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This weekend I joined the Climate Reality Leadership Corps.

This is something I’ve wanted to do for years and the Atlanta conference was the largest event and particularly intense. It powerfully aligned climate change with the civil rights movement to discuss climate justice.

You can get a glimpse of two of the more unique presentations.

An interfaith meeting was held at the Ebenezer Baptist Church.

Comedian Pete Davidson gave Al Gore some tips on how to speak.

 

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On my 10th voyage to Antarctica, we had full sun every day!

View My Top 12 Photographs Of Antarctica here.

There are a few spots left for our 2019 DPD Greenland voyage.

There are 2 spots left for our 2020 DPD Antarctica voyage.

 

Antarctica never ceases to amaze me.

I’m making my 10th voyage to Antarctica now.

Join me on my next voyage!

Fly Antarctica – South Of The Circle

Feb 16 – 25, 2020

Only 3 spaces left

Register now!

Learn more here.

See more images here.

eBook 12 Things We Learned From Each Other

My new free ebook 12 Things We Learned From Each Other details lessons Seth Resnick and I learned from each other by working side-by-side.

What did we learn?

Find out here!

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Left

2_Right

Right

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Panoramic stitches combine both

Think Outside The Frame

No one needs to learn to “think outside the box” more than photographers. The frame, literally a box, is often our greatest ally. Learning to see photographically is in part learning to see within the limits of this box and use them creatively. But there are times when this limits our vision unnecessarily. Once we’ve learned to see within the box, we then need to learn to also see outside the box – and start extending the frame with multiple exposures to perfect select compositions. Extending format techniques aren’t just for panoramic image formats. They can be used to give you the extra inch that can make all the difference in the world for your compositions.

Hand-held Exposure Techniques

While the best way to make exposures for panoramic merges is to use a dedicated panoramic head on a tripod, this may not be practical – or necessary. (There are three significant benefits to using panoramic tripod heads; one, they keep the camera level and without rotation throughout an exposure sequence, two they calculate the number of and overlap between exposures, and three they pivot the camera around a lenses nodal point minimizing parallax.) Today’s software packages work miracles making what was once impossible possible. Several practices can help you make better hand-held exposures for panoramic merges.

Keep the horizon level in all the exposures; varying rotation can cause improper alignment and/or excessive cropping and/or retouching.

Shoot a little loose. Perspective correction in these types of photo merges often resulting in irregular borders that beg cropping – or retouching, if this is appropriate. The extra wiggle room you gain from shooting loose will allow you to crop the final results more precisely.

Don’t shoot the separate exposures edge to edge. Instead, overlap your exposures by a third for medium lenses, a half for wide-angle lenses, and two thirds for fisheye lenses.

Make exposures with the opposite orientation as the final image orientation; if you’re making a horizontal composition shoot with a vertical camera orientation and if you’re making a vertical composition shoot with a horizontal camera orientation. This does two things. One, it increases the number of frames, and thus vanishing points, reducing the tendency for the required perspective correction to produce distortion artifacts. Two, it increases resolution – a tendency that becomes compounded with each added pass in multi-column or multi-row exposure sequences.

Once focus is set, turn off auto-focus during the bracketing sequence. Unwanted shifts in focus may ruin an exposure sequence. For this same reason, consider shooting all exposures in a single sequence at the same aperture setting, as significant variances in depth of field between frames may be challenging to merge convincingly.

Consider using manual exposure. While software can convincingly blend exposures with significantly varying exposures, if brightness across a scene remains fairly constant keeping the same exposure settings between different shots can aid the blending process. (The same is true for white balance, which can be set either during exposure or during Raw processing.) On the other hand, if brightness varies dramatically, bear in mind that simultaneous HDR exposure bracketing is not out of the question; it just increases the number of exposures needed.

LR_Start

Lightroom’s Panorama Merge Preview

LR_AutoCrop

Auto Crop checked

LR_BoundaryWarp

Boundary Warp slid to 100

ACR_Start

Adobe Camera Raw’s Panorama Merge Preview

ACR_AutoCrop

Auto Crop checked

ACR_BoundaryWarp

Boundary Warp slid to 100

Stitching / Merging

Merge to Panorama in Lightroom and Adobe Camera Raw

You can perform panoramic merges in either Adobe Lightroom or Camera Raw. Their interfaces may look different but they’re the same.

There are three advantages to making panoramic merges with these Raw converters. First, it creates a new combined file in DNG format and allows future access to the Raw data in the files. Second, they offer simple but powerful post-merge distortion (Boundary Warp) and Auto Crop options that Photoshop’s Photomerge doesn’t. (This means you’d only choose Photoshop when you wanted to use its additional merge projection options Collage and Reposition.) Third, the DNG file takes up less space than the PSD or TIFF file Photoshop generates.

How do you do this?

Read more

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Combine 3 or more exposures into 1

MergedOut_Mean

Remove moving objects using Photoshop's Smart Objects

Use the Stack Mode Mean

MergedOut_Minimum

Keep moving objects using Photoshop's Smart Objects

Use the Stack Mode Minimum

It’s a perfect shot! If only those unwanted objects (cars, birds, people, etc) in the scene would disappear. As long as the unwanted elements in your frame move, even just a little, you can make them disappear from your image, by taking two or more shots and using Photoshop’s layering and blending capabilities.

You don’t have to retouch your image. Blending is different than retouching. The unwanted elements aren’t covered over with new information, by hiding them with replacement information similar to the surround, either from the same source or another. With blends, the information behind the moving subject is revealed. How? It’s contained in the other shot(s).

You can even do this with exposures that are made with slightly different angles of rotation or framing, so you can use this technique with handheld exposures, not just those made with a tripod. Camera motion may make manual registration difficult, but Photoshop will automatically align and in some cases distort the separate exposures so that they register precisely. In some of these cases, you may need to crop the final result to restore a rectangular frame.

You can even remove stationary objects with blends – if you move. In situations where there is sufficient parallax between foreground and background elements, by varying your angle of view, you can cause significant shifts in position of foreground elements without causing significant changes in position of background elements. Make multiple exposures from multiple angles of view and you can blend out the elements that appear to move. When using this technique, shoot loose, planning to crop more after the merger.

If you have only two exposures you’ll need to manually mask the top layer. If you have three or more layers Photoshop will automatically blend the layers.

So how do you do this with Photoshop?


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