Category Archives: water

Estuary sunrise

sunrise over the Forth estuary

estuary sunrise

Another one from the archive, this was shot at 08:23 hrs on 08 December 2017 using my smart-phone. I really like the colours and simple composition of the open space and it was interesting to revisit the editing process so I thought I might share that and walk you through what I did with this one.

This was entirely processed in Lightroom Classic CC and typically of my work flow I started with lens corrections ticking on both:

  • Remove Chromatic Aberration, and
  • Enable Profile Corrections

Next stop in the process was the basic tab where I:

  • reduced the exposure very slightly (-0.12)
  • increased the contrast a little
  • dropped the highlights significantly (-75)
  • lightened the shadows significantly (+57)
  • moderately lightened the blacks (+31)
  • added clarity (+36)
  • increased vibrance (+26)

The next stop was the HSL tab. Given that the colours are important to this image I spent quite a time on these settings, making adjustments to each of hue, saturation and luminance. I should emphasise that the settings I am sharing are what I ended up with and the numbers are pretty much irrelevant other than to give you a sense of the relative amount of adjustment I was making. The process was very much one of observation, trial and error to get to what I felt looked good and close to what my eyes saw at the moment of taking the picture. So, to HSL.

  • Hue – I pulled back the hue settings on each of:
    • orange (-29)
    • yellow (-27)
    • purple (-22)
    • magenta (-27)
  • Saturation – I made the following adjustments:
    • red (+4)
    • orange (+20)
    • yellow (+16)
    • purple (+29)
    • magenta (+20)
  • Luminance – I made the following adjustments:
    • orange (-11)
    • yellow (+24)
    • purple (+42)
    • magenta (+27)

Finally, I sharpened using the Detail tab. I tend to go carefully here and use the masking slider to make sure I only sharpen what I want. Here’s a tip – if you hold the Alt key while adjusting the masking slider it shows you exactly what will be sharpened (only the white areas). With that in mind here are the final settings under detail:

  • amount (59)
  • radius (1)
  • detail (25)
  • masking (92)
  • luminance (36)
  • detail (50)
  • contrast (11)

And that’s it. Please note though, that interesting though this might be every image is different and when editing you need to be the one making the decisions based on how you want the final image to look. My aim in sharing the above is only to give you a sense of what I adjusted and, relatively, by how much. In working on photos I never look at the number values of the adjustments, only at the visual effect of what I’m doing,

Generally my editing is much lighter than the treatment this image got and for the most part, the accumulation of small adjustments is what makes the biggest difference.

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One to go back to

rock, beach, water, calm, sky, low tide, ripples

Rock, water, sky

It was low tide this morning when walking the dog along the beach so we went a little further than usual to where I know there are rocks and pools. This mini scene caught my eye and I was struck by the calmness of the water in this extensive but shallow pool left by the receding tide. Immediately I was thinking about a possible photographic composition but this was no more than something I might end up noting for the future – potentially one to go back to with the proper gear. All I has was my ‘phone but it’s invaluable for recording possible compositions.

This one needed a good focal point and I thought the seaweed covered rock offered a decent subject reflecting gently in the water. I felt this needed a low angle of attack so I walked into the water and crouched as low as I could to get the foreground filled with the pool and the include the sky where the cloud offered a nice “sandwich” effect with the bright horizon more or less central.

Given that this was a “scouting” shot” you might ask if it’s worth doing any processing on the phone image – yes, absolutely it is because, for me at least, it helps me see more of the potential of the composition and what I might look for in going back. Of course, anything I later do will be different, because the conditions will be different but, having gone through the full process, I have a much better idea of the possibilities.

So, I thought I would take you through the editing adjustments I made to get the final “scouting” shot above. First of all, here’s a before and after comparison to show how the image looked straight out of the phone compared to the final result:

rock, beach, water, calm, sky, low tide, ripples

before and after

All the editing was done in Lightroom and the comparison above is taken from the Lightroom Before/After function. The red area in the “before” shot is showing up as I keep highlight and shadow clipping switched on, so this is showing areas of sky that are blown out. So, where did I begin and what adjustments did I make to end up with the final “after” image?

