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Time for a little Halloween fun. Creepy enough for ya?

While walking around the grounds of the medieval German church shown in Here’s the Church; It is in Stiepel, we stumbled upon a curious art installation tucked away in a corner of the property. All of the heads seem to be looking directly at the church.

The fact that the installation is not far away from some ancient headstones makes it all the more oogie.

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HDR processed from three hand-held exposures, processed with a combination of Nik/Google’s Color Efex Pro, Silver Efex Pro, and Viveza.

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The other day, we were strolling around our historical town in North Carolina. One building had a plaque proclaiming that it was built in 1828, or thereabouts. We call that ‘history’ here in the States, and while interesting to some, it just doesn’t seem very old when you compare it to a place like Burg Blankenstein.

Climbing up the steps and through the stone passageways of this medieval castle in Hattingen, Germany, I ran my hand along the rough wall, feeling the natural textures, the divots, and the roughness brought on by centuries of wear and use. I had to wonder how many people passed this way over the ages, how they dressed, what their lives must have been like.

From the top of the tower, there is a commanding view over the valley of the Ruhr River to the hills and fields beyond. It must have been a great place to watch for interlopers. We spent some time at the top, watching a shepherd in the field far below, moving his flock along the greenway aided by some hyperkinetic, overachieving border collies. I could imagine Lords and Nobles standing atop the tower in the morning mist, enjoying a cappuccino and playing “Master of All I Survey.”

Construction of Burg Blankenstein began in 1227. The castle was ready in 1243, but was finished over the course of 200 years by the Counts of the Mark. In 1425, Blankenstein was one of the most important castles in the county. In 1614, shortly before the Thirty Years’ War, it was occupied by Spanish troops. Over the years since then, the castle fell into disrepair, was ordered to be demolished, became a factory, and now houses a restaurant and reception hall.

You run your hands along the stone walls. You can feel century upon century under your fingertips. Ancient history.

Yeah, we could live there. Beautiful place.

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Sony NEX 7, handheld at 18mm, three exposures +/-2 EV processed in PS CC, OnOne, and Nik Collection.

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Just another sunset from our campsite in Maine, autumn of 2012.

I understand that we should ‘shoot where we live’ – and there are plenty of opportunities to do so – but the Great State of Maine, with its natural beauty, presents a target-rich environment for beautiful shots. Sometimes, you don’t even have to wander out of your campsite, as was the case here. We were just sittin’ around chilling as the sun went down, and the sky lit up as you see here. While snapping the shutter furiously, I had to remind myself to soak it in.

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Merged in Photomatix Pro to 32-bit TIFF, pre-processed without tonemapping in ACR, finished in Photoshop CS6 with Nik Color Efex Pro filters.

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We consider this our back yard when we’re camping in New Hampshire.

In a large campground that is often overrun with RVs in certain places, there is one loop we’ve found where the sites are large and private, no RVs allowed, and it has this brook running along the back of the site. After a long day of hiking, or on days where we just don’t feel like hiking at all, we spend some time along the rocks, listening to the running water, watching the autumn leaves fall, and soaking up a few patches of warm sunlight.

If I had any wish at all, it’s that we’d spend even more time in this spot. Really… why go driving around from one place to another when you can just spread out on a rock and soak up nature’s beauty? No driving – no effort – no worries.

We were in this same spot one night, watching the stars in the opening of the canopy, when a large owl flew into a branch just over our heads only a few feet away. He regarded us for a while, as we did him. After a couple of minutes, deciding that we were way too big for dinner, he flew off silently. Since then, we have a new name for the brook.

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This image came from three long exposures shot with a 10-stop ND filter. At f/10, 17mm, shutter speeds were 30s, 121.5s, and 291s. Those three gave most HDR tonemapping programs the fits, so I spread the exposures on each end by converting to TIFF in ACR, generating an even wider dynamic range. Seemed to work well. Post in PS-CS6 involved masking in elements of various tonemaps created with both Photomatix and HDR Efex Pro 2, spiced with Nik Color Efex Pro.

