Showing posts with label Adobe Photoshop. Show all posts
Showing posts with label Adobe Photoshop. Show all posts

Jun 5, 2009

Bisti : Small Scale


Pharaohs Saddle, Surreal, hoodoo, Bisti Badlands, Farmington, NM, bisti

Pharaoh’s Saddle
©Joe Bridwell
Most geologists learn to look both at the land where they're walking as well as at their surroundings. This lifelong habit provides so much incredible delight in the multi-faceted Bisti.
Delicate strata of interleaved white and gold; sandstone caps; dark broken rock fragments from nearby; all seem to complement the Sun's stark shadow. Just components in water's consummate artistry as it's carved such Bisti microcosms...

Surreal, Ever-Changing Character
The Bisti is an amalgam of characters - almost like a stage play. Walk here and see this character; walk there and see a completely different character. So, just simply finding your true Bisti can be a challenge.
When you add ever changing light, you begin to have time's very slow kaleidoscope effect. All right, you ask, "What does kaleidoscope effect mean?"
Practically speaking, it's not a difficult task to see each of the Bisti's spatial characters. Just get out there, walk around, and remember where you went.
Luckily speaking, it is a rather difficult task to find the Bisti's enhanced character as light changes. Of course, this truism represents any other natural wonder.

Exploration vs. Artistry
To figure out where interesting hoodoos are, you need to trek the Bisti during daylight. Be careful; it can be incredibly hot in the summer. Beyond that, you need to imagine what each of these spectacular sights might look like under specific, yet differing lighting conditions.
To become a Bisti artist, you need to know how to get where you want to be either before sunrise or near sunset. Magic Hour, that hour around dawn and dusk, may require you to shoot after the Sun's gone down. In either case, the artistry lies in the often spectacular combination of right light and surreal hoodoo.

But... this process offers an artist's strongest hope. Such persistent choices increase your lucky odds. Such choices put you in the artistic position of images.

Bisti Treks
Click to see other Bisti Images
Oh My…!
Surreal
Sphinx
Solitude

Enjoy…

Feb 20, 2009

The Future of HDR...


John Doogans LR2 Workflow on Landscapes

Credit: John Doogan, FNZIPP
With advent of Lightroom 2 and Photoshop CS4, new Tone Mapping twists are beginning to be applied to high dynamic range (HDR). An exhaustive Google search provide only a few tutorials; nevertheless, they were quite illuminating. John Doogan, Scott Kelby, Matt Kloskowski, and Ben Willmore each have a new direction in HDR. Doogan works with LR2 and CS4; Kelby and Kloskowski work with Lightroom 2; Willmore likes some of the advanced masking tools in CS4 (his book HDR and Beyond in CS4 is available in March).
Regardless of how the cookie crumbles, one can choose either Photomatix or Lightroom and Photoshop to assemble a 32-bit HDR. After converting to a 16-bit tiff file, paths and workflow techniques differ. Doogan shows both CS4 and LR2 working paths. Kelby and Willmore proceed to use Camera Raw sliders for global changes. Then, techniques differ for localized changes. Personally, I prefer nondestructive local adjustment brush changes - either in Lightroom or CS4 - based on Adobe Camera Raw 5.3.

To get this sense of future direction for HDR, Doogan’s videos bring LR2 and CS4 to life. Kelby has six pages in his new Lightroom book describing the process. You can either buy a DVD or take online training to watch Kloskowski's HDR video. You can watch 2 Willmore videos free or buy his upcoming book.
While many people use Photomatix to assemble HDR images, opinions differ about post process Tone Mapping. Lightroom 2 and Photoshop CS4 both depend upon Adobe Camera Raw 5.3 for nondestructive global and local tool packages. CS4 adds the remarkable facility for masking.

Future Directions in HDR…
Now that we have ‘honking’ CS4 subtle adjustment brushes available - a truly remarkable masking tool - it is my anticipation we may see more HDR tutorials which step beyond the ‘Photomatix uber alles (German for over all)’ HDR paradigm. So, I began an advanced Google search for today's viewpoints and projects…
I’ve actually seen a book and several free video examples which preach new paths, similar to our LR2 path proposed in prior workflows. You ask, “What paths…?”

