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Phew! Almost done working on a non-photography related job, so hopefully I’ll soon get a chance to shoot and produce more than I have over the last month.
In the meantime, meet “Stone Cold Kitty.” She sits on top of a rustic, hand-built wall at the Good Life Center in Maine, the same location where Alien Landing was taken. (More info on the Center can be found on that page.)
During processing, I had to figure out how to effect the best crop. In most cases we should try to follow the Rule of Thirds, placing the key subject at one of the intersection points, but it didn’t work out well in terms of retaining the goodness of the wall texture and the colorful plantings. In this case, the best solution was to leave the subjects at the top third line, even if kitty winds up being dead center. After locking in the crop, I think it improved the original composition quite a bit.
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Happy belated New Year!
I’m surprised. I haven’t posted anything since December 20th, 2011. It feels good to be pinning one up again.
Part of the reason for my absence from Online World is that in late December we started a decorative painting (faux painting) contract at a house across the river. The client had stringent deadlines that caused us to work pretty much constantly through the holidays. We had only enough spare time to do the Christmas and New Year stuff.
We’ll try not to do that again…
One afternoon while at the client’s house, there were epic cloud formations masking the setting sun. Good thing I had my shooter with me. The scene was made even better when a large pod of dolphins swam right by the house.
That might not be considered unusual, except that this is the Neuse River, which, though technically freshwater in New Bern, is more brackish. (I haven’t personally checked the taste, as the Neuse made the list of top-10 endangered rivers for several years in a row.) On a few occasions you can find dolphins swimming this far upriver, even though the closest access to ocean water is at least 40 miles away.
I take the dolphin as a good sign that the health of the river is improving.
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Rainy days while on vacation aren’t always bad. If the weather keeps you from hiking, you can always drive around and look for good photo opportunities, knowing that the midday sun won’t be a problem. (I say that just to cheer myself up.)
On a road that used to be a well-kept secret lies the Swift River Bridge, built in 1869, which would make it 142 years old. (I say that just to demonstrate my limited math skills.)
Originally built in 1850, it stood until 1869. At that time, heavy rains swelled the river, lifting the bridge from its foundation, turning it around, and sending it downstream into the Saco River Covered Bridge, which was knocked off its moorings. Both damaged structures broke up and came to rest two miles downstream. In a demonstration of Yankee thrift, much of the lumber salvaged from these two bridges was used in the building of the new Swift River Covered Bridge constructed by Jacob Berry and his son Jacob Jr. The current bridge was bypassed when a new concrete and steel bridge was built nearby in 1974.
I was heartbroken when I heard about a number of covered bridges in Vermont being washed away in the aftermath of Hurricane Irene. Some bridges were 250 years old. As before, perhaps they’ll be replaced with new bridges, but there’s nothing like seeing one of these old beauties standing the test of time.
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In northern Maine, far beyond the tourist-laden coast and southern cities, is a place called Grand Lake Stream, renowned for its trout fishing. While it’s fairly remote and not at all built up, people come from all around the world to fish here.
Too bad we don’t fish.
But, we did have a couple of great nights at a local ‘camp’, staying in a waterside cottage. We spent the days wandering around, taking in the local sights. I’ve always loved the concept of boathouses, especially older ones such as these, and they take me back to some of my earliest memories of New England.
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In the recent HDR Collaboration project, Inland Sailor, I mentioned that prior to snapping those brackets we had indulged in a great lobster dinner. This scene is from Thurston’s Lobster Pound in Bernard, Maine, where lobster boats unload their daily catch to be enjoyed at the waterfront restaurant. It’s a great place to kick back and enjoy the scenery while waiting for your crustaceans to steam.
To be honest, I’ve become a bit bored with standard processing techniques, even though there is always room for improvement (perhaps particularly so in my case.) I’m sure it’s just a temporary condition. However, in order to fully break away from my typical stuff, I decided to give the image more of a nostalgic, postcard feel using a few techniques that I don’t usually approach. Given that the composition of the original shot was cluttered and had a chaos of different colors, I like the way that this treatment works with the scene, and hope you like it, too.
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Starting with an tonemapped image from 7 exposures (+/-1EV, f/14, 75mm, ISO200), I applied a Shadowmap derived from Nik’s Silver Efex Pro, adjusted for some imperfections, then turned around in SEP to apply both aged toning and light vignette effects. Seeing that it was a bit too monochromatic, I allowed just a hint of color to sneak through in places. Various other more subtle plug-ins were used, including Topaz DeNoise and Nik’s Color Efex Pro 4 for final dressing.
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This past autumn while in Maine, we had a nice visit at Eliot Coleman’s Four Season farm (lettuce in Maine, in January!) One of the assistants there suggested that for a nice lunch, we should drive just down the road to Orr Cove. Best tip we had on the entire trip!
