The Maple Leaf Forever!

Autumn is a spectacular time of the year! Photography takes on a whole new meaning as we’re presented with boundless, colourful subjects. Recently, I experienced a rare, foggy autumn day. Fog creates wonderful lighting conditions, however, it’s difficult to capture a foggy scene and convey vibrance and impact that one expects of autumn. One solution is to wait and capture your images as conditions begin to clear.

In this photograph, sunlight illuminates the leaves of a yellow maple, in high contrast against the fog-enshrouded background of forest and blue mist.
In this photograph, sunlight illuminates the leaves of a yellow maple, in high contrast against the fog-enshrouded background of forest and blue mist.

Straight out of the camera this image carried a near perfect exposure. Shadow and highlight detail were maintained without clipping on either end of the spectrum (save for a small amount on the blue channel in the shadow detail). The scene is a blend of mixed light, and the background fog clearly shows it with an eerie bluish cast, for which I did not overcorrect. The subject – leaves of the small, yellow maple in the foreground – is the most important factor in this image. Presented in diffused sunlight, I exposed to place them right at the top end of the highlight scale, for lack of a better explanation.

If you use your camera’s histogram to adjust and control your exposure settings – and you should – you would have little difficulty exposing your scenes correctly. For this image all I had to do was figure out where the highlights for the leaves would fall and adjust accordingly. Because they are the only part of the scene in bright, diffused sunlight I knew that I wanted to place them to the far right of the graph, but not clipped.

On the second shot I was close to my exposure target, and on the fourth shot I was right where I wanted to be. I took five images and two I was quite happy with; all five I could work with, exposure wise, from a raw file.

Below is the screen capture of the histogram from Adobe Lightroom on my desktop computer before I performed any post-processing. It mimics the graph on the display of your camera’s rear lcd panel when selected.

Here is a screen capture of the histogram from Adobe Lightroom to show the exposure spread of the tones in the image.
Here is a screen capture of the histogram from Adobe Lightroom to show the exposure spread of the tones in the image.

Expose your images with the tone-graph mapped out correctly on the histogram and you can’t go wrong!

It’s a great day for photography. Shoot ’til it feels good!

Photo Focus Merge

A photograph of an old boat and village in the background, which is a composite of two images - one with focus on the foreground and one with focus on the background. The technique in performed in Photoshop and known as Focus Stack.

On a recent trip I made two images of the same subject; one with the foreground in focus and the other with the background in focus. I settled on the image with the foreground in focus for future use in a gallery, article or print, as it conveyed a stronger message of the subject at hand.

A few weeks later while reviewing my images again, I thought to myself ‘What if I could overlay the two images and combine them to give me one in-focus image?’ The use of a tripod on the original shoot would have let me capture at a slower shutter speed and stop down to an aperture as small as f32, if necessary. However, I didn’t have it with me so, as they say, no use in crying over spilt milk! The image below focused on the background, with the rear of the boat not in critical focus.

Note: Click through any of the images for a larger light box view to see more information about the image and technique.
A photograph of an old boat and village in the background, with the camera lens focused on the background. This image is used here to show a technique in Photoshop known as Focus Merge.
In this image I focused on the background. Because the boat dominated the frame, this did not work for me.

I decided to try my luck with Google and search for ‘combine images, focus near, focus far.’ The search result yielded an article by PhotoShop Essentials, and the article proved to be an invaluable resource for the image that I’d ultimately create (third image down). That said, after a few steps into the article I deviated from the instructions (more on that in a moment). The basic command in Photoshop to merge the images together into one focused image is: FileScripts>Load Files into Stack. A pop-up window opens and you select the files that you want to merge from your applicable drive.

A photograph of an old boat and village in the background, with the camera lens focused on the foreground. This image is used here with another to show a technique in Photoshop known as Focus Stack.
In this image I focused on the foreground. The cracked paint on the rear of the boat is in focus, with the background blurred. This image was exported from a raw file without any adjustments.

After I selected my images in the pop-up dialogue box I pressed  OK and Photoshop opened them in a new file with two layers (the number of layers corresponds to the number of images you select). The next step in the article explains how to Auto-Align Layers from the imported images. That is the last step I performed before I distractingly ventured out on my own, this due to the fact that the technique explained in the article was more appropriate for multiple images (more than two) and use of a tripod.

On a whim, I started to erase the top layer to expose the in-focus back of the old boat in the underlying layer.  Therefore, theoretically, I really didn’t focus-stack the images – and you’ll notice I’ve changed the name of the technique to focus merge, inadvertently  – but aligned two images; one with foreground focus and the other with background focus to get an image with great depth of field that I otherwise had a difficult time achieving without the use of a tripod. Also, depending on my proximity to the subject in the foreground, I may or may not have achieved the desired depth-of-field on the initial shoot, but some math would have solved that equation if I’d taken the time to do the calculations. One thing’s for sure: take your tripod on all photo excursions!

Below is my focus merged image. Photoshop did a great job of aligning them, considering that I’d shifted position for the two images (note the different composition of the above images). After post processing the merged images I was happy with the results on my first attempt at focus-merging two images.

A photograph of an old boat and village in the background, which is a composite of two images - one with focus on the foreground and one with focus on the background. The technique in performed in Photoshop and known as Focus Stack.
This image was the result of combining two images, one with the background in focus and one with the foreground in focus. This image is a jpg which was exported from a tif file made up of layers.

My technique used here was a derivative of the focus-stack procedure and in the future I’m excited to try the technique in full as explained by Steve Patterson on his great blog Photoshopessentials.com. It looks to be a professional in-depth Photoshop resource and I’ll definitely reference it again in the future!

Until the next time…

It’s a great day for photography. Shoot ’til it feels good!

 

Summer’s End

With summer firmly to a close, here’s a few photo favs from the beautiful, warm and extended season ever slowly slipping into the next!

A purple wild clover flowering with a background field of same but out of focus.

I recently read a photo article about the needs and wants of photography buyers. One request was image space to place a message. After all…why not? It’s not all about a pretty picture any more. Well, yes it is, but images are designed to sell a message and if they don’t contain ad space…it ain’t sellin’!

Of course, if you want to make a print to sell in your gallery then that’s a different pitch. In that case, fill the space! Both of these images have space to place a message, but the image of the wildflower more so than that of the fishing stage doors, below.

The doors to an old fishing stage are painted clean white save for the rust running down from the hasp.

That said, the white painted doors with the rust has lots of room to convey a written message, but they tend to contain their own message – without words – with the busy arrangement of buttons and hinges. Put a hip frame around and there’s a story in itself.

The final image in this post can be used either way, straight up or cropped. To the right of the bee is a good spot to place a message or story board, or it can stand alone.

A bee clings to the underside of a wildflower, wet and attempting to shelter from the water.

Alternatively, with the right-third of the image cropped (click it and crop with a sheet of paper) the photograph is busier and tells a tale of a bee sheltering from the dampness, without the need for words.

That’s it for summer, save for plenty of phone pics, people pics, landscape and architectural shots to sort through and make a few prints.

Next post, let’s talk about Autumn. It’s in full swing and upon us.

If you’re interested in doing a photography course, Go Learn! A custom learning experience may just be the cure to get your awesome prints on the wall or simply share with your friends on social media!

See you soon!