An Experiment – Sports Timelapse

Readers of this little piece of the web will know that I don’t typically write about my own projects. But for this one, I think I’m going to make an exception.

For a while I’ve been wanting to do a timelapse video of a hockey game. I wanted to see how it might come out. If it worked, the possibilities for combining timelapse, regular video and stills into a multimedia highlight package might be interesting. Continue reading

(Yet Another) The Power of RAW

There are countless articles available extolling the virtues of RAW capture.  Despite that, one more can’t hurt.

All DSLR cameras are able to capture in a RAW format.  Many advanced compact digital cameras can as well.  More basic point & shoot style compacts only allow for creating images in JPEG format. Continue reading

Seeing in Black & White Pt IV

We’ve talked about how various colours convert to different shades of grey in earlier instalments of this article series. We’ve also talked about the importance of certain colours in greyscale and about the different components that make up colour – and thus grey – in the third part of the series.

In this part of the series, we’re going to take a look at something more subtle but nonetheless relevant.  That’s white balance.  Can the choice of white balance affect a conversion from colour to black & white?  It definitely can.  This is something that film shooters have known for years, that the colour of the light in the scene would have an impact on the effect of colour contrast filters used on the lens and rendered on the film.  Intuitively it makes sense. Continue reading

Seeing in Black & White Pt III

In the first part of this series, I wrote about training the eye to ‘see’ in greyscale tones by converting colour into shades of grey. In this part of the series, we’ll break that down a little further.

In that first part of the series, we looked at how colours can translate into the same or similar shades of grey.  We also talked about the use of colour contrast filters with black & white film to block or pass certain wavelengths (colours) of light to expose the film differently and create tonal contrast.  We also looked at how this can be mimiced in the digital darkroom with the available tools. Continue reading

Seeing in Black & White Pt II

This is a follow up to the article from last week on seeing in black and white for those who might struggle a bit with creating black and white imagery in a colour world.

In that article, we looked at some of the basics of colour conversion to greyscale and some of the difficulties in creating the desired separation of grey tones and contrast.  We also started to look at some of the ways in which we need to manipulate one colour (e.g., yellow) to affect another (e.g., green). Continue reading

Seeing in Black & White

With all due respect to the great songwriter Paul Simon, everything doesn’t look worse in black and white.

So what do I mean by ‘seeing in black and white’? Well, black and white photography is different from colour photography. Some might say, ‘Well, duh!’ But it is. It requires a different way of seeing and viewing. I’ve heard some people say they just can’t get black and white down. Everything just looks muddled. Why is that? It’s because in the technicolour world we live in colour provides visual interest and contrast. In black & white, or rather shades of grey, there is no direct colour to provide that contrast. In most cases, the contrast has to be created. This requires time to learn and requires a different way of seeing. Continue reading

The Power of Lightroom, Redux

This is a follow up to my original Power of Lightroom article from just about a year ago.  Lightroom has been improved with each new version and while the black and white capability and the Adjustment Brush capability have been in place before v3, I thought I’d take the opportunity to toss in a new article on Lightroom for black and white.  Probably 80% of what I do with editing photos, I do now with Lightroom.  There are still some things I use Photoshop for and I’d never give up Photoshop but Lightroom is a wonderful piece of software. Continue reading

Organising your Photos

I had several questions during the workshop I taught last fall about organising photos. Not surprisingly, some of the attendees were having trouble finding particular images or in developing a good organisational structure for their photos. Some who’d been shooting only in low rez JPEG at the time had never moved their images off the memory card. They had literally hundreds of images sitting on the card. Continue reading

My Christmas Wishlist for Adobe

It’s that time of year. The time of snow and presents under the tree. A lump of coal for some of the more naughty. Christmas is the time for wishes. When we were kids, it seemed that magic happened on Christmas day and most of our wishes came true. The big ones at least. Now that we’re adults the wishes are different and more difficult to fulfill. But we wish nonetheless.

So here, in this little piece of the blogoshphere is my Christmas Wishlist for Adobe. I’m only going to cover the two products I use – Photoshop and Lightroom. But if you use others in the Adobe product family, toss your wishes into the comments.  Yes, there’s a lot of HDR stuff in here but, hey, I do HDR and the rest of Photoshop is pretty damn good after 20 years. Continue reading

Advanced HDR Editing – Tutorial

When we’re working with tonemapped HDR images, sometimes additional editing is needed or desired.  Why?  Well, if we look at HDR as a way to expand dynamic range and as a way to give us a better starting point; rather than looking at HDR as an endpoint, then it makes sense that additional tweaking may be something we want to do.  In addition to that, the HDR process can sometimes do funny things with colours that we don’t want.  I wrote about HDR being a starting point in an earlier blog post,“The Great HDR Debate” .

What we’re going to look at in this tutorial are a couple methods to work with tonemapped HDR images to give us a the final image we want.  One approach is going to involve layer masks and the other is going to use layer blending modes.  The layer mask adjustment is going to build on my earlier layer mask tutorial.

Earlier this summer I shot some interiors of a well known cathedral in Toronto – St. Michael’s Catholic Cathedral.  My intent when I went into the church was to build on the ‘artistic architectural’ project.  It’s a terrific space with wonderful stained glass and architectural features.  The painting on the ceiling is magnificent. Continue reading