Panoramas: Making Waves

Hi Folks:

I’ve been making digital panoramas since I owned my first digital camera, and some time before that with prints (although we called them photomosaics back then). Just to be clear, there’s a difference (at least to me) between a panoramic image – one that’s been cropped to a wide-aspect format – and a digital panorama. A digital panorama is one where 2+ images of the same scene are combined in post-processing software to create one image that captures more of the scene than could be contained in a single frame. There are several advantages to creating panoramas; three of the most prominent are:

  • the aforementioned ability to capture more of a scene
  • the ability to use a longer focal length lens to avoid wide-angle lens distortions and vignetting
  • the ability to create higher resolution images than can be captured in a single image

We’re not going to get into the technical details of making panoramas in this post, but those who are interested are welcome to review our other posts on panoramas, here. This is an example of a digital panorama:

Tofino, BC – 60 images (click on any image to see it larger)

Continue Reading →

Focus Stacking for Landscape Photography

Hi Folks:

We’re certainly not the first to entertain this idea, but while most people associate focus stacking with macro photography (at really high magnifications one’s depth of field (DoF) can be 0.05mm, or less) focus stacking can have value in architectural and landscape photography, even product photography as well. It’s something I’ve only recently tried so I thought I’d share some experiences.

For any image there’s one point (at most) in the frame that is in exact focus. Depth of field is the range of distances within any particular image that appear to be in focus. We’re not going to weigh you down with the details, like Circles of Confusion, Scheimpflug principle, etc. There’s more than enough information on that available on the web.

Focus stacking is a process whereby one takes a series of images with different points of focus and then uses software to choose sections of each image to create a composite image. Here’s an example:

Continue Reading →

Shooting Fall Colours… sort of

Hi Folks:

If you live in the northern hemisphere then autumn is upon you, and if you’re fortunate enough to be in an area that has deciduous trees, then they’re likely in the process of turning the glorious colours of fall – reds, yellows, oranges, browns… (NB: if you want to know why the leaves change colour in the fall, click here). This is a great time of year to be a landscape photographer, and it’s easy to become seduced by all of those colours. However, it’s also a good time to look at the underlying skeleton of your photographs, and one way to do that is to remove the colour and move to a monochrome palette. (Yes, this is an attempt to put off the ‘learning to see in black and white’ post I keep thinking I should write, but for now this will serve well as placeholder. 🙂 ) By shifting away from the colours of the leaves we can look at shapes, at form, at movement, at textures, at light and shadow… All of these essential components exist in colour images as well, but they can get moved to the background of your compositions if you’re not careful.

The images below were all shot in nearby Beacon Hill Park on the same day. All were shot with my cell phone as I was walking through the park, and they all share similar processing in Lightroom. They all reveal what lies behind the colours that are so wondrously revealing themselves right now.

Okay, that’s it. Now go out and make some photographs!

Hugs,
M&M

P.S. It’s important to remember that unless you have a camera with an achromatic sensor (since there are only a few companies in the world that make them, if you had one, you’d know) with digital you’re always capturing colour information even when you’re shooting in B&W. As such you can adjust the luminance values of the various colours (shown as grayscale) to change the contrast and overall look of a B&W image either in camera (when shooting jpg, by choosing a different recipe) or in your raw file conversion software.