Central Florida Photo Ops

This post is not my usual Central Florida Photo Op entry. Instead I want to cover a technique and some software I’ve been experimenting with.

One macro photography challenge is to get the desired portions of the subject in focus without using such a small aperture that the image quality is degraded by diffraction effects. One solution is to combine multiple images focused at different depths within the frame to extend depth of field. In this post I’ll talk about how to do this, including software that can be used to automate the process. I’ve posted one focus bracket image before in this blog. That image was created manually. Using software to help is much easier.

Note: double click any of these images to view them on Flickr, where there is a larger version available. You can also visit the entire set at this link or view a slide show at this link.

Back-lit Orchid – 15 separate captures at f/8.

As with all macro photography, good technique remains important. Focus bracketing will not make up for poor composition and exposure or sloppy camera handling. But for stationary subjects focus bracketing can give the photographer complete control over depth of field, background appearance / bokeh, and help optimize image quality. I used a program called Helicon Focus for this experiment. I think you can accomplish the same thing using Photoshop CS4, but I don’t have this latest version, so I haven’t tried. Helicon Focus is available as a fully functional 30 day trial download, so you can experiment with it too.

The Helicon Focus web site has a lot of information on how to use their software. To learn more, browse these links:

• http://www.heliconsoft.com/focus/help/english/index.html
• http://www.heliconsoft.com/focus_workflow.html
• http://www.heliconsoft.com/focus_articles.html

Here are some of my additional hints based on what I learned while evaluating the software.

1. Use good macro and general technique
   • As for any type of bracketing, a sturdy tripod will help make sure all images are aligned.
   • Use a cable release or remote so you don’t jar the camera.
   • Use the mirror lock up function on your camera with low shutter speeds
   • Know your lens and camera.
     • Which aperture has the best image quality? (Usually ~ 2 stops down from wide open)
     • Make several test images at a different apertures. Use them to select the aperture to use with the focus bracket series. You can also use one of these later if you like the background bokeh better than in the focus bracket result.
     • Where does diffraction start to affect the image quality? (About f/11 for full frame cameras and ~f/8 for APS C size sensors
     • Don’t forget about composition.
       • Eliminate unnecessary image content
       • Remember (or not) the Rule of Thirds
       • Isolate the subject and make sure the background isn’t distracting (e.g. bright spots)
2. When you’re ready to start the focus bracket capture, set your camera in manual focus and exposure modes. Also set your camera to a manual white balance, or do this post capture if you use RAW.
3. Make a series of captures working from far to near and varying the focus slightly closer for each one. I found that the smallest movement of the focus ring that I could make worked best.
4. I saved the images in RAW format and processed them through Capture NX2 in batch mode to apply the same pre-processing edits (overall lighting adjustment, some highlight recovery, a little dodging and burning and some basic sharpening) to each photo. I also used NX2 to convert the RAW images to TIFF format.
5. Then I ran the TIFF images through Helicon Focus. By the way, it is Intel i7 aware and so it runs pretty fast on my iMac. The only change I made to the default settings was selecting Lancos8 resample quality.
6. My resulting composite image had a few areas that could be improved by cloning from one of the source images. Helicon Focus supports this with a “resampling” mode which allows you to clone from any of the source files into the final before saving.
7. Once I had the final composite output saved, I opened it in Photoshop. Since I liked the bokeh of the f/36 image, I cloned from that background into the composite – and I was done, except for importing into Lightroom where I added some clarity and adjusted contrast.

Here’s a series of images to illustrate.

Wet Back-lit Orchid at f/5.6. At this aperture (2 stops from wide open) the lens optical quality is very good, but the depth of field is shallow. Parts of the flower and the stem are not in focus. The background is completely blurred out.

Wet Back-lit Orchid at f/36. At this very narrow aperture, the depth of field is maximized. The out of focus leaves and background are pleasing. But the small aperture is causing diffraction to degrade the optical quality of the capture.

Wet Backlit Orchid – focus bracket. In this composite photo made using the Helicon Focus program and 16 individual captures at f/5.6, the depth of field covers the entire flower and stem and the background is completely blurred. The optical quality is improved since the wider aperture does not suffer from diffraction.

The final image: Wet Back-lit Orchid – focus bracket with small aperture background. You can completely control the background. If you prefer the bokeh / background of the f/36 image, selectively clone it into the focus bracket image.

Conclusions: Focus bracketing is a useful technique that can give photographers a tremendous degree of control over depth of field in situations where the subject matter is still and there is time to set up, capture and process for it. If you add a manual step to the final output, you can selectively enhance the bokeh. Helicon Focus runs well and does what it is supposed to – make this process easier.

©2010, Ed Rosack. All rights reserved.

Today, I had some time and a new computer I wanted to try out, so I went looking for a photo to reprocess. Take a close look at the two images below. The differences aren’t as obvious in these smaller versions, so if you click on them, you can go to Flickr and look at large resolution versions of each so you can see the changes in detail.

Nikon D80 @ ISO 100, Nikon 70 – 300 lens @ 260mm, f/5.6, 1/320 sec.

