Affinity Photo Panoramas: A Quick Tip

Hi Folks:

A little while back we did a post on Affinity Photo, HDR and Panoramas; this is a follow-up of sorts to that.

Marcia and I were out at Rithet’s Bog recently and among the images made that day I took six images that were made into a panorama. When one creates a panorama in Affinity Photo (or any other panorama program), the software uses control points (matching features in two or more images) to bend, stretch, twist and manipulate the individual images into something resembling one image. In the film days this was called a photo-mosaic and its completion was much more complicated. In any event, the result inevitably ends up with having some ragged edges, depending on how well one lines up the base images. An example:

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Affinity Photo, HDR and Panoramas

Hi Folks:

I’ll be the first to admit there’s a lot about colour I don’t know, so feel free to correct me if I misstep. I have a Sony A7RIII, Capture One Pro for Sony 20.1 and Affinity Photo 1.8.3.

NB: I can’t see what you’re seeing because your monitor is different. Also, these are sRGB .jpg screen captures of what I’m seeing. Still, there’s value in comparing them to each other.

Since Lightroom (Lr) 6.14 doesn’t work very well with my .arw files, I’ve been using Affinity Photo (AP) to combine my HDRs and panoramas. I’ve learned a few things. I took nine images made last October to play with. None of this is worth keeping, but it’s good to play with.

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4:1 – Re-imagining the Frame

Hi Folks:

As photographers, one of the most important challenges for us is to continue to change how we see and to stretch our creativity. One of the ways to do that is to pick specific parameters and then to make a body of work that fits within those parameters. It might be to shoot only one subject, to shoot only in grayscale (B&W), to make an image every day… In the film days, most people’s relationships to photography revolved around a few aspect ratios: 2×3 (4×6), 4×5 (8×10), 5×7, etc. With some older cameras we also had 1:1 square prints, usually from 120, 127 or 620 film. With digital photography we’re not so limited, although some of the same rules apply when we get to printing. Movies (and now video) have always embraced wider frames, although there was no one standard aspect ratio. We have movies made in 1.78:1 (16×9) out to 2.4:1 (22×9) and beyond. Outside the movie theatre, for the average person 16:10/ 16:9 showed up in their lives with the first widescreen computer monitors and digital TVs. Continue Reading →

Seeing Red(s)

Hi Folks:

Every three years, in July, Northwest Deuce Days comes rolling into Victoria. While it means different things to different people, to the public at large it mostly means a car show with a lot (this year over 1300 vehicles registered) of classic cars. Many of them are Ford 1932 Deuce Coupes, but there is literally a cavalcade of lovingly restored and/or modified vehicles here. Everything culminates with a car show that takes over much of downtown Victoria. If you like classic cars, this is vehicle heaven.

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Photography, White Balance and Colour Profiling

Hi Folks:

I wrote this out for a friend of mine and thought I should post it here as well. Back in 2010 we wrote a post on Photography and Colour Management, and this is complementary to that post.

When it comes to colour digital photography, many photographers are aware of white balance. If you’re not, this Wikipedia article on Colour Balance explains it well. The essential element is that the human eye sees subjectively (our eyes receive energy as light and our brains interpret what that energy means) whereas digital cameras see objectively. The human perspective is highly adaptable, so no matter where or when we find ourselves, if we see something white, we recognize it as white, no matter what colour it actually is. Cameras can’t do that. If you’re shooting .jpg images you select a white balance setting on the camera – daylight or incandescent or even auto – and the camera’s software shifts the information captured so that white looks, well, white. If you’re shooting RAW, the images captured have no integral white balance and one must be assigned during raw conversion.

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