Paths the Pro’s Use…
John Doogan, FNZIPP, Adobe evangelist, and Adobe beta tester, lives in Christchurch, New Zealand. Last night, after watching Eric Jones present a tantalizing Alternatives to HDR workflow at Enchanted Lens Camera Club, I found Doogan’s Landscape Photographer’s Guide to Adobe Lightroom and Adobe Photoshop, watched the 80 minute video, and felt like I witnessed a Revolution…
Doogan showed both Photoshop CS4 and Lightroom 2 performing the same Auto-Align and Auto-Blend steps as well as more refined interactions between LR2 and CS4 in each separate piece of software. Granted he was doing broad brush landscape tone mapping – but, I was able to see far enough into CS4 to know it’s clearly in my future. In effect, he indicated, “While CS4 can do more than the present LR2, some of its steps are clunky compared to the more streamlined LR2.” Then, he showed how LR2 reduced his first cut development and tone mapping time by ~ 30% - so, even though he has CS4, his total time in LR2 now approaches 90%!
For those interested in tone mapping the future thru CS4, I commend Doogan. I would also suggest perhaps you take a careful look at some other free tutorials on Adobe’s eSeminars website.
Landscapes:http://pacific.adobe.acrobat.com/p74392052/
HDR:http://pacific.adobe.acrobat.com/p59269932/
*John Doogan is a commercial photographer and digital retoucher from Christchurch. He has been using photoshop since the mid 1990s. John is a Fellow of the New Zealand Institute of Professional Photography, an Adobe Ambassador and a software beta tester for Adobe Photographic software. He has a particular interest in landscape photography, and has won the NZIPP Landscape Photographer of the Year three times.
Scott Kelby, National Association of Photoshop Professionals (NAPP) President, discusses HDR from a different view - in Lightroom 2, HDR images can go straight from Lightroom to Photoshop's Merge to HDR feature. The result is a 32-bit file. Choose Image, Mode, 16 Bits per Channel. The HDR conversion dialog appears. Choose Local Adaptation. You've finally started to add the HDR look. Ctrl-Shift-S opens a save dialog box, you name the photo, then save as a tif file.
Now, open the tif in Photoshop which opens the Camera Raw menu. In CS4, development sliders are like Lightroom 2. Now, you're back to familiar ground.
Kelby describes the use of sliders to Tone Map. Now, it's time to get that file back into Lightroom. Click and drag the file into the same folder where your original bracketed photos are stored. In Lightroom's folder panel (Library module) choose Synchronize Folder. The dialog says you're importing one new photo (finished HDR you drug into the folder).
The Adobe Photoshop Lightroom 2 book for Digital Photographers, ©2009, Scott Kelby, p. 262-267.
Matt Kloskowski, NAPP Educator, has released an HDR video. It advocates minimal use of Photomatix as a tone mapping tool; rather, Photomatix is great at Assembling the initial file. Matt is great at subtle tool masks and usage in Photoshop. I haven’t seen it, but would like too…
http://www.kelbytraining.com/player/index.html#150
Ben Willmore has 2 free videos with Bert Monroy at Pixel Perfect. The first discusses how Photomatix can leave uneven interpretations from Tone Mapping. The second discusses intricacies of using subtle masks in CS3 to emphasize or de-emphasize more refined aspects of HDR capture. I find this video interesting, simply because it shows a somewhat more limited approach to local tone mapping in HDR.
Part I: http://revision3.com/pixelperfect/hdr/
Part II: http://revision3.com/pixelperfect/hdrpartii/
Willmore shows how he fashioned the Cover for his new book HDR and Beyond in Photoshop CS4…
High dynamic range (HDR) imaging uses multiple exposures of the same scene to create a single image with a huge range of values between light and dark areas of a photograph. It is an extremely popular and ever-growing niche of photography; a search for "HDR" at Flickr results in over 975,000 uploaded images.
In this book by noted photographer and popular digital imaging expert Ben Willmore, you'll learn the best practices for the entire process: from image capture through tone mapping and output. You'll learn how to create stunning HDR images...and you'll go beyond those "basic" techniques to learn exactly how Ben creates his own trademark HDR images, which have a slightly surreal and painterly quality to them. Equally instructive and beautiful, HDR and Beyond will teach and inspire you to create stunning HDR images! Amazon Product Description.
http://www.amazon.com/HDR-Beyond-Adobe-Photoshop-CS4/dp/0321617029/ref=sr_1_1?ie=UTF8&s=books&qid=1234901420&sr=1-1

Perhaps these examples can broaden our horizons. For me, use of Camera Raw 5.3’s tools have both sped up my workflow and provided rich, yet natural appearing fine art. And, it matters little whether it’s Lightroom or Photoshop which acts as my final localized brush Tone Mapping vehicle.
Take a look at a more in-depth Lightroom 2 HDR Tone Mapping workflow here.
Enjoy...