I made this photo back in April of 2007 in the bird rookery at the St. Augustine Alligator farm. The version above is “straight out of the camera (converted to JPG with Lightroom 2.5). It has potential, but the blown sky is bad and the levels and sharpening need work.

The version below was processed in CaptureNX2 for levels and curves. I also created a version that was sharpened, and a third version that adjusted the sky. I then opened all three in Photoshop and used layer masks to choose the portions of each that I wanted in the final photo. After saving the result, I imported it into Lightroom, tweaked clarity and vibrance, and cropped it slightly before once again exporting this JPG.

Same, photo: re-processed and slightly cropped.

I guess you can tell I’m not a straight out of the camera, photo journalist type photographer. I like the second version much better than the original. Do you?

The interesting thing to me is that almost 3 years after I made the photograph, I can go back and reprocess it with better software and better techniques. Since I captured it in RAW, I have much more flexibility in what I can change. Processing RAW is like having the original light and framing fixed, but being able to tweak the camera settings. Do I need Photoshop, CaptureNX2, and Lightroom? No, but each has strengths and I believe that if you want the best image you can get, you need to have SW and understand how to use it.

Or at least shoot in RAW so that when you do get the software and techniques, you can go back and have another go at things.

©2009, Ed Rosack. All rights reserved.

I was out this morning with a couple of people from the Photography Interest Group.  We planned to explore a part of Orlando Wetlands Park that we’d never been to.  If you look on a Google map of the park, you can see a finger of land that sticks out into the lake on the east side.

On the map, you can also see two paths that lead there.  Our plan was to work our way over and along the finger into the lake to make some photographs from the new location.  Here’s a photo I made from the fork in the path at the beginning of our explorations.

You can’t tell where a path ends from the beginning – Nikon D700, ISO 200, Nikon 24-70 f/2.8 @ 24mm, f/8.0, five exposures: 1/15 sec – 1/250 sec, Photomatix. Edited with the Topaz Adjust filter to bring out more detail in the clouds and to make the foreground slightly brighter.

We walked down this open and inviting path for a while until we were suddenly blocked by a solid mass of bushes and underbrush.  I really wonder why this is here if it leads nowhere.  Maybe it has been open in the past.

We trudged back out the way we came, and went up our normal route a little farther to the next path leading east.  This time, we managed to follow it for quite a ways – before it suddenly went under water.  So, we then backtracked again and circled around the lake clockwise for while, but we just couldn’t find anything interesting to photograph.  At this point, we were hot, tired and getting frustrated at our inability to get to where we wanted to go and the lack of photographic targets.  We started heading back to the car.  And that’s when we began to notice interesting things.  Here’s a photo of a butterfly hiding in the damp grass:

Butterfly, flowers, dew – Nikon D90 @ ISO 200, Nikon 70 – 300 @ 300mm, f/5.6, 1/320 sec. Processed in Photoshop and Lightroom.

And here’s a photo I made of a hunting Little Blue Heron.

A Little Blue Heron catches a worm. (Is that an alligator to the left?) – Nikon D90, ISO 200, Nikon 70-300 f/4.5-5.6 @ 300mm, f/8.0, 1/250.

So, even though our explorations this morning didn’t succeed, we did end up getting some nice photos.  And we didn’t get them until we forgot about exploring and headed back toward the car.  The moral of this story is the title of the post.

Have you had a similar experience?  Post a comment about it.

These and a few more photos from this outing are on my Flickr page here.  As a special treat to my loyal readers (especially you, Mary!), I’ve uploaded this photo set as full resolution jpeg files and changed the license to an “Attribution-Noncommercial-No Derivative Works 2.0 Generic Creative Commons license“. Click on any of the photos, then click on the “all sizes” icon and choose a size to download.

Oh, and Happy Halloween.

©2009, Ed Rosack. All rights reserved.

This is the third installment of our vacation adventure, where I’ll show you the some of the other things we saw, both in Alaska and Seattle. Chapter One is here and describes the wildlife we encountered on our trip.  Chapter Two is here and is about the glaciers we visited.

I’ve finally gotten through the rest of the photos that I made.  The only ones left to process are the “people pics”.  When I finish these, the final part of my post processing will be to go through everything and then selecting a “best of all set” to try making into a photo book.

Before we get started, please note that the photos in this post are linked to my Flickr account and you can click on them to go to Flickr where you can see a higer res version.

First of all, here’s my favorite photo of me from the trip.  It’s a picture of Lynn and I that Sully made.  We spent a lot of time sightseeing from our balcony, and looking at this really brings back memories.

Ed on vacation with three cameras. Lynn on vacation with two glasses of wine.; Canon PowerShot A700,11.546 mm,1/80 sec at f / 3.5,, Dimensions are 2816 x 2112, Photo by Marin Sullivan

There were quite a few impressive sunrise and sunset opportunities.  I often shot in “panorama mode”.  Most of these I took hand held and they seem to have worked out quite well.  I was careful to line up the horizon or another feature in the terrain with one of the marks in the viewfinder, and this really helps when you stitch.  I’ve also found that running Nikon images through CaptureNX before I stitch them in Photoshop really improves the final image quality.  The key is to use the CaptureNX function that corrects lens distortion.  Here’s a sunrise from our final morning on the ship.  It’s composed of 4 images stitched together vertically.  In the full res version, you can see the planet Mars (if my astronomy software is correct) underneath the moon!

