Greetings, volks. Welcome to Hohenfels Volks, THE place for our place!
Today we’re taking a trip into the realm of motivation. This can have a big impact on your images and art. We’ll be short today, and give you some time to get the shot.
We’ve discussed inspiration, which, on the surface, seems to have some connection with motivation. But, motivation involves more than being inspired, it involves your mindset and desire. Many Volks out there often have no motivation to go out and make photos; they’re busy with life, which is understandable.
A great way to get motivated to make photos is to bring your camera everywhere. In my case, I usually have one with me, whether it’s film or digital. Taking your camera everywhere gets you into the habit of looking for that magic light, of looking beyond the surface. It brings a bit of the itchy shutter finger, and the desire to shoot something that inspires us.
Part of getting motivated is to incorporate photography into activities you’re doing or plan to do, anyway. A good example is taking a walk, going out to get fresh air or burn calories. By having your camera, you can kill 2 birds with that desire to get out. Maybe it’s playtime with your child or a day trip with the family. Plan in advance some things you’d like to see, and that you’re likely to want a shot of. Then when you’re out playing, walking, or day tripping, you can get your photos and still accomplish your primary task.
Getting motivated is much easier when you combine the basic functions you’re doing, anyway, with your photography.
Here’s hoping the rest of your week is great, and you’re motivated to make a winning image!
Don’t forget to post any of your images you’d like to see here at the Hohenfels Volks Facebook page. Of course, commenting on both Facebook and here is always appreciated, too! Don't forget, we're on Google+, too!
Showing posts with label image. Show all posts
Showing posts with label image. Show all posts
Wednesday, March 14, 2012
Wednesday, February 8, 2012
Editing For Pre-Exposure?
Greetings, volks. Welcome to Hohenfels Volks, THE place for our place! I hope everyone is warm and well, and that you got the shot you wanted today!
Today we’re going to deal with an editing technique based on old film shooting. I know this was supposed to be another Around Hohenfels, but that didn’t quite pan out the way I had planned.
Back in the film days, you couldn’t change film speed mid roll. You also had some interesting things going on. Film often had a wider latitude for exposure errors, especially for overexposure, but even underexposing allowed film to still work out, if you knew how to make it. You could shoot with ISO 200 settings on ISO 100 film, and push the processing for ISO 200, and save the shots. There were several techniques for saving the shot, including push processing, pull processing, and pre-exposing. When shooting RAW format, most conversion applications, like Canon’s DPP, can be used to correct an exposure by up to 2 stops either direction. Using the exposure setting that way, though, you affect the entire image, not just certain areas. Using most image editing programs, you can dodge or burn areas to meet your needs, as well adjust your curves and levels. In fact, most applications have the common dark room tools, which is why they refer to them as a digital dark room.
Rather than discuss those choices at this time, we’ll address pre-exposure. I chose this topic, as most image applications don’t have a feature that allows that directly. Rather, you have to use a round about method to obtain similar results, and that’s what we’ll discuss today. Pre-exposing film allowed the photographer to bring out detail in deep shadows by adjusting them to higher levels or zones. By pre-exposing a hot, then shooting over that pre-exposed frame, light intensity could be raised. If you wish to bring out detail in zone 2 shadows, you could pre-expose for zone 1 or 2, then shoot for a correct overall exposure and get those elusive shadow features. You’d need to take a gray card or translucent plastic/glass, meter it exactly along your image axis, and set your exposure accordingly, then shoot the scene. You could push, pull, or otherwise develop according to your plans, and print the same. We’ll be simulating this technique. I’m going to use this image as an example.
ISO 100, f/5.6, 1/500, 55mm
The Passau Skyline!
