Showing posts with label HDR. Show all posts
Showing posts with label HDR. Show all posts

Sunday, March 2, 2014

Seeing the Unseen


This week I would like to celebrate the amazing capability of modern photography to help us to see the unseen.  My goal is only to touch on what is possible and to provide links to more detailed explorations.

From its invention, photography has been a medium that was prized for its ability to capture what we see in flawless detail, freezing more of "reality" than could ever be absorbed by our limited visual perceptions.  Without special forethought, my photography has tended toward images that celebrate the beautiful detail of the natural world.  I have tried to use the remarkable powers of digital photography and editing to place viewers in locations as I have seen them, working to display the mood as well as the reality of the remarkable world around us.  But photography has always provided a means to see things beyond our normal perceptual capacity, that are not accessible to the naked eye (THERE, I got the word "naked" into the article - TWICE!  Watch my hits soar!). 


Anyway, In the beginning photography captured "Reality" in its own way based on its technical limitations.  It has always had the
remarkable ability to freeze time, not only for moments but for centuries.  As initially a black and white medium, photography washed the color from the world and forced a new focus on light and pattern that had always been hidden under a gaudy chromatic layer in our perception.  Photography has expanded and altered our vision in many other ways and, digital photography, although not required for many of these advances, has made them more easily accessible and pushed opened the door to these unseen new worlds.  I have discussed many of these techniques in much greater detail in previous articles, but here is a brief list of some of the ways that photography can open our eyes to a new worlds.  Let the journey begin.  




Infrared
Infrared photography is perhaps the best example of seeing the
unseen.  Infrared is the portion of the electromagnetic spectrum beyond deep red.  Although these longer wave lengths are beyond the ability of our eyes to detect, infrared photographs have been captured since the early 1900's.  Today a digital camera can be modified to respond to the infrared making it much easier to capture this invisible world.  The infrared spectrum shows foliage in brilliant light, making summer scenes appear like winter landscapes.  It cuts through haze and reveals puffy clouds in stark contrast against inky black skies.  With infrared photography it is often possible to capture powerful images on days when the light is too flat and dull for strong conventional images.  I found it well worth the expense to modify my old Canon 20D doorstop to become my IR camera.
For More Information:
 Infrared, Seeing Photography in a Different Light


HDR

High dynamic range photography can be used to overcome the 
Improving Dynamic Range
limitations of film and digital sensors in recording the full range of light and dark apparent to our eyes.  In this sense it actually improves the ability to capture what we can already perceive, but HDR and its evil twin, tone mapping, has the seemingly unbounded artistic capability to mutate reality, 
turning a mirror on the artists mood and
fancy rather than the reality of the moment.  I love HDR because it provides such an unlimited opportunity for self-expression.  I generally use these tools to render images that better reflect the dynamic range that was apparent in the field, but occasionally it is fun to go crazy, jump through the looking glass,  and produce something that truly would never be apparent to the eye.



Going Crazy

For More Information:
HDR: Bon Appetitt
Taming the HDR Beast



Stop Motion:

Stopping motion requires fast shutter speeds that the high ISO
capability of new digital cameras has made more practical.  I remember, from the ancient past, when loading the camera with  ASA 400 film was a considered reckless, trading speed for the assumed damage to image quality.  Based on the lighting, I can now easily dial up the ISO to whatever is required, to allow a shutter speed fast enough to freeze the action or capture images in inky darkness..  The combination of the improved low light sensitivity of new digital sensors and the capability of software noise reduction algorithms has made it possible to maintain acceptable image quality at ridiculously high ISO levels.
For More Information:

 Accidental Bird Photography
Great Blue Heron on Harvey Pond


Long Exposure;