Seattle sunrise panorama with moon and Mars(?); NIKON D700,48 mm,1/50 sec at f / 2.8,ISO 800, Dimensions are 4312 x 7619

Here’s another one I really like. I took this in Juneau, when Lynn and I went gold panning. I had just my Canon G9 with me (in a pocket most of the time – it was raining), and I used a flat rock in the creek as a tripod.  By the way, Lynn and I both found flakes of gold in this creek!

Juneau, Alaska – gold panning creek; Canon PowerShot G9,7.4 mm,1.0 sec at f / 8.0,ISO 80, Dimensions are 4000 x 3000

And here’s one last photo for the blog of some trees at the Lake Washington Ship Canal.  I’m not sure what this tree was and whether it was turning already for fall, but I really liked the color contrasts.

Trees; NIKON D90,19 mm,1/50 sec at f / 3.8,ISO 100, Dimensions are 2848 x 4288

As before, I’ve posted the rest of the photos for this blog entry in two ways.  I added a set of “other” photos here to my photo galleries.   You can also look at our Alaska photos together in a single time ordered set of 72 photographs here on Flickr.  Clicking on one of the photos above will also take you to Flickr, where if you click on the “all sizes” button, you can see the photo in a higher res version.

©2009, Ed Rosack. All rights reserved.

A couple of weeks ago, I wrote a post about level of detail in photos and how to best present it on the web.

In an interesting temporal coincidence, I ran across this post on Jay Kinghorn’s blog today, where he talks about Seadragon , which is Microsoft’s tool for creating deep-zoom images on-line.  This looks like it would be one way to present high res images that you can zoom into and experience the sensation I described.  Another link in his article leads to the Zoomify website .

Since I don’t think I can do everything I need to with Seadragon on my Mac, I took a look at Zoomify.

Zoomify Express seems to offer the capability I think we need to show photographic level of detail.  It is a free zoom and pan authoring, publishing and viewing application and has downloads for both Mac and Windows available.  It also makes it difficult to download the high res version of the photo.  I didn’t have time tonight to figure out how to embed the Zoomify window directly into my posts, but that is something I want to do.

Here’s the result, using the same photograph of a gator that I posted before.

What do you think?

I haven’t seen this discussed in the photographic blogosphere so I thought I’d comment on it.  One reason may be that it is difficult to illustrate given the photo posting resolution that we often limit ourselves to on the web.

You can experience a very good example of what I’m trying to write about here when you visit an Ansel Adams print exhibition in person.  For instance, viewing his "Winter Sunrise " from across the room, the print looks well composed and shows the overall scene of some mountains with areas of light and dark.  Depending on how far away you are, most details are obscured by distance.  As you slowly come closer, the details start to emerge.  The closer you come, the greater the detail, until when you are standing right next to the print, you can see all sorts of things you didn’t see from across the room – subtle clouds, interesting light on the horse and trees, etc.  The emergence of detail draws you into his photographs.

This experience – the discovery and exploration of a photograph is quite interesting and pleasant and is hardly ever possible on the web.  On the web, we get one look at a photo – the low res "across the room look".  The high res, up close version, where the subtle details emerge, is saved away on our hard drives, mostly due to worries about theft of our copyrighted, intellectual property (photographs).

The "level of detail" effect is something we all should strive for in our captures, prints and displays.  When we do this well, there are a myriad of things for the viewer to discover as they view our prints.  And while it is easiest to observe in a well made print, we should also try to make it an interesting thing on the web.  When we achieve a good "level of detail" capture, how do we show it off?  Here’s a couple of recommendations:

1.  Study examples by the masters and and use them as we strive for this effect.  Use it to draw in our viewers and keep them coming in for more.  Print our work and hang it up where people can see it.

2.  When we have a nice photo with some good detail and want to present it on the web, present the normal low res web version, along with a high res detail insert or two, like this:

Gator photo: "Across the room view"

Gator photo: "Middle of the room view"

Gator photo: Close in detail view.

3.  I haven’t tried this, but another solution might be a video of the photo using a "Ken Burns" type of special effect.  A "zoom in" motion video seems like an ideal way to showcase this type of photo and protect the intellectual property that everyone seems so worried about losing.  Does anyone know of a ready made solution already out there?

P.S. There is also a very interesting inverse effect to what I’m talking about here.  You will really enjoy visiting an exhibition of Ansel Adams prints at the same gallery with paintings by Monet .  Monet understood the human mind’s ability to "fill in the details".  If you approach many of his paintings from across the room they will look very real at first and they gradually dissolve into impressions in the middle distance and paint strokes when you are very close!  This is a wonderful contrast to Ansel Adams prints, don’t you think?

©2009, Ed Rosack. All rights reserved.

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).

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 photograph 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):

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?

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:

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 …

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 …

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 …

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 .