The magical (but imperfect) path to the ocean
The Stairs at Battery Crosby – San Francisco, California
Yesterday, I talked about Battery Crosby, an absolutely fantastic place to make photographs of the Golden Gate Bridge. In that post, I mentioned stairs that offer a good vantage point of the bridge and here they are. These stairs lead from the concrete bunker down towards the ocean. I didn’t have time to explore so I didn’t go any further. What looks like gently curving stairs directly to the ocean actually stops short and runs parallel to the water line, according to Google Maps.
As you might have guessed, this is another HDR photograph. Processed in a more painterly style and not my usual, more realistic approach. I don’t think it’s over the top but it definitely passes that fuzzy line between realistic and artistic, at least in my book. Your mileage may vary. Why do I process some HDRs realistically and others in a more artistic fashion? It really depends on the mood I want to convey. The golden light, the green grass, the meandering path to the ocean and the distant sunset hills put me in the romantic mood, I guess. I think the place has a magical Tolkien-esque feel. Why not amp up the magic with some HDR post processing?
In retrospect, I wish I framed this differently. At least, I should have experimented with different points of view. That is one of the disadvantages of using a tripod. There is a tendency to set it at a particular height and shoot it from there. I move around more when shooting hand-held but I get more bogged down with the three metal legs attached. I was also rushed — trying to maximize my time taking photos of the Golden Gate Bridge — my primary purpose. The moral of the story, look around, shift your point of view. It wouldn’t have taken too much longer to find a better framing and I would have been rewarded with a stronger image.
What don’t I like about the photo? I think there is entirely too much ocean. The balance of the elements are not quite right. I would like to see more stairs and greenery, less water. I do like how the silhouetted mountains came out. Don’t get me wrong, I don’t think it’s a bad photo. I really like the color and mood, it’s just that the composition could have been stronger. Perhaps if I lowered my tripod to get more of the stairs. It would change the angle and reduce the ocean. Would this alternate framing would work better? Who knows but the point of this post is that I should have explored other possibilities.
Battery Crosby is a beautiful place and I hope to get back there. Maybe next time, I can create an even better photograph.
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The new American, a photo comparison
The New American – DFW Airport, Texas (HDR)
Continuing with the Airport travel theme, I wanted to show off the new American Airlines branding on their new Boeing 777.
As I took the Skytrain at DFW airport, I noticed two 777s parked at Terminal D with the new American Airlines color scheme. Conveniently, my flight to San Francisco was also leaving from D. I found a good view of one of the new planes and shot it with my Olympus XZ-1. This XZ-1 point and shoot has become my entertainment during my travels — a fun, convenient way to snap interesting compositions.
I’ve hoped for a couple of months to get a nice photo of the new American plane and I decide to use my Olympus E-PM2 to create a higher quality image. I also did a hand-held HDR to further add dimension. The first image is my HDR. As you know, my technique tends to be on the light side, generally opting to enhance the color and texture only somewhat. A little bit more saturation, a bit of grittiness in the details and a bit more shine off the metal. I’m rarely heavy-handed in my HDR approach.
The photograph below is one frame (the middle exposure) from my trio of photos use to create the HDR. I think it looks decent but a bit washed out. I’ve post-processed it to increase the saturation, texture and contrast but it still doesn’t match the HDR for detail and depth. The effect is subtle but look at the engine and the shadow under the plane. Also notice that the HDR has more texture and reflections off the surface of the plane.
The New American – DFW Airport, Texas (Olympus E-PM2)
The last photograph was shot with the XZ-1 point and shoot. The framing is not the same but you can tell the colors and details are a bit more muted. There is a dull feel, almost like a grayish layer over the image. It’s still nice and most people will be happy with it but there is a difference between it and the Olympus E-PM2. Not surprising given the E-PM2 has a much larger and higher quality sensor along with a high quality prime lens.
The New American – DFW Airport, Texas (Olympus XZ-1)
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The challenge of seeing something new
A wild night on 6th Street – Austin, Texas
If you follow my blog, you know that I go on a lot of photowalks. Some by myself, others with a couple of friends and once in a while, with a huge group. Many of these walks happen in Austin, my home town. The problem is, there’s not a lot of places to shoot urban landscapes in Austin.
For all the national attention Austin seems to get these days, it is a medium-sized city at best. Sure it has 1 million plus people in the 5 country area but the central core is pretty small. The good news is that the downtown is growing and the fabric and texture of the city continues to improve. Never the less, this is no New York, San Francisco or Tokyo, nor does it have the wonderful old details of even a smaller European town. The result, if you shoot urban landscapes and architecture like I do, Austin poses a big challenge.
But like most challenges, taken positively, it strengths you. It hones your skills. I believe the dearth of interesting subjects in this city allows me to dig deeper, see differently and try new things. I try to discover new shapes and angles. I’m constantly in search of unique situations that may give a new perspective to an overshot scene. I also change-up lenses or cameras that give me new capabilities.
What this means is when I get to a big city, the visual possibilities are almost overwhelming. My brain seems like it’s going to explode with the 1000s of frames that I see around me. Trained for sparse visual conditions, the mind becomes drunk with overstimulation. In a place like New York City, I think I could shoot 8 hours a day, everyday for a year and not exhaust the urban material. Perhaps, some day I will get that opportunity.
I went on yet another photowalk this past Friday. A different group of people from a week ago but in the same general area. I almost didn’t go — I’ve been to this place so many times. But I wanted to meet my friends, which is a big part of the fun of these things. I’ve been on a HDR kick lately, enjoying my new-found freedom with my new, light weight Olympus setup. I saw color. I saw reflections. I created this festive shot in Austin’s famous entertainment district, 6th street. The image for me represents the sometimes wild, party atmosphere of this place.
It’s a new angle, one that I’ve never seen before.
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Missing Flickr and losing track of friends
Silicon Laboratories Headquarters at Sunset – Austin, Texas
I started my online presence on Flickr. Things were a lot simpler, social media wise, back then. A bunch of local Austin photographs kept in-touch via this photo sharing site. I had a pretty large following and there was only one place to post my photos.
Then things changed. People started shifting more to their personal blogs, Facebook, 500px and even Google Plus. The cohesive community started to break down. I am guilty myself. Despite my best efforts, after expending energy on my blogs, I found it increasingly difficult to stay active on Flickr. I let my presence diminish and I regret that now. I’m starting to post sporadically again but my friends have either left altogether or busy looking at other people’s work.
I’m reminded of the simpler days and the confusing array of online sites today, when a Flickr friend visited from Germany. He contacted Jim as he passed through Austin. I met Jim, Kay and his wife in downtown Austin for a Flickrwalk a week ago. We did our typical tour for out-of-towners. Start at the Driskill Hotel on 6th street. Walk up Congress Avenue for a tour of the State Capitol. Down Congress to the river just in time for sunset. Finally shoot the Austin skyline during blue hour. I captured the photograph above, at sunset, just as I crossed the river. An old-fashioned HDR, for old times sake (though I shot it with my small mirrorless camera instead of a DSLR)
This get together reminded me of the best part of Flickr. An easy way to meet a world-wide, friendly group of photographers. Facebook and Google Plus aren’t the same — there is too much noise. I want a place to interface with people through photography. I don’t want to know about their religious, political and social viewpoints. I may have to go retro and go back to Flickr. I am, however, staying with my smaller mirrorless cameras. Some trends are here to stay and the move away from the DSLR is one of them.
By the way, my Flickr account is atmtx
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SXSW Photowalk: 6th and Congress sparkles
6th and Congress Sparkles – Austin, Texas
A mass of 200 – 250 people stormed through Austin last night with cameras in hand. We organized at City Hall and took a zig zag pattern though downtown. Yes, I attended the SXSW Photowalk organized by Trey Ratcliff, yesterday. As the group moved, we spread out into smaller clumps, occasionally regrouping as we travelled through the colorful entertainment districts. Why so many photographers? Was there a celebrity nearby? People were either confused or accepted that maybe this was just another wacky SXSW stunt.
I reached the corner of 6th and Congress Avenue at the peak of blue hour. I popped open my lightweight tripod topped with the Olympus E-PM2 and the 14m with wide-angle adapter. My camera was pre-set perfectly for HDRs, set to manual focus, ISO 200 and a deep aperture. I shot several brackets, this one, my favorite.
The streets were busy, the trees sparked and the Frost Tower shined. The mid-60′s temperatures tricked visitors into thinking that Austin is perfect — just wait until summer. But for now SXSW is in full swing. Interactive winds down as the music spins up. 4 days gone, 6 more to go.
More photos to come…
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Seeing beyond the church at Mission San Jose
Tree with Character #1, Mission San Jose – San Antonio, Texas
Mission San Jose is one of the 5 missions that are located in San Antonio, Texas. They were founded by the Spanish Missionaries in the late 18th century. While the Alamo is the most famous of the missions, Mission San Jose is known as the “Queen of the Missions” and is the most impressive.
I went there last week on a 4th grade class trip. While I did photograph the famous church itself, I was drawn to the bare trees that stood by the old mission walls. I love the structure of these “trees with character” and its contrast to the highly textured stone walls. I’m back on a HDR kick of sorts and I took my tripod and my Olympus E-PM2 to create these images.
I’ve been doing more HDRs recently for several reasons. First, it allows me to be deliberate, encouraging me to more precisely frame a photograph. Using a tripod, setting it up and waiting to take 3 exposures takes a bit more work than my recent free-form style. It’s not quite as exacting and precious as film but it does get me to slow down. Also, the look of HDRs is different with its simulated dynamic range and increased detail. I get a richness and color that a regular exposure does not produce. Finally, with my newest Olympus E-PM2, I now have a truly light weight setup that creates photos with, a no compromise, HDR quality. No need to lug my Canon 7D and bigger tripod with me.
Tree with Character #2, Mission San Jose – San Antonio, Texas
This is my third time at this mission. On the first two occasions, I made the obvious photos. Multiple angles of the church exterior. The requisite shot down the middle aisle towards the altar. Sure, I shot those again, just in case. But I feel most proud of these alternate shots. The less obvious ones that perhaps not everyone would see. As I train my eye and improve as a photographer, I’m trying to create the less common photographs. Not totally unique, maybe, but something that breaks the “me too” mold. Not an easy task given that there are some many good photographers taking more photographs than ever.
Note: The last photograph is a black and white HDR. They don’t have to be in color and the HDR processing brings out more texture and detail. I didn’t like the color in this photo and the ground was much too cluttered and distracting. I found that the black and white conversion created a more compelling image.
