I don’t have much to say this morning, so the photos will have to do most of the talking. I started yesterday along the Indian River at Space View Park.
Watching the morning sun. This is a two frame, blended exposure. I made the bottom half exposed for the water with a Neutral Density filter to slow my shutter speed to 20 seconds at ISO 100 and f/11. I made the top part with the filter off, exposed for the sunrise at ISO 100, f/11, 1/100 second. I was very happy to see the Osprey fly through the frame with a fish as I clicked the shutter. I blended them together in Photoshop with a layer mask.
Juvenile Little Blue Heron. There were several around, so they must be nesting nearby. I’ve seen Green Herons breeding there, but not Little Blue Herons.
A Mottled Duck. I don’t spot these too often. When I looked it up, I learned (or maybe re-learned) some things. Mottled Ducks are related to both Black Ducks and Mallards, and are the only duck adapted to breeding in southern marshes. The Florida population is a subspecies and the male has lost its distinctive plumage so that the both sexes are colored alike.
St. Johns Sunrise – silver lining and sun rays: This is a long exposure (10 second) image I made at the boat ramp on the St. Johns where it meets HW 50. The water is higher than I’ve seen it there before
Pollen covered Bumble Bee on Purple Thistle: These thistles are blooming all over Blackpoint Wildlife Drive. The pollen on this bee may be an indication of why we’re having such severe allergy problems here in Central Florida.
Spoonbill in the reeds: There were many other birds around too.
Life and death in the Florida wild: The bird (a female Red-breasted Merganser) was looking for fish along a small grass island in the distance. I glanced over when I heard some splashing but couldn’t see anything at first. Then I noticed this alligator with the bird. The struggle was hard to watch, but mercifully brief.
On a related subject, you may have seen news about the recent fish kills we’ve had in the Indian River Lagoon. These are occurring just south of MINWR, nearer Melbourne, Florida. As we were driving around the refuge, I was struck by how natural it looked and by the absence of any dead fish. I’m very thankful that the Refuge has preserved this natural area for us to enjoy.
I worry about the areas where fertilizer runoff and septic tank leakage can lead to pollution, brown tide, lack of oxygen and dead fish and animals. I hope that we can figure out solutions so that people living near our natural resources don’t damage them.
OK, sorry for the commentary. Thanks for stopping by and reading my blog. Now – go make some photos!
“This grand show is eternal. It is always sunrise somewhere; the dew is never all dried at once; …”
― John Muir
The first part of my visit to Merritt Island National Wildlife Refuge last Tuesday (2/2/16) was about as foggy as I’ve ever seen. So much so that I was happy to follow a large truck along SR 46 on the way over – better than feeling my way through the low visibility on my own.
For some reason, I’d taken a macro lens with me and I was happy to use it on the following image:
Nature’s necklace – Foggy mornings dew along Blackpoint Wildlife Drive. This is a 5 frame, hand-held focus stack.
One of my on-line friends (Dorothy) asked me on Flickr how I got the reflections in the dew drops. They were really a gift from nature. I could see lots of dew covered webs from the car, and I watched for one where I could frame the drops standing out against a clear background. When I found this particular one, I had to figure out how to best image them. One part of it was making sure the sensor plane was as close to parallel with the lines of drops as possible. I stopped down to f/8 for increased depth of field. Then I focused on the front string and made a high-speed sequence while I rocked slowly forward. This captured about 17 frames with different parts of the scene in focus. Back at my computer, I picked 5 of the frames and made a focus stack to get as much as possible in sharp focus. The last steps were to do some selective contrast / sharpening on just the drops. I like the way it turned out.
As I explored further on Blackpoint Wildlife Drive, I saw something for the first time – a fogbow:
Another Merritt Island Morning – I combined multiple frames to get everything in focus and well exposed. Blended manually in Photoshop.
Why do I like going there so much? Even after so many visits, it’s impossible to see everything it has to offer. I appreciate getting to know a place and watching it change over time. I enjoy seeing the same locations in different light or weather, with different birds around.
Not Birds of a Feather – An interesting group of at least four species
I do know that every time I visit, I see something beautiful – either something new, or something commonplace, but in a new light.