Long exposures have always been a capability of photography.  In 
Crowded Portland Street
fact in the early days it was a requirement. Daguerreotype portraits required an exposure of 2 or more seconds. Today long exposures can accomplish a long list of magical effects.  An exposure of a even a second or less can transform a roaring chaotic stream into a soft dream-like confection, looking nothing like the original scene, but providing a sense of frozen movement.  Long exposures of a busy street can remove all the distractions of moving cars and annoying people,  magically focusing on the stationary scene.  Star tract images of the night sky transforms individual stars from points of light into majestic arcs rotating around the north star. All of these technique are made much simpler by the ability, in the digital camera, to immediately review the results and adjust exposures accordingly

For More Information:
Photographing the Magic of Velvet Water
Long Exposure Crowd Control
Star Track Photography


Deep Space:

While we are talking about night sky images, I think one of the
most impressive ways that digital cameras have altered our sense of nighttime wonder has come from the ability that long exposures and high ISO have to extend our vision into deep space. ISOs ranging from 1600 to 6400 and exposures of 20-30 seconds brings a dense sea of stars into view that are invisible to our eyes even on the darkest night.  Beyond doubt,  the celebrity of this celestial show is our own galaxy, the Milky Way.  The most impressive images usually show the Milky Way's brilliant band in some appropriately interesting setting, and there are now many programs and Apps that can tell us precisely when, and where to stand to place a lighthouse, a tree or a silo in front of the show.  I live in the country and I often get a clear view of the sky, but even here the digital camera easily converts a subtle smug into a breathtaking view of our galactic disc.
For More Information
Night Time Photography, Searching for the Milky Way
Photographing Comet PanSTARRS


Time Lapse
Time lapse photography compresses time allowing us to see in a few seconds what occurred over hours.  All that is necessary is a sturdy tripod, an intervalometer to time the exposures and software to assemble the hundreds of images into a video.  For quick and simple time lapse videos I have used Quick Time, but many other options exist. I'm still a novice, but I have enjoyed creating videos of the setting sun, billowing clouds,  or stars moving majestically across the sky.  I even have one of Susan and I decorating the Christmas tree. 


Monadnock Sunset



 

Tree Trimming


For More Information
Time Lapse Time


Focus Stacking
It may seem that the use of focus stacking to achieve a deep depth of field only replicates what our eyes can capture, but in fact eyes
have the same focusing  limitations as any lens and iris system.  The only reason that we feel we can see everything from near to far in sharp focus is that our eyes are constantly and subconsciously adjusting focus as we move our attention around the scene.  A photograph with sharp focus throughout is actually a representation of the world beyond the capability of our vision, but it does match the dynamic nature of our perception.
For More Information:
Focus I
Focus II
Hand-Held Focus Stacking



Of course there are more ways that digital photography allows us to see the unseen. Editing software can alter our vision and a world without a tangle of wires in front of every beautiful scene is a priceless gift of Photoshop. It has been thrilling to explore some of the photographic options available, but It is also humbling to realize all that I need to learn.  But then again the endless opportunities to learn are what make photography endlessly exciting.

Jeffrey Newcomer
Partridgebrookreflections.com

Sunday, August 18, 2013

New England Farm Photography





 Pixels at the Sharon Arts Center "Paintout"

This week you must pardon any spelling or grammatical errors as I am just recovering from the 8th Annual Sharon Arts Center Paintout. Every year the arts center sponsors a week-long event during which artists are invited to practice their art with a specific theme. This year the theme was "Farms". The center identified ten farms in our region who were willing to permit painters to wander
Pasture Shade, Sawyer Farm
their property in search of the perfect scene. The event ran from Monday through Friday with a reception and show for the work on Friday evening. Some years ago I convinced the folks at Sharon Arts that the Paintout should encompass pixels as well as paint and since then I have shown up as the poor relation at the receptions. Painters generally only tolerate photographers, but I have enjoyed the opportunity to discover some new locations, often getting into areas that I would otherwise be unable to explore. 

