DIFFERENT WETLANDS, DIFFERENT SMELL

Tauerwiesenteich, near Förstgen, Saxony, Germany,

Nikon Z6II, Nikkor Z 24-70, f/4 S, Panoramic image created from 4 single photos,

This photo is best viewed at a computer. Click on the picture for a larger image on screen.

No, this is not any of the backwaters along the Upper Mississippi River here in Iowa. A week ago, back in my home town Bautzen, Germany, I had the chance to make a short trip to the biosphere preserve ”Upper Lusatian Pond and Heath Region”. This area stretches to the north of town, away from the mountains, and is a mix of woods, heath, wetlands, agricultural land, and includes 240 ponds. Many of them are used to raise fish. One of the treasures in the preserve is the high variety of plant and animal species. This all happens in harmony with agricultural and fish farming.

Today, over there, they received the first snow in the ”Upper Lusatia” (so did we here in Iowa), but a week ago some fall colors were still present in the woods. An observation tower that overlooks this part of the wetlands was used as a shooting platform. A single image seems not to do justice to the wide view from the tower and therefore I took five overlapping photos. I used four of them for the final image and stitched them together in Adobe Photoshop. This used to be a time consuming, sometimes tedious task but with today’s computer power and state-of-the-art software capabilities it is only a matter of a few seconds to obtain the panoramic view.

I love