Tree with Character #3, Mission San Jose – San Antonio, Texas
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How technology has shifted from 4 years ago
Adobe House, Institute of Texan Cultures – San Antonio, Texas
I took the day off on Friday to go on a school field trip to San Antonio with my younger son. It’s an annual event for 4th graders and I went on the same trip with my older son 4 years ago. They went to the same two locations, the Mission San Jose and a museum called the Institute of Texan Cultures. I thought it would be interesting to compare the two trips, photographically, and primary from a technology point of view.
First, I noticed a big change in the type of cameras the parents used. It’s no secret that point and shoots are diminishing in popularity. Most every parent I saw shot with iPhones. The kids used iPods and inexpensive digital cameras, perhaps the hand-me-downs that the parents no longer use. I also saw only one DSLR on the entire trip. Four years ago there were many parents that used DSLRs and smaller dedicated cameras. Not a statistically significant sample but interesting none the less. A couple of parents even said that they had DSLRs but they were too heavy to bring on the trip.
You know that I have shifted away from DSLRs. A bit crazy and unwieldy but I brought 3 cameras with me. The Olympus E-P3 with the 25mm f1.4, the E-PM2 with the 14mm f2.5 and the Olympus XZ-1 point and shoot. My rational? I was going to do two distinctly different types of photography on the trip. I wanted to shoot casual, mostly candid pictures of the kids to share with rest of the class. I also wanted to shoot HDR urban landscapes on tripod. You can see a subtle HDR that I shot during the trip at an old Adobe house. I used the XZ-1 for the casual snaps, mainly outdoors. I used the E-P3 with the f1.4 lens indoors so that I didn’t have to use flash. The E-PM2 was attached to a tripod and acted as my “serious” landscape camera.
I just looked at my archives and discovered that I brought two DSLRs with me on this trip, four years ago. I used a Canon 20D with a 18-55mm kit lens and a Canon Rebel XT with a 70-210mm. Outdoors, I also used an external speedlite to tame the harsh sun. Indoors, I cranked the ISO up to 1600. Back then, I had no need for a tripod, I just shot people and didn’t do any urban landscapes. Today, even with three cameras and a tripod, I’m pretty sure my gear weighs less than it did back then.
I was surprised to see the XZ-1 point and shoot held its own, in daylight, compared to the DSLRs 4 years ago. The XZ-1 has a slight edge in resolution, 10MP vs the 8MP DSLRs. The DSLRs have a shallower DOF and more dynamic range, however I used a flash on both cameras outdoors and the resulting images were very similar. Using flash outdoors tends to soften harsh shadows and reduces the need for wide dynamic range. Of course I used fairly basic lenses on my DSLRs back then so I’m sure nicer glass would have tipped the quality balance towards the DSLRs. Back then I only shot JPEG, while now I use RAW. The RAW has the benefit of grabbing more detail and dynamic range in favor of the XZ-1.
Indoors, the DSLRs will run rings around the XZ-1, of course. But the Olympus E-P3 with the f1.4 lens holds its own and surpasses the Canon 20D and XT. Noise wise, the E-P3 has similar performance to these 2005 vintage DSLRs. The Panasonic Leica 25mm f1.4 lens however is clearly superior to the Canon kit lens. Ironically, I was getting shallower DOF with the Olympus and the 25mm, then with my Canon DSLR with the kit lens. The image quality of my newest Pen, the Olympus E-PM2 is even better than these DSLRs.
It appears that my candid and posed compositions of the kids were no worse and possibly better than it was 4 years ago. This is noteworthy since I rarely shoot these kinds of photos anymore. Back then, it was all that I did. Nowadays, I do a lot more city and urban photography. There are also changes in the way I shoot and post-process photographs. These days, I tend to expose darker and my photographs are a lot more colorful. The JPEGs that I shot back then were minimally processed and had dull appearance. Ironically, even though I now shoot exclusively in RAW, my colors are a lot more rich and vibrant. I attribute this mainly to my post processing that has evolved over the last several years.
Finally, I guess after years of practice, I now have the ability to shoot different kinds of photographs on the same outing. While I concentrated exclusively on candid, event type photography 4 years ago, I’ve added tripod based landscapes with HDR to my repertoire. It certainly keeps me busy and perhaps a bit goofy juggling multiple cameras, but it seems to work for me. I have little downtime and no dust, since I don’t have to change lenses. Since the cameras are so light and small, I’m not bogged down with a huge load of gear like a pack mule. I’m curious to see what I will be shooting with, 4 years from now.
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A view from the Hotel Valencia
A view from the Hotel Valencia – San Jose, California
Sometimes everything falls into place — the sum of the parts being greater than the whole. This photograph, that I shot last week in San Jose, is an example. One that the Santana Row Tripod Police could not stop. I shot it off the 5th floor balcony of the Hotel Valencia, where I stayed.
I shoot enough HDRs that, usually, I have a good idea how they would turn out. I was pleasantly surprised by this one though. The orange color you see on the horizon is not the sunset. The sky was already quite dark but the long exposure brought out the details. I increased the saturation and tweaked the color temperature and got this wonderful deep blue with the orange, which I suspect is created by the glow of the city’s lights.
As usual, I shot 3 exposures two stops apart. The new Olympus E-PM2 now conveniently has a HDR bracket which helps you take the photographs. It does not, however, create the HDRs in camera — you still have to post process them on the computer. I used Photomatix Pro to create the HDR, did some manual layer blending and did the final adjustments using Apple’s Aperture 3.
More than any of my other photographs, this one gives the feeling of Santana Row. The place really does do a nice job to simulate a city, even though it really is a shopping mall. Austin has “The Domain” which is a similar kind of development. I hope someday, will fill out as nicely as this one.
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I’m a Professional because I use a tripod
Sino Reflection, Santana Row – San Jose, California
I took these photographs last week in San Jose, California at a place called Santana Row, an upscale, city like development. The detailing there was terrific and I decided to use a tripod to take my usual night-time urban landscapes. Just as I setup my tripod, a security guard came over and dashed my plans.
“I’m sorry you can’t take photographs here”, she said nicely but with some hesitation. I was a bit confused because I’ve shot there many times without interference. Then I realized that she was taking issue with the tripod. Yes, “You have to get permission first” before taking professional photographs. I smiled and played dumb and said, a professional, with this camera?, as I pointed to my Olympus E-PM2. For the uninitiated, the E-PM2 is a small camera barely larger than a point and shoot.
This kind of incident is actually fairly common for tripod photographers. Police and Security are trained, for ease of identification, that people who use tripods are professional photographs and must be dealt with in a different manner. They usually give bogus reasons such as “protecting privacy” to restrict tripod use which, of course, is equally an issue with photographs shot freehand.
Vintage Wine Bar, Santana Row – San Jose, California
I didn’t make a fuss in this case. You see Santana Row, despite looking city like is, most likely, private property. It is basically a shopping mall development wrapped in a faux-city fabric. Kind of ironic since, in many ways, Santana Row looks more urban than the real downtown San Jose. On private property, the owners can impose photography restrictions. Undeterred however, I complied with the no tripod request but still took my long exposures by placing my camera on tables and railings. I was a bit restricted on the compositions that I could create but I still managed to take the type of photographs that I wanted.
Pinkberry, Santana Row – San Jose, California
Unlike my previous outings where I shot free hand, I wanted to do some HDRs this time, which require multiple images precisely aligned. A tripod is usually best for alignment but as you can see, there are ways around this. The general aversion towards tripods is a source of frustration for photographs and especially people who like to shoot HDRs. It is one thing for private property owners to restrict use but It is more distressing when public cities also limit tripods. I’ve heard cities such as Washington DC and New York are not very tripod friendly.
What’s been your experience? Have you been asked not to use tripods? Share your thoughts below.
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The Driskill Bar, a cozy, holiday filled corner
Cozy and Festive Corner, Driskill Bar – Austin, Texas
As I mentioned in my post several days ago, I been shooting the main Driskill Hotel Christmas tree for four years now. But this year, I shot another one, tucked back in the corner on the other side of the hotel. It’s in the Driskill Bar right near the 7th street entrance.
The place was quite dark and I had some doubts if this would come out. I used my Olympus E-PM2 with the 14mm lens on a table top tripod and put it on a cushy ottoman. I shot three photographs at 2 stops apart and use the HDR bracket option that is new to the E-PM2 — this isn’t available on the E-P3. Just to be clear, the HDR bracket feature just takes the photographs, it does not do any in-camera HDR processing.
I used my standard, subtle HDR processing technique to get it just right. I wanted the Christmas tree lights be bright and festive but still wanted to keep the moody, wood-paneled bar feeling. I’m happy with the way it came out.
I hope everyone has a great Holiday Season. I’m shutting things down here and packing up for a family vacation to the East Coast. I may have one more post coming before I go for the rest of the year.
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2012 Driskill Hotel Christmas Tree
2012 Driskill Christmas Tree – Austin, Texas
It’s become a mini-photo tradition for me to photograph the Driskill Hotel Christmas Tree — this is the fourth year. I’ve posted images of the tree from 2009 and 2010 and part of a three tree set last year. I went downtown a couple of nights ago with my friend Mike to capture this year’s tree.
While the position of the Christmas Tree remains constant, every year the shape of the tree and the decorations vary. I’ve also used different cameras and techniques over the years. In 2009, during the beginning of my HDR phase, I shot the tree as a 3 image blend with my Canon 20D with a 29mm equivalent. The 2010 and 2011 trees were simply shot with the Sony NEX-5 with 24mm equivalent lens, down low with a table top tripod. This year, I used the Olympus E-PM2 with a 22mm equivalent lens (the Panasonic 14mm f2.5 with a wide-angle adapter) with the same table top tripod.
I decided to go back to a lightly-processed HDR technique this year and blended 3 photos. It enabled me to capture the detail in the stained glass and keep the rest of the exposure bright. I also altered the white balance to more of a warm red just to change my artistic interpretation. I’ll post more Christmas decorations from the Driskill, Austin’s grandest old hotel, over the weekend.
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ROT Rally bikes sparkle with wild HDR
Dynamic Duo, 2012 ROT Rally – Austin, Texas
I talked about HDR in the last post — subtle, gentle HDR. Many photographers have a distaste for HDR, because they claim it does not look real. I find it curious though that the same people who poo poo HDR because it doesn’t look real, accept and even embrace black and white photography. Of course, black and white photography is no more real than, HDR. So what is it about HDR that makes it not look real? Perhaps they are reacting to badly done HDRs. If you read my previous post and looked at my example photograph, hopefully you are convinced or at least slightly more open to the notion that HDR can be done in elegant ways. I argue that HDR is just a tool and it can be applied in many ways. It can make photographs look artistic, surrealistic, realistic and everything in between. So today, I present to you some wild HDR; amped up more than usual, but given the subject, I think it’s fun. It’s the brash side of me jumping up and shouting a little.
