Monday, 9 December 2013
I chose this image from my archive to demonstrate the use of various tools in PSE9 to edit the people out of this image.
Using only the variable sized clone tool brush I have removed the people from the foreground and from the left hand edge of the picture.
This has involved a lot of detailed work. I’m nor sure if it is something that I would do very often. I’m sure it is better to make the extra effort to compose carefully before pressing the shutter.
This is the final exercise for this part of the course. Please look at my DPP Assignments blog for details of Assignment four : Real or Fake?
Here is a link to a discussion on the OCA forum about manipulating images and the Associated Press agency's reaction to digital altering of an image: http://www.oca-student.com/content/fair-decision-or-absurb-over-reaction
Saturday, 7 December 2013
With short daylight hours and unpredictable weather, I grabbed a chance to get the images for this exercise on the Zig-Zag in Selborne this morning. With fast moving light I had to choose my exposures carefully. I set the camera on manual and have selected these two frames. The dark foreground also meant I had to average the exposure for the best result. See footnote*
4698 1/80s f20 22mm ISO400 Exposure for the sky
4699 1/40s f20 22mm ISO400 Exposure for the landscape
As I am not really used to working with layers in Photoshop, there was a steep learning curve as I prepared to make the composite image. The result is OK but I had trouble refining the edge of the horizon (more practice is required).
Adding a new sky
For this part of the exercise I searched my archive for similarly lit landscapes with a compatible field of view (around 22mm wide angle). I found this one taken in similar lighting of Hope Cove in S Devon.
Using the PSE selection tools and layers, I added this sky to today’s image of Selborne:
This is a believable addition and on a calmer winter’s day in similar weather, I’m sure it could be seen. I’m not sure if it is something I would bother to do. Again it is down to the purpose of the image and the authors intention. It is not an objective record of the weather on 7th December 2013 in this part of Hampshire. As my interpretation of a winter scene with this type of sky then it is acceptable.
Here is a link to the OCA Forum discussion where I found the answer to enable me to correct this problem: http://www.oca-student.com/content/blogger-picasa-and-image-enhancement
Thursday, 5 December 2013
I used the selection brush again to highlight the eyes. Although difficult to tell at this magnification, the iris is definitely clearer in the right had version.
In this final version I have used the selection brush and the colourise filter to darken the hue of Claire’s eyes. I have shown it enlarged so that the effect can be seen more clearly.
Monday, 2 December 2013
Exercise: Improvement or interpretation
For this exercise I have chosen a contrasty image and used the Capture NX2 Selection brush to improve the visibility of the figure on the left.
I used a simple levels and curves adjustment to brighten the figure after highlighting using the selection brush. I chose to feather the selection also to blend it in the surroundings.
1. Dust correction:
This image has several dust spots down the left side. Capture NX2 has a variable size Auto retouch brush which deals with this type of spotting effectively:
This is a very similar process to “spotting” a print post processing. This is a legitimate correction to make which takes less time and skill digitally. NX2 does not have a clone tool and this retouch brush is best used on small even textured areas. For the next part of the exercise I will use PSE which has more sophisticated tools for correction.
2 Lens flare correction:
This is a fairly straightforward lens flare against a textured surface, corrected in PSE9 with the cloning tool.
This exercise was justified in this case – a record shot of a brackish pond on a shingle bank. The flare added nothing to the image and was a distraction. I appreciate that flare can add to an image as long as it is not over done. Again this can be justified if the photographer is conveying his reaction to the scene and it re-enforces the contre-jour effect.
Wednesday, 20 November 2013
This is just a brief write up of this small exhibition that I happened across while shopping in Farnham. There is link to a Facebook page for the exhibition here: https://www.facebook.com/wwlb.exhibition although the 4ormat.com link to the exhibition site is inactive. There are a few images on the page and I made a few notes of what I remembered of the photographs at the time.
