Category Archives: technique

Time Lapse Up the Old Tower

My trip up the tower at SFO got me thinking about what things I wanted to get done while I was there. One thing I had in mind was a time lapse. I was a bit bothered, though, because we would only have about 20 minutes and setting up the camera and getting it going would eat into that time. Fortunately, Nancy had just given me a new GoPro to replace the one I killed in Hawaii. This one had a time lapse function built in. Also, because it is small, it would be easier to get it close against the glass to minimize (but not totally remove) reflections.

When we got up the tower, I went straight to the window, hit the start button and leaned the camera against the glass. I had no idea whether it was working or not so just left it and hoped. I then started taking the other shots I was after. When our time was up, I had to remember to go and get it again. Only when I got home did I find out that it had taken a steady string of images. I then processed them using my usual software of LRTimelapse aided by the lens correction in Lightroom for the GoPro. The result is this video. It is a little wide angle for some of the distant action and it would have been fun to have a longer time to capture images over but, overall, it worked out quite well.

Updating Your Keywording Standards

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I provide a number of images to stock agencies. They require keywords to tack what is in the images. This has never been a problem because I have been keywording my images for a long time. Some people keep their images in folders based on shoots but I have, for a long time, been more bothered about putting keywords in for my shots. This way I can use Lightroom to find shots of any topic really easily.

However, I have become a lot more diligent about my keywording standards in recent times. I used to not get too bothered about adding too much detail to my keywords. Now, when I am looking for something, I search on a keyword but the result doesn’t show up an image that I know I have. When I look at older shots, the keywords are rather sparse and not as specific as they would be now.

The result is that I am making an effort to improve my old keywords. This is not a quick task. I find little fixes I can make for clusters of shots and implement those. It usually triggers something else I can do. I don’t try and do everything at once. I just build a list of little tasks and tackle them one by one. I am now also more diligent about keywording new shots more aggressively. Fixing this afterwards is a lot harder so now they all get tagged with everything relevant. I hope this will eventually pay off for me.

Shooting RAW on the Phone

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The update to iOS 10 brought with it the possibility to shoot in RAW on the iPhone. For some reason Apple didn’t bother to incorporate this feature in the base phone app but they did make it available to other camera app developers. Camera+ is one that I use a bit so I figured I would start shooting in RAW via that. Obviously RAW means larger files but, since I download my files to the desktop frequently and tend to clear out the phone, this wasn’t a concern.

First thing I found out was that other apps could see the shots. I had taken a few shots and wanted to upload to Facebook and it turned out there wasn’t a problem doing so. However, the main benefit was anticipated to post processing back on the desktop. With the SLR shots (is there any point to saying DSLR these days?), it is possible to recover a lot from the highlights and shadows. Would the same be possible with the phone? Sort of. You can get a bit more in these areas than would be the case with the JPEG when things are quickly lost. However, the sensor data is still not anywhere close to being as adaptable as it is for an SLR. You get more flexibility to pull the sky back but it is still pretty limited.

Is it worth using? Definitely. While it might not be the post processing experience you will be used to with SLR files, it is certainly better than the JPEGs provide. The increase in file size is hardly an issue these days so I will using it from now on. The camera app doesn’t have the pan and time lapse stuff so easily to hand so the phone’s base app will still get used but, aside from that, it will be my choice. My main gripe now is that they have a random file naming protocol that is a little difficult to get used to. Small problems, eh?

Backup Strategy for the Blog Has Changed

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Since I first started the blog using WordPress, I have been looking for something sensible for backing up the blog data. I can use FileZilla to copy off everything on the blog periodically but that is a process that requires me to do something on a regular basis and it isn’t very convenient. I had set up a plugin that was supposed to back up everything to a Dropbox account but I was never successful in getting too much of it to actually backup properly. It always seemed to be stalled. Consequently, I was concerned that I was vulnerable to a data loss. Given how much effort goes into the backup strategy for my photos and documents, having the blog relatively unprotected didn’t seem to make much sense.

Then I came across an alternative approach. This uses a plugin called UpdraftPlus. I read a detailed article online about how to use this plugin to back up to a Google Drive account. Since I already have one of those that doesn’t currently get used for anything else, I was interested. The base account I have comes with 15 GB of storage so that seemed like plenty to cover what I needed. The full article on how to set everything up is at https://premium.wpmudev.org/blog/how-to-backup-your-wordpress-site-to-google-drive/ if you want to check it out. It is not the simplest process and the interface appears to have been tweaked since it was written but I got to where I needed to be and have everything setup now. It backs up on a daily basis so I now have a couple of previous backups at any one time should they be needed. If you are wondering about backup strategies yourself, maybe this will be a useful approach to consider.