First, select your image, and open it in your editor of choice. Whether you use Photoshop, GIMP, or Paintshop Pro, the basic are the same, but your application needs to support layers. Once your image is open, make a new layer, and select your color selection tool. Click on the shadows you wish to open up and increase the details. Before closing, look at the settings or options for that color and increase the values by the desired amount. For this image, I chose the trees in front of the church, which came out to R-7, G-7, B-7, L-7, and doubled them all to 14. This was still in zone 1, digitally speaking, but when combined at the end, allowed for a slight bump in the shadow detail.
With that being done and applied, select your bucket too and flood fill the new layer with that color. You should have something solid, in your selected color or tone. Set you blend mode to screen, and watch the magic start. All your levels will increase except the brightest areas. You will notice a decrease in contrast as well.
Decrease the new layer’s opacity until you have a set of results that are satisfactory. Now, select levels adjustment, and crush in the curves ever so slightly. This will increase your contrast, without removing too much detail from your shadows. You can apply a curves adjustment and a clarify adjustment if you desire. Now you should see something that is pleasing to your eye, and has more detail in the shadows.
In the days of film, you shot for the shadows, to preserve detail. This often meant slightly overexposing your shot, and printing to retain the detail in the highlights. By pre-exposing your film, you had a way to create more detail without giving any up on the other end. Because exposure was cumulative on multiple shots at the same frame, you could add light as needed. The reason for dark areas benefiting most, was that you added light uniformly across the image at the same level, but your exposure of the image was not uniform. Using just quick numbers to demonstrate, at level 2, when you add 2 units you double the level. At your highlights with say 100 units, you add 2 units and the results are almost unnoticeable due to the ratios. This works in digital the same way, when you select screen mode, you only lighten values lower then your selected pre-exposure layer. Although there is some small effect at slightly higher levels, it is less drastic. By varying the opacity of the layer, you can control the effect even more. Adding masking to allow only certain areas to be painted in gives you complete control!
Here is my final image. Not a large change, but enough to bring out some of the detail within the trees. This works best with images without a large amount of bright spots or too much contrast, but this image was useful. This shows you what a little bit of old time darkroom work on today’s technology can accomplish.
Same as above, with pre-exposure.
Well, that’s it for today. Keep shooting, keep seeing the light, and keep your love of our art going with frequent sessions behind the lens! Don’t forget to vote and to get your works in for this week’s theme!
Don’t forget to post any of your images you’d like to see here at the Hohenfels Volks Facebook page. Of course, commenting on both Facebook and here is always appreciated, too! Don't forget, we're on Google+, too!
Today we’re going to deal with an editing technique based on old film shooting. I know this was supposed to be another Around Hohenfels, but that didn’t quite pan out the way I had planned.
Back in the film days, you couldn’t change film speed mid roll. You also had some interesting things going on. Film often had a wider latitude for exposure errors, especially for overexposure, but even underexposing allowed film to still work out, if you knew how to make it. You could shoot with ISO 200 settings on ISO 100 film, and push the processing for ISO 200, and save the shots. There were several techniques for saving the shot, including push processing, pull processing, and pre-exposing. When shooting RAW format, most conversion applications, like Canon’s DPP, can be used to correct an exposure by up to 2 stops either direction. Using the exposure setting that way, though, you affect the entire image, not just certain areas. Using most image editing programs, you can dodge or burn areas to meet your needs, as well adjust your curves and levels. In fact, most applications have the common dark room tools, which is why they refer to them as a digital dark room.
Rather than discuss those choices at this time, we’ll address pre-exposure. I chose this topic, as most image applications don’t have a feature that allows that directly. Rather, you have to use a round about method to obtain similar results, and that’s what we’ll discuss today. Pre-exposing film allowed the photographer to bring out detail in deep shadows by adjusting them to higher levels or zones. By pre-exposing a hot, then shooting over that pre-exposed frame, light intensity could be raised. If you wish to bring out detail in zone 2 shadows, you could pre-expose for zone 1 or 2, then shoot for a correct overall exposure and get those elusive shadow features. You’d need to take a gray card or translucent plastic/glass, meter it exactly along your image axis, and set your exposure accordingly, then shoot the scene. You could push, pull, or otherwise develop according to your plans, and print the same. We’ll be simulating this technique. I’m going to use this image as an example.