First of all, and I pretty much always do this, is I made lens corrections and ticked to remove chromatic aberrations. After that I went into the basic menu in Lightroom and selected the auto tone option. I don’t always do this, but on this occasion I felt it would give me a decent baseline to work from. Working sequentially, I then did the following:

Exposure – dropped by about half a stop

Contrast – reduced slightly

Highlights – to deal with the blown-out area I used a brush adjustment to localise the effect only where I wanted it – in specific areas of sky

Shadows – slightly lightened

Whites – slightly lightened apart from the sky where, as part of the brush adjustment, I also dropped the whites slightly darkened

Blacks – were slightly darkened

Clarity – go carefully with this, but increased it slightly

Dehaze – as with clarity (both of these affect contrast)

Vibrance – slightly increased

I then made some colour channel adjustments, increasing the saturation of green while also adjusting it’s hue. This was to help make the rock stand out a little more as the key subject. I also made some slight adjustments to purple and magenta (hue and saturation) to bring about the effect I wanted in the sky and the sand below the water.

Finally I added a slight vignette to draw the eye towards the centre of the composition.

Having done all of that I feel this is one I might return to with the full gear even though I know it will inevitably be different. Rehearsing the whole process has encouraged me to think there is some potential here.

It also occurs to me that this shows there is much more to photography than just “taking a snap”.

 

I had no idea…

Well, it’s been a busy week with all manner of boring (but necessary) admin tasks to attend to and yesterday evening I realised I didn’t have a subject when I intended to write a blog post today. I decided, therefore, to take the initiative and head out with my camera and no clear idea as to what I would shoot.

Inspired by some shots my family had taken on a trip to Elie in the East Neuk of Fife, and  only a short drive from home, I set out for there to see what might be on offer photographically. As I prepared to leave, the dog was giving me “the look” which was enough to persuade me to take her along. If nothing else, the evening air would be good for both of us.

I parked up near the Fife Coastal Path and headed out towards Elie Ness Lighthouse. There was nothing really catching my attention there so I carried on round to Lady’s Tower, an old stone edifice built in 1760 apparently as a changing room for Lady Anstruther who liked to bathe in the shelter of the rocks just below. It’s said that a bell would be rung to warn the locals to stay away while she was bathing.

The evening sun was getting a little lower in the sky, casting a warm glow on the stone of the tower and the rocks below. I tried a few shots around the tower before setting up with ND filters to get some soft water effects as the sea washed over the rocks. At the time, I wasn’t all that convinced that I was getting shots I would be happy with, but opening them up in Lightroom and doing some editing got better results than I had expected. I was by that time, however, thinking that my blog post would be about a forlon trip when nothing really presented itself as a pleasing image that would be “a keeper”. And that happens – often. Just like fishermen, photographers come home with tales of the one that got away, or the one that actually never was.

I was preparing to settle for this just being a nice time out with the dog, taking some photos and enjoying the sea air on a pleasant summer evening – not a bad outcome – and was thinking about stopping by a bench to pack my camera away when I spotted this….

grasses in the sunset

sunset grasses

This is actually the last of three shots that I took of this scene. What immediately attracted me was the warm glow of the sun which was casting a more diffused light having been partially obscured by clouds. It was the beautiful golden light that was capturing my imagination.

Shot 1 – was very bog standard – wide, capturing the whole scene and very much the typical sunset type of photograph. It was my shot in the can, if you like; something to have that could probably be worked on a little in post.

Shot 2 – was cropped in a little, by zooming to a longer focal length and focused on the background. I felt that was a better composition. With landscapes, it’s easy to stay with the grand vista, but there is often great merit in homing in on a specific feature, or aspect of the scene.

Shot 3 – the one above. This time I decided to keep the same basic framing as shot 2 but this time to focus on the grasses in the foreground and throw the wider “grand vista” out of focus. I’m pleased with it as the grasses make for a good point of interest, provide a leading line and frame the highlight on the water.

All of the processing was done in Lightroom with the intention of using as light a touch as possible, which consisted of a slight warming of the colour temperature and some minimal and local highlight dampening.

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Be inspired and keep those shutters firing.

ATAC your photography

OK, who thought I had misspelled attack?

stream, burn, brook, nature, woodland, water

Scoonie Burn

Well, I do think it’s important to attack your photography, in the sense that we need to go at it with purpose and intent. In this instance though, I am using ATAC as an acronym for: Always Take A Camera.

I know, it’s kind of blatantly obvious: no camera means no photograph. But how often do we photographers go off somewhere, for some other reason, without a camera then see a composition or opportunity that we know we are missing? The photo above is a good example of ATAC in action.

I was simply setting out earlier this week to do the usual morning dog walk but decided on a whim to take a camera with me. I almost always have my phone with me and that has a camera on board, as do most these days, and it produces decent enough results in favourable conditions – but not all. There are times when only a “proper” camera will do and that’s really what I mean with ATAC, although if I added “proper” to that it would read as ATAPC and that just doesn’t work.

My inspiration for taking a camera with me was to have the opportunity to take some shots of the blossom in Letham Glen but as we walked up the glen, I was met with this scene above and was so pleased to have my DSLR with me, along with a Gorilla Pod which I could use for stability should I need a long exposure.