Work by Harry Allington-Wood, Matt Fox, Katherine Haines, Emily Hopper, Jonna Pennanen & Danny Singh,
These are notes I made when I returned to my car and have expanded on since I have been able to research the images at home. Most of the photographs I have not been able to trace. Where I have found a link, I’ve written my interpretation of them.
Another slant on this theme was a set of images of the lost property store at Temple Meads station in Bristol. which I think was by Matthew Fox. A fish eye lens perspective of shelves stacked with mostly bags briefcases and umbrellas but also bikes, all pigeon holed and labelled by week number. Passing time and a limit on reclaiming what is lost.
Friday, 15 November 2013
This is the link to Sean O'Hagan's review which I read before purchasing the book:
I enjoyed it. A slow start but I soon got into it. A perfect foil to Art Photography Now as it concentrated mainly on the founding figures of American photography. Tongue in cheek at times it shows that there is nothing new in photography only that the same subject is interpreted differently each time a new photographer tackles it. The author writes not only about the photographs but about the lives and motivations of the photographers too. This is a book I will dip in and out of as I come across references to the work of the photographers included.
The ideas expressed have gone into the melting pot and hopefully will be absorbed and help me to express myself photographically as I continue my studies.
Monday, 11 November 2013
For this assignment, I have chosen a narrative theme which documents the removal of a Scots Pine tree from my garden. I wanted to mark the passing of this tree. It has stood for more than 100 years and survived the 1987 storm. Its proximity to the house and the increasing severity of winter storms meant that I had to have it removed. Fortunately, my fears were justified as the base of the trunk had started to rot. The tree surgeon told me that in three years it would have become dangerously unstable.
The photographs were taken over three days, the first in bright autumn sunshine the remaining two days were wet and overcast. The nine prints that I have made should be viewed in chronological order and as a start I have laid out this “contact” sheet as a guide. The prints are read from the top and left to right:
Monday, 28 October 2013
Exercise: Colours into tones 2
For this exercise I have chosen a landscape to enhance the aerial perspective. This is the original image.
Here is the default black and white conversion in Silver FX Pro.
Here is the enhanced version in which I have increased the contrast slightly by applying a 76% filter strength to the red channel (18 degrees on the colour wheel) which has darkened the blue of the sea.
I thought I would repeat the exercise with this more dramatic image from my archive.
Default conversion in Silver FX Pro
By applying a 100% filter to the yellow hues, the contrast of the sunlight area in the centre has been increased and the plants in the foreground have been made lighter, making them more prominent.
Conclusion: This was a useful exercise in learning how to adjust the different channels and to see what effects can be achieved.
Sunday, 27 October 2013
Exercise: Colours into tones 1
Following the notes in the course folder, I used Silver FX Pro to process this image (RAW files are processed and saved as TIFFs in this application) of fish sellers in Mindelo, Sao Vicente CV:
This is the default generated by the Black and White conversion option on the filter menu, showing the default settings in this screen shot with no colour filter applied.
Concentrating on the the lady with the red t shirt and the green bowls behind her, this is the first adjustment; lighten the red: Hue 16 degrees, strength 60%. The red t shirt is lighter and the green bowl is darker.
Reversing the adjustment lighten the green; Hue 109 degrees, filter strength 68%. This has darkened the red considerably.
Conclusion: The three images above have a fairly even distribution of tones but because of the effect on the skin tones, the effect of lifting the red has a more pleasing effect and makes the image tones appear to be better balanced i.e. less dark tones overall.
Exercise Strength of Interpretation
The objective of this exercise is to process two images into black and white and demonstrate that the processing applied to colour images will be less marked than the effects on the black and white images. Here is the first which I think is more suited to a low key black and white image:
My second image I think is more suitable for a high key black and white image:
First of all, the original:
These are the values used for the high and low key images, both colour and black and white.
High Key: Brightness: +39%
Contrast: + 45%
Low Key:Brightness: –14%
Contrast: – 35%
In addition to this adjustment, the low key image was improved by the use of a red filter adjustment which darkened the green tones on the mountain side: