Project 52 by Frank Miller

Thanks guys, your feedback is a warm and welcomed encouragement for me to keep on keeping on.

Must of the originals had the sun centered in the image, more for cropping options than anything else. When I chose this particular image I noticed a lot of blank sky space on the left that didn't seem to contribute so I wanted to minimize that dead space.

When I then saw the ship in the copy of that image taken at a higher exposure I felt that that was just the ticket I needed to justify the offset. It would provide a hint of balance that would make the asymmetrical positioning of the sun feel right. If it was going to work well, I needed the ship to be just barely noticeable.

It is my hope that the viewer can visualize what had occurred before this moment and be able project the scene forward to what would happen next and thus convey a story that moves through time.

For this week I thought I’d see what it looks like to a bee approaching a Dianthus Clavelina in bloom. The typical bee is almost about as large as this 3mm wide blossom.

I couldn’t find a more common name for this flower so for now I’m stuck with one I can’t pronounce!

I knew this was going to take some time so rather than just shoot the image at the Garden Center, I bought the plant for the Misses to gain a much needed Atta-boy point. Most married guys know that with the wife, it takes approximately 20 Atta-boy points to offset a single Oh S...t! Singles guys often don’t have a clue but that’s another topic entirely so we’ll move on!

For this one I used the kit 18-55mm lens with the 20mm extension tube for the first time. It was difficult to get the subject lit properly with the blossom only an inch from the lens so next time I’ll try the 55-300mm lens and see how much that helps.

This blossom came with a caretaker named Waldo so for those of you that are into this kind of thing… Where’s Waldo?

ISO 100, ¼ sec, f8

http://i46.tinypic.com/2mi17ns.jpg

I should have mentioned that this is a Focus Stacked image. I think I started with about 40 images and manually stacked those using just masks and layers but no automated stacking software. The white lines and dots are not scratches but rather pieces of the flower that are just lying on the inside surface of the blossom.

This is a typical image from the set; in fact it is the image that contains Waldo. The focus in this image is right about at the point where the pink changes to green as you look down into the throat of the blossom.

This image is SOOC other than cropping and output sharpening.

http://i49.tinypic.com/2u6mcyf.jpg

This week I am exploring what it might take to draw one's vision ever deeper into an image with no obvious way out. Hopefully, to get the viewer entrapped long enough so that they can relax and explore the multitude of colors and patterns that are available for their soothing influence.

To help accomplish this I used a black and white border to confine the vision and the black inward pointing lines to direct the eye ever closer to the center of the display.

Click the image to open it in lytebox. Let it fill your monitor and your mind.

There is no place to stop.

You can circle here, there, everywhere...

...but you can't get out.

Take your time.

Be calm, relax...

...and let your mind take you to another, more tranquil dimension.

http://i49.tinypic.com/65btro.jpg

When you get this far, quietly ask yourself... "Why isn't the image level?"

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Originally Posted by FrankMi

I should have mentioned that this is a Focus Stacked image. I think I started with about 40 images and manually stacked those using just masks and layers but no automated stacking software.

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Frank, how long did it take to stack the 40 images manually? Sounds like a long job.

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Originally Posted by FrankMi

This week I am exploring what it might take to draw one's vision ever deeper into an image with no obvious way out. Hopefully, to get the viewer entrapped long enough so that they can relax and explore the multitude of colors and patterns that are available for their soothing influence.

To help accomplish this I used a black and white border to confine the vision and the black inward pointing lines to direct the eye ever closer to the center of the display.

Click the image to open it in lytebox. Let it fill your monitor and your mind.

There is no place to stop.

You can circle here, there, everywhere...

...but you can't get out.

Take your time.

Be calm, relax...

...and let your mind take you to another, more tranquil dimension.

http://i49.tinypic.com/65btro.jpg

When you get this far, quietly ask yourself... "Why isn't the image level?"

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A brilliant idea to use the black and white border. I have no idea why the image is not quite level but when looking at it (albeit on an iPad) had the sense that a number of the black rays are ever so slightly curved but don't know if that's a perspective/optics issue or something else.

An intriguing photo.

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Originally Posted by Cantab

Frank, how long did it take to stack the 40 images manually? Sounds like a long job.

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I played with it over a two day period. Being retired I need to find things I can do to keep active without spending a lot of money. I likely will not do it (completely) this way again but I did learn a few post processing tricks along the way so for me it was a worthwhile learning exercise.

It was fascinating to find the level of detail deep in the throat of the blossom and to realize just how many living creatures are crawling around inside something this small (of which Waldo was the largest)!

Next time I’ll shoot with a longer lens as it was very difficult to get any light on the blossom with the lens that close. I haven’t tried the 36mm extension tube yet!

Quote:

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Originally Posted by Cantab

A brilliant idea to use the black and white border. I have no idea why the image is not quite level but when looking at it (albeit on an iPad) had the sense that a number of the black rays are ever so slightly curved but don't know if that's a perspective/optics issue or something else.

An intriguing photo.

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Thank you Bruce! :D

The colored glass is part of a curved dome in the ceiling and I wasn't directly under the center when I took the image so that is part of it.

For this week I am working with an image of the Mattatuxet Brook Grist Mill built in 1757 next to the first Snuff Mill built in the new world in 1751. The Snuff Mill is just out of sight to the left.

