Tag Archives: technique

National’s A330 Moving Some Troops

Another one from the archive. National Airlines has made a few appearances in this blog over the years. I do find their livery very cool and a welcome change from the norm on airlines. They had one of their A330s in Boeing Field on, I believe, a troop transport flight. I don’t know that for certain and don’t know why it wasn’t at McChord but I’m not complaining.

The light was better on the aircraft when they were loading it up on the Modern ramp. Unfortunately, departures were towards the north which meant the only option for a takeoff shot was going to be over by the terminal building and that would mean quite strong backlighting. Nevertheless, I figured it would be worth a try. You can get quite a good angle from that location on a rotating aircraft provided that it uses a reasonable amount of the runway.

However, there are two downsides to the images that you get. First, the aforementioned backlighting is not going to make for an easy job processing the image. The latest masking tools in Lightroom do give you more flexibility with what you do but there is only so much you can do before things look really funky. The second issue is that the Boeing ramp is going to be in the background which makes for a very cluttered view. In hindsight, I should have tried going with a very low shutter speed to try and blur as much of that distracting material as possible. Guess I won’t be trying that out for a while!

Recovering a Fence Shot

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In an earlier post, I had shared some images of and A340-600 operated by European Cargo that I saw at Bournemouth. What I didn’t include in that post was any images close to the rotation point, despite me having been well positioned for that. When I say well positioned, I omit one key element which is that there was a fence between me and the plane, and I wasn’t able to photograph above the fence. Shooting through it was the only option.

I tried a couple of things to mitigate the issue with the fence. First, I was as close to it as possible to take the fence wires as far out of focus as possible. I was also shooting wide open – again to try and throw the wires out of focus. The last thing I tried was to go with a low shutter speed to smear the wires as I panned. With this combination, I was hopeful that I wouldn’t really have the wires in the shots. I was wrong.

When I took a look at the shots, the fence was very obvious. I did start to wonder whether it would have been better to have the wires well defined as maybe that would be easier to remove. However, too late for that as the shots were done. Now to see if there was anything I could do to recover them to something usable (and by usable, I mean that might be shareable but nothing that was going to be a great publishable image).

I tried some of the healing tools in Lightroom to see if that would work. I was getting nowhere fast – possibly a sign of how little I understand the capabilities of the tools or maybe they are just not the right thing. Then I decided to try something else. Because of the way I had shot the image, none of the airframe was obscured. There was just the grey overlay from the fence. That made me think that it was more like a darker area of the shot. I decided to use the brush tool in the masking panel and draw some lines that were heavily feathered across the lines that the fence wire created. Having made a grid of these, I then bumped up the exposure for the mask.

The result was surprisingly effective. However, I then ended up with some overly bright areas at the edge of the mask. A rework of the mask to change the size and the feather amount and this time the result was pretty good. There were a few areas that were still a touch dark and I used a large, soft brush to address those parts. If you know what the original image looked like, you will probably spot the remnants of the work. If you had never known before, it’s possible that you might not notice how much work had been done on this.

Time Lapse into National

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This is some older footage I took a while back when I was making a work trip to DC. I have done a bunch of these over the years. The phone allows you to get a good time lapse video (or I should say hyperlapse since it is a bit different) of the approach to landing. The countryside zips by in this type of video and you get the rapid changes in aircraft configuration along with the taxi in and shut down at the end of the flight. For those of you familiar with the northern Virginia area, you might well recognise some places. I did the same on the return leg into SEA as the day was ending.

Comparison of a Couple of Edits

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Every once in a while, while I am searching for something specific in the Lightroom catalog, I will come across a previous shot that catches my eye for some reason. This might be because it was something interesting, something I had forgotten about or just something that I think might benefit from a re-edit. Sometimes I have changed the way in which I approach edits and in others there is a new tool that has been added which I think will benefit the edit. This image was exactly that. I thought that the masking tools now in Lightroom would make for a more flexible approach to balancing the different parts of the image. I played around with it for a while. Because Lightroom allows you endless virtual copies, you can try something new out without having to lose what was there before. I then created a combination of the two edits to show how differently the same raw file can end up.

Taking Out Reflections – Photoshop Experimental Features

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I have been using Lightroom since the initial version was released. It used to be quite a simple application and anything complex was undertaken in Photoshop. As Lightroom has got more and more capable, the number of times I go into Photoshop has reduced. What I didn’t realize until recently was that Adobe uses Photoshop as the proving ground for some of the features that will ultimately make their way into Lightroom. I thought that Camera Raw and Lightroom’s Develop module were identical and they almost are. However, not quite.

In Photoshop, they have a check box to allow you try experimental features. I found out about this related to a feature designed to remove reflections. Anyone who has taken a photo through a window will know that you can get reflections off the glass of things your side of the window and these can ruin an otherwise usable image. (Photographing through a window is not a great option but sometimes it is all you have to work with.)

This feature analyses the image to see what it thinks might be artifacts from inside the window and allows you to remove them. Interestingly, the slider that comes with it can be moved either way. You can fully remove the reflection or can fully remove the rest of the image and leave only the reflection. This can be rather fun to play around with.

