Category Archives: technique

Flame Details in the Bonfire

Bonfire night celebrations in Winchester included a big fire and fireworks demonstration in Wall Park. The bonfire was started in dramatic (i.e. fake) fashion with two cannons firing towards it and it igniting. It was quite a spectacle although clearly a bit contrived. The whole thing is contrived of course. As the fire got established, I found myself entranced by the flames. Watching fire is like watching the waves. Every one is slightly different and I can spend a ridiculous amount of time just staring at it.

Getting images that actually reflect what I saw is something I haven’t practised so I was winging it a bit. The brightness of the most intense parts of the flames is so much more than the cooler areas that it is hard to reflect the detail that can be seen without blowing everything out. I went with underexposing to try and show more of what was interesting to me. Then I would look up at the hot particles above the fire as they rose and dispersed. They looked beautiful as they swirled around and cooled.

Reworking an Old Shot with Modern Denoise

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Periodically, when thinking about the latest processing tools that I have available, it takes me back to some older shots that would be interesting to rework. This shot of one of the Blue Angels jets was taken at NAS Oceana during one of their air shows. I was shooting with the 1D Mk IIN and at ISO 800. At the time, this was a really high ISO and resulted in a lot of noise in the images. (As an aside, I did find that printing did not show the noise at anything like the level that was apparent on screen.) Even without the denoise function, the latest raw convertor makes a decent job of the file but I figured I would use the denoise too. I think the file comes out really cleanly as a result. It also helps that, as an 8MP file, the processing is a lot quicker!

Lighting the Christmas Train

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Get to the run up to Christmas and, if you have a heritage railway near you, there is a good chance they will be advertising that they have illuminated trains in operation. The trains will have lights all across the outside and probably within the carriages too. I’m sure they are fun to ride on but, from my point of view, seeing the outside lights is more appealing than being inside.

The Watercress Line is close to Winchester, and they had an illuminated service. In fact, they had more than one. My mum was visiting, and she was also interested in the lights so, late in the afternoon, since it was already getting dark at that time, we popped out to see the train go by. Sure enough, we soon saw it coming up the hill out of Alresford. There is a long stretch where the trees have been trimmed back when you get a good view of it coming our way. Even with the lights, the exposure is still a stretch for the camera. It did okay, though, and a bit of noise reduction software helps.

As they came around the corner into the straight heading at us, the lights would illuminate the embankment on either side of the cutting. There was also a strong yellow glow which, I assume, came from the firebox. The colours were constantly changing and it looked really impressive as the loco pulled hard up the bank. I think that they had swapped to a smaller loco because they had a diesel on the back of the train to support.

We were going to head straight home but one of the other people there told us there was a second train coming down from Alton a little while later. While it was getting a bit chilly and definitely dark, we figured there was no harm in hanging around. We did get the second train as it came down the cutting and then headed back the way the previous train had come. Going that way, they are going downhill so the loco is barely working to get them home. No plumes of smoke and thundering noise.

The Reflection Removal Tool Seems to Have Broken

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When Adobe introduced the reflection removal tool, I was really impressed by its capabilities. I played with a number of shots that I had taken through windows, and they worked out really well. There have been some updates that Adobe has made, and it feels like it isn’t working as well as it should. I was at Glasgow Airport waiting for a flight home and an Emirates A380 was taxiing out so I grabbed a few shots through the glass. There was a really obvious reflection in the sky area of the shot. I figured that the tool would knock it out easily. Instead, it didn’t even recognise it was there. That is the first of these images. I tried a couple of different shots and none of them worked. I wonder what they have done to the tool that has made it struggle here. I ended up making manual selections and using the AI remove tool to try instead. It was okay but not a great result.

Processing With Masks – A Video

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Every once in a while, I post about some change I have made to my processing techniques for my images. I have posted in the past about how I have been using the masking tools in Lightroom to work on images – particularly those with poor lighting conditions where the background and the subject need significantly different edits.

I have recently tweaked my approach to improve it. This involves an extra step to try and get a better selection of the subject and the background. This also addresses some of the issues I find with Lightroom’s selection algorithms. Sometimes it picks things that just don’t make sense. Anyway, I did a full process of an image and recorded the whole thing with my explanation as to why I was doing what I was doing. It is not a short video so only for those with a serious interest. However, if you want to check it out, here it is.