We pulled off to the side of the one-lane road, making sandwiches and firing off some sun flare brackets, after which, we drove about 50′ to The Good Life Center, the place where we found the Alien Landing.
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This image was particularly tough to process, which is why I didn’t offer it up for the recent HDR Collaboration, choosing Inland Sailor instead. The sun flare caused a great deal of spotting and CA, and the dust on the sensor didn’t help much, either. Eleven exposures, f/22, 17mm.
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The HDR Collaboration Project: In each round, one photographer provides a set of image brackets to the group, and we apply our personal style in post-processing the set. The person who provides the brackets posts the results, and as most would agree, it’s fascinating to discover how each contributor ‘sees’ the same scene.
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Oh, the guff I took over this one!
As we were emailing each other for the latest project, I asked the group what genre of brackets they’d like this time. A mighty chorus of one chimed in with “waterscape.” So be it: Let’s see what I’ve got in the library.
One potential bracket set had 11 frames, but with a heavy sun flare and dust spots, I thought it would be more effort than they’d like to endure. Another composition was decent, but nothing all that spectacular. “Okay, I like this other one,” I thought as I uploaded my chosen bracket set to DropBox.
What I’ve learned is that one should never present a paltry three-bracket set to these Big Guns without expecting a lot of ribbing about a simple -2/0/+2 EV set. You’ll see how they processed that sad bit of information in their comments below each picture. They’re all friends, so I don’t mind giving them a place to vent their rage. :)
So, why I did I have the audacity – the unmitigated gall – to present only three exposures to this pool of talent? Allow me to explain:
We were in Maine, on Mount Desert Island, one of the most scenic places I know.
Many died that night. Four, in fact. There were horrible cracking noises, much gnashing of teeth, moaning, slurping… and a good bit of drawn butter. Susan and I had gone to the southwest side of the island to Thurston’s Lobster Pound, one of the best in the area. We were all over those lobsters like crazed squirrels on a feeder. (If you’re unfamiliar with a lobster pound, it’s a restaurant directly on the docks at the waterfront, where lobster boats unload their daily catch. The bugs go into holding tanks near the cash register, and you can choose, name, and give last rites to your dinner before it gets hauled off to the steamer. You can’t get a fresher Maine lobster.)
We finished dinner and went back to our campsite at Somes Sound, then decided to go out onto the camp’s dock to catch the setting sun. This dock was a challenge in the best of circumstances. Made of aluminum sections, it extended about 80 yards over the water, but as you walked it, it wobbled back and forth pretty badly. By the time I got to the end, I figured it would be best to flop on my belly and get low for stability. There was no way to stabilize a tripod there, and besides, I wanted a perspective as low as possible to the water.
That taught me another lesson: Never roll around on your belly after filling it with a bunch of lobster. Being in a bit of discomfort, I set the camera to bracket and fired off a quick, handheld set of three.
Most of the photographers here routinely take bracket sets of 5, 7, 9, and 11 or 13 is not unheard of. When the chorus of indignant howls came up from the group, I told them, “Suck it up! Go back to your roots.” We all pretty much started our exploration of HDR with minimal sets of three, so I thought it would be a good exercise to revisit that idea. As it turned out, the three frames provided plenty of dynamic range to keep these pros happy, and in my opinion, they all did a fantastic job, expressing their individuality on a fairly classic situation.
Following are the versions from myself, Mike “TheaterWiz” Criswell, Jim Denham, Scott Frederick, Mark Garbowski, Jacques “FotoFreq” Gudé, Mark Gvazdinskas, and Bob Lussier. Each photographer represented here has a body of work that speaks volumes to their talents. Please be sure to visit their sites by clicking the links associated with each name.
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Inland Sailor by Rob Hanson :
Inland Sailor by Mike “Theaterwiz” Criswell :
Inland Sailor by Mike 'Theaterwiz' Criswell
“Thanks for the cool brackets Rob, I really like the scene, they actually came together quite nice, and a nice steady hand I might add.
“I ran all three brackets through Photomatix, although it faulted out and asked where the other 6 to 9 brackets were at, after I got past that hurdle I went through some normal fixes, then decided I wanted to do something a bit different with the processing, at least different for me. I used OnOne Perfect Effects and only perfect effects. I had about 3 different versions and finally decided on this one. Although I do not remember the exact effects I used, I know a few were from the landscape presets and I added a cloud texture as well. I was having so much fun with the different effects and how to use them I was happier creating that taking notes. After I was finished with OnOne I chose a different crop, to narrow the field of vision a bit, I liked the result. Thanks again Rob!”
Inland Sailor by Jim Denham :
Inland Sailor by Jim Denham
“What a beautiful scene Rob has presented for us. A gorgeous sunset over a calm inland bay. Fantastic Rob – thanks for sharing!
