The photography world is changing around you as I write this post! At least it feels that way as new cameras and features are introduced in short order. I’ve never been on the front edge of technology before and it’s fun trying to figure uses for features as they come out. A lot of the new capabilities is driven by possibilities not available before 4K mirrorless cameras came on the scene.
This is a very interesting new feature called Post Focus.
This is for stable non-moving subjects where you might not be sure of the focus point you want and would like to have options to choose later for a totally different look and feel to a subject of a scene.
Here’s how it works. The camera makes a quick video of a scene while moving the focus point throughout the frame. Because the camera is automatically set for Photo Mode each still frame can be extracted from the video as an eight MP file. At the end of processing after a few seconds you can see the individual frames on the back of the camera and choose any that you would like to save out as individual jpeg photos.
Want to be able to choose later? Not a problem. Download the video file and take it in an editing program like Adobe Premiere, Final Cut Pro, or Lightroom. There you can step through each frame and choose at your leisure on a large screen and save out your file.
I decided to see if I could use the system to help with the capture of Macro images and the process of focus stacking to get deep detail in an image.
And guess what ?? It works!
I Imported the MP4 file into Adobe Premiere and used the right arrow to move through each individual frame. Selected the ones I wanted to work with and pushed the save as an image (camera icon) and saved the images out as a TIFF. Then it’s off to Adobe Bridge.
Screen capture of Bridge selections with all 28 files selected with the still captures pulled from the video.
With files selected the next move is Tools > Photoshop > Load Images into Layers
Layers Palette with all layers selected in preparation for Photoshop magic.
Once all layers are selected they need to be put in registration because a change in focus changes the size of the image. Menu Edit > Auto-Align Layers.
Once layers are aligned Menu Edit > Auto-Blend Layers with the Stack Images and Seemless Tones and Colors checked. Depending on the number and size of your files the the RAM horsepower of your computer this could take a little while but it’s doing all the work you see below masking in all the sharp portions of the images.
Palette window with proper selections for picking and masking in all the sharp bits it can find in the images. Making all of these masks would be super time intensive. Sometimes the individual masks may need a little tweaking if you didn’t get enough detail or colors and tones are very close.
Grasshopper with detail and depth of field exactly where I want it.
The image was captured with the Lumix GX8 and the 45mm f2.8 Macro lens set at f9 in Post Focus Mode. “Why f9 and not f22 and be done with it Bob?” When photographing close-up Macro subjects the DOF is very shallow even at f22. In addition as the aperture gets smaller diffraction is introduced starting to blur details. (learn more about diffraction and check out your camera lens combo to find the sweet spot here)
Yours in Creative Photography, Bob
PS – No grasshoppers were harmed in the making of this tutorial. The grasshopper was already mummified when I found it on my porch.
If you follow Trey Ratcliff you probably already heard about the brand new MacPhun plugin/app AURORA HDR. Well I can’t wait to try it out when it becomes available for download tomorrow but here is a sneak peek video by Trey show you some possibilities…
Trey Ratcliff image using aurora HDR software
Trey’s Vid.
If you are looking to learn more about the HDR software click below.
Went to Sound Bites Grill, my favorite restaurant, to see some of my favorite musicians play and was not disappointed on either case. Food was great and the entertainment of Miller, Martin and Ki was stellar as usual.
And also as usual, even though I wasn’t working I brought my Lumix GX8 with the 20mm f1.7 lens to the party to try to push some features. The table I was at had a very tough view of the stage as far as the camera goes. Deep shadows in the corner and Sunlit rocks out the window behind. I thought I’d try the HDR setting to see how it would do. There are menu choices of bracketing by one, two or three stops but there’s also an automatic setting. Now there’s an additional part of this challenge we have moving people. I made a number of exposures with a few distorting features until I realized I needed to bump up the ISO to get faster shutter times and watch for moments ‘between the movements’ of the performers.
Finished image. But, what I’d like you to do is compare the two images below to see the difference.