The paintout week is always exhausting. The challenge is to find time to get out shooting. As usual, I was completely at the mercy of the weather, but in this case, if the light was bad, I generally did not have another chance. This last week I was working on Monday, Wednesday, and Thursday. My only full day available for shooting was Tuesday and on Tuesday it rained in torrents almost the entire day. Rain isn’t always bad but it does limit photographic opportunities. As usual I tried to make the most of the time and light that I could capture. When I could find time, I shot until the last light and beyond and then spent the evenings processing the images. I spent all of Friday printing, matting and framing my favorite images. I can't really complain. I love challenges like this and, as always, it was a great opportunity to discover number of new locations and to make some new contacts. 



Let’s face it; the concept of photographing farms is not exactly new to me, so I decided to apply my own theme to this effort. My plan was to try to apply as many different styles and techniques of photography as I could, given the constraints of time and the subjects available.

Shooting Straight
With so much amazing and varied farm land I didn't have to go crazy with technique to capture classically beautiful images. The pastures, farm buildings, animals and, of course Mount Monadnock
frequently looming in the background all made for great opportunities. All I needed was the light and some gentle massaging in Photoshop to bring out the best in the scenes. The twilight picture of silos with Monadnock in the background, was taken from across the pasture with a long lens to compress the scene. Using masking, I was able to adjust the bright sky to retain detail in the foreground. In a number of images Iused blended tone mapping, a new favorite technique, to add a subtle increase in definition. For me


Blended Tone mapped Layer
these techniques are standard approaches which allow me to present the scenes as I saw it. Nothing special, but my goal for this week was to use different techniques and like the proverbial man with a hammer, everything quickly began looking like nails and I couldn't hold back.

 














HDR / Tone Mapping
Without a doubt, my favorite farm on the Arts Center list was the 
Sawyer Farm in Jaffrey. The place is a classic with an old farm house and a cluster of three majestic silos all surrounded by acres of beautiful rolling pastures. It also helped that the owners are incredibly friendly. On Monday I got out of work a bit early and headed straight to Sawyer. The light was still bright, so I decided to explore the barns. The inside of the cow barn was dark with brilliant light coming through the windows. A great situation for HDR. I grabbed seven bracketed images and later went to Photomatix. Since my goal was to break away from my usual approaches I decided to go full grunge and ended up with a slightly cartoonish rendition that I


Gentler HDR, Sun/Moon Farm
loved but which was far outside my usual style. As I have said many times, HDR and Tone Mapping are all a matter of taste. It was tasty to try a different cuisine and, after all, the last time I went crazy with HDR I ended up selling the image for the logo of a national brand of doggie treats. Later when I was shooting at the Sun/Moon Farm in Rindge. I came back to earth. I used HDR to produce a more natural appearing image combining the bright pasture with the shadows of the barn interior. 












Black & White

Black and white layers can effectively isolate and highlight an area of color within an image. The barn at the Sun/Moon Farm was
Black & White Layer
filled with bunches off drying garlic. The challenge was to draw the eye to a small grouping of bulbs without loosing the sense of rows of stalks filling the barn. In addition to selective focus, I also blended a black and white layer to de-emphasize the background elements. One of my favorite images from the week was farrier George Iselin's remarkable hands as he shoed one of his Mary's horses. George was remarkably patient as I crawled on the ground to shoot under the horse. I loved the color image, but thought the power of his hands might come through stronger in black and white. With black and white, I was able to enhance the exposure and contrast without concern about the impact on the color rendition. Both approaches have their attractions, but I think I prefer the B&W. 




Farrier's Touch





























Macro
Farms are filled with opportunities for macro photography. In particular the flowers at Rosaly's Garden were great subjects. I went to Rosaly's on Tuesday knowing
that the soft overcast light would work well. There was enough light to ignite the colors of a glowing sunflower. I also employed focus stacking to get better depth on a pink flower. The only challenge was keeping the equipment dry in the steady rain.