ISO 100, f/5.6, 1/500, 55mm
The Passau Skyline!
First, select your image, and open it in your editor of choice. Whether you use Photoshop, GIMP, or Paintshop Pro, the basic are the same, but your application needs to support layers. Once your image is open, make a new layer, and select your color selection tool. Click on the shadows you wish to open up and increase the details. Before closing, look at the settings or options for that color and increase the values by the desired amount. For this image, I chose the trees in front of the church, which came out to R-7, G-7, B-7, L-7, and doubled them all to 14. This was still in zone 1, digitally speaking, but when combined at the end, allowed for a slight bump in the shadow detail.
With that being done and applied, select your bucket too and flood fill the new layer with that color. You should have something solid, in your selected color or tone. Set you blend mode to screen, and watch the magic start. All your levels will increase except the brightest areas. You will notice a decrease in contrast as well.
Decrease the new layer’s opacity until you have a set of results that are satisfactory. Now, select levels adjustment, and crush in the curves ever so slightly. This will increase your contrast, without removing too much detail from your shadows. You can apply a curves adjustment and a clarify adjustment if you desire. Now you should see something that is pleasing to your eye, and has more detail in the shadows.
In the days of film, you shot for the shadows, to preserve detail. This often meant slightly overexposing your shot, and printing to retain the detail in the highlights. By pre-exposing your film, you had a way to create more detail without giving any up on the other end. Because exposure was cumulative on multiple shots at the same frame, you could add light as needed. The reason for dark areas benefiting most, was that you added light uniformly across the image at the same level, but your exposure of the image was not uniform. Using just quick numbers to demonstrate, at level 2, when you add 2 units you double the level. At your highlights with say 100 units, you add 2 units and the results are almost unnoticeable due to the ratios. This works in digital the same way, when you select screen mode, you only lighten values lower then your selected pre-exposure layer. Although there is some small effect at slightly higher levels, it is less drastic. By varying the opacity of the layer, you can control the effect even more. Adding masking to allow only certain areas to be painted in gives you complete control!
Here is my final image. Not a large change, but enough to bring out some of the detail within the trees. This works best with images without a large amount of bright spots or too much contrast, but this image was useful. This shows you what a little bit of old time darkroom work on today’s technology can accomplish.
Same as above, with pre-exposure.
Well, that’s it for today. Keep shooting, keep seeing the light, and keep your love of our art going with frequent sessions behind the lens! Don’t forget to vote and to get your works in for this week’s theme!
Don’t forget to post any of your images you’d like to see here at the Hohenfels Volks Facebook page. Of course, commenting on both Facebook and here is always appreciated, too! Don't forget, we're on Google+, too!
Wednesday, November 9, 2011
Elements of Composition- Color
Hello, Volks, welcome to Hohenfels Volks. I hope everyone is having a decent week. The weather on Monday and Tuesday was excellent getting out and shooting some pics weather. Even in this time of shorter days and less time to get the shot you want, you can still get one or two that will make you feel good.
Today we’re doing a quick post on one of the unexpected elements of composition. We’ve talked about chiaroscuro and shadow, and subject placement. There are general guidelines for most situations. Today we’re going to talk a little about using light and color to bring in your viewer.
As you can see in the photo below, there is a lot of shadow in the right side, set for zone 3 at best, which amounts to a lot of unused space. At least it would seem that way.
I shot this photo on a little side road about 15 to 20 KM from Hohenfels.
ISO 400, f/11, 1/40
By leaving so much in deep shadows, it really makes the light streaming in from the left pop out and creates almost a set of diagonal shafts crossing through into the road. It also amplifies the magnificent autumn colors of the trees and the shaft of light green grass. The blend of greens and oranges just makes it seem to jump out from the woods and the shadow.