“We do these things not to escape life, but rather so life does not escape us.” From a favorite t-shirt
And yes, sometimes I get back and the photos I made aren’t very good. But I still have a wonderful day. Much better than the owner of this boat had.
Sunken Sailboat – On this one, I also combined multiple frames to ensure everything was sharp and to emphasize the smooth water.
Henri Cartier Bresson said that “You just have to live and life will give you pictures.” And I think my t-shirt is right too. Going after photos will give you life.
Florida has wonderful weather photography opportunities. They’re not often the kind that you see from tornado alley out west. But the clouds here are awesome too.
Lynn and I traveled recently (New Jersey, Virginia, and Georgia). I realized when going through those photos that they lacked dramatic skies like we often see here in Central Florida. Maybe our timing was just bad. Anyway, it inspired me to put together this post with some examples of our weather along with a few hints.
We’d had several days of rain last August and even though afternoon light isn’t usually the best for photography, I decided to drive over to Merritt Island National Wildlife Refuge and see if I could capture some of the weather drama. This one is from the south-east side of the causeway. There was a slight drizzle where I was standing and rain drops ruined several frames. This one must have been right after I cleaned the lens.
Storm Ahead (stitched panorama, nine frames at 24mm focal length).
This next photo is from September of 2012, also at Black Point Wildlife Drive. These clouds actually stopped me in my tracks and made me shift out of bird photography mode to make this B&W, IR image. You can see a color version of this here.
A little stormy (stitched panorama, three frames at 24mm eq. focal length).
These next two have been on the blog before, but they also illustrate my point: Clouds and storms in Central Florida are photogenic!
Stormy Shore: Storm clouds blow through north of our hotel on Casey Key, Florida. June 15, 2015 (stitched panorama, eight frames at 24mm eq. focal length).
Lakes Jesup Wildflowers and Rainstorm (105mm eq. focal length).
We don’t have mountains here in Central Florida. And we don’t have very good waterfalls either. But our clouds are just as good as anywhere else. How are they where you are?
Although you can see interesting weather all year, the best time here is summer afternoons and evenings.
The storms are big. As you can see from the captions, many times I find myself using a wide-angle lens or stitching panoramas for this kind of photography, although some situations (like the last image) benefit from a longer focal length.
You can shoot from your car in many cases or just dodge the showers. Do bring a lens cloth and maybe a towel or some plastic to cover your camera if it’s not weather resistant.
Be careful with your exposures. If you have clear sky behind the clouds you can easily blow out highlights in the image which will be tough to fix in post.
When processing your photos, try using some mid-range contrast / clarity to bring out details in the clouds. Don’t go too far though or your results will look unrealistic.
Find yourself some good foreground locations so you’ll be ready to head out when the weather gets interesting.
And be careful – don’t get struck by lightning or ruin your equipment!
This is a five frame composite B&W image of a single Reddish Egret patrolling a small pool of water at the Merritt Island National Wildlife Refuge.
There was some interest in how I did this and it’s relatively simple, so I thought I’d show you the steps.
To start with, the light was very strong, so I overexposed to get details in the bird and this washed out the water / background. I’d made several frames, so I processed all of them identically in Lightroom to force the background further to white and then loaded them into layers in Photoshop.
I selected all the layers and set their blend modes to “Darken” which forces only the darkest parts of each frame to show through. This is a key step – with the right background, the blend mode does all the work and you don’t have to do any selection / cutting / pasting.I made the canvas larger so I had room to work:
Then I used the move tool (top of the tool bar) and selected each layer so I could place them:
Once I moved them to where I thought they looked good, I use curve adjustments on each layer to reduce brightness differences and followed with the clone tool to smooth a few remaining variations. After cropping out the extra canvas, and adding a bit of clarity to the bird shapes I was ready to return to Lightroom.
In Lightroom I finished tweaking it (white and black points, sharpening, vignette, etc), converted to Black and White “and Bob’s your uncle“.
I’m sure there are other ways to do this, but I found this method easy enough. If you have any questions, please let me know in the comments. And if you’ve tried anything like this, I’d love to see your images.
Thanks for stopping by and reading my blog. Now – go make some photos! And maybe some composites too!