I really liked the scene of the Scoonie Burn meandering down through the trees and the little waterfalls add a nice element of interest. The soft green cast to the light gives a soothing feel to the image and comes from the morning light filtering gently through the fresh leaves of late spring.

I had some decisions to make with this one, while the dog waited rather impatiently. First of all there was quite a big differential in light between the highlights and shadows which was going to make choosing a good exposure quite tricky. Secondly, there was a decision to be made with the water – a slow shutter speed to soften the flow or something a little faster to retain detail? As I mentioned I had the option of using the Gorilla Pod, but wasn’t confident I could have enough secure stability with it to do multiple exposures and go for an HDR composite. The decided me to go hand-held and therefore to choose a fast enough shutter speed to avoid shake. I also wanted to have a decent depth of field so opted to shoot at around f10. To ensure a lack of shake I opted for a shutter speed of 1/50sec as my focal length was around 45mm (the rough rule of thumb is to choose a shutter speed at least as “fast” as the focal length, so with 50 being greater than 45 I felt secure). So, I set the camera on manual but moved the ISO to automatic and the camera then chose ISO-6400 for the “correct” exposure. Now, try doing all of that with your phone camera.

To get to the final image, I had to do some work in Lightroom to reduce the grain a little which I did by using the detail tool (sharpening). I also used a brush to reduce some highlights in key places rather than affecting the whole image.

I’m pleased with the final result of this and I thought it made for a good example of the benefits of ATAC.

Now, you might be wondering if I got any shots of the blossom I mentioned earlier. I certainly did – but that will be the subject of another blog.

Stay on the ATAC now!

A journey worth going on

I think it’s generally a good idea in life not to get stuck in the same old routine and to always remain curious. That’s the essence behind this image.

Drilling rig

a telescope effect

It’s certainly not the best photo I’ve ever taken and it won’t be going into any competitions or exhibitions, but I though this was something worth sharing as a focal point.

This photo came into being as a result of curiosity and experimentation. I’m probably not the first  person to have tried this but I’d never seen any examples I could think of, so I decided to go with it once the idea had formed in my mind. I had taken the dog for an evening walk along the beach and given that it was a nice clear evening I took the binoculars out of the car to have a good look around. There are a couple of old (I presume) drilling rigs out in the Firth of Forth and I was looking at this one when I idly wondered if it was possible to use my binoculars as a hacked zoom lens for my iPhone. Well, it turned out that it is possible and the result is not as terrible as I thought it might be.

I have to admit this was all very ham-fisted as everything was hand-held; binoculars in one hand, iPhone in the other. It was then a very tricky process to line up the phone lens with one eyepiece of the binoculars and refine the positioning to achieve anything like a steady and reasonably clear image. Once I had got that, I then had the challenge of touching the phone screen to tell it where to focus and then, without losing the composition, I had to finally trigger the shutter. All of this was very difficult as the slightest movement lost the alignment and therefore the image. That’s the reason the horizon is not straight in the final image above. I decided not to make any adjustments to that as I wanted to show this as near to the reality as possible. This has had minimal processing in Lightroom, making slight adjustments to colour balance, contrast and adding in some dehaze which seemed to return a better result here than adding clarity.

As I say, this is not an image I’d do anything with but, as the result of an idle experiment, it turned out better than I thought it might. The reason I am sharing this is to encourage you to experiment with your photography – some experiments will work and maybe lead to new areas of creativity; others will not work at all, but I’d say that every experiment borne of curiosity is a journey worth going on.

 

The journey to the image

The journey to a final image has barely begun when the shutter is fired. There’s still work to be done in getting to the composition that the eye has seen and the imagination has worked with. I thought it might be worthwhile looking at that journey again with another example.

Unretouched view towards Edinburgh

Unretouched view across the Forth to Edinburgh

This is the original unretouched shot as it came out of the camera as a RAW file. I pretty much always shoot RAW so that I have the maximum data to work with in post. This was shot in the evening as dusk was falling. I shot it hand-held at 1/40 sec, ISO-200 at f/8. The reason I’m sharing those settings is that I want to explain how I was trying to find the right compromise to get a workable image. The available light was fading quite quickly as dusk fell and there was a natural haze to the light looking out across the water. I was using a focal length of 55mm so normally, to minimise camera shake, I’d want to use a shutter speed of at least 1/60 sec (the general rule of thumb is to sue a shutter speed at least as fast as the focal length – ie shooting at 30mm choose a shutter speed of at least 1/30 sec).  I was therefore shooting just a little slower than I ideally wanted and took the risk of minimal blurring from camera shake – but I thought I’d manage to be steady enough at 1/40 sec. I could have opted to widen the aperture to get a faster speed, but I wanted to have a reasonable depth of field for a landscape shot, so didn’t want to come lower than f/8. Then there was the question of ISO. I wanted to minimise grain (noise, if you prefer) so opted for ISO-200. I think I was pretty much pushing the boundaries here.