Electric Blue, 2012 ROT Rally – Austin, Texas
I see more colorfully lit bikes these days; probably made popular with the advent of tiny LED lights. Even without the HDR enhancements, the colors of these motorcycles can be quite vivid, especially as they bounce off the shiny chrome. HDR techniques are used to enhance dynamic range (or apparent dynamic range, really) but the technique also has a side effect of emphasizing texture or making shiny things even shinier. And emphasizing the shine is what makes these images fun. These techniques also work great on the gaudy and fanciful interiors of Las Vegas hotels too.
The first two images were taken on 6th street. They are basically different angles on the same bikes. I’ve done this kind of effect before at previous ROT Rallies but this year I went light and used my Olympus E-P3. Last year, for example, I used my Canon 7D with a super-wide angle lens. This year, I had a modest setup with a 28mm equivalent lens. As you can tell, you don’t need fancy DSLRs to do HDR. My Olympus E-P3 works great, just as good as my 7D.
Three on Congress, 2012 ROT Rally – Austin, Texas
After an evening of shooting with my friends, I headed back to my car via Congress Avenue. The street was a lot quieter, several hours after the parade and I captured a few more HDRs. The Panasonic Lumix 14mm lens that I was using was surprisingly capable of doing this kind of photography. It doesn’t have the super-wide angle view but it still worked well enough that I might use it more often for urban HDRs. Wide-angle distortion can be fun but I’ve realized that if it’s not done properly, it can really be wonky and gimmicky. The 14mm which is equivalent to 28mm in the 35mm world gives a wide enough view without extreme distortion. It renders a more realistic point of view.
Lined Up on Congress, 2012 ROT Rally – Austin, Texas
So there you have it. Two examples of HDR. Wild and colorful on this post and tame and realistic in the previous post. Each being used to service my “vision” of the type of photograph I wanted to create. So HDR should not be an end goal. You shouldn’t necessarily use it for every shot; I know I was guilty of that when I was just starting out. Now I use HDR for a specific purpose. It’s not my trademark style, it’s just one more tool in my arsenal. The key is knowing when to use it. For my next post, I’ll change it up again and use a different technique to set a different mood.
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The Paramount, enhanced with subtle HDR
Paramount Theater, ROT Rally 2012 – Austin, Texas
A couple of days ago, I posted a bunch of photographs from the ROT Rally Parade that took place last week, here in Austin. The light was good and I shot it all handheld but the parade ended after sundown and the darkness was approaching quickly. My friends and I broke out our tripods and started shooting long exposures with the benefit of a stable base. But how do we catch the range of light from dark to light? Having a tripod will allow for longer exposures but it won’t improve the dynamic range. Look at the scene above. We got some nice looking lights in the marquee but if I expose for them, the foreground motorcycles will look like dark, shapeless hunks of metal. I won’t be able to see any details. Of course, if I properly expose for the motorcycles, the lights on the Paramount theater will be blown out. What to do? One technique I use is HDR, high dynamic range photography. Yeah, I know. A lot of photographers have visceral reactions against HDR. Some have embraced it but most seem to hate it. But I’m here to tell you that not all HDRs have to look like “Technicolor Vomit”, to quote my friend Kirk Tuck. HDR is a tool, a technique, and it can be applied subtly or be amped up. Like many techniques it can be done well or not so well.
I’ve always been fairly subtle in the use of HDR, though the level of subtlety varies on the subject and my “artistic mood”. And I’ve really decreased the number of HDRs that I do; I now only use it when it’s warranted. I have to admit that early on, I used it quite a bit but as my photography matured, I’ve decreased its usage. Or maybe I’ve gotten more lazy. You see, doing HDRs properly does require more effort on the image capture side as well as post processing. In this case, I used an Olympus E-P3 and set the auto-bracketting mode to 5 shots with 1 stop in between. I put the camera on a tripod and mashed the shutter down until the camera took all 5 photographs. Post processing wise, I used 3 software packages to achieve the result that I like. Like many people, I use Photomatix Pro to do the initial HDR but then I use layer blending techniques in a program called Pixelmator, which is a poor man’s version of Photoshop. Finally, I do color correction, saturation adjustments and sharpening using Aperture 3.
The result is, I hope, an image that looks believable and matches more or less what people saw on that Friday night. This is the effect I was going for, but you have artistic license here. There is no correct way to do this. Some people like to process their photos to look more surrealistic and you can do this and still have a beautifully done image. For my next post, I’m going to get a bit wild with my HDR. A nice counterpoint to today’s sedate image.
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New Delhi, India: tired, excited and ready to shoot
Tuk Tuk Abstract – Delhi, India
It’s April. SXSW Interactive, the Music as well as the Rodeo are finished. Austin is taking a breather after the activities of March and before the really hot weather comes in a couple of months. I’m switching back to my India trip that I took in February. My blog coverage started a month ago in a post called Around the world in 11 days where I was busy shooting colorful corridors at O’Hare Airport. After a quick 14 1/2 hour flight directly from Chicago to New Delhi, India, I arrived at the largest airport I’ve ever seen. The airport, square footage wise, may not be the largest but the corridors and waiting areas were scaled so large, it felt more like a convention center than a typical airport. The place was clean, modern, huge and slightly disappointing. I was expecting an old, well-worn and crowded facility that would have been more exotic and romantic. It would have better fit my image of a developing country. Instead, I was treated to a very modern place. Welcome to the Indira Gandhi International Airport, a place similar to all the internationalist architecture, found anywhere around the world.
I didn’t take any photos when I got there since there were some vague warnings against photography. Not wanting to start some incident upon arrival, I keep my camera in the bag. After clearing customs, I passed through a large duty-free area that sold the usual alcohol and perfume. So far, no sign of India. I whisked by the baggage claim since I managed to stuff all my belongings into two carry-on bags, which I’m really proud of. That’s 11 days of clothing in one bag, and all my electronics, computer, camera gear and extras in another. I passed though all the check points in record time and I was off to find my tour guide. Ever been to the airport and see those guys, just past baggage claim, that hold up signs with people’s names on them? Well for the first time, I was searching for someone with my name on display.
I found my tour coordinator quickly and I was off to exchange some money before I left the airport. Except, it turns out that I didn’t bring much cash, maybe about $50. Cash is something I rarely use in the United States these days and with all the preparations I neglected a small detail, like money. Well, I’ll just get some money from the cash machine. Except, I had unloaded all my extra cards at home, for safe keeping. I travelled light in the wallet and I basically just had my MasterCard. Somehow, my only form of payment did not spit out any Rupees. Something about a PIN code which I never set up. Oh, well it’s off to meet the driver and head into the city. Other than a need for some foreign currency, the place did not seem to different, yet. Many of the signs are thankfully in English and the people I encountered mostly spoke English. I was introduced to my driver, BJ Kumar, and the tour coordinator handed over all the tickets, papers and documents. Luckily, I had contacted a tour guide from the U.S. and had prepaid for most of my travels, I wouldn’t need much money, at least right now.
BJ Kumar drives a Tata – Delhi, India
The driver started my journey away from this modern, generic place in a late-model, white,Tata automobile, the Indian equivalent to a Toyota Corolla. Soon as I left the airport, a scene that seemed congruent with what I expected from a developing country began to emerge. Any sense of order and uniformity disappeared. What I saw on the road was heterogeneous mix of all manner of conveyances. From people on foot, to bicycles, people powered rickshaws, auto rickshaws, motorcycles, scooters, trucks and of course cars. They all weaved in and out of traffic with the constant honking. The honking of horns were used to inform and not used in anger. They were saying “yes, I’m here”, “behind you”, or “I’m going to pass you”. I think in the first 10 minutes, I’ve heard more horns that I’ve heard in the 20 years I’ve lived in Austin. The few street markings were usually ignored and I saw a distinct lack of traffic signals. First impressions might have you think the Indians are terrible drivers but I’ve come to realize that, in fact, the Indians are fantastic drivers, only a bit crazy and unstructured. They weave in and out of traffic so close to each other but they manage not to touch. Granted, I was only in the country for 5 days however I never saw an accident. I enjoyed the entire experience and felt lucky that I was only a passenger and I didn’t have to drive these roads. I wouldn’t have lasted even a few minutes on the crazy streets of New Delhi. The excitement was a perfect way to boost my energy after the international flight. I frantically tried to photograph the scene that unfolded around my car but alas, either my skill level or equipment was lacking. The combination of the dark and fast movement made it difficult. I all but gave up the notion of a clear, focused, action stopping images. I instead, decided to go for movement and abstraction. The image at the top of the post was blurred on purpose to give a sense of movement and a slightly abstract feel. The one below also has a decent amount of motion blur but I like the angle and the feel of this black and white image.
Rickshaw at Night – Delhi, India
Particularly interesting was a colorful and bright wedding party that paraded though the street. The guy at the end on the horse is the groom. I’m told that late February, with its mild weather, is the perfect time for weddings, I saw several, highly decorated tents that formed the entrances to where these ceremonies and parties are held. Indian weddings can be very elaborate and long. Short ones last 3 days and country weddings can last up to 21 days.
Wedding Procession – Delhi, India
Wedding Tent Entrance – Delhi, India
Everywhere that I went I saw these ubiquitous green and yellow three-wheeled vehicles. I called them Tuk Tuks which is what they are called in South East Asia but Indians called these autos, short for auto rickshaws. I don’t know why but I was really drawn to these things. They looked efficient yet exotic. They are so common in India but totally non-existent in the U.S. I constantly tried to get good shots of these autos, but mostly failed. The one below is one of my favorites. It shows a speeding auto amidst cars and motorcycles and a yellow line that is clearly being ignored by everyone.
Speedy Auto – Delhi, India
Before going to the hotel, BJ offered to show me around the city and stopped at the India Gate. A large triumphant arch, similar to the Arc de Triomphe in Paris, it was built to honor 90,000 fallen Indian soldiers during World War I and the Third Anglo-Afgan War. We parked nearby and walked to the memorial. There was a park surrounding the area and with a large and festive crowd taking a stroll on a nice clear night. This was my first encounter with a large crowd in India. I didn’t know what to expect but the scene was comforting. Street vendors sold snacks and ice cream. Young couples and teenagers took pictures of themselves in front of the arch, using cell phone cameras of course. I had arrived half way around the world and the people acted like they probably do in any other place. The enjoyed each other’s company and the comfortable evening temperatures. I settled down, setup my tripod and proceeded to do what I came here to do. I shot 3 exposures from several different angles with the plan of blending them later into a HDR (High Dynamic Range) photograph. I was shooting architecture, something that I like to do and find relaxing compared to street photography or photography out of a speeding car.