Original image - SOOC

http://i48.tinypic.com/2qswepv.jpg

The Snuff Mill was also a residence and the birthplace of Gilbert Stuart, an American portrait painter. Gilbert Stuart is probably best known for his portraits of the first six Presidents of the United States. His best known work, the unfinished portrait of George Washington that is sometimes referred to as The Athenaeum, was begun in 1796 and never finished. The image of George Washington featured in that painting has appeared on the United States one-dollar bill for over a century.

I took two sets of AEB images and merged the Normal, Under, and Over-exposed pairs into three two-image panoramas. The use of the panorama only extended the width about 10% but it did provide a little more 'landscape' ratio without losing too much of the foreground. I also created two tone-mapped images but owing to the wind moving the foliage around and the movement of the grist mill water wheel these images would not have been suitable until the ghosted image moving parts were replaced with merged duplicates from the original normal exposure image.

Next came touching up some of the darker bushes on the left, the dull reflection in the water, cloned out the white sign and parked automobile, the power lines and downspout on the museum building to be more in line with 1700’s time frame.

The mill and water wheel were given a slightly sharper treatment to help focus the eye on the primary subject and the background trees were softened.

http://i45.tinypic.com/20625tz.jpg

Your thoughts?

Great job of cloning. I like where you cropped the bottom and how you brought out the texture in the wood and stone. It's a very pretty setting.

Yes, my first thoughts when looking at the original were 'It needs cropping at the bottom'. What you have done works well.

That's a very nice composition Frank,

I believe you have succeeded in directing the viewer's attention to the mill and I definitely prefer the second version over the first (e.g. crop wise).

I admire your dedication and determination, I shoot, but rarely put 1/10 the effort in to PP that you do - I know you're retired (read it somewhere today) - I'm not, so for now that's my excuse ;)

Frank, a very attractive photo. I'm intrigued about what you did to brighten up the water and improve the reflections, especially in the larger pool of water.

Frank, a skillfull use of post processing applied just were it's needed. Thank you for taking us all to school every week when you post!

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Originally Posted by terrib

Great job of cloning. I like where you cropped the bottom and how you brought out the texture in the wood and stone. It's a very pretty setting.

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Thank you for viewing Terri! Yes, the bottom of the image was a bit heavy with foliage and stonework that was just enough to be distracting. Glad you like it!

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Originally Posted by Geoff F

Yes, my first thoughts when looking at the original were 'It needs cropping at the bottom'. What you have done works well.

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Thank you Geoff, that seems to be the consensus. I didn't want to crop any higher as that would cut into the water at the bottom of the mill and this way we still have a strong diagonal line leading up to the overflow rock steps at the base of the water wheel. I appreciate you comments!

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Originally Posted by Dave Humphries

I believe you have succeeded in directing the viewer's attention to the mill and I definitely prefer the second version over the first (e.g. crop wise).

I admire your dedication and determination, I shoot, but rarely put 1/10 the effort in to PP that you do - I know you're retired (read it somewhere today) - I'm not, so for now that's my excuse ;)

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Thank you Dave, it is good to know that progress is being made! I have long wrestled with how to bring out the best in landscapes and although there is still much to learn, picking up on what to sharpen and what to soften is starting to bring benefits.

With these old bones, it is easier for me to play at post processing then to be out shooting. On the other hand, I am getting more to the point where recognizing what needs to be done in PP and making the effective changes can frequently be done in a matter of minutes.

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Originally Posted by Kdfrank

Frank, a skillfull use of post processing applied just were it's needed. Thank you for taking us all to school every week when you post!

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LOL! I'm glad to know that there are folks that still like to be in school!

If ever you have a question about why or how any of the results have come about let me know and I'll do my best to explain. On the flip side, if you see something that needs to be changed or just doesn't feel right, let me know what you think.

I have a lot to learn and often I ‘don't know what it is that I don't know’. Unless someone points something out, the best I can hope for is to stumble over new concepts.

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Originally Posted by Dave Humphries

That's a very nice composition Frank,

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I think Dave captured a key part of the story that needs to be understood about this image. You've got to start with the right materials.

Even with the quality of the post-processing work that we see here, a lousy image would still have been a lousy image no matter how good the PP. But the fact that what was available upon which that quality of post-processing work could take place, was a wonderfully crafted composition, then the PP work was all about bringing out the best that the scene had to offer.

Wonderful work on all counts and the perfect example for those who ask whether post-processing is a legitimate part of the image-making process.

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Originally Posted by Donald

I think Dave captured a key part of the story that needs to be understood about this image. You've got to start with the right materials.

Even with the quality of the post-processing work that we see here, a lousy image would still have been a lousy image no matter how good the PP. But the fact that what was available upon which that quality of post-processing work could take place, was a wonderfully crafted composition, then the PP work was all about bringing out the best that the scene had to offer.

Wonderful work on all counts and the perfect example for those who ask whether post-processing is a legitimate part of the image-making process.

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Much appreciated Donald!

I sometimes feel that the most important aspect of 'getting right in-camera' is the composition. I have many images that are as close to being technically correct as practical (for me anyway!). Unfortunately, they aren't worth posting because there is something compositionally 'off' that can't be corrected in post processing.

There are a lot of really great compositionally idyllic images posted on CiC by the forum members. Although I am just starting to learn PP, I would just love to embrace some of these original RAW files and play with them. To me, some of them hold a phenomenal potential for improvement.