The initial RAW image (above) is rather washed-out and not as clear as it looked to the eye. My job in post was to try to get as close as possible to what I saw without making it look too heavy-handed. I did all the processing in Lightroom to end up with this:

Edinburgh from Fife

Across the Forth to Edinburgh

That’s much closer to how I saw the sky and the landscape of Edinburgh and the Pentland Hills. So, how did I get to this? Here’s a brief run down of the editing. First of all (and this is standard to my workflow) I made adjustments to the Lens Corrections and ticked to remove chromatic aberrations. I cooled the colour temperature just slightly to bring through some more of the natural blue tone. Then I added some dehaze, and clarity, trying not to overdo it. As both of those essentially affect contrast, I left the master contrast control alone. I also boosted the vibrance a little to enhance the colours and then made slight adjustments to the saturation of purple and aqua. That pretty much got me to where I wanted to be with it. Then, just to deal with the sky, I added a graduated filter and darkened it slightly. I wasn’t entirely happy with the landscape across the centre, so used a brush to add a little more dehaze to that central strand.

I envisaged this as amore cinematic shot, so cropped to a 16×9 ratio slightly recomposing to drop the horizon below the centre line. Finally, I added a slight vignette to help draw the eye in to the composition.

That, then, is how I went from the original shot to the final image. Is this a keeper? Probably not. If I go pixel-peeping, I can see some evidence of slight blurring which is probably the result of hand-holding at 1/40 sec. This wouldn’t really stand up to printing in any large scale, so I’ll put it down to a useful experiment. If I wanted to make something of this composition, I’d need to go back and re-shoot it using a tripod. Of course, whilst I could go back at the same time to the same location, the light won’t be the same and I will never be able to exactly reproduce this image. Such are the joys…

 

 

Making the most of it

I went to the seaside recently on what was a fairly calm but uninspiring day. I did have a definite plan, though. My aim was to shoot a minimalist seascape and see if I could make it interesting whilst lacking a major feature or subject within the frame.

This is what I ended up with.

beach sea and sky

deep blue

But it’s not how things began.

Here’s the original RAW file as it came out of the camera.

unedited seascape

seascape

I could see some potential in this, but as I’d been shooting towards the light, the colours are muted and the picture is pretty flat and lacking in contrast. I also felt that there are distractions here that would be better removed.

I liked the faint leading lines in the wet sand which are complemented by the small raised sandy patches helpfully pointing towards a vanishing point roughly mid-frame. Compositionally, I thought there was enough going on here to be interesting without a major subject. However, the small stalks of seaweed rising from the sand were a distraction was the drilling rig to the right of frame. I also wanted to remove the slight piece of lens flare to the left of frame. It was also clear that if this image was going to work, it needed to have a better colour treatment and some more contrast.

To achieve what I had in mind I was going to need me to work with both Lightroom and Photoshop. The danger I wanted to avoid was ending up with something that looked like it was on steroids – I wanted a natural look, so the job was more about recovering the image to something close to what I actually saw, whilst also getting rid of the distractions.

I started in Lightroom and, following my usual work flow, made the usual lens correction and ticked for removing chromatic aberration. After that I added a little dehaze to bring in some contrast before making a slight adjustment to the contrast setting itself. I find the dehaze feature more helpful with shots into the light. After that it was a case of reducing the highlights enough to prevent the left of frame area looking too thin and making a slight compensating adjustment to the overall exposure. That didn’t quite achieve what I wanted so I added a graduated filter running vertically and extending in from left of frame. Within that I made local adjustments (quite finely) for exposure and highlights.  I finished my work in Lightroom by adjusting the colour temperature to cool it a little and bring back some of the blue. I also slightly adjusted the saturation of blue and aqua in the HSL setting, adjusting for both hue and saturation. All of this with the lightest touch I felt I could get away with to achieve the effect I wanted.

Then it was over to Photoshop to deal with the distractions. After making a duplicate layer to work on, I removed the distractions I wanted by first using the content aware fill and then refining where necessary with a little cloning. Finally, I ran a high pass to sharpen the overall image.

In the end, I am happy with what I finally produced. I think I managed to achieve something very close to what I saw with my eyes on location. In short, I think I managed to make the most of it.