Today I’d like to talk more about its high res mode and some things I’ve learned so far while working with it. I’ll use this recent image from the north bank of Haulover Canal in Merritt Island NWR for my example. By the way, please click on the photo, you’ll be able to see a higher resolution version on Flickr.
Daybreak at Haulover Canal
For those of you who aren’t interested in this particular camera or capability, here’s the tl;dr summary: Your capture and processing tools, technique, and skill make a difference in the resulting photo. But that’s true of every camera. And you already knew that, didn’t you?
Okay, for those of you that are interested, here’s some hints on how to get the best out of this mode.
I’ve found that the software I use makes a big difference in the detail that shows up in the file. I normally use Lightroom for all my photos, although I also have DxO Optics pro and I think it does a good job with higher ISO images. But I noticed issues when using either of them with the Olympus high-resolution files. Here are three 1:1 crops, processed in the three different software packages. These are just after importing from the RAW file, with (mostly) default processing, although I did adjust sharpening on the first two to try to improve detail.
Processed in Lightroom CC Version 2015.1.1
Processed in DxO Optics Pro 10 Version 10.4.2
Processed in Olympus High Res Shot Raw File Photoshop Plug-In
To my eye there’s no question: the Olympus software does a better job processing the High Res Raw file. The result is sharper, with more detail – so I’ve switched to using it instead of either Lightroom or DxO Optics Pro for initial input of the high res files. There are limited adjustments available with it, so after importing the file I usually add an Adobe Camera Raw adjustment layer in Photoshop to help fine tune the highlights, shadows, etc.
You can see artifacts on the water surface in the crops above. These are from the way the high res files are created. Each file is composed of 8 separate captures that the camera combines into the high res RAW output file. So any motion during capture will result in strange-looking distractions. If your camera is moving, the image will be unusable. So I use a sturdy tripod, a cable release and / or a shutter delay. If part of the scene is moving (like water, or wind-blown branches) you’ll see the distracting artifacts in that part of the frame. For some subjects (e.g. still life) this isn’t a problem – nothing moves. For landscapes, you’ll need a very calm day or you may want to remove the artifacts in post processing.
If they bother you, there are (at least) a couple of things you can try. Olympus also saves the first of the 8 frames that it uses to create the RAW file. You can open this, up-res it, and mask it into the high res version wherever there are artifacts you want to remove. (Note that you’ll have to rename the normal res file – your software probably won’t recognize the .ORI extension). And you’ll have carefully process the normal and high res files exactly the same up until the point where you do this so that any color or brightness difference doesn’t show. And finally, you’ll have to recognize that wherever you do this, the resolution will suffer.
For water surfaces, you can also try applying a motion blur in Photoshop and masking it in to hide the artifacts. That was easy to do in this photo, since it was a relatively long exposure (1/2 sec.) and the water surface was calm. Here’s a before and after 1:1 comparison:
Motion Artifacts – prior to removal
Motion Artifacts – masked out using a motion blur layer in Photoshop
Olympus outputs 64 Mega Pixel RAW files. Olympus themselves say there’s not 64MP of information in the file. It’s more like 40MP, so they downsize their JPG files to 40MP. When using this mode keep that in mind.
There’s not too much else to worry about, although I have seen some things that look like “hot pixels” in the high res images (2 or less per file). I’m not sure if that’s what they are and I also don’t see them in normal res files from the camera. But they are pretty easy to remove with the Healing Brush in Lightroom. By the way, If anyone else has seen these, I’d be interested in hearing from you.
High Res “Hot Pixel”
So, the E-M5 Mark II High Res mode:
Is most suitable for still life types of images when the camera is mounted on a tripod and nothing is moving.
Is best processed from RAW by the Olympus High Res Shot Raw File Photoshop Plug-In – at least with current (August 2015) versions of software.
Offers better resolution and improved color and noise characteristics than the normal mode images.
Can be used in other situations (e.g. landscapes), but unless the subject is still, you’ll need to deal with motion artifacts.
Provides the greatest benefit with better lenses. Lower quality glass could compromise the output resolution of the system.
If you capture images in high res mode and the artifacts are too difficult to deal with, you can always drop back and use the normal resolution file. The results will be almost as good for anything except large prints (or pixel peeping).
Have you used a capability like this? What have you discovered?
Thanks for stopping by and reading my blog. Now – go make some photos!