 




 






Four Image Focus Stack






 In the Barn Yard



Curious Nose

The soft light was also a good time to shoot barnyard animals. Thepigs at Mayfair Farm in Harrisville were especially entertaining. The massive adults were busy growling at each other, but the young piglets were quite friendly and curious about the camera. The nearly universal rule in portrait photography is to focus on the eyes, but in this situation, it was the nose that was the obvious focus of attention. 




Night Light

Although my daylight photography was severely limited, the nights were totally mine. As I considered my options, the two questions were, where is the milky way and what can I put in front of it. The answers were easy. I used the SkySafari program to discover that the Milky Way would be prominent in the southern sky late in the night and the only appropriate foreground I could imagine was the majestic silos at Sawyer Farm. After warning the Sawyers that I would be camped out in their pasture late into  the night, I happily killed some time with ice cream at Kimball Farm. I settled into the Sawyer's back
Standing Stones
pasture at about 10 PM for more than two hours shooting the deep sky as it moved behind the silos. The process was complicated by the presence of the bright first quarter moon that didn't set until midnight, but it did add some illumination to the foreground.  The time fled by as I kept looking for different angles and perspectives.  When you have made the committment to be out there you don't want to miss a single shot.  It wasn't until about 2AM that I finally got home and to bed. Despite the fact that I had to get up for work at six, it was definitely worth the yawning to bag the prize I was hoping for.



 















During the paintout the sad moment always comes when you realize that you have to stop shooting and try to get some of the pictures processed, matted and framed for the Friday evening show. There is never enough time to shoot and process everything, but I found some great spots and I will most definitely be returning to these farms in the future 

The "wet" show was in the Common House at the lovely Nubanusit Farm and Neighborhood in Peterborough. Yup, just in case there was any confusion about the status of photography, they called it a "wet" show. As usual, I was the only photographer, but it is always fascinating to see how this talented group of artists interpreted the rich settings that were offered. I really don't understand why more photographers don't take advantage of these great shooting opportunities. 





On the way home from the show, it suddenly occurred to me; DAMN, I totally forgot about infrared! I did straight color images, B&W, HDR, blended tone mapping, Macro, focus stacking, star fields and pink noses, but I forgot that the luxurious green foliage of this time of year is perfect for infrared. I hope I didn't break any rules, but on Sunday I cruised by George and Mary Iselin's farm in Marlborough and grabbed some IR to complete the set. 





By Friday night I felt like this guy from Mayfair Farm, but I'll recover and will be excited to hear about next year's theme. To see more images from this year's Paintout, check out my website collection.





Nap Time, I know how he feels.
 

Jeffrey Newcomer
Partridgebrookreflections.com



Sunday, May 19, 2013

Taming the HDR Beast

HDR ..................................................................................Blending


HDR Blending
I have never been a big fan of heavily tone-mapped HDR images, but I appreciate that it is all a matter of taste. I frequently use various post processing techniques to expand the dynamic range of my pictures, but I draw my personal line somewhat short of "cartoonish", “painterly” processing. I want my viewers to see the image as I saw the scene and, at most, ask “Did you use HDR?” and not exclaim “WOW, you really used HDR”. When using HDR programs such as Photomatix or Photoshop’s HDR Pro, I often struggle to keep the effects under control and I find that a level of tone-mapping that works well in one part of the image may be over the top in another. Increasingly I have been using image blending to manage my HDR work. The techniques are simple and provide almost infinite control over the impact of HDR and tone-mapping. 




Enhancing the Depth
Last week I got out early to catch the effect of the morning fog on the

Westmoreland Fog
early spring colors. In Westmoreland, NH, I found a nice composition with the hay wagon sitting expectantly in a pasture and the classic red barn seen on the hill above. The arrangement provided a nice sense of depth with the fog having a much stronger softening influence on the distant barn. I liked the image but I felt the effect would be stronger if I could enhance the crispness of the wagon. Enter tone-mapping. 