Pick out a color in a scene and try to find one that either complements or contrasts your chosen color for an extra bit of eye drawing appeal. This even works in black and white, only instead of showing the colors, it creates tones and textures that will pull the viewer in. Remember color is a major part of your composition!
Keep your eyes open, walk around, and believe in your abilities. That will bring home some keepers and treasures, and isn’t there so much around Hohenfels that we can find to treasure? Remember to share your pics and post your questions at the Hohenfels Volks Facebook page, and or by commenting here!
Today we’re doing a quick post on one of the unexpected elements of composition. We’ve talked about chiaroscuro and shadow, and subject placement. There are general guidelines for most situations. Today we’re going to talk a little about using light and color to bring in your viewer.
As you can see in the photo below, there is a lot of shadow in the right side, set for zone 3 at best, which amounts to a lot of unused space. At least it would seem that way.
I shot this photo on a little side road about 15 to 20 KM from Hohenfels.
ISO 400, f/11, 1/40
By leaving so much in deep shadows, it really makes the light streaming in from the left pop out and creates almost a set of diagonal shafts crossing through into the road. It also amplifies the magnificent autumn colors of the trees and the shaft of light green grass. The blend of greens and oranges just makes it seem to jump out from the woods and the shadow.
Pick out a color in a scene and try to find one that either complements or contrasts your chosen color for an extra bit of eye drawing appeal. This even works in black and white, only instead of showing the colors, it creates tones and textures that will pull the viewer in. Remember color is a major part of your composition!
Keep your eyes open, walk around, and believe in your abilities. That will bring home some keepers and treasures, and isn’t there so much around Hohenfels that we can find to treasure? Remember to share your pics and post your questions at the Hohenfels Volks Facebook page, and or by commenting here!
Tuesday, October 4, 2011
Intro to Composition
Today we’re going to talk about COMPOSITION.
Simply put, COMPOSITION is bringing the image you’ve just visualized to life in a pleasing and attractive fashion. Pretty straight forward, isn’t it? Like many things related to photography, it goes deeper than that, simple- yes, easy - no.
Diving into the subject on a basic level, we’re going to cover some basics today.
First, there is subject and object placement to consider. Then there are color, exposure, DOF, weight, balance, and various other considerations.
The tips I’m outlining are not hard and fast rules! While often called rules, you can break them anytime. The trick is to know when and why to break them. That takes some time and practice.
The most commonly discussed is the “rule of thirds.” This rule states that your subject, or subjects, should be placed along an imaginary line dividing the image into thirds. For a more powerful composition, intersections of horizontal and vertical thirds are used. I’ve included a chart showing this and a sample using it below.
This is just a basic chart to show where things line up.
This is an example using a photo I recently took. Notice how the right line runs through the middle of her eye and the bottom right intersection is right about on the corner of her smile. Also, notice the diagonal lines formed by her eyes, smile, and head.
Another rule is the “Golden Spiral.” This one seems to have several names. This is placing your subject near one of the points of intersection in the thirds, and using a nautilus type spiral to lead the eye through the image to the subject. There is some mathematics behind this using the Fibonacci sequence and the “Golden Ratio” of 1.618 to 1. This can be more appealing than a simple rule of thirds, as this more natural. It just takes some practice and patience. I’ve included a link to a site that shows an applet demonstrating this and several others.
Java Adjuster A cool applet that shows the effects and use of the rules regarding composition.
Golden Section and the Rule of Thirds An informative sight covering more about using these rules.
Place your subjects and objects according to how you visualized their importance to the scene. A subject that is important to the overall composition can be placed on one the intersections, or in the center of your “Golden Spiral,” while objects of lower importance can be placed along either a vertical or horizontal third only. Giving each object or subject a weight or ranking based on how you visualize the scene can help in using, and breaking, the rules.