India Gate and Street Vendor – Delhi, India
The image below is one of my HDRs. The golden arch made even more golden with post processing. As I finished the processing of this photograph and the writing of these words, I’m reminded of that first night in India. It was only a couple of hours since I landed and there were so many new things that I had seen and experienced. Writing these entries and snapping these images, hopefully, will be of interest to my visitors. But I think they are also for me. So that my memories of this place do not fade too quickly and I can savor the experience.
Golden India Gate – Delhi, India
This post is part 3 of my travels to India and Singapore, read part 1, Quite possibly a trip of a lifetime and part 2, Around the world in 11 days. continue the story with part 4, Street shooting in Karol Bagh market, Delhi, India.
The photographs were taken with my Olympus E-PL1 with the Panasonic Lumix 20mm f1.7 and my Sony NEX-5 with the wide-angle adapter. Please make sure to click on a photograph to see a larger image and hover over the photo to see the exposure details.
See more images from India on mostlyfotos, my one photograph per day photo blog.
The Sony NEX-5 Auto HDR workaround
Driskill Statue – Austin, Texas (An example of the built in HDR mode)
The Sony NEX-5 and other NEX cameras has a neat built-in HDR mode that makes it easy to create decent looking HDRs. Unfortunately, the user interface around this feature had some issues and frustrated me quite a bit. The good news is I stumbled on a workaround that makes using this feature a whole lot easier for me, so I wanted to share this information with you.
First, a little background. For those of you who do not know. HDR is short for High Dynamic Range photography which combines 3 or more photos of the same scene at different exposure levels to produce an image that give more detail and color than a typical photograph. This popular technique is a bit of a pain to do manually, requiring you to not only get the right settings in camera but requires a lot of post processing knowledge to do well. The NEX’s HDR mode does all this for you, so it is a quick and easy way to make HDRs. Unfortunately, there were a few interface issues that made accessing this mode a pain in the neck for me. Consequently, I didn’t use it as much as I wanted to. I wrote about this frustration in my detailed Sony NEX-5 review. I shoot my NEX-5 in RAW to get the highest possible quality. The built-in HDR function only works in JPEG — you can not even access the HDR settings when you are in RAW mode. Previously, I had so switch from RAW to JPEG, then get into the HDR mode, shoot the picture in HDR, then switch back to RAW again for my regular shots. Later on, when I wanted to shoot another HDR, I had to go through the same cumbersome process. After a while, I just didn’t bother.
So here is the work around. First start in JPEG mode. Click the menu button. Select “Image Size” from the menu. Scroll down to “Quality”. This is where you can set RAW or JPEG. I set my JPEG to Fine, which is the highest quality for JPEGs. Then I set the HDR mode. Hit the menu button again and this time select “Bightness/Color”. Under this submenu, select “DRO/Auto HDR”, and then select HDR. You can also adjust the level of HDR in this mode, which took me a while to find, the first time. Click the “options” button to the left and below the scroll wheel. This will allow you to choose from Auto-HDR to 6EV HDR modes by turning the scroll wheel. Choose the level of HDR you like. You can experiment with the level you personally like. I keep mine usually on Auto-HDR. Now, if you choose to shoot in JPEG all the time, then you are all set. Life is easier to do HDRs since you don’t have to switch back and forth between JPEG and RAW. I like to shoot in RAW, so I switch back to RAW through the “Image Size” menu. Here is the key part of the work around. When you are in RAW and what to take an HDR, just switch to JPEG. The camera remembers that you have set the HDR mode in JPEG. When you are finished, switch back to RAW.
The following “bug” has tripped me up, which probably added to the frustration.. When you are in RAW and you happen get into the “DRO/Auto HDR” menu, if you change the scroll wheel dial at all, even if you hit the cancel button, this takes the camera out of HDR mode in JPEG. If this happens you have to repeat all the steps above to get your camera back into HDR mode. So, as long as you don’t touch the scroll wheel, you are OK and can switch back and forth between JPEG HDR mode and normal RAW mode. I originally programmed my custom button as a short cut to the DRO/Auto HDR feature. This makes it easy to access HDR but also makes it easy to change the setting accidentally which unknowingly took me out of HDR mode. I’ve removed the HDR option off my custom button to prevent accidental changes. I wish I can program this custom button switch between RAW and JPEG but this is not available on the NEX-5.
I played around with a NEX-5n and a NEX-C3 and noticed that they act differently. Unfortunately, while there are a lot of improvements in the 5n, the switching behavior between the JPEG HDR mode and RAW is worse. Unlike the NEX-5, on the 5n, even when you set the HDR mode in JPEG, the act of switching to RAW will make use lose the HDR mode. All is not lost, however. The option button is more flexible in this newer model so that you can program on the buttons to quickly switch between JPEG and RAW. The net effect is that the behavior is different but the user interface pain level is about the same. The NEX-C3 seems to have a similar behavior as my NEX-5, though the options button is not nearly as flexible as its bigger brother.
I hope I explained this well enough so that you can follow along. The Sony menu interface is sill far from ideal but this workaround makes it better. I didn’t get a chance to test all the NEX models so please tell me what your experience is, especially if you have a NEX-7.
Here is a sample of my work using the Sony NEX-5. I’ve posted them on my one-photo-per-day photo blog, mostlyfotos. There are a lot of images so click the << Previous Photo link to see more. You can also hover over the photos to see the exposure information.
Practice and the Zen of Urban Photography
Blue Hour at the County Courthouse – Georgetown, Texas
I practice many different types of photography. You are probably most familiar with my urban landscapes, if you have perused my gallery. I also have taken some portraits, shot some events, dabbled in street photography and acted as mini sports photographer, taking photos of my kid’s soccer game. Each type of photography has a different pace. A different set of techniques are required to successfully capture the best images. When it comes to urban and nature landscape photography, there is a lot of time to sit back and wait. Waiting for the optimal light and color. Unlike some other types of photography, in landscapes you can not control the light or the environment. You have to frame your scene and wait until events unfold, patiently watching for the peak. I’ve noticed that as I get more experienced in photography, I slow down even more and taken in the zen of the place. I was reminded of this recently, as I watched what appeared to be a newbie photographer frantically shoot and adjust settings on her camera. I was calmly sitting there and watched in amazement as she took photographs non-stop of a scene that barely changed. Keep in mind that there was no action, we were both photographing a courthouse at sunset.
I observed this animated scene on the peaceful and historic town square in Georgetown, Texas. Many of my urban scenes are of larger cities and I decided to add a smaller town to my portfolio of urban landscapes. Georgetown is a small town located about 20 miles north of Austin along Interstate 35. I arrived a bit before 7pm and since sunset was at 8:35, I had plenty of time to scout the area. The area of interest is not too large and I spend about an hour shooting the historic courthouse as well as the small Victorian storefronts that form the perimeter of the town square. The time was well spent since I also got to further train my compositional eye with my super-wide lens — a lens that I usually use for these purposes. Right off the square I found an old-time movie theater with some nice lights. Check. This theater will look even better at night. I also mentally noted some nice compositions of the centerpiece courthouse building. However, truth be told, I was there mainly to wait for the best light the occurs just before and after sunset.
Around 8:15, I strolled to a spot on the square that had a view of the courthouse and the coming sunset. A young woman was there with her camera on tripod shooting away. I didn’t talk to her much but I did find out that she was taking a photography course. She was constantly shooting, adjusting the lens and playing with her settings on the back of her DSLR. What fascinated and confused me was why she was going through this frantic pace for nearly 45 minutes. It was a though she was shooting a fashion show or some other action packed event. I setup my tripod, tested a half a dozen different frames of the historic building and settled down for a relaxing wait. Rain has been rare around Central Texas lately and with the worst drought in ages so I knew there weren’t going to be any interesting clouds. Usually without clouds, sunsets are not nearly as interesting. When there are no clouds, the other interesting photograph to make is of the “Blue Hour” which starts around 20 minutes after sunset. The “Blue Hour” which only lasts for around 15 minutes around here is when the sky turns a vibrant and deep blue during the twilight between light and dark. It makes for a great backdrop to urban landscapes. In find that in really large cities with large skylines, a night scene with black skies can also work nicely, primarily because there is so much ambient man-made light. However, in smaller towns and in smaller cities like Austin, I find night, with its black sky, to be really boring for urban architecture. There just isn’t enough buildings that are lit up to make a dynamic image. Hence, I find that “Blue Hour” is the best and last chance to make some interesting photographs of buildings.
During the 45 minute wait, until the ideal blue sky, I peacefully sat there and waited. I took in the calm of the small town. I did shoot a few frames every 10 minutes or so to capture the changing light as sunset approached and passed. But more than anything, I was watching the scene of the maniacal landscape photographer. I was tempted a few times to offer some help or suggestions but she seem too rushed and harried. So much so that I just didn’t want to talk to her. She didn’t seem like she was enjoying the process and seemed frustrated with the situation. To be fair, since I didn’t know her and what she was trying to do, maybe her frantic pace was justified. I don’t think I was ever quite as frantic when I started photography but I do remember that I was not nearly as calm as I am how. Back then, since I didn’t have a good idea of what was going to happen at sunset and “Blue Hour”, I constantly checked my settings and reframed the scene. After some experience and practice, I now have a good idea of what and how I want to frame. I have ideas in my head for the type of image I want to create but I try to keep an open mind just in case something better presents itself. Nowadays, it is a waiting game for the right light and color in the sky. I like the contrast between the man-made, artificial lights and the fading light from nature. As I anticipate the optimal conditions, I begin to take more frames. Maybe once every minute or so. After I got what I think were decent images, I quickly moved to two other locations around the square to capture those places with this deep blue sky. This is where the scouting I did an hour earlier, really paid off. I quickly got another point of view of the courthouse with a statue out front. I also went back to that old movie theater with the nice lights. By 9:30 it was dark and satisfied that I got what I wanted, I headed home.
Note: Please click on the image above to see a larger version.
Going beyond the ordinary with HDR Portraits
Eight and Fets in an Alleyway – Austin, Texas
Readers of this blog will probably know that I use HDR to bring a level of reality or hyper-realty to some of my photographs. Most of the time, I tend to keep the HDR on the subtle side, opting to slightly enhance color, dynamic range or textures. Depending on the subject, I strengthen the HDR effect to enhance certain objects for effect. Usually these objects are shinny which HDR tends to make shinier or old, rusted items which HDR tends to age even more. However, recently, some of my friends and I have thought of using HDR with portraits to create a new and different look.