Given the soft light, high contrast was not an issue, so I had no need for HDR techniques to capture the full dynamic range. I didn’t capture multiple bracketed images, but I could enhance tonal contrast by applying tone-mapping to a single image. In Photoshop, I processed the image to get the best result using my standard techniques. I didn’t want to punch up the colors and contrast too much and thereby loose the soft feel of the mist, but I felt that objects in the foreground, especially the hay wagon, could benefit from crisper detail. After I was happy with the base picture, I duplicated

Tone-Mapped Crazy
and flattened the image and then opened it in Photoshop’s Tone-mapping tool. A full discussion of the use of this tool is beyond the scope of this article and also pretty much beyond the scope of my expertise. Suffice it to say that my usual approach is to

play around with the sliders until I feel I have a good result or become frustrated and chuck the whole thing. Typically I end up with something that is dramatic but beyond what I would generally feel comfortable with as a reasonably natural representation of the scene. At this point, instead of giving up in despair, I often use image blending to mute the tone-mapping effect. 



Tome-Mpped Layer at 25% Opacity & Masked



 In this case, I copied the tone mapped layer to the top of the layer stack of the original. Proper alignment was not a problem given that the two layers were from the same image. I then was able to adjust the opacity of the overlying tone mapped layer to get just the amount of enhance contrast that I wanted in the foreground elements. This global adjustment resulted in excessive contrast in the distant background, especially the misty barn. By painting with black on the mask layer I was able completely remove the tone-mapping effect from areas of the background enhancing the sense of depth in the image. 






Blended Image

Blending together a tone-mapped and regular image allows full control of the amount and location of the enhanced effects. Various levels of HDR/Tone-Mapping can be painted in by applying different levels of gray to the layer mask. White reveals all, but middle gray shows only a partial effect and because all the work occurs on the mask you can adjust and modify as much as you want. In this picture I used a single Tone-Mapped image but a bracketed, multi-image HDR layer works just as well. 



Scott Farm Rainbow

Scott Farm Rainbow

In another example I worked on an image from a wedding at the Scott Farm in Dummerston, Vermont.  The union was blessed by a beautiful
Over the Top
rainbow.  I captured the color with the farm and a classic truck in the foreground, but I thought the truck was a bit dull and flat.  At home, I created a tone-mapped version.  I typically go a bit heavy with the toning, since I know it will be muted in post.  Again, I modified the effect with opacity and then use a mask to apply it only to the tuck.  I had a great time adjusting the opacity to find the right amount of enhancement and I still may mute it a bit further.

Tone-Mapped Truck

So get out there and HDR your brains out.  Not to worry, you can always calm the craziness with a little gentle blending.


Jeffrey Newcomer
Partridgebrookreflections.com

Sunday, May 5, 2013

Blow-Me-Down Mill, A Welcome Photo Assignment

Blow-Me-Down Mill







Blow-Me-Down Mill in Cornish, New Hampshire is a lovely place to photograph, but what’s with the name?

I love an assignment so when Cam Mirisola, Senior Editor for New Hampshire To-Do Magazine emailed me last week about a project

Aspet House, Saint Gaudens,
Cornish, NH
for an up-coming edition, I got excited. Cam was looking for images of Cornish New Hampshire, specifically, any showing the beautiful Saint Gaudens Historic Site in the spring. I was a little disappointed that I already had pictures of the site which seemed to satisfy her request from a couple of years ago, but she also mentioned a location that was entirely new to me. At once I knew I had my assignment.
Saint Gaudens Retreat Blog

Cornish-Windsor Covered Bridge
The next day I got up early to search Cornish for the intriguingly named “Blow-Me-Down Mill”. Of course I first Goggled the mill and learned that it was now part of the Saint Gaudens National Historic Site. In the morning I cruised up Route 12a along the Connecticut

Cornish-Winsor Bridge, Mount Ascutney
River stopping at the Cornish-Windsor Covered Bridge. The bridge was completed in 1866 and spans the Connecticut between Cornish New Hampshire and Windsor, Vermont. At 449 feet, it was the longest covered bridge in the country, until 2008 when a new concrete piered bridge was opened in Ohio. Really, 2008, Concrete, Ohio? Should that count? Anyway, the Cornish-Windsor Bridge still has the longest single span that carries vehicular traffic. On Monday morning, the sky was overcast, but I always find it difficult to pass by without grabbing a few shots with Mount Ascutney in the background.