I was interested in what this would do for some shots I had got while inside the airport at Narita a few years ago. It was a dark and rainy day and I did try to avoid reflections but was not always successful. Some of the shots I liked most from an action point of view were the ones with light from inside intruding into the shot. These were the ones I worked with. You can judge the results. As I have the before and after versions here. It isn’t perfect but it does work rather well for an experimental feature. I hope it gets productionised soon and finds its way into the Lightroom Develop module too.

Early Morning Breeze Departure

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I’ve seen a couple of Breeze airliners, but they are not operating in our neck of the woods, so they are still a rarity for me. When one of the A220s came to Boeing Field on a charter for a sports team, I was hoping to catch it. They were due out early one morning, so I was able to go before heading to the office. This did mean that conditions were going to be rather restricted with the sun only just above the horizon (assuming clouds weren’t there as well) but this would actually suit me since I didn’t want the jet to be backlit.

Sports charters have a habit of not going even close to the time that they are scheduled so I wondered whether I would be able to get the takeoff before needing to leave. Imagine my surprise and delight when they called up pretty much on schedule. Soon the jet was crossing the runway for taxiway Bravo and then heading to the departure end. As they rolled and rotated, there was just enough light in the sky to make for some rather pleasant colors, and I was really pleased with how the shots came out. The actual light levels were very low, so I shot at high ISOs. The cameras do a remarkable job of this these days but there was still a bit of noise to deal with and the latest noise reduction algorithms in Lightroom dealt with that very effectively.

Pano Experiment with a Fisheye

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I will freely admit this is not my idea. It is something that I read about recently on an astrophotography post that caught my attention. I was about to make a visit to a museum where I thought I might end up taking some interior images in confined space. My 16-35mm lens was probably going to do the trick but I wondered whether the fisheye might be a better bet if things were really tight. My only concern with that is the distortion is such a feature of that lens that it might not be worthwhile.

Then I came across the aforementioned article and it talked about shooting panos with a fisheye. The article was concerned with wide sky shots for astrophotography, but I thought it might work for me too. Supposedly, stitching together multiple fisheye shots takes out a lot of the distortion while still giving you the wide reach. I decided to experiment with this in advance to see if it worked.

I played with this indoors but taking a sequence of shots with good overlap between them making sure to catch as wide an image as possible. I was using the fisheye with full frame coverage rather than the circular version of the image. In Lightroom, I had to turn off the profile correction since that plays with the shots a lot and then set the pano function to work. It combined the images very easily and, sure enough, the verticals across the shot were not all vertical and not distorted at all. This could be something I now use a lot in the future when working in confined spaces. I will need to test it for closer subjects first since I suspect that will be a lot more testing for the alignment issues in pano stitching.

Wrong Lens for Night Photography

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I had a trip that took me to Los Angeles and, while it wasn’t a photography trip, I did take a camera in case I had the chance to get some images. I took the 200-800 as my one lens since I didn’t know what my shooting options would be so wanted maximum flexibility. The only downside to this choice was that this is a slow lens with small maximum apertures. As it turned out, I got to my hotel at the airport in the evening and the roof terrace was open so I had a chance to get some shots of the planes arriving to the norther complex.

Having a slow lens when doing night photography is not the ideal plan. However, you work with what you have. Also, since I know the R3 can produce some good results at silly high ISOs, I figured I would see what I could get. Even at the the max ISO of 51200, the shutter speeds were very low. While I wasn’t always at the full extent of the lens, this was not going to make things easy. There were areas where the ambient light provided more illumination for the planes, but I still went with high frame rates to see if I could get a few sharp results.

Surprisingly, things worked out pretty well. There was definitely a very low hit rate but the fact that I was getting sharp shots at all was very pleasing. The Enhance AI noise reduction in Lightroom could then do its thing provided the shot was basically sharp to start with. This combination gave me results I was very happy with. If I were to be back at this spot another time, I would definitely bring other lenses along that would provide better light gathering capabilities. Even so, knowing that this can work was a pleasant surprise.

Low shutter speed SEA shots

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A recent post was focused on some shots from BFI when I was dropping the shutter speed. I had also been playing with this one gloomy morning at Seattle Tacoma International a while back. I was waiting for a specific movement but was passing time with some of the more regular movements. Since they weren’t the most exciting subjects, I tried dropping the shutter speed down to make the motion more apparent. They were really dramatic shutter speeds, but it made a slightly more interesting shot than would other have been the case.

Growlers Head Home Together

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During Seafair, the USN Growlers from Whidbey Island did a display earlier in the schedule. Once they were done, the jets headed home in midafternoon. They didn’t have a long trip home so getting back to base was probably a simple call. What made it better was that they undertook a section departure and the view from the tower was really cool. The tricky thing about a section departure from a photographic point of view is which plane to track. Which one looks dominant in the shot early on and which is dominant later in the pass? It changes but tracking is harder to switch. Small problem, I know, but a little tricky.