Another Go at 777-300ER Rotations

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Getting repetitive here. My never ending quest to capture and demonstrate the unusual gear articulation of the Boeing 777-300ER gets another outing. Similar animation of some stills as before. This time the light was good and the distortion was limited so here we go again. I won’t bother with the technique aspects this time. Instead, here is the animation with the rotation about the rear axle pretty easy to see.

Sound for the Videos

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While I have experimented with video a fair bit over time, one thing I haven’t done is put together a video with a presenter in it. My mum was recently staying and she had an idea for something she wanted to do that involved her doing a presentation on video that could be shared at a later date. My own experience and some information I had seen online made me think that the key to getting a good result was not going to be the video but was instead the sound. The microphone on the camera is of okay quality but it picks up the sound of everything around it. The voice is isolated and any video online that does not take a careful approach to audio is very obvious and sounds decidedly amateurish.

The ideal solution would be to have lav mikes, the small mike you see attached to the clothing of TV presenters. These are actually pretty accessible and cheap but I didn’t have the time to sort something out. However, a surprisingly good alternative was readily to hand. I have an app on my phone for sound recording which I use when interviewing people for articles. Instead of using the plugin microphone, I used the headphone/microphone cable. By running it inside the clothing and just leaving the microphone up near my mum’s throat, we were able to make a very good sound recording. The closeness of the mike to her mouth meant the sound was very localized and clear so the background noise was lost. The room we used did not have bad echoes either so the audio ended up being pretty clear.

Then it was just a case of having a conspicuous clap on the audio track and the video file to allow me to synch the sound and audio together and we were off to the races. I shot everything with two cameras – one head on and one from the side – with the idea of cutting between them. However, when I did the first edit, the side camera didn’t seem to fit with the style of presenting to camera. I imagine it works better for an interview style piece. I reverted to the head on shot with some images cut in periodically to illustrate the piece. Overall, it worked pretty well. We did a number of takes and mum got progressively more relaxed in each one. I had thought I might cut the best bits together but the final take was really good so I didn’t need to do so. I hope her audience likes the result.

Trying to Remove the Traffic on the Bridge

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The suspension bridge at Lions Gate in Stanley Park, Vancouver is a magnet for photographers. I was only passing through but, as we watched the traffic moving across the bridge, I was thinking about how to get a shot that didn’t have cars on it. The traffic was steady so there was not way I would get a clear moment. Indeed, while we were there, they changed the lights and reversed the center lane based on the traffic demand.

I didn’t have a tripod but I did decide to experiment with an alternative technique. This is best done using a tripod and a lot of exposures but I figured I would go with shots that were pretty closely aligned and about half a dozen shots. This didn’t work perfectly but it didn’t go too badly. When you get back to the computer, you open up Photoshop. Click on File and Statistics and a dialog opens up. Select all of the files and change the option at the top to Median and check Align Images. Then send it on its way.

If the shots are good and there are enough, the algorithm will look at each shot and see the changing items – cars in this case – as the oddities. It will see what is consistent in each shot and get rid of the odd stuff. If you have it right, the cars will vanish. In this case, there were some overlaps and not enough shots but it still did a reasonable job.

Polarizer Comparison

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When I changed bodies, I had to update some of my accessories too. My old filter system was fine on a cropped body but with full frame, the filter holder encroached on the corners for the wide angle lenses. I took the opportunity to change my polarizer set up. I used to use a polarizer on my Cokin holder. This was a bit inconvenient when I was using lens hoods. Instead, I decided to get a screw in polarizer. Since most of my lenses have the same filter size, this gives me more flexibility.

I took the polarizer with me on vacation. One place where I made good use of it was in the rain forest. While it was pretty dark in the heavy forest cover, there was moisture everywhere and this meant a lot of reflections and glare. Consequently, I went with the polarizer most of the time. While I was there, though, I decided to do some experimentation by repeating some shots without the polarizer to see how much of a difference it made. You can see the with and without shots here and judge for yourself what a difference it makes.

Enfuse for HDR

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I am a little late to discovering the Enfuse plugin for working with HDR images. I started out many years ago using Photomatix. At the time, it was the go to software for creating HDR images. Then Adobe got a lot better with their HDR software within Photoshop and I started to use that. Even more recently, Adobe built HDR processing in to Lightroom and I didn’t need to go to Photoshop at all. The HDR software worked reasonably well so I stuck with it. I sometimes felt that it didn’t do as good a job of using the full range of the exposures but it was okay.