The Cornish Art Colony
My initial directions to the mill were unnecessarily vague and sent me

Cornish Colony & Mill
off along the back roads of Cornish. After a lovely exploration, I eventually circled around and found the site, right on Route 12a, just few hundred yards north of the main entrance to Saint Gaudens. There had been a mill on this site dating back to the 1820’s, but the current structure was built on the direction of Charles Beaman in 1891. Beaman, a wealthy lawyer from New York City, had built his summer retreat in Cornish in the 1880’s and was instrumental in enticing the famous sculptor August Saint-Gaudens to build his summer home and studios nearby. Saint Gaudens was one
of the founders of the Cornish Art Colony. The Colony was renowned as a seasonal gathering place for a remarkably varied group of prominent artists of the time, including painters, sculptors, writers and actors. The Blow-Me-Down Mill was used by the community as a grist mill until its close in 1920, Now, only the restored building remains, along with a nice mill pond/wet land and a water fall.

Working the Mill
The day remained mostly overcast with only early hints of spring
foliage, but the area provided a wealth of interesting angles and I had a great time exploring the various options. My first challenge was to find a place to park the car that wouldn’t intrude on the pictures.  Despite my efforts, I still had to relocate as I moved around the site. The waterfall had good flow, and with the overcast sky, I was able to get a nice soft effect with only my polarizer and f22, but I also pulled out my variable neutral density filter to extend the exposure over several second. The compositional challenge was to find angles that included a nice balance of the mill building and the falls. From the side the building was rather flat and one dimensional so I moved down stream for better
perspective. During the summer and fall with the trees in full foliage views up the brook to the mill house would be obstructed, but on this
Four Second Exposure with Variable ND Filter
day, I was able to get a clearer look. The scene taken from the Stone
Bridge offered an especially nice perspective on the whole site. Along the edge of the brook, I used my trusty Mini Bungee Cords to pull back branches and, unlike most times, I actually remembered to retrieve the cords when I was done. In most compositions, I tried to minimize the dull sky, but I was able to bring out some of the texture in post using highlight 
adjustments.

Downstream with Bungee Assist




Stone Bridge/Tunnel


Stone 'Bridge"/Tunnel HDR
Downstream from the mill is an impressive stone bridge that, with the movement of the road, is now more of a tunnel. With the bright outside and dark tunnel, it was an excellent chance to apply a little HDR. In my picture I used 7 images. It was interesting how the small water drains lit up along the passage. They looked rather strange, but I decided to leave them in.




Blow-Me-Down Covered Bridge


Blow-Me-Dow Bridge over
Blow-Me Down Brook
My “assignment “ complete, I went on to explore the Blow-Me-Down Covered Bridge, which, not surprisingly crosses the Blow-Me-Down
Brook. Seriously?!  Is everything "Blow-Me Down" in Cornish?  The bridge itself was not especially unique, but then I move off to the side and discovered that it spans a spectacular little gorge("Blow-Me-Down Gorge I presume). I could have spent much more time here, but I had to get back to town. 

All-in-all it was a productive morning given the weather and the scant early spring foliage. As always I have this place recorded in my brain and in my GPS. I will return. Whether or not something gets in New Hampshire To-Do, I still have to thank Cam for a great tip and a good excuse to get away from the endless spring chores at home.




 

Oh, and the name. From what I read Saint Gaudens himself picked “Blow-Me-Down” as a joke. I’m not sure about that, but it is as good an explanation as any.

 Blow-Me-Down Mill:
 43° 29' 49.806" N
 72° 22' 32.544" W