Would Ansel use Photoshop today? You bet he would!
Wednesday, June 29, 2016
Moonrise over Hernandez, Ansel Adams
As inspiration for our upcoming Landscape-themed photo
shoots, DPReview notes the publication of “newly released footage” about the making
of Moonrise over Hernandez.
Would Ansel use Photoshop today? You bet he would!
Would Ansel use Photoshop today? You bet he would!
Saturday, June 25, 2016
Depth of Field Graphs
DoFMaster is the grand-daddy of DoF calculators and tables. But
Nicholas V. Sushkin has developed an online system to generate DoF graphs that are
much easier to use than DoF tables, though of course, not as precisely
interpretable. His web site is www.dof.pcraft.com (no longer active). The file, DoF Graphs, CoC 0.019mm.pdf, available on OneDrive, contains a set of these charts for crop
sensor systems with a 0.019 mm circle of confusion, and is suitable for viewing in
the field on a cell phone. A page
extracted from the file is below.
Monday, June 6, 2016
The Passing of Time, Caught in a Single Photo
The first photograph, Joseph Nicéphore Niépce’s Courtyard, was an eight-hour exposure, showing a scene viewable only by observing it at multiple times during the day. Stephen Wilkes’ methods demonstrate the latest evolution from that “requirement” of earlier technology: more than motion via slow exposure, more than time lapse… a quantization of time, if you will.
From the TED introduction:
"Photographer Stephen Wilkes crafts stunning compositions of landscapes as they transition from day to night, exploring the space-time continuum within a two-dimensional still photograph. Journey with him to iconic locations like the Tournelle Bridge in Paris, El Capitan in Yosemite National Park and a life-giving watering hole in heart of the Serengeti in this tour of his art and process."
http://www.ted.com/talks/stephen_wilkes_the_passing_of_time_caught_in_a_single_photo
From the TED introduction:
"Photographer Stephen Wilkes crafts stunning compositions of landscapes as they transition from day to night, exploring the space-time continuum within a two-dimensional still photograph. Journey with him to iconic locations like the Tournelle Bridge in Paris, El Capitan in Yosemite National Park and a life-giving watering hole in heart of the Serengeti in this tour of his art and process."
http://www.ted.com/talks/stephen_wilkes_the_passing_of_time_caught_in_a_single_photo
Stephen Wilkes
Focus Stacking with Photoshop
20160827: Step 15 corrected.
From Wikipedia: “Focus stacking (also known as focal plane merging and z-stacking[1] or focus blending) is a digital image processing technique which combines multiple images taken at different focus distances to give a resulting image with a greater depthof field (DOF) than any of the individual source images.[2][3]” Focus stacking comes in handy for macro photography which, at high magnification, yields depths of field less than a millimeter.
There are two ways to photograph each focal plane: by physically moving the camera, and by using the lens’ focus ring. Physically moving the camera requires a “rack” graduated to fractions of a millimeter, and the good racks cost several hundred dollars. The focus ring method met my “beginner” requirements.
As it turns out, Photoshop (PS) makes the stacking of photos an easy three-phase process. The following steps apply to PS CS v13, Extended.
Phase 1: Load each image of the series into its own layer.
1. File > Automate > Photomerge
2. Select the “Layout” as “Auto.”
3. Turn off “Blend Images Together.”
4. “Browse…” to load the images.
5. Press “OK.”
6. PS now loads the images into separate layers.
7. When PS finishes Phase 1, proceed to Phase 2.
Phase 2: Mask the well-focused portions of each image.
8. “Select” all the layers.
9. Edit > Autoblend Layers.
10. Select “Stack Images.”
11. Select “Seamless Tones and Colors.”
12. Press “OK.”
13. PS now masks the in-focus portions of each image in all layers.
14. When PS finishes Phase 2, proceed to Phase 3.
Phase 3: Merge the masked layers into a single, focus-stacked image.
15. Layer > Merge Layers
16. PS now merges the masks from each layer into a single layer.
17. Save the image in the now merged, single layer as a TIFF.
18. Voilà!
From Wikipedia: “Focus stacking (also known as focal plane merging and z-stacking[1] or focus blending) is a digital image processing technique which combines multiple images taken at different focus distances to give a resulting image with a greater depthof field (DOF) than any of the individual source images.[2][3]” Focus stacking comes in handy for macro photography which, at high magnification, yields depths of field less than a millimeter.
There are two ways to photograph each focal plane: by physically moving the camera, and by using the lens’ focus ring. Physically moving the camera requires a “rack” graduated to fractions of a millimeter, and the good racks cost several hundred dollars. The focus ring method met my “beginner” requirements.
As it turns out, Photoshop (PS) makes the stacking of photos an easy three-phase process. The following steps apply to PS CS v13, Extended.
Phase 1: Load each image of the series into its own layer.
1. File > Automate > Photomerge
2. Select the “Layout” as “Auto.”
3. Turn off “Blend Images Together.”
4. “Browse…” to load the images.
5. Press “OK.”
6. PS now loads the images into separate layers.
7. When PS finishes Phase 1, proceed to Phase 2.
Phase 2: Mask the well-focused portions of each image.
8. “Select” all the layers.
9. Edit > Autoblend Layers.
10. Select “Stack Images.”
11. Select “Seamless Tones and Colors.”
12. Press “OK.”
13. PS now masks the in-focus portions of each image in all layers.
14. When PS finishes Phase 2, proceed to Phase 3.
Phase 3: Merge the masked layers into a single, focus-stacked image.
15. Layer > Merge Layers
16. PS now merges the masks from each layer into a single layer.
17. Save the image in the now merged, single layer as a TIFF.
18. Voilà!
Friday, June 3, 2016
Metalenses: Photo Revolution
Update, 20170209: Flat metalenses now work with a range of colors
Update, 20180104: Metalenses now focus entire range of visible light
Update, 20181229: Findings published Oct 3, 2018 in Light: Science and Applications
Harvard researchers have invented a revolutionary and apparently inexpensive replacement for lenses used in the art and craft of photography, as well as in any field employing lenses for the visible spectrum. Imagine you and your friends upgrading your ten-pound, $13K, Canon EF 800mm f/5.6L IS USM lenses to new lenses as thin as sheets of paper. According to the Harvard SEAS news item, “[t]he authors have filed patents and are actively pursuing commercial opportunities.”
Update, 20180104: Metalenses now focus entire range of visible light
Update, 20181229: Findings published Oct 3, 2018 in Light: Science and Applications
Harvard researchers have invented a revolutionary and apparently inexpensive replacement for lenses used in the art and craft of photography, as well as in any field employing lenses for the visible spectrum. Imagine you and your friends upgrading your ten-pound, $13K, Canon EF 800mm f/5.6L IS USM lenses to new lenses as thin as sheets of paper. According to the Harvard SEAS news item, “[t]he authors have filed patents and are actively pursuing commercial opportunities.”
References.
Harvard SEAS – https://www.seas.harvard.edu/news/2016/06/metalens-works-in-visible-spectrum-sees-smaller-than-wavelength-of-light
This electron microscope image
shows the structure of the lens (white line is 0.002mm long) (BBC)
Scanning electron microscope micrograph of the fabricated
meta-lens. The lens consists of titanium
dioxide nanofins on a glass substrate. (Harvard
SEAS)
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