Another important element in COMPOSITION is lines. By having lines in your image, you can lead your viewer through your vision and tell a story in your work.
Diagonal lines add a dynamic and powerful element to an image. C and S shaped lines create a sense of grace and harmony. Vertical and horizontal lines are static. Including a graceful element, like a river, and ensuring that is either C or S shaped, gives the viewer a sense of calm and grace. Use your leading lines, and you will see a change in how you look at a scene and how you start to visualize your images.
Here's a link to a nice little page about COMPOSITION. It's short, simple, and very helpful! 10 Top Photography Composition Rules
Well enough for today. We’ll dive more into COMPOSITION in another post.
Try this out and let me know how it works for you! There are a large number of places that will help you feel more at ease with your COMPOSITIONS around Hohenfels! I’d love to know if it helps! If you have a question, post it to our Facebook account. Also post it here as a comment on the related post, I’ll review it and get back to you! If you have a photo you’d like to share, add it to our wall on Facebook, and I’ll get it posted here.
Simply put, COMPOSITION is bringing the image you’ve just visualized to life in a pleasing and attractive fashion. Pretty straight forward, isn’t it? Like many things related to photography, it goes deeper than that, simple- yes, easy - no.
Diving into the subject on a basic level, we’re going to cover some basics today.
First, there is subject and object placement to consider. Then there are color, exposure, DOF, weight, balance, and various other considerations.
The tips I’m outlining are not hard and fast rules! While often called rules, you can break them anytime. The trick is to know when and why to break them. That takes some time and practice.
The most commonly discussed is the “rule of thirds.” This rule states that your subject, or subjects, should be placed along an imaginary line dividing the image into thirds. For a more powerful composition, intersections of horizontal and vertical thirds are used. I’ve included a chart showing this and a sample using it below.
This is just a basic chart to show where things line up.
This is an example using a photo I recently took. Notice how the right line runs through the middle of her eye and the bottom right intersection is right about on the corner of her smile. Also, notice the diagonal lines formed by her eyes, smile, and head.
Another rule is the “Golden Spiral.” This one seems to have several names. This is placing your subject near one of the points of intersection in the thirds, and using a nautilus type spiral to lead the eye through the image to the subject. There is some mathematics behind this using the Fibonacci sequence and the “Golden Ratio” of 1.618 to 1. This can be more appealing than a simple rule of thirds, as this more natural. It just takes some practice and patience. I’ve included a link to a site that shows an applet demonstrating this and several others.
Java Adjuster A cool applet that shows the effects and use of the rules regarding composition.
Golden Section and the Rule of Thirds An informative sight covering more about using these rules.
Place your subjects and objects according to how you visualized their importance to the scene. A subject that is important to the overall composition can be placed on one the intersections, or in the center of your “Golden Spiral,” while objects of lower importance can be placed along either a vertical or horizontal third only. Giving each object or subject a weight or ranking based on how you visualize the scene can help in using, and breaking, the rules.
Another important element in COMPOSITION is lines. By having lines in your image, you can lead your viewer through your vision and tell a story in your work.
Diagonal lines add a dynamic and powerful element to an image. C and S shaped lines create a sense of grace and harmony. Vertical and horizontal lines are static. Including a graceful element, like a river, and ensuring that is either C or S shaped, gives the viewer a sense of calm and grace. Use your leading lines, and you will see a change in how you look at a scene and how you start to visualize your images.
Here's a link to a nice little page about COMPOSITION. It's short, simple, and very helpful! 10 Top Photography Composition Rules
Well enough for today. We’ll dive more into COMPOSITION in another post.
Try this out and let me know how it works for you! There are a large number of places that will help you feel more at ease with your COMPOSITIONS around Hohenfels! I’d love to know if it helps! If you have a question, post it to our Facebook account. Also post it here as a comment on the related post, I’ll review it and get back to you! If you have a photo you’d like to share, add it to our wall on Facebook, and I’ll get it posted here.
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