Friday, February 2, 2018

Switching to black & white

On a recent trip to Delray Beach in Florida to photograph the sunrise, the sky and colors were disappointing so I decided to switch over to photographing it in black and white. I was using the Nikon D850. Like the Fuji, it does have a black and white mode, but I prefer to do my black and white processing mostly in Adobe Camera Raw where I can convert the image to monochrome and can actually control the monochrome darkness of each individual color in the original scene by using the sliders in the HSL/monochrome tool. Additionally, there are several different ways of fine tuning the rations of contrast and detail by using curves, clarity, dehaze, the contrast slider itself, and then fine tuning highlights and shadows with their sliders. The variations available in ACR are endless.

I usually get the image almost to where I want it but keep it just a little on the flat side so I can then fine tune the tonality with Curves and/or Levels in Photoshop.

Monday, January 1, 2018 with the new. The first sunrise of 2018

I went to one of my favorite spots in Delray Beach to photograph the first sunrise of 2018. Luck was with me because the sunrise was both colorful and accompanied by interesting cloud formations. I love photographing the sea and sky because it is constantly changing, and, if you shoot fast, you can come up with several compositional variations in a matter of seconds. This whole shoot, like most sunrises, last less than a half hour.

I had my Nikon D850 and three lenses, the Nikon 24-120mm zoom, Nikon 80-400mm zoom, and the Nikon 20mm f/2.8. I used them all, but did most of the work with the very practical 24-120mm f/4 zoom.

These two gulls looked liked they were carrying on a conversation while strolling along the surf. Nice bokeh effect from the Nikon 80-400 used wide open at 250mm focal length. 

Happy New Year! 

Friday, December 29, 2017

Out with the old...2017...

One of the last photo projects I did for 2017 was a trip across the northern part of the Lake in Central Park during the holidays.  The leaves were gone leaving only the dark shapes of barren trees abstracted by the current of the water. Many species of waterfowl make this area of the Lake a year-round home.

I had one camera, my Fuji X-Pro2, and one lens, the Fuji 16-135mm zoom. I particularly liked the patterns -- both the reflections of trees and the wakes of the birds -- that formed in the water currents around the birds. I used these water patterns as the primary element in my compositions.

Tuesday, November 21, 2017

Sunrise variations

I have been in Florida long enough now that I find myself developing a specific Florida style influenced by the spacious skies, dramatic weather changes, and saturated colors. I have been categorizing my work into several  series: Aqua, Aeris, Flora, and Terra. However, I consider the first two, Aqua and Aeris, to be the most stylistically developed.

The idea for this series was influenced by several painters. Mark Rothko's color field paintings gave me the idea for large neutral areas playing against one another, while Monet's haystack series gave me the idea of recording the rapid and fleeting changes of color effects over time. And I am always indebted to Agnes Martin for her grid-like, minimalist style.

The images below were all taken of ocean sunrises with a Nikon D850 and primarily the Nikon 24-120mm zoom lens. I've been using that camera because I am planning on printing this image series quite large. Many of the images contain motion blur, some of it achieved in camera with a stopped-down lens and a heavy (10-stop) ND filter. Further techniques were applied later in Photoshop through double exposure.

Thursday, November 16, 2017

Stacked focus flowers

This week I was experimenting a bit with the focus "Focus Shift Shooting" feature of the new Nikon D850.  I photographed some flowers, both singly and in a group. Below are some of the results.

All images were photographed  using backlit daylight from a large window. I used either a black card background or white scrim, and filled the front with a small reflector. I set the D850 to use a set with of 3 and took between 40 and 50 exposures of each situation depending upon the depth of the arrangement. The final image was assembled using Helicon Focus software.

I found the final color intensity of the images to be too intense so I made a crisp black and white version of each photo. Next, I placed these black and white images as layers on top of the color photos in Photoshop. I then dialed down the opacity of the black and white version until I achieved the muted color effect I had in mind. 