“In the normal banter that takes place amongst this group, a few folks were giving Rob a hard time for supplying an image with only 3 brackets and, in response, Rob said, “Suck it up; go back to your roots,” and that’s what I did. No presets, only some layering in Elements and final touches in Aperture. I loved the sky and wanted to darken it up a bit to bring out the colors. Also loved the rocky shore to camera left and wanted to make sure it stayed illuminated and sharp. I thoroughly enjoyed this set Rob, thanks for taking care of us this round!”
Inland Sailor by Scott Frederick :
Inland Sailor by Scott Frederick
“This was a great set to work on by Rob Hanson for two reasons. I don’t get a lot of chances to shoot scenes like this and our collaboration group has a tendency to edit grungier brackets, so this was a refreshing change! I had two runs at this image. The first pass through Photomatix without the de-ghosting option enabled allowed some ghosting of the trees in the water to bug me a little. So back through Photomatix to take care of that! Also Rob shot this scene handheld with 3 brackets at 2EV spacing and I must admit, I was very happy with the results that these brackets 3 brackets gave me while tone-mapping. Next was off to Photoshop CS5 for some lens correction to fix the distortion and CA, a little noise reduction with Nik’s Dfine and some sharpening with Nik’s RAW Pre-Sharpener. Next I fired up onOne’s Perfect Effect 3 and applied a few filters before bringing the images back to CS5 to apply some Un-Sharp Mask to the boats, trees and rocks! As always, I finished the image off in Aperture 3 with subtle contrast and brightness adjustments, curves and levels and some saturation adjustments! Thank you Rob for hosting this round and providing this fun set to work with!”
Inland Sailor by Mark Garbowski :
Inland Sailor by Mark Garbowski
“Never apologize in this group. That’s the lesson from this round. Rob made excuses as he posted the image for us to work with this week, because it only had 3 brackets, and we greedy folks are used to a minimum of 5 and as many as 11. So of course we all teased him before we even looked at them. And of course there was no need for any excuses.
“I loved working on these. I first made a version that enhanced the original golden hour look, and did that mostly in Nik Color Efex 4. Then I created a blue version in the latest update of OnOne’s Perfect Suite. While still in that powerful new suite, I pulled the golden version in as a layer and blended them using the masks and layer feature in the suite. The end result is I flipped the image from golden hour to blue hour. My final move was to crop out most of the sky and foreground, emphasizing the elements of interest in the horizon and creating a bit of a panoramic feel.”
Inland Sailor by Jacques “Fotofreq” Gudé :
Inland Sailor by Jacques "Fotofreq" Gudé
“At first, when I saw this set of brackets, I thought to myself: Oh, No! A landscape shot! I’m not a landscape dude. How the heck am I gonna do this? So, I left them there on my desktop, not sure what I wanted to do to with them. Fast forward to about a week later, and I was in a Google Hangout with my boys, Rob Hanson and Bob Lussier, I believe a day or two before Thanksgiving. Heck, I’d completely forgotten about these brackets, when Rob asked something along the lines of: “So, when are you two going to get those brackets done. No rush, but I wanted to post them RIGHT NOW!” Ok, so maybe not that moment, but he wanted them soon. Turns out Bob and I were holding up the crew. It’s done when it’s done, right?
“A couple days later (Black Friday), while most of America (probably exaggerating here, but not much) were out shopping, I found myself a nice “quite” corner in a Starbucks near my hotel and went to work. I ran the brackets through Photomatix and HATED what I was getting there. Dang!! What to do? I know! DRI (aka Dynamic Range Increase)! Or at least I think that’s what they call it when you merge (or blend) your brackets together manually. I’d done this once before, and loved the result. So I opened all the brackets up in Photoshop CS 5 and went to work, painting in here and painting out there until I had a nice canvas to play with. I was already digging what I saw and the tunes I was working with (First Hans Zimmer’s Last Samurai soundtrack, and then his Pirates of the Caribbean: At World’s Ends soundtrack.) were REALLY inspiring me. I used various blend modes to get particular looks I wanted as I my drawing hand danced around my Wacom table: here a brush stroke, there a stroke, everywhere a stroke, stroke). A little dodge here, a little burn there, and I even learned a few new techniques in Photoshop along the way; that happens when you are after a particular look somewhere on your canvas and are not sure how to go about creating said effect, which is ALWAYS good. Finally, and I was done, and I was digging what I saw.”
Inland Sailor by Mark Gvazdinskas :
Inland Sailor by Mark Gvazdinskas
“What a fun set of brackets, Rob! One of my favorite things to do when new brackets are dropped is to blindly put them into Photomatix and drool at the possibilities.
