the exposure time and improved sharpness. I also played with turning the lens Vibration Reduction on and off , but I couldn’t see any difference in the results – which is good. I’ve noticed that the image stabilization in my Canon G9 will actually make a photo worse if left on when the camera is on a tripod.
The next photo was made during totality.
Eclipse photo 2: Totality
Finally, the last photo was made using a wider angle setting to also capture Saturn (lower left) and Regulus (above), which were especially impressive.
Eclipse photo 2: Totality, wider view
I have posted a few more of my eclipse photos here.
My “new” camera: Lynn is really sweet. She saw this while out at an antique show and bought it for me. It’s a Kodak No. 3A Folding Pocket Camera, Model B-2, Serial no. 48805-A, and was made (as far as we can tell) around 1910. If you search the web you can find several sites with information on old cameras, download manuals, and even buy roll film to use in them. The camera appears to be in working order, except that the shutter sticks at slower speeds. It would be interesting to run some film through this one, but I doubt I’ll get around to it – I have so many photo projects on my list already. There are some very interesting features like a minimum F/Stop of F/128! The camera had an optional back (alas it didn’t come with this one) with a ground glass screen for focusing. Without the ground glass, you estimate the distance to the subject and use the distance scale on the rails to focus. It also has a perspective shift, but again this can only be used with the ground glass. To me it is very interesting to think about how much photography has changed in 100 years. Today’s cameras are much more sophisticated tools, but they still capture photons and to be good, the prints made from the captured photons will still have the same characteristics. Additional photos of the camera are posted here.
Stock photography: As an experiment, I’ve joined the on-line stock photo agency PhotoShelter. I plan to post some of my photographs to see whether there is any realistic market for them.
Software review: I haven’t wanted to join the Aperture vs. Lightroom debate, but here goes anyway. I tried both programs when I first started shooting in RAW, and ended up selecting Lightroom for my use. At the time, my main computer was a Mac with a 1.5GHz G4 CPU. Lightroom would run on it (although slowly and I had to close everything else). Aperture performance was just too painful. I’m sure Aperture performance has improved since then, but Lightroom has improved too. Another item to note when selecting which program to use is the frequency of software updates. Lightroom RAW support is built into the program. I believe that Aperture relies on RAW support built into Mac OS X. Lightroom supported RAW format on my Canon G9 from the very first time I used it. OS X still does not support G9 Raw. I also like the fact that Lightroom is cross platform and Adobe includes both versions in the box. My $.02.
I took my new Canon G9 to Seaworld to get used to it and see how well it works. First impressions are very positive. The photo quality / color is about the best of any point and shoot I’ve owned. The features and controls are plentiful and relatively easy to use. Noise does get noticeable when you use a higher iso, but it does pack a lot of photography creation tools into a very portable package.
Mount Evans is about 35 miles west of Denver. We left early (before 6) and were up on the mountain by 9, but we stopped quite a few times on the way. It could take you more or less time depending on how many stops you make and what the traffic is like. since we went up on a weekday, we saw very few cars. To get there, take I70 west out of the city, to the 3rd exit for Idaho Springs (route 103 south).
Summit lake, clouds and flowers on Mount Evans
The Mt. Evans road is the highest paved road in north America and is 14,200 feet at the top. I’ve been to Denver many times but hadn’t heard about it before. I’ve been listening to the Nikonians Image Doctors podcast and they recommended this place a couple of times (ID#39 adn ID#45) so I wanted to see it while I was out there. It is very much worth the trip! If you go, try to make it on a weekday. The weekends are supposed to be very crowded. This Mt. Evans website has a lot of helpful information.
Our drive was quite spectacular. It started out very cloudy, with some light rain, but the top was above the clouds and on the way down, it began to clear. We saw a lot of wildlife and July is apparently a very good time for wildflowers.
Elk herd near mile marker 8 on Mount Evans
Lynn and I are both flat-landers from Florida and we were out of breath at the top at even the slightest exercise. You’ll want to plan carefully and prepare for any hikes you want to do. There are some very spectacularly fit people out there. We saw several riding bicycles all the way to the top.
You’ll probably use a wide angle lens the most. A long lens will be helpful for some wildlife, although you can get very close to the goats and marmots.
Lynn and I were at the mall yesterday and noticed some new flower beds. I just got a 60mm f2.8D micro Nikkor lens for my D80, so I went back this morning to see how well it works. This is the first true macro (1:1 magnification) lens I’ve ever had. I like it a lot, but it will take a while to get used to.
Macro flower
Some observations:
– Focus is very critical at high magnification ratios, since the depth of field is so small (even at f16 or f22). The auto focus works well, but it’s difficult to get it exactly on what you want. The D80’s ability to select which focus sensor to use helps.
– Camera shake is worse at high magnifications, too. I took most of these handheld, and using a shutter speed of 1/focal length (x1.5 for the sensor size factor) wasn’t fast enough to freeze my motion. Luckily, it was bright enough that I could use a fairly high shutter speed at f16.
I listen to the Digital Story podcast . The June 2007 photo assignment is “Before and After”. The idea is to submit two images showing how you “developed” the final photo.
I also just bought the book Examples, The Making of 40 Photographs , by Ansel Adams. He writes about how he re-visited his negatives over the years and was able to make better prints with additional effort / technique.
So these two things inspired me to go back to a photo I took in March, reprocess it and submit it to the Digital Story. Here are the steps I went through:
This view looked interesting from the road, and I talked Lynn into stopping (_DSC1423: 3872 x 2592 Pixels)
The first photo is the scene as I saw it from the road. Lynn and I were driving to an auction up in Ocala Florida and this looked like it could make a good image. It was a bit cluttered, and the composition wasn’t good, so …
I took this shot after stepping inside the gate. A little under exposed, no detail in the clouds and the road into the trees goes dark. (_DSC1425: 3872 x 2592 Pixels)
The second photo was taken after I stepped inside the gate. Better composition, I think. This is how it appears with no adjustments after importing it into Lightroom . I had underexposed it a bit so that the clouds would show up well. As a result, the road into the trees was pretty dark (and there still wasn’t enough detail in the clouds). I played around with it in the Develop module, but still couldn’t get the exposure quite right. So …
I exported two images from Lightroom. One at +2 exposure and the other at 0. This is the result after processing in Photmatix. (_DSC1425d-_+: 3872 x 2592 Pixels)
Photo 3 shows the result after I exported two 16 bit TIFF versions of the image from Lightroom and combined them. One with an exposure bias of +2 and a second with it set at 0. Then I used Photomatix to create a High Dynamic Range / tone mapped version. Much better exposure and detail both in the clouds and trees. This was pretty good, but I still wasn’t happy …
I loaded #3 into Photoshop Elements, cloned out the distractions (lights, signs, houses, rags, fire hydrant, wires) and then re-imported it into Lightroom …
I loaded the previous image into Photoshop and cloned out distracting features (powerlines, etc) then imported the result back into Lightroom. This is the final version after converting to B&W. (_DSC1425-_+cloned8bit: 3872 x 2592 Pixels)
Photo 4 shows the final result after using Lightroom’s wonderful B&W conversion tool. You can play around with different color channels to emphasize different things in the picture. It’s like being able to use color filters over your lens after you’ve taken the picture! I think the final result is much better than the original.
Here’s a link to my gallery with all of the images in sequence.
You can see all of the entries in the Digital Story June photo assignment here .