Wimbledon Special Emirates Climbing Out of Manchester

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We were walking through the grounds of Tatton Park on a recent visit and I was carrying a long lens with me to be ready for the deer that roam the park. However, that was also handy given that the airliners climbing out of Manchester Airport came near us. The conditions were not good for plane photography to be honest. The clouds were often low enough that we never saw the planes but, at one point, I did get a good view of an Emirates A380 climbing overhead and turning in our direction. It had the new Emirates livery combined with special markings for Wimbledon’s tournament earlier this year. A bit of processing was necessary to get it to a reasonable shape.

Taking a Chance With the T-38 Landing

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The T-38 chase planes that Boeing operates from Boeing Field did not fly as often as I would have liked. I’m sure they got plenty of use out of them, but it seemed to be a lucky break if one was up – particularly if I was in any place to see them. Consequently, I was always wondering whether I should make sure to get a sharp shot or take a chance on getting a more interesting look to the image. On this occasion, I decided to go with the latter. I dropped the shutter speed down to 1/100th of a second and hoped. A few came out okay. The cluttered background at Boeing Field is always a problem so a bit of blur helps put the focus on the plane.

Stormy Sunday Atlas 777F

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A stormy sky doesn’t immediately inspire you when going for some aircraft photography but, if the light on the subject can end up being okay, a dark background can suddenly seem like a great option. One Sunday an Atlas 777F was up on test at Paine Field. The sky was dark and gloomy but not a solid cloud background. Instead, the clouds were stratified so there was more detail and texture to see.

As the 777 came down the approach, it was not brightly illuminated but it was picking up a good amount of light compared to what I had expected to be the case. This did require some thought about the camera settings. When the sky is dark, I often significantly over-expose. This is because the clouds will dominate the metering response and the subject – which is usually quite dark – really disappears. In post processing I can then bring the exposure back down but there is sufficient light on the subject to get a good image of it against the sky.

In this case, I had to be more careful. With good light on the subject, the dark sky would result in blowing out the plane. Therefore, I had to keep the exposure compensation off to allow the subject to not get too overexposed and not leave enough latitude for processing it to where I wanted it to be. The results came out okay. This was more important for the longer shots. Once the plane was close in, it started to dominate the metering response and, once on the ground, the illumination was more balanced.

Once they touched down and brought in the reversers, you could see that the conditions had not long ago been wet as the runway still had plenty of water on the surface and the reversers kicked it up in the air.

More Super High Frame Rates for the Red’s Syncro Pair

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A bit of a theme for me recently has been playing with the super fast frame rates on my camera. Last year I tried this out with the Blue Angels and posted on here about that. It worked well but they were rather distant. At RIAT, I decided to try again but with the Red Arrows this time. The syncro pair will make many crosses during the course of the show so I had a few opportunities.

First, let’s talk about what didn’t go so well. When you select this mode, it will fire off a bunch of shots – I set it to the maximum at 50 – and, when it has taken them, the camera will be effectively locked up until they finish writing. It doesn’t take long, and it shouldn’t matter because not much is happening for a while. However, if you are a dope and forget you have selected it and then take a shot of a plane coming around the turn towards you, you will get a lot of shots you didn’t intend and you may still be writing them when the cross actually happens. I am speculating, of course. No way I would make such a mistake.

The other issue I had was one of choosing focal length. On some crosses I zoomed out quite wide and the jets ended up being further away than expected and quite small in the frame although it gave me multiple framing options. This had been an over correction after having been too tight on a previous cross. Basic stuff but, at least with a bunch of crosses, I had more chances to sort things out.

Then we come to the crux of it. Did I get stuff I liked? Absolutely. I was always tracking the plane coming from the right so my left eye could see enough of the opposite jet, so I did run the risk of having the background jet in focus, but it all worked out fine. The biggest issue is that you end up with a ton of shots to work through. Then again, that is my story of RIAT as a whole! I have included so of the stills here but also an animated GIF of a sequence so you can see how close the frames are to each other. Please forgive the crappy colour space of the GIF.

After Sunset at SEA as Well

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The light at sunset can make for some of the most pleasing shots and I did used to take the time to go to Burien when SEA was on a northerly flow to get some of the heavies departing in the best light. Once the sun goes down, it is tempting to head home but I would hang around a bit longer. The blue hour could make for some pleasing shots too and even when it was getting pretty dark, the amazing low light performance of a modern camera meant you could get something different. Combine that with the super noise reduction capabilities of current processing software and you can achieve shots that would have been impossible a few years ago.