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A smiling dragonfly takes time for a photo opportunity on a corn tassel. I’m not sure if she’s resting, or just loves hamming it up for the camera.

It’s a happy coincidence that the color in the dragonfly almost perfectly matched the coloration in the corn silk. She seems to have an uncanny ability to accessorize.

(The title is a lyric from Peg by Steely Dan.)

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I’ll soon be posting a short video on YouTube showing how this image was created. You can access my channel by clicking HERE.

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While sweltering in the heat and humidity of summers in NC, I sometimes go back through my library of images to remind myself of what autumn in New England is like: Cool, serene, colorful, playful, usually clear, sometimes moist, always gorgeous.

One day in 2010, the weather was socked in, making summit attempts pointless. Really… why work that hard in order to see nothing? So, we decided to hike up to Arethusa Falls in the White Mountains of New Hampshire. Along the way, we descended to Bemis Brook Falls, a worthy side trip.

During wet weather, you have to be very careful with your footing on these rocks. The algae can make them very slippery. Don’t ask me how I know this. 🙂

You can see a different view of these falls in portrait orientation here, if you’d like.

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I needed a refreshing change from all this blasted heat here in N.C. It’s been well over a week of days with heat indexes between 100-115F.

Located on the eastern side of Mount Desert Island near Bar Harbor, Maine, this little ramshackle place sits exposed to the elements. For the life of me, I can’t imagine why anyone would want to build here. Too salty.

This image was created from a single RAW, but I used a second pass in Adobe Camera Raw to bring up the details, blending the second layer in Luminosity mode, thanks to a tip from Calvin Hollywood. I couldn’t resist touching in just a bit of Photoshop’s Oil Paint filter, but not enough to impact the realism of the photo.

Shout out to Klaus Herrmann for the interesting watermarking technique.

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I’m sorry that it’s been so long since I’ve posted anything of my own. Life has been a circus around here.

We’ve been keeping close to home most days, working on the expanded gardens. No matter how many hours we’re out there, at the end of the day we always have something more to do. (Totally worth it for the organic veggies.)

I hope to get back into the swing of things photographic, and to catch up with everyone as soon as possible. In the meantime, please enjoy this scene taken at a local ‘museum’, of sorts.

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The main workbench at Limmer & Sons Custom Boots in Intervale, New Hampshire.

You might recall this location from other images, “The Bootmaker”, “They Never Call”, and “Consigned”, among others. Let’s suggest that it’s a target-rich environment for an HDR photographer.

When talking to Pete Limmer last fall, he had mentioned that some of those earlier pictures were “very detailed.” I never really found out if that was a good thing, or not, but for this image I thought I’d hedge my bets by presenting a more realistic, less ‘hyper’ image. In fact, I had processed this scene some time ago and kept it on file, but when I opened it up for review, it was sort of an assault on the eyes. So, I reprocessed it completely to come up with this version.

I’m planning to create a new video tutorial soon, titled something like, “Why Photomatix Pro alone isn’t enough.” Often, when trying to come up with a realistic-looking HDR image, Photomatix falls short for me — I find that the output can often be soft. Other programs such as HDR Expose (from Unified Color) or ImageFuser tend to be better choices, although I almost always wind up blending in some Photomatix versions before doing more detailed processing. For this version, I started with the output from HDR Expose, adjusted it using 32-Float, and then layered in a Photomatix tonemap at 24% Normal and a Shadowmap at 22% Hard Light as a base before setting about with other adjustments (brightness, skew, de-fringe, etc.) and filter techniques (Nik Color Efex Pro.)

In the end, I think it created a balance between the high-detail of a very complicated environment, along with a good dose of realism. I also really appreciate Peter and Ken letting me into the back of the shop during working hours to capture this unique scene.

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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.