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Early Morning Sunrise, Late September, Otter Rocks at Acadia NP, Maine by Rob Hanson on 500px

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I’ve said it before: I’m not an early morning person… usually.

While in Acadia National Park last autumn, we got in the habit of waking up early — around 4:30AM — so that we could get a cup of coffee and transport down to the waterfront for sunrise shooting. During the two weeks we were there, most sunrises were rather mundane due to the clear weather, but on occasion… this. It was well worth the effort, and had the added benefit of putting us in a place where there were few other people, if any at all.

This was taken from a set of 9 frames, merged in Photoshop Merge to HDR Pro, finishing with a bit of Topaz Clean (for the rock foreground), and a slight radial filter in the clouds to accentuate some of the long exposures.

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During our recent trip to the Pisgah National Forest, our travels were hobbled by the so-called “government shutdown.” While we were free to travel the roads within the forest – really, how do you close a forest – signs of the shutdown were visible. In some cases, literally signs, such as “Campground Closed.” In other spots near attractions, garbage cans were overflowing with trash, barriers were set up, and restrooms and picnic areas were locked. Utterly ridiculous.

We had to find whatever we could, despite the circumstances, in order to salvage the trip.

Near the Cradle of Forestry location, we found this nice pair of cabins just off the road, set up as an example of early life in this area. Yup… Closed. That didn’t stop us from standing just outside the fence to frame up a photo opportunity.

Given the old nature of the scene, I decided to go with a Wet Plate look (collodion process) after merging and basic processing. Switching back and forth between this and the standard color version, this idea stood above all other attempts, although the color version was compelling in its own right.

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With apologies to The Pointer Sisters.

“When I first saw him standin’ there
I wanted to speak but did not dare
Something inside whispered to me
You’d better move in carefully.

By the end of the summer, we get to know our Carolina Anoles pretty well. There are those that like to hang out on the string beans; those who frequent the vines covering our garden gate; or in this case, our guardian of the back deck. This one can often be seen scouting for delicious bugs, and is the same one featured in my previous image, “I Gotta Right to Sing the Blues.”

This night, after a(notherdamn) rainfall, our buddy was seen slinking his way across wet blades of lemongrass. He had been looking right at the camera, and at the last second… well, he’s shy.

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Sony NEX-7 with 55-210 lens, f/8, 180s, ISO 1600. Initial toning using Photoshop CC’s “Color Lookup” filter. Further mods with Nik Color Efex Pro and Silver Efex Pro

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Ahhhhh… This was the view from our campsite while we were at Acadia National Park/Mt. Desert Island. Placid water, cool temperatures, and mysterious fog rolling through Somes Sound made for one of those delightfully perfect mornings. No coffee was necessary to be fully alert in a place like this.

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In a departure from my usual workflow, I took a new tack by merging three frames in Photomatix to create an .HDR file, but instead of tonemapping in Photomatix, edited the resulting file in 32-bit, then 16-bit mode directly in Photoshop. Since I’ve tended to post-process in a more ‘realistic’ style lately, the steps were perfect for the look I wanted to achieve.

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Gamble, an abandoned lobster boat found alongside Route 1 in northern Maine.

We woke up in the tent one morning and decided that it was too chilly to stick around outside, so we took a photo road trip up to Moosehorn NWR a few miles north of us. (Truck heater, yay!) Alongside the route, we found this poor, dilapidated beast in a vacant lot, an equally sad looking abandoned Gulf gas station.

We could only imagine what kind of story might be behind the vessel, its legacy on the water, and what conditions caused its demise.

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An HDR from five frames, the original version showed just how colorful and lucious the foliage was at the time, but I didn’t think that it set the mood for the image. Using a number of layer techniques and a subtle filter from OnOne, I tried to create the mood as I saw it on that cold and overcast day.

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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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At the home of a family friend, one of her hens patrols the yard. In addition to providing natural insect control, she also produces wonderful omelettes.

Not only is this lovely bird grown naturally and organically, but I was amazed at how little post-processing went into this image, which is a departure from my usual workflow. Just a little vignette, a touch of contrast, and she’s done.

Next up… “Jailbreak!”

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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 can almost hear her chirping, “Hellllloooooooooo….”

The pole beans are coming in nicely now, and we’ve given them some sisal support lines to run on. While tending things last night, I spotted this debutante — higher up than any others — waving to the adoring crowd below.

Even though the clouds in the background were fine, I thought I’d make this composition a bit more festive by overlaying a texture from pareeerica, available on Flickr.

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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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