Sep 3, 2008

Odds and Ends

What, you didn't put up a picture - why is that?
Several reasons; First, I want to call attention to an error in the blog a few days ago. I got one of the Internet hooks wrong about videos on Lightroom 2. Here's the correction

Click on Julieanne Kost's What's New in Lightroom?
Pt 1 - Library Module
Pt 2 - Develop Module
Pt 3 - Exporting, Photoshop, and Output
Each video is 20-30 minutes long - she is a terrific LR2 teacher.

Second, each of us was fascinated with the historical moments created by Michael Phelps at the Beijing Olympics. I, for one, immensely enjoyed Vincent Laforet’s New York Times blog reporting as a professional photographer. In my blogroll about photographers, Vincent posted a change of blog address; when I read through the new blog, I discovered an article about how many gigabytes and images his Beijing photography consumed.
Would you believe 6 cameras, over 28,000 images, and  480 Gigabytes of space?
He used Aperture to process images, I use Lightroom 2. Both reduce the workload significantly.
You can read all about it here.

Third, and today is a day to go shoot near where the longest dinosaur was ever found on our planet ~ Sam the Seismosaurus. Really, we're actually planning to go shoot Ojito hoodoos. Now, how do you pronounce Ojito?

Aug 27, 2008

Lightroom 2 - Adobe's new USS Enterprise


Adobe Photoshop Lightroom 2

Its been 42 years since Star Trek briefly blazoned across our Universe... DSLR cameras didn't even exist... Darth Vader has come and gone!
The latest buzz began a month ago; Adobe Photoshop Lightroom 2 was unveiled. The digital photographer's blogosphere went ballistic...
My first exposure to Lightroom 2 was a couple of videos showing new Adjustment and Graduated Filter tools - I watched in amazement as the new adjustment brush delicately enhanced body, wings, and tail of two completely different airplane images - all without requiring that exhausting quick selection/quick mask Photoshop solution to masking.
I sensed, "A Revolution in Our Midst... !" Did some Adobe wag deliberately choose a warped space-time continuum as an icon for the box cover?
Maybe not; but I think Lightroom 2 will warp how we do digital photography to a completely new way of faster, more sophisticated workflow.

It's possible to have LR2 in hand before you have a book or video to learn from. The National Association of Photoshop Professionals (NAPP) is already producing video tutorials. Amazon will have Scott Kelby's book available September 21. Matt Kloskowski has in-depth videos on DVD through NAPP. Adobe TV shows a teaser LR2 series from Kloskowski; 8 to 10 minute overviews. Michael Clark, of Santa Fe New Mexico, has written an e-book explaining his use of LR2; it's been picked up as a source by Adobe. And each blogosphere rant gives us various other glimpses as this is written.
So what can I say that's new about LR2?
About a year ago, with my head pressed firmly into the wall of an ancient, remote Anasazi ruin, I did a handheld row-and-column multi-shot panorama. I came back to the mothership, tried to stitch it in CS2, and the stitching was a real mess. The next morning Jack Houser tried to stitch it in CS3 - it worked. Acting on gut instinct, I downloaded CS3. It's stitching was perfect - the image would later get Honorable Mention at the State Fair.
In the interim, CS3's Quick Selection tool and Quick Mask has slowly helped create several masked alpha channel versions of composite images which have recently won local awards and made it just below the final awards cut at the latest state fair. Privately, I was told by a highly decorated award-winning photographer who watched that judging ~ "You were robbed...!"

Conceptually, with what little I presently know about LR2, again my gut anticipates it will significantly enhance many aspects of professional photography digital workflow. If my new mothership tool can make archaic or even eliminate quick selection, quick masking, dodge and burn - just that response alone will clearly give me more time to shoot instead of compute. And, as my experience has gone with Photoshop, there will be amazing new little tips and tricks trickle out of LR2 for some time to come.

While Star Trek only lasted three years, The Next Generation has been with us for some time. May LR2 ~ Live Long and Prosper!