I can’t claim that combining HDR with portraits is something new. While it’s not common, I know other people have created similar images. Nevertheless, it is something that I have not done before and I thought it would be interesting to try. I’ve done many wide-angle, urban landscape HDRs. Why not combines these gritty urban images with models for different kind of look. My friend, Mike, who I’ve practiced portraits with lately, also seem to be interested in this experiment. Model Eight, as she prefers to be called was also on board. In fact, she was thrilled enough with the idea that she enlisted help from another model, Fets and a makeup artist, Allie.
After running some preliminary tests, I realized that there were certainly challenges to achieve the look I wanted. Creating the HDRs were easy since I’ve done this for a while now, but what would be the best way to add the people into the scene. I wanted an evening shot to catch the nice natural light as well as the man-made urban lighting. Unfortunately, exposures in these conditions are long enough that people tend to come out blurred from movement. Even if the people tried to stay perfectly still, I’ve noticed that shutter speeds longer than about 1/2 second will introduce motion blur. I wanted the models to be crisply shot with the HDR goodness surrounding them. This meant that I would have to shoot my HDR exposures without the models and then blend a separate photo with the models into the scene. Also, with only a few rare exceptions, HDRs of people tend not to look good. HDR tends to give a coal miner look to its subjects, a look most people, especially women I suspect would not appreciate. To make post-processing easier, its preferable to have the exposure of the photograph with the model, look about the same as the middle exposure of a multi-shot HDR. In the photograph above, I shot 3 photographs at -2, 0 and +2 exposure compensation for the HDR. That means, I want to shoot my model at an exposure similar to my 0 exposure compensation HDR image. My HDR photos are usually shot at ISO 100, which made my 0 EV shot 30 seconds long. Of course this is much too long for the models to stay still. I ended up shooting the model shot at ISO 1600 at 1/2 second to roughly approximate my target image. Of course all of this was shot on tripod to keep everything steady and aligned. The HDR processing is more over the top than usual for me, but its was done on purpose. It’s part of creating that wacky hyper-real urban scene that I was looking for.
The other challenge was using a super wide-angle lens. These lens create a lot of distortion, especially around the edges. While it’s one thing to distort buildings, it’s entirely different with people. I’ve generally try to keep the people in the center of the frame, particularly their faces. Distorting limbs, sometimes adds an interesting effect and is definitely preferable (for most people, I imagine) than distorting their face. In the image above, Model Eight’s long arms and legs look even longer than normal. However, because of this type of fun image with her playful makeup, I figured that the distortion adds to the feel of the entire image.
So there you have it. A run down and a quick behind the scenes of my first public HDR portrait. I think there is a real interesting quality to the image and it’s certainly far from the ordinary. The combination of the model’s makeup, the super wide-angle framing, the urban location and the HDR all combine to create a different look. Although it may not be everyone’s cup of tea, I had fun creating the photograph and I think it’s essential to break out of the ordinary at times. I will still shoot conventional portraits but for some people, imagery like this maybe something they prefer. What do you think?
Note: Please click on the image above to see a larger version.
A Visit to Seaholm, a Majestic Downtown Power Plant
Seaholm Power Plant Generator Room – Austin, Texas
Driving into downtown Austin on Cesar Chavez Street (first street) from the west, it’s hard not to miss the large power plant by the river. It’s a solid concrete structure and an under utilized landmark. Non-operational since 1989, it has never generated any power during the 20 years that I have lived in Austin. It does have a bright red sign that adorns the side and some blue accents above the entrances — the only signs of life at this deteriorating urban structure. Photographs I’ve seen of the inside have only increased my curiosity of what is hidden within its aging walls. Recently, I’ve had a wonderful opportunity to take a look inside and photograph its interior for a few hours. This opportunity came about as a result of photographing the Holly Street Power Plant a couple of months earlier. A friend of mine, Therese, with connections to the city heard about my trip to the Holly Plant. After showing my Holly Street blog entry and expressing a desire to have a similar access to Seaholm, I was lucky enough to be introduced to Gloria who works for the City of Austin. Gloria was kind enough to allow myself and a few photographer friends access to Seaholm and even took time out of her weekend to open up the place. What follows are some photographs and impressions of this grand concrete structure.
Architecturally, the differences between Holly Street and Seaholm are significant. Holly is a newer more utilitarian facility made primarily of metal. It appears functional like a warehouse or factory and does not have architectural flourishes. It is extensively surrounded by a maze of metal superstructures and pipes that look complex. It reminds me of a densely packed machine with its guts exposed. The generator rooms is barely visible with all the plumbing that surrounds and feeds the beast. The Seaholm Power plant is clearly from a different era, though surprisingly only built 10 years before the start of the Holly plant in 1960. Externally, it looks like a solid art deco office building with giant smoke stacks connected at its rear. A bank windows in the front and side clearly adorn the main building which is the major focal point of the facility. Much of its complexity is hidden somewhere as if care was taken to make a power plant as beautiful as it can be without losing its function. Walking inside the main generator room is like entering a huge temple — a temple to industry and to the modern world. It was clearly built to impress with its towering concrete walls and ceiling and ample clerestory windows. While the outside is nicely designed, the inside is what really shines in my book, as you can see from the photograph above.
The color palate at Seaholm is more muted than at Holly which has a red-painted floor. However, Seaholm’s concrete creates some excellent texture, further enhanced with my use of HDR (high dynamic range) photography. As usual, I leave my HDR processing on the light side, opting in this case to enhance texture and detail and not dynamic range. I softened some shadows but chose to retain enough to keep an interplay between light and dark. For readers unfamiliar with HDR, it is a photographic process were multiple images at different brightness levels are taken and later combined with software to form a single image. I usually use 3 photographs for my HDR but recently have experimented with combining more images, especially in scenes with a large amount of dynamic range.
Photographically, much of the grander remains, though we were slightly disappointed that the main generators have been removed. Holly street was interesting to photograph since the generators and control panels are still in place. It looks as though it was just closed one day and all the power plant equipment was kept in place. Seaholm is different. The city has planned for years to redevelop this property. Much of the large industrial components have been removed long ago. What remains is the impressive concrete shell that some day will be, hopefully, repurposed for some modern function. In fact, Seaholm has been used for parties during the SXSW events and other large gatherings. While my goal at Holly was to document its machinery and plumbing before being torn down, my focus at Seaholm was to celebrate the architecture and photograph its bones before redevelopment commences. The unexpected treasure at Seaholm is the dark underbelly below the main floor. We’ll start the tour on the main level, which I call the generator room. The photograph at the top was taken far end of this room. We entered the building at other end, near the wall with the bank of windows. You can see the giant openings surrounded by safety rails which once housed the generators. These openings lead to an underground world a couple of levels deep, which we will explore later in the blog.
Seaholm Windows
We entered the building near the bank of windows on the east wall. It was a little after 10am when we started the photo tour and I caught the sun streaming in from the east. With and the band of clerestory windows near the ceiling, the windows throughout the building, the space was pleasantly bright. Unlike the Holly Street Plant, Seaholm has a light and airy feel. I really like the ceiling detail of this building and the grooved channels on the ceiling adds a nice pattern that leads the eye through the building.
Click here to see all my images from the Seaholm Power Plant. You can also click on each of the photos to see a larger version.
Ceiling Detail
The Mechanical Side
The mechanical wall, for lack of a better term, is really simple and clean in this building. You can see the grey stairs and repeating metal structures on the left side. I don’t know if a lot of piping and mechanical structures were removed along with the generators but the place has a really simple and organized feel.
Crossing the Concrete Canyon
Go down a flight of stairs and you enter the concrete canyons that once housed the generators. This metal catwalk spanned some nicely textured concrete pillars. I used HDR to enhance the concrete a bit more than usual. I really like the worn texture and though most people might think of concrete as a cold and impersonal material, when enhanced in this way, I think it takes on a bit of a patina and has the feel of weathered wood. The area is well-lit from above but you begin to see the dark recesses that surround the two level below the main floor. The image below is from the lowest level which I’ve brightened a bit. I was attracted to the light and shadows cast from the concrete pillars with the light that is filtering down two levels. I imagine this space was quite a bit darker when the generators were in place.
The Light From Above
Port hole
Here is another image of the same area framed but through a round port-hole. As you can see the wall has some great details and strange insulation or building materials sandwiched within the concrete layers. The foreground wall was quite dark and the HDR techniques really brought out the details of the wall will preserving the view though the circular opening. I think this is an excellent use of this technique and I believe this is an image that would not be possible without using HDR. The last photograph from down below is the stair case with the red glow. Located on the south-east corner, I saw this reddish glow from the other side. In a mostly monochromatic building, this color really stood out and got my curiosity going. It turned out that the neat color was created by light coming down the stairwell bounced off the red colored floor.
Red Glow
Unlike Holly, where the place was dead silent, Seaholm still had life. There was a persistent hum heard through the building. The lower levels with its many dark rooms, long expanses of graffiti covered walls and strange concrete structures looked like something out of a first person shooter video game. I wasn’t sure if a zombie or alien would pop up from behind the wall. The place really wasn’t scary, at least in the daytime but the lower levels did have an interesting feel to them. I wrote in my Holly blog post that I felt a zen stillness there. Seaholm was more of a study in contrasts. The main level seems like a temple to industry filled with light. The lower level seemed more like a post-apocalyptic bunker, with its massive concrete walls that resembled a bomb shelter.
Going back to the light, I walked up to the second floor that overlooks the generator room. These areas look like they used to be offices. On the south-east corner, there was a light filled space with a view of the new downtown skyline. In the image below, I was able to frame the new 360 condominiums with is the second tallest building in Austin. I like the contrast between the old, roughly textured walls with the light, airily and tall building outside. A contrast between the past and the future? Finally, before ending this photo tour, here are some photographs from the outside of the power plant. The backside of the power plant has several smoke stacks with some associated machinery. Almost none of the metal superstructures that surrounds the Holly plant exists here at Seaholm. A solid concrete path along the roof makes for a nice leading line to the Austin skyline.
A Window on the Future
The Proud Stack
Seaholm Roof
Main Entrance
The front of the plant has two similar door ways with the a bold sign that reads City of Austin Power. The final photo shows the potential of this place and while there is some urban decay, the structure remains strong and ready for redevelopment. I am looking forward to see how it all turns out. There are some ambitious plans for retail spaces, condos and hotels on the property. A new central library is going to be built right next door with roads and pedestrian walkways that will connect the future Seaholm site with the library and the rest of the downtown. Time will tell if these were just grand plans on paper or the bold continuation of Austin’s downtown renaissance.
My Thought Process
Image 1: This first photograph gives a nice overview of the grand central space. It was taken from the westside looking east towards the wall of lights. You can see the large opening in the floor that once housed the generators.