Monday, November 6, 2017

Photographing a full moon with clouds on a Nikon D850

A full moon the other night gave me the opportunity to try out the high resolution capabilities of the new Nikon D850.  Just to make it interesting, there were some clouds in the sky adding a moody look to the scene. Getting a straight shot of the moon was easy, but adding the cloud layer necessitated some Photoshop post-processing.

The moon is a very bright object because it is lit directly from the sun.  I varied my ISO from 64-400 to achieve a high enough shutter speed not to blur the moon. I was using a Nikon 80-400mm zoom with a 1.7x telextender. Not only does this magnify the size of the moon, it also magnifies the motion blur.  The moon is moving much faster than you might imagine, and, since I was not using any tracking devices, it takes somewhere between 1/125 and 1/500 sec. to get a sharp image at the magnification I was using. 

Photographing the night sky with clouds is a completely different exposure extreme. In the photo below at an ISO of 64, a focal length of 400mm, and an aperture of f/5.6 I needed a shutter speed of 1/250 to stop the motion of the moon but a full second to record the clouds in the sky. This meant taking two photos is quick succession, one exposed for the moon and the other exposed for the sky.  Later the two were combined as stacked layers in Photoshop. I used a layer mask to paint the moon as an overlay onto the cloud scene. 

Monday, October 9, 2017

Focus Shift Photography with the Nikon D850

The Nikon D850 comes chuck full of new features some of which are a big surprise. Stack focus photography is something I have been doing for years on certain still life subjects, but I had been resorting to a manual re-focus of the camera lens to shift the focus point after each shot. Needless to say, when moving the focus in very small increments -- in  my case, usually taking 20-30 photos with under 1" increments between them -- it is very difficult to maintain consistent distances between each shot. There is now software, Helicon Remote by Helicon Soft, to deal with this, but it is only available with tethered shooting.

Nikon's D850 now comes with the ability to automatically do focus shift photography.  You must use either AF-S or AF-P lenses for it to work. Otherwise the camera cannot move the focusing mechanism in the lens.

Click here to download a high screen res version of this image. 
For this type of photography I generally use a focal length of 50-85mm and an f/stop of f/5.6. I find that f/5.6 delivers just enough focus area between shots, and additionally has the lens working at its resolution sweet spot.

The camera menus below show the setting I used to achieve the still life photo above.  There is no supplied information on what size the focus steps are. There is only a scale of 1-10 from narrow to wide. I did some trial-and-error experimenting to find that I needed the lowest step setting of 1 and 23 shots to cover the distance from the front of my set to the back. The actual distance of my set from front to back was about 23" so that would mean that my setp width setting of 1 was moving the focus distance 1" between exposures. None of the remaining options on the menu were applicable to my situation so that was it. I clicked on "Start" and after a 3-second delay the camera took all 23 images with the proper increment between them.

Needless to say, the camera should be on a tripod for this type of shooting.

I should also mention that the camera was in AF mode so I did a manual re-focus on the closest foreground object in the set, which was the detailed white napkin. When propping these sets, I always try to include highly detailed props such as this to play up the overall look of sharpness.

One tricky thing I did have to do was deal with the bubbles in the champagne glasses and orange juice pitcher. These bubbles dissipated by the time the camera exposure was located in their position. So, once the photos were taken, I then refocused the camera on each of the glasses and the pitcher and took an additional exposure of each with a new pour of the liquid to produce the bubbles. I then added the bubbles into the final image with Photoshop.

To assemble the 23 images into one photograph I used Helicon Focus software. It is a very easy, drag-and-drop software to use, and will accept even the RAW files, which I used here. 

I have been saying that the new Nikon D850 has reached a new pinnacle of sophistication for DSLR cameras.  The most recent sensor testing results by DxOMark has borne this out. DxO has given the D850 a rating of 100, the first time this maximum rating has ever been given to a camera sensor. DxO said what I have also been discovering, that the new BSI sensor in the D850 is capable of producing medium format quality images.