I wasn’t entirely satisfied though so have kept an eye on other options. Someone mentioned Enfuse to me so I decided to give it a go. It is a plugin for Lightroom and, in the free download, you can try it out but with a limitation on the output image size of 500 pixels. Obviously this isn’t useful for anything other than testing but that is the point.

The first thing I tried it on was a shot I made at Half Moon Bay looking up at a P-51 Mustang prop and directly into the sun. This is certainly as much of a range of exposures as you are likely to get. The perfect thing for an HDR trial. The results in the small scale file seemed pretty impressive so I decided to buy the package. There is no fixed price. You make a donation via PayPal and get a registration code. I am impressed by the quality of some of the work people put out so I am happy to donate for what they do. With the software activated, I reran the P-51 shots. Below is the version I got from Lightroom’s own HDR and following it the version from Enfuse.

I did have some issues initially. Lightroom was not reimporting the image after it was created. This turned out to be an issue with the way I named the file in the dialog and a tweak to that seemed to fix things. Strangely, it had been fine on the trial so I have no idea why it became an issue but it is done. I also played with a slightly less extreme case with an F-22 and, as above, the Lightroom version is first and the Enfuse version is second. I was really pleased with the result on this one with a very natural look to things. So far, I see Enfuse being a useful tool for my HDR going forward.

How Low Can You Go?

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The high ISO capabilities of modern cameras are a constant source of discussion whenever a new camera comes out. It was quite funny to see everyone get so excited about the multi-million ISO range on the Nikon D5 when it was announced, only to see that the high ranges were nothing more than moose with a bit of an image overlaid on them. Not a big surprise but still funny to see how much everyone was going nuts about it before the reality set in.

Consequently, I was interested to see what the new bodies I bought were really capable of. I have already posted a little about some of the shots I took as the light faded at SFO. I was shooting with a tripod and a gimbal mount to make things easier but I was also working within the ISO range of the camera. I went with auto ISO and exposure compensation while shooting in aperture priory and wide open to get what I could. However, I really wanted to see what was possible so I changed to manual mode, exposure compensation and auto ISO to see what could be done. Auto ISO is not going to use the extended ranges of ISO.

I don’t know about the Nikon cameras but the Canon cameras tend to have three extended range ISO settings at the high end. There is the highest ISO setting that it recognizes and then there are H1, H2 and H3. They don’t name them with the actual ISO settings but you know what they are based on what you see on the camera. The manufacturer does not label them as normal ISO settings because they do not stand behind them as a capability. There is a good reason for that. They are just like the highest Nikon settings. Useful if you have no option but not very good otherwise.

The same was true with my older bodies. They had a very high ISO range that was not great but it would do in a pinch. At the Albuquerque Balloon Fiesta I shot an Aero Commander in the pitch black that flew over and I saw stuff in the shot I couldn’t see with the naked eye. This is with a camera that is ancient by modern standards. I expected a bit more with the latest generation. Certainly, there is more to be achieved with what we have now. However, post processing becomes a part of the story.

My first experience with these shots was in Lightroom. The shots did not look good at all. However, there was a clue in all of this. The first view in Lightroom is based on the JPEG that is baked into the raw file. It looked okay until it was rendering by Adobe at which point it looked a lot worse. This piqued my interest. Sure enough, at the extended ISO ranges, the shots looked pretty awful. Lots of purple backgrounds. These were not going to be any good. However, the initial preview had looked good., is this a case of Lightroom not being able to render the shots well? I figured I should try going to the source.

At various ISAP symposiums, the Canon guys have talked about how their software is the one that you should use since only Canon know how to decode their shots properly. They have the recipe for the secret sauce. Since Digital Photo Professional (DPP), Canon’s own software for decoding raw files, is so terrible to use, I never bother with it. The raw processing in Lightroom (and ACR since they are the same) is so much easier to use normally and works really well. DPP is just awful in comparison. However, we are now dealing with the extremes of capabilities of the camera. The embedded previews seemed better so maybe it is possible that DPP will be able to do a better job.

You can now be the judge. Here are some pairs of shots. They are the same shot in each case. The first is processed in Adobe Lightroom and the second is processed in DPP. I think it is clear that DPP is better able to work with the raw files when it comes to extreme ISO settings. The shots certainly have a more normal look to them. The Lightroom shots look really messed up by comparison. It doesn’t mean I will be using the extended ISO ranges on a regular basis. Jumping to DPP for processing is not helpful on a regular basis. However, if the need arises, I know that I can push the camera a lot further and use DPP to get something that is okay if not great. This could be handy at some point.