Straight out of Camera – 20mm @1.7 ISO 1600 Aperture Priority with auto setting for HDR capture
SOOC – 20mm @ f1.8 400 ISO Aperture Priority
Call for some more experimentation but I think the camera HDR setting handled a very difficult scene extremely well. A little additional processing in Adobe Camera Raw and Photoshop could tweak the HDR image to be somewhat better in taming the saturation and working tones a bit but I’m happy.
“Wait a minute Bob I thought the HDR feature saves images as jpegs. How are you going to process the file in ACR??”
If you have the image highlighted in Adobe Bridge using CMD R (mac) or Ctrl R (pc) will open the jpeg image in Adobe Camera Raw allowing you to use those controls. Very handy!
I also captured some 4K video that I haven’t had time to process. That will have to wait for another post…
I’m working on a video for a future seminar being hosted by the Arizona Professional Photographers Association (AZPPA) in the fall and here is an image of one of the character actors expected to join us in a western setting. Steve AKA the ‘Sheriff’ is a pleasure to work with as are all the people who will be dressed in period costumes at the event.
‘Sheriff’ Steve in costume.
Steve was captured with the Lumix GH4 and the 35-100mm f2.8 Lumix Vario Lens. Natural light from a somewhat overcast but bright day coming through a doorway camera right and behind Steve so I could shoot into the shadow side of his face to add depth, dimension and drama to his features.1/15th sec f3.2 ISO 1600 in Aperture Priority with a slight bump in Exposure Compensation to open shadows just a bit.
Post processing often plays into the creation of my images. As Ansel Adams proclaimed, “The negative is comparable to the composer’s score and the print to its performance. Each performance differs in subtle ways.” So here is the original digital capture with no adjustments.
Straight Out of Camera (SOOC)
Top Image was processed in Silver FX Pro 2 to convert to Black and White.
Then some small retouching moves, mostly dodging and burning to control the contrast of the scene.
NIK Color FX Pro 4 Bleach Bypass Filter. Used a Layer Mask to bring back some detail that got whacked.
Back into NIK Color FX Pro 4 to use the Tonal Contrast Filter to highlight details and bump contrast.Layer Mask to control specific areas.
Added a Soft vingette.
Soft Light Blend Mode Layer added to retouch and add extra life to his eyes.
Then a conversion to Sepia Tone using a Hue Saturation Adjustment Layer with the settings Hue 30 Saturation 10 Lightness 0 and Colorize checked. (Got this recipe, or something very similar, about 15 years ago from longtime photographer friend Tom Cheswick)
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I often have to remove subjects from basic white backgrounds and thought I would share a technique using the Channels Palette to create the Alpha Channel to separate the subject very cleanly from the background with little fuss and muss. There is some Photoshop Magic involved. If you haven’t seen this technique before you will be pleasantly surprised by how much of a time saver it is!
Special thanks to my subject Tom Tayback of Tom Tayback and the Daddy O’s who does a 50’s & 60’s Graffiti Gold Show that is pretty darn cool. If you are in Arizona and see the show will be playing, go, I know you’ll enjoy it!
For infrared conversion of my cameras I use LifePixel. Infrared allows you to put an older camera to use and opens up a new time time of day for productive image creation.
Fotopro tripods are well worth checking out. You can learn about the ones I use and recommend by clicking on the Fotopro Tripods link at the top of this page. If you want to see what other tripods might fit your needs check out the Fotopro.com website. Check back with me before you buy as a Fotopro Ambassador I’m able to get you discounted pricing including complementary continental USA shipping for my followers that you won’t find through retail outlets.
Learn Photoshop in a fun environment. Aaron Nace applies the right amount of fun with easy to understand and follow tutorials. Actions and brushes are included with lessons!
Lightning, waterdroplets, sound, time-lapse, HDR sequences, smiles and much more control for your camera!
Cameras Get Smarter -
A High Speed Smart Camera Remote
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Platypod has become a great resource for being creative in getting your camera gear easily into unusual places. As an Platypod Pro I get to work/play with the gear even before it comes out. Head over to Platypod, subscribe to the newsletter and you will get special discounts reserved only for subscribers.