Image 2: As we started shooting Seaholm, the sunlight streamed in through the large bank of windows on the east. I wanted to document the “hugeness” of the space and the neat layout of the windows. I also wanted capture the sun rays streaming into the space. HDR really helps in this kind of shot since the dynamic range is so broad. I was able to record the rays of light, the details in the sky as well the interior space in a single photograph.
Image 3: I really love this ceiling. The grooves that run from front to back really pulls my eye down the building. I also like the repeating patterns of the pillars, roof supports and windows. I purposely created an interesting wide-angle distortion by angling the lens upward.
Image 4: As I moved towards the back of the building, the shadows increased. I like that bright distant window and the shadows that are creeping around the staircase and pillars.
Image 5: This catwalk is located one level below the main level. I like the leading lines of the catwalk and the large concrete hole that surrounds the space. I increased the texture and color to emphasize the character on the concrete walls.
Image 6: At the lowest level, the light comes in filtered through the various holes and between the walls and pillars. There is a balance between light and shadow which I wanted to capture. However, I think the shadows are more important here and that is ultimately what makes this image interesting.
Image 7: I found this hole in the wall and love the contrast between the wall texture and the view within the opening. The circle was used to frame the scene but the highly textured frame itself is also interesting. Again, HDR was used to its fullest in this photograph — a scene in which a conventional photograph would not be able to render as effectively.
Image 8: This photograph is all about the red glow. However, I also like the color contrast of the light coming from above the stairs and the purplish color in the room to the right. I attempted the balance the stairs on the right with the pillars on the left.
Image 9: I shot a different downtown view through these windows but as I shifted my position, the 360 Condos came into the frame. I decided to simplify the exterior by centering the building in the window. I’m also attracted to the texture of these walls and the light which is bouncing around in the room.
Image 10: I wanted to capture the smokestack and some of the exterior machinery at the back of the plant. The super wide-angle distorts the lines towards the center, which I think, makes it look even taller.
Image 11: The roof of Seaholm has some great view of downtown Austin. I used the concrete walkway to create leading lines toward the skyline.
Image 12: This photograph is the only one in which I did not use HDR. I increased texture to create a feel similar to the other photographs.
[Note: Make sure to click on the images for a larger version]
Image Details
I took these photographs with the Canon 7D in RAW with the Sigma 10-20mm lens. I used a tripod for maximum stability and ease of HDR processing. I used Photomatix for HDR creation, Pixelmator for layer blending and Aperture 3 for final sharpening, vignetting and burning and dodging effects.
Images 1,3,4,5,6,10,11: f13, 3 exposures, -2, 0, +2 exposure compensation, ISO 100 at 10mm
Image 2: f13, 4 exposures, -4,-2, 0, +2 exposure compensation, ISO 100 at 10mm
Image 7: f8, 4 exposures, -4,-2, 0, +2 exposure compensation, ISO 160 at 10mm
Image 8: f9, 5 exposures, -4,-2, 0, +2,+4 exposure compensation, ISO 100 at 10mm
Image 9: f13, 3 exposures, -2 2/3,-2/3, 0, +1 1/3 exposure compensation, ISO 100 at 10mm
Image 12: f8, 3 exposures, 1/320sec, no exposure compensation, ISO 100 at 10mm
HDR is a Process, Not a Specific Look
Control Room #1 by atmtx
The Control Room by Van Sutherland
HDR, High Dynamic Range, photography has especially been popular these last several years. It tends to be a polarizing photography topic or technique that either people seem to like or dislike. Making broad generalizations, I find traditional photographers tend not to like it as much while the general public seems to enjoy it more. The point I wanted to make in this blog post is that HDR, while some equate it with a particular look, it really a process or technique. Some maybe surprised to learn that there isn’t one style or look to HDR but there are many variations. HDR photography is the technique of combining multiple images, usually 3 or more photographs taken at different exposures into a single blended image. This is usually done is post-processing though there are some new cameras and even the iPhone that creates HDRs in camera. How these images get combined is part of the skill and artistry and like anything else there are good example and not so good example of this photography technique.
If you have followed my blog or looked at my gallery, you probably know that I use HDR in a bunch of my photographs. While my HDR blending technique has changed a bit over these last couple of years, in general, I tend to have a light touch. I go for a more natural look that does not have super bright colors or heavy textures. This, of course, is my choice. Some choose to dial-up the HDR process to create an image that looks more fanciful. Neither style is correct or incorrect. This is Art after all and it really is up to the artist to execute in the style that they like. The people can decide what artistic execution they personally like better.
I recently went on a tour of the old Holly Street Power Plant, that I wrote about here. One of my fellow HDR photographer friends, Van Sutherland, and I ended up in the control room and shot the photographs above at the same time. He was standing next to me on my left. Although the angle and framing are slightly different, the lighting conditions where identical — it was very dark. I love how, given almost identical conditions, we came up with very different photographs. Much of the difference is due to the HDR processing. This shows how HDR is not a specific look but really a process that people can use to create a look they have in their head. Van does some spectacular HDR photography and I’ve long admired his work. You can see more examples of his work here, on his blog. He has honed his technique over the years to come up with his style. I have also developed a different style over the years. Two styles, very different, both HDR. So if you are already using HDR techniques yourself or want to get into it, I would encourage you to develop your own style. Remember, HDR is merely a process, a way to develop your own look. People who think all HDR looks the same may have not seen the variety that is out there.
Photo Memories of the Holly Street Power Plant
Holly Power Plant, Generators – Austin, Texas
Last week, 6 photographers and I had a rare opportunity to photograph the Holly Street Power Plant. My friend Michael Connell organized this photo opportunity with Austin Energy after an incident that he details here on his blog. The 570 megawatt Plant is located in a residential neighborhood in the east side of town, close to the downtown central business district. It has been operational since the 1960s, primarily using natural gas, and was a significant power source for Austin. Years of controversy and neighborhood opposition finally closed down the plant in 2007 and it is slated for demolition sometime this year. Notwithstanding its tumultuous history, I felt that this was a chance to document a major facility before it is torn down. I’m not a photojournalist, per say, but I felt a bit like one as I spent 2 hours capturing images from both the inside and outside of the facility. Two representatives from Austin Energy, Carlos Cordova and Bobby Gosey were gracious hosts and tour guides. They gave us the history and ins and out of the place and more importantly they were there to keep us safe. Ironically, there is no longer any power at the power plant. There was no electricity to for the lights so all the photographs you see on this post were taken in natural light.
We started our tour in the main generator room. This is the largest and most impressive room and I spend a good part of my time documenting this area. The group split up and while some climbed the exterior catwalks to the top levels of the plant, I decided to stay lower down. I photographed parts of the catwalks and stairs in the exterior skeleton but my interest in architecture pulled me back to the central core. Also, I don’t mind a bit of hight but I definitely did not feel comfortable climbing higher, to the top. With only a hand full of photographers in such as large facility, I felt like, at times, I had the place to myself. There was enough things to see that everyone appeared to focus on their own interest in photography. Some liked closeups of old dials and gauges, others like the rusted pipes and distortion. I had my super-wide lens and wanted to mainly capture the sweeping grandness of the place. There was a zen like silence and stillness to the once noisy plant. Combined with 5 years of dust, dirt and bird droppings, the place was a strange combination of the industrial and urban decay. My goal was the capture the enormity of the place, the neat industrial lines and the stillness that now permeates this once bustling place.
HDR (High Dynamic Range) photography was perfect for the Holly Power Plant and 5 of the 7 photographers on this tour are HDR aficionados. Without any electricity and man-made lighting, it was very dark in places. Long exposures on tripods along with multiple exposures works well for these situations. With HDR, the photographer captures 3 or more images at varying exposures and latter blends these images together with software. It does a great job capturing the range of light that is just not possible with standard photography. HDR also enhances textures so that dust and rust of the plant is accentuated and works well with feel of urban decay. So with tripod in hand, we set out to record bits of the old Holly Power Plant. What you see on this post is my look at this place. I will also add links at the bottom to the other photographers that were part of this most unusual photowalk.
It’s clear that after working 27 years at the Holly Street Plant, Bobby has mixed emotions. I hope these photographs will serve as a reminder of the place he knows well and will disappear in the not to distant future. My thanks to MIke for arranging this event and to the representatives of Austin Energy, Carlos and Bobby in particular, who were both friendly and professional. I feel honored and lucky to be able to preserve a slice of history.
Click here to see all my images from the Holly Street Power Plant. You can also click on each of the photos to see a larger version.
GE Generator
Holly Power Plant, Interior
Westinghouse
Generator Door
Control Panel
I started out photographing the main generator room. The photo as the top of the blog gives you an idea of the size of the place. The next 5 photos above are my attempts to capture the bits of the room that I found interesting. The supports on the walls and ceilings created great lines that, I thinks works well with the photographs. After my first pass in this room, I climb the stairs to the second level where the control room is located. The first photo in this post is the view from right outside the control room.
The control room was extremely dark. All of the light you see came from the band of windows that you see in the photograph. I mentioned to a fellow photographer that this room and the entire facility itself looks one of those old abandoned Soviet era installations. It’s probably the closest I’ll ever get to an old soviet style industrial complex.
Control Room #1
Exit a side door from the control room and you are outside in the superstructure of the plant. The next 3 photos are from this area. There are series of metal catwalks, stairs and an incredible array of valves, pipes and odd technical looking structures. I shot this level and went up another level. This area is probably about 40 or so feet from the ground. The exterior structure went considerably higher and Bobby enthusiastically leading a group of photographer up higher. Not being a fan of heights with open metal catwalks in particular, I decided to stay a bit longer in this area before returning inside.
I took a bunch more photographs of this place and may post more of them in a future, in a part 2.
Pipes
Corrosives
Catwalk
My Thought Process
Image 1: I wanted to capture a bird’s eye view of the entire generator room. This is about 2/3 the length of the room and was take just out side the control room on the second level catwalk.
Images 2 – 6: All of the scenes were taken in the generator room. In my intro, I mentioned how quiet the place was. The zen stillness put me in a mood to create simple images of this room. A lone control panel, A generator with an open door and a large blank wall. The HDR help me to capture the details and control the light in this enormous room. I really liked the leading lines created by the ceiling beams. I think they add lots of texture and interest to the photos.
Image 7: The control room was the most challenging to take. The room was extremely dark — much darker that the image would suggest. The only source of light were the front windows. I did a three exposure HDR but even at 30 seconds the image still came out dark. I did a 4th exposure in bulb mode where I kept the shutter open for 84 seconds. I later used this bulb exposure as part of the HDR. There is a bit of a ghostly feel to the room with the interesting light. Overall, I’m happy with the way this long exposure HDR came out.
Image 8 – 10 : I generally tend to do mildly processed HDRs but I do make exceptions based on the subject. These 3 photos were processed more aggressively than usual to emphasize the texture. The outside catwalk area was full of rusty old structures and shiny pipes. I knew HDR would make the old things look older and the shiny things look shinier. I think the HDR adds more of the industrial feel to these images. The last image, “Catwalk”, was an experiment where I used 6 photographs to create the HDR instead of my usual 3. I’m not sure if it helped but using additional images in a HDR at times makes the blending easier. These situations with pipes and background sky is always a challenge for HDR processing. Halos or bright areas around the structures near the clouds often results when creating HDRs. I did my best to get ride of these effects and I’m mostly satisfied with the results.
[Note: Make sure to click on the images for a larger version]
Image Details
I took these photographs with the Canon 7D in RAW with the Sigma 10-20mm lens. The camera was used on a tripod for maximum stability and ease of HDR processing. I used Photomatix for HDR creation, Pixelmator for layer blending and Aperture 3 for finally sharpening, vignetting and burning and dodging effects.
Images 1,2,3,5,6,8,9: f13, 3 exposures, -2, 0, +2 exposure compensation, ISO 100 at 10mm
Image 4: f13, 2.5 secs, 0 exposure compensation, ISO 100 at 10mm
Image 7: f13, 4 exposures, -2, 0, +2 exposure compensation and 84 sec bulb exposure, ISO 100 at 10mm
Image 10: f13, 6 exposures, -3, -2, -1, 0, +1, +2 exposure compensation, ISO 100 at 10mm
Photographs from my Photowalk mates
Here are some photographs taken by the other photographers that were part of this Holly Power Plant photo event.
Michael Connell on Flickr.
Michael Tuuk image 1 and image 2 on Flickr.
Van Sutherland Image 1 and image 2 from Exile Imaging. Van and I shot the control room at the same time. I love how two people can take almost an identical view of the same place and end up with two very different photographs. There is so much creativity and style differences with HDR processing. Compare Van’s processing with mine. Some people believe that there is only one kind of HDR processing. Obviously this is not true.
Dave Wilson image 1 and image 2 and image 3 on Dave Wilson Photography.
Here is Alex Suarez’s blog post with photographs from the event. Alex while knowledgeable in HDR, generally does not use the technique too often. Looks like he made an exception.
And Finally –tradewinds•> image 1 and image 2 on Flickr. As you can tell Tony has a very different style and does not do any HDR photography.
3 Glorious HDRs of Sleeping Beauty Castle
Sleeping Beauty Castle, Disneyland – Anaheim, California
I think a photographic journey to Disneyland will not be complete without a great shot of the Sleeping Beauty Castle. Though much smaller than the Disney World’s Cinderella Castle, this is the original and it’s still an icon. I took these images on the same night as the photographs of the Abstract Astro Orbitor and my previous post of New Orleans Square. Since my kids were tucked safely in bed, I had freedom to go around the park at night by myself. I started around 10pm, but was busy taking photographs of other attractions (such as the Astro Orbitor) and killing time until the park had fewer people — I wanted to get a clear photograph of the castle without a lot of people standing around. I did find out that late at night, the Pirates of the Caribbean and Haunted Mansion have basically no wait, though the ever popular Space Mountain and Indiana Jones still had considerable lines.
At around 11:30 I headed over to Sleeping Beauty Castle to attempt my long exposure, HDR photographs. Even at this time, there was a steady trickle of people, but it was manageable. Since I was setting up a tripod in the middle of a walkway, I was also conscious of not creating a traffic jam. I ended up taking about 5 sets (3 photographs per set) of photographs of the castle at various distances. Since these were long exposures that lasted anywhere from 10 to 30 seconds each, just taking these 5 sets of photographs took about 10 – 15 minutes. The two images of the castle were the best out of the sets. As I stood further back from the castle, it was harder to take a clean shot without people since many visitors were congregating and taking their own photographs of the Disneyland landmark. Of course the other people had the same privilege as me to take photographs so I feel really lucky that I manage to get the two clean images. I also did end up taking several snapshots of families in front of the castle since a guy with a big camera and tripod is automatically the “expert” photographer. I was happy to oblige, though keeping those point and shoots steady without a tripod is always a challenge, at least for me.
I hauled my big Canon 7D and tripod all the way to California to get several photographs that I imagined in my head — a nice HDR of the castle was one of them. The HDRs were created in the same way as described in my pervious blog post called, The Rich Details of New Orleans Square in HDR. In that post, I explained how and why I take HDR photographs. It’s not possible to capture the level of detail and color in the Holiday lights and get the overall light level of the surrounding walkway with a single photograph. The HDR technique balances the light levels and details more effectively. The 3rd image with the statue of Walt Disney and Mickey Mouse with the castle in the background is a perfect example. A regular exposure will not record that rich golden glow of the foreground statue while capturing the colorful detail of the background castle. A nicely done HDR will seamlessly blend these elements. To keep these images looking natural, I use a “light-touch” in my HDR process. Make sure to click on the image to see a larger version. About the only images I wanted to get but could not because of time and scheduling constraints were the Disneyland fireworks. Capturing the castle in HDR with explosion of fireworks in the background would have been spectacular. Alas, even with time, I suspect the park was way too crowded for me to get a clean shot. Someday, I will return to Disneyland off-peak to photograph that scene.
Sleeping Beauty Castle Up Close, Disneyland – Anaheim, California
Partners, Disneyland – Anaheim, California
My Thought Process
I wanted to capture the castle from a few different view points. My largest challenge was to get clean photographs without a lot of people in the frame. Luckily with long exposures, a person can walk though a frame and as long as they don’t stop, they tend to disappear from the final image. The HDRs effectively brought out the fine details of the holiday lights while still preserving the color. It also enabled me to nicely expose the walkways and the statue.
Image 1: This is one of the first photographs I took and luckily I didn’t get people in the frame. I wanted the walkway to act as leading lines to the castle. Even though this was taken with a super wide-angle, there is little wide-angle distortion in the castle since I’m relatively far away from the building.
Image 2: I used the same wide-angle setting, 10mm, as the previous photograph but this time, since I’m so close, the castle shows a lot of distortion. This distortion is magnified when the camera is not parallel with the ground. In this case, my camera and lens are tilted up to frame the castle which makes the castle look tilted back. If the lens was angled low, then the subject will appear to tilt forward.
Image 3: As I mentioned above, I had a hard time getting a wide shot of the castle since more people were getting in the photograph. I decided to go across the street and capture the statue while using the castle as a backdrop. The HDR processing has really brought out the glow of the statue. This is by design. The HDR process tends to make shiny things shinier and makes old things with texture look even older. In this case, I wanted to bring out the golden glow of the statue while still preserving the color and detail of the castle lights. The HDR worked great in this case.
[Note: Click on the images for a larger version]
Image Details
The photographs were taken in RAW with the Canon 7D with the Sigma 10-20mm lens. The HDR was created using my standard processing using Photomatix, Pixelmator and Aperture 3.
Image 1: f13, 3 exposures, -2, 0, +2 exposure compensation, ISO 100 at 10mm
Image 2: f10, 3 exposures, -2 2/3, -3/2, +1 1/3 exposure compensation, ISO 100 at 10mm
Image 3: f10, 3 exposures, -3, -1, +1 exposure compensation, ISO 100 at 20mm
The Rich Details of New Orleans Square in HDR
New Orleans Square, Disneyland – Anaheim, California
It has been a while, about 2 months, since I did a blog post related to HDR (High Dynamic Range) photography. While it’s true that I’m doing less HDR photography in general (you can see this by looking at my Flickr Photo Stream), I still create HDR photographs once in a while. In the past, I looked for opportunities to do HDR photographs, now I just use this technique when it makes sense. Why take the extra effort to do all that HDR processing and keep all those extra-large photographs, when it is not needed. That said, under the right circumstances, a nicely done HDR can have a magical effect and really bring an extra dimension to an image. My processing tends to be subtle but I believe the small details can enhance a photograph and give additional depth. I decided to apply my HDR technique to a scene I shot in New Orleans Square in Disneyland. Hopefully, you will agree that there is a different look and possibly more realism in this image.
High Dynamic Range photography is a technique where multiple images, usually a minimum of 3, are combined together in post-processing to create a photograph that appears to have more dynamic range. It is effective in scenes that have a very wide range of light levels. When light levels are varied enough that one photograph can not effectively capture the full range of dark to light in the image, HDR can be used to capture this range of light. The HDR technique will brighten dark areas and darken the bright parts to fit them into a single photograph. The risk in HDR photographs, however, is the possibility that the dynamic range is lowered too much and the image becomes too boring since the light levels become too narrow. While some people I know take anywhere from 6 – 10 images, I keep things simple and usually take only 3 photographs of a scene. My exposure range is set from -2EV to +2EV (EV=exposure value, also known as a stop) unless the scene is unusually bright or dark where I would shift the exposure range up or down 1 stop. I continue to use Photomatix for my HDR blending but Nik Software’s HDR Efex Pro is also getting popular.
I decided to include my three original exposures that I used to create the HDR above. Make sure to click on each of the photographs to see a larger version. You can see that the final image at the top of the post has brightness levels similar to my 3rd exposure below, however, it does not have the harshness in the bright areas. I believe, overall, it has the feeling of the first exposure but with enhanced detail, brightness and color. You can see the contribution of the 2nd image below by looking at the store interior on the right side. The store details are too bright and blown out in the 1st and 3rd images. I did some manual blending of the second image to get this effect. This brings up an important point about doing HDRs. For most serious HDR photographers, using Photomatix is just a first step in a several step process. Each person has a different process to create their final image but it is usually more than doing a quick image blending using some HDR software. In my case, after I create the initial HDR in Photomatix, I use Pixelmator to blend in parts of the original images into the Photomatix created HDR image. This, I believe, is part of the artistry of HDR. Each person has their typical settings in their HDR software as an initial starting point, but they can greatly augment this by their blending techniques and other post-processing software. After the layer blending in Pixelmator, I use Aperture 3 to do final sharpening, color correction, contrast and saturation changes. I’m planning to give more details about my HDR technique in a future blog post, but hopefully this will give you a quick look at what I do to create an HDR. The entire process takes about 20 minutes for me. It can take longer depending on the complexity of the image and the amount of fancy layer blending that needs to be done. The image above was straight forward and took about the average length of time.
Exposure 1, 0 EV
Exposure 2, -2 EV
Exposure 3, +2 EV
My Thought Process
What makes a successful HDR photograph is the same as any other photograph. You have to have an interesting subject, framed well and have visual cues that will lead the eye of the viewer. HDR can enhance the look of an image but I believe this technique by itself can not change a weak photograph into a strong one.
What attracted me to this scene is the warm colors, the richly detailed architecture and the festive Christmas decorations. A slight curve of the street, the leading lines and the brightness inside the frame helps pulls the viewer into the scene. I also like that the shadows and the dark path at the front of the scene adds a bit of mystery. The HDR has nicely added details to the photographs but still maintains the contrast between light and dark. If the entire scene was the same light level, I don’t think the image would be as effective.
I originally shot this street from the other direction but I didn’t like it as much. The street did not have a focal point and the composition looked weaker. I prefer the image displayed above since there is a building at the end of the street that acts as a visual destination. The structures on the left and right roughly balance each other. A stronger foreground element might make this a better composition but having the varying light levels on the street adds a bit of interest.
[Note: Click on the images for a larger version]
Image Details
The photographs were taken in RAW with the Canon 7D with the Sigma 10-20mm lens. The HDR was created using my standard processing that is describe above.
Image 1: f13, 3 exposures, -2, 0, +2 exposure compensation, ISO 100 at 10mm
A Photo Excursion to the San Antonio Missions
Mission San Jose and Canon 7D – San Antonio, Texas
This past Monday, I had the day off so I decided to go on a photography excursion to the San Antonio Missions. I figured that a weekday would be less crowded and it would be easier to take photographs. My friend Steven, also an avid photographer, joined me on the 1 1/2 hour drive down south from Austin. We arrived at our first destination around 10am and as hoped, the crowds were sparse so we enjoyed a nice leisurely day of photography. There are 5 missions in San Antonio of which the Alamo is the most famous and they are all run by the US National Park Service. We opted to bypass the Alamo and go directly to the less well-known missions. The Alamo is, I believe, the most visited site in Texas so it’s always very crowded and they do not allow any interior photography. First stop, Mission Concepcion, the closest mission to Austin after the Alamo.
I brought two cameras with me on this trip. The Canon 7D, my primary camera, had the Sigma 10-20mm super wide-angle lens mounted. I also brought my brand new Sony NEX-5 with the 18-55mm kit lens – nice and light, 2 cameras with only two lenses. The NEX-5 is so small, it’s about the size and weight of some of my Canon lenses. The great thing about having two cameras is that I don’t have to change any lenses in the field. It’s both quicker and easier to capture images and reduced the chance of getting dust into the camera. My general plan was to do my high-resolution, wide-angle photographs with my 7D and do a bit more free form stuff with the NEX-5. I was also planning to do some HDR photography with both cameras to see how they compare. For this reason, I actually brought two tripods. My tripod unit I use on my 7D as well as a tiny table-top tripod for the Sony.
I just finished processing all the photos from the trip and I’ve added a small sample from both cameras. I took loads of photographs and I’m pleased with the images that I have created. One thing I discovered, I can’t tell the difference between photographs I took with the 7D and the NEX-5. I found that I needed to go into my Aperture 3 library’s EXIF information to see which camera I used. Sure the 7D has higher resolution and more detail and the colors are a bit different however, after I post-process the images and view them in my library, they look about the same. This is great news since I effectively have a small second camera when I do my “serious” architecture and landscape photographs. I purchased the Sony primarily as my family camera, its nice to know that I can use it for so much more.
So here is a smattering of images I took that day. Try to guess which one was taken with the Canon or Sony. The first one, at the top, is an easy one to guess. As always, you can click on an image on my blog to see a larger version. The answers are at the very bottom of this blog post.
[View all of my images from the San Antonio Missions]
Interior Curves of Mission Concepcion – San Antonio, Texas
Mission Concepcion Towers – San Antonio, Texas
Mission Espada Entrance Detail – San Antonio, Texas
Arches of Mission San Jose – San Antonio, Texas
My Thought Process
I wanted to use both cameras to capture the many details of these old historic sites. There are so many rich details in these old structures that it was very enjoyable to make images. I wanted to capture the texture of the of the exterior stonework as well as the peaceful interiors. I also attempted to change my vantage point to add some variety to my images.
Image 1: The golden, evening light was perfect, casting its warm glow on Mission San Jose. I was taking photos with my 7D and thought it would be fun for the blog to include a behind the scenes look at my usual setup. Nothing too exciting but it nice to have context once in a while. My tripod, pictured above, is a carbon fiber Induro C014 with a Manfrotto 484RC2 head. The combined weight of both the tripod and head is just a touch over 3 pounds. It’s very light and I bring it almost everywhere with me. This setup is steady enough for my wide-angle lens but its is not robust enough to shoot long exposures with my Canon 70-200 F4. It works great for me right now since I wanted maximum portability and light weight. Photograph taken with my NEX-5.
Image 2: The interior of Mission Concepcion was beautiful and subdued. It was elegant and not gaudy. I wanted to capture the wonderful curves of the arches and dome. It might have been easy to guess that this was taken with my Canon 7D with a super-wide lens. A super-wide lens adds distortions that stretches the depth of the image. It emphasizes the curves and increases the dramatic look.
Image 3: The towers of Mission Concepcion were isolated using a longer zoom. I used the Sony NEX-5 to zoom in and reduce the visual clutter of the surrounding walls and trees. A wide-angle would give an entirely different look that I believe would not work as well in this case. I wanted to capture the two towers and the dome. I think it has an old world, almost European feel.
Image 4: The entrance of Mission Espada was my favorite. Its small, intimate scale along with the ornate shape and stone details were fantastic. I wanted to balance the simple cross with the doorway. Though this photograph could have been taken with either camera, it was taken with the Canon 7D.
Image 5: The arches of San Jose is my favorite part of this mission. It’s located on the backside of the church. We were there at the perfect time towards the end of the day with the golden light. I wanted to capture the repeating elements, the arches and the shadows. The lower point of view, I think, adds some more interest to this photograph. This is an HDR image taken with the Sony NEX-5. I used my small table-top tripod to take 3 photos with -2, 0 and +2 stop exposures. Unfortunately, since the Sony does not do a 2 stop bracket (it only does 1/3 or 2/3 of a stop), I manually adjusted the exposure after each shot.
[Note: Click on the images for a larger version]
Image Details
All of the photographs were taken in RAW with the Sony NEX-5 and the Canon 7D. There were post processed using Aperture 3. I mainly added sharpness, increased color saturation and changed the white balance. The HDR was created using my standard process of using Photomatix for image blending, Pixelmator for layer blending and Aperture 3 for final adjustments.
Image 1: Sony NEX-5, f4, 1/500 sec, no exposure compensation, ISO 200 at 23mm
Image 2: Canon 7D, f13, 6 secs, no exposure compensation, ISO 100 at 10mm
Image 3: Sony NEX-5, f13, 1/250 sec, no exposure compensation, ISO 200 at 35mm
Image 4: Canon 7D, f13, 1/20 sec, no exposure compensation, ISO 100 at 20mm
Image 5: Sony NEX-5, f11, 3 exposures, -2, 0, +2 exposure compensation, ISO 200 at 18mm
San Antonio Airfest – The B-52 Bomber
B-52 Bomber – Airfest, San Antonio, Texas
Last Sunday, I headed down to San Antonio’s Lackland Airforce Base for the 2010 Airfest with a couple of photography friends. We started at 7:30 from Austin and got to the Air Force base early — early enough that I had some time to take some images of the planes on display before the air show started. From the start, I wanted to take two type of photographs. Of course I wanted to get action shots of the airshow itself and for this purpose I brought my Canon 70-200 F4 IS lens. I also wanted to take wide-angle images of the various aircraft with my Sigma 10-20 lens. I also brought a tripod for when I wanted to do some HDRs of the stationary planes.
This is the first time I attended an air show and I had a great time. I was told that as air shows goes this is a pretty large one. San Antonio is a big military city and they have these airshows every year, however, they alternate between two air bases, Lackland and Randolf. While there were planes of various sizes and vintages, I was draw to this beast of a plane displayed above. It’s the old B-52 bomber. While it’s not the newest technology in the US air fleet, what it lacked in futuristic styling, it made up it with its physical size. An Air Force officer mentioned that its wingspan was wider than its overall length. The image above was my attempt at capturing this huge aircraft.
I was also drawn to the engines on the B-52. The had a slender shape and nicely integrated into the wing. Instead of being on some huge pods that hung off the wing, these engines looked comparably sleek on this large plane. Here I have two views of the engines — from the font and the rear. I used the distortion of the wide-angle to make them larger and more dramatic. Wide-angle lenses makes the distance from front to back larger than normal so these engine look even more stretched out.
The first two image were taken as single RAW images. After looking at my histogram, the dynamic range was not too large so I figured a simple RAW file will give me enough range. No need to do a time-consuming HDR image, blending multiple exposure together, if I don’t need it. Also doing HDR images with cloudless skies can be very challenging. The HDR process tends to create halos, discolored white areas, around objects which, in my opinion, makes the image less desirable. As part of my normal HDR processing, I blend in one ore more of the original image into the final HDR image to get rid of any of these halo effects. These are more difficult to clean when there is an even blue, cloudless sky. For this reason, I happily do straight forward single RAW image, when I can.
In the 3rd image, the photo of the engine from the rear, I wasn’t so lucky. Because of the different light direction, there was increased dynamic range. A single RAW file would not be able to capture the entire range of detail. Therefore, I opted to do an HDR. Also I knew that an HDR will greatly enhance the shine of richness of the metallic finish that was visible from this angle. The clear blue skies made processing more of a challenge but I did my best to clean any obvious halos around the engine.
[View all of my images of the Air Show]
My Thought Process
I wanted to capture the enormity of the B-52 bomber. I also purposely used the distorting properties of a super wide-angle lens to make it seem even larger. In the first image, the front of the fuselage looks even longer and the wings seem to be pushed back even further away. The engines seem larger and longer also with this lens. The rear view of the engine has less wide-angle distortion since I zoomed in. In this case, I emphasized the engine detail, rather than its size. I wanted to capture the neat curvy details. My ultimate goal was to capture aspects of the plane that looks a bit different from the norm.
[Note: Click on the images for a larger version]
Image Details
The images were taken with a Canon 7D with the Sigma 10-20mm lens on a tripod. The first 2 images are single exposure RAWs which were processed with Aperture 3. I increased the color saturation, sharpened the image, lightened shadows and recovered some highlights. The 3rd image is a HDR image. My standard HDR software process includes Photomatix to merge the 3 images, Pixelmator to blend parts of the original image to the HDR image. And as a final step, I use Aperture 3 to sharpen and add color saturation.
Image 1: f13, 1/100 sec, no exposure compensation, ISO 100 at 10mm
Image 2: f13, 1/50 sec, no exposure compensation, ISO 100 at 10mm
Image 3: f13, 3 exposures, -2, 0, +2 exposure compensation, ISO 100 at 20mm