“I put on my “Kiss the Cook” apron and deep fried the heck out of this one. The second I loaded the brackets I noticed the clouds and the reflection. I hated to take out the amazing detail in those gorgeous clouds but felt this was the perfect opportunity to do some practice in OnOne’s Perfect Effects. In order to give this a long exposure feel I first did a full strength radial blur layer. I then added a glow to the sky and water to give that glassy appearance. I always like the warmth I get out of my 10 stop and wanted to create a feel like that so went a little crazy with the colors here. I was going to do a sharpening layer for the boats as Photomatix always seems to take a bit of that tact-sharp feel out of the image, but decided to leave them be giving somewhat of a blurred effect as if the shutter was open for 30+ seconds and the boats would be rocking. Finally I added a pretty heavy vignette. All editing done within Perfect Effects and Layers. This software is just something else.
“All in all an absolute blast to work on this gorgeous set. Thanks for the opportunity to destroy your pretty shot, Rob!”
Inland Sailor by Bob Lussier :
Inland Sailor by Bob Lussier
“Thanks to Mr. Hanson for providing a great set of brackets to work with. And, from one of my favorite places to shoot Acadia National Park, Mt Desert Island, Maine. I have probably driven past this little harbor dozens of times over the years but, unlike Rob never had the vision to stop and shoot it! So thanks for looking out for me, Rob!
“I used this opportunity to play around a bit with onOne’s new Perfect Photo Suite. I figured, since it was Rob’s image I would potentially be screwing up, I had nothing to lose! After running the three brackets through Photomatix, I pulled them into the Photo Suite. I ran the “Daily Vitamin” filter on it, which boosted the local contrast and punched up the colors a bit with emphasis on the blues in the sky. I then went to the “Glow” tab and added some “Deep Forest.” I really love how the shore, boats and treelike are mirrored in this image, so I wanted to bring back some of the contrast. I added one more layer in onOne and painted in some “lighten” tonal adjustment on the boats, dock, house and some of the rocks on the left shoreline.
Thanks again, Rob!”
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Thanks for your entries, gentlemen. See you for the next round.
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Happy Thanksgiving to all!
The way I see it, it has been an incredible year. Since this time last year, I’ve been fortunate enough to continue doing what I love, part of which is sharing the results with all of you. The friends I’ve met and the camaraderie we’ve shared is truly something special, so thank you for following along and hooking up with me, as I have in turn been watching what you create.
This has also been a year of extraordinary change, both in the world and in our perspectives on what we’re doing here. Having been around for better than a half century now, I can’t recall a period of such transformation, save perhaps for the late ’60s. Some of the changes may be unsettling for some, but I can’t help but think that it will result in something better for all of us. At the very least, things aren’t boring and certain, which suits me.
There is currently – and always will be – suffering in the world, and on this Thanksgiving I think of all the people who are actively transforming (or even maintaining!) the status quo at their own peril, hoping for a better, freer, and safer place to be. Not all of us will agree with their messages or methods, either side, but their dedication should never be challenged, nor should their perspective be marginalized. As always, no one perspective is the single ‘right’ way, but neither can anyone ever be 100% wrong. There is something important to all points of view; now it’s a matter of figuring out how they – and we – will fit together.
We’re living in a time of unprecedented adventure. Will we make it? Sometimes it seems like a horse race, but we can hold out Hope, which is really all we can hope to have anyway. In the meantime, as photographers and creatives, we can satisfy ourselves by finding the beautiful things in the world and bringing them home to share with others. In a rather big way, that’s what gives me Hope.
So, thanks for what you do… you enrich the lives of others with your creativity and thoughtfulness.
Rob
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The image was taken at Cobscook Bay State Park in northern coastal Maine. Although it’s an HDR taken from eleven exposures, it would look much the same if I used the single middle exposure… the sunrise really was that spectacular.
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There’s a nice little walk to be had at the Ship Harbor Nature Trail on Mt. Desert Island, Maine. At the end of the trail, there’s an extensive area of jumbled rock and tidal pools where you can pull up a seat and watch…. things.
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Happens All The Time 'Round Here
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A column of Confederate soldiers marches toward a memorial service, Clarkton, N.C.
We had driven almost three hours to get to a reenactment that we had been invited to shoot, only to find that all the ‘Yankees’ had gone home for the weekend. No Yankees = No Action. Instead, there was a memorial service being conducted down the street, and the remaining reenactors began their march from the grounds to the service.
I was struck by the juxtaposition of the soldiers against the decidedly more modern backdrop.
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How it was done: When life hands you lemons… The original image (viewable on Flickr – click the image above) was not really viable because of the shadows across the scene, particularly on the faces and uniforms of the soldiers. I found that there was just enough detail in the profile to allow us to discern the nature of the scene, so I decided to go with full silhouette. Toning and edging is courtesy of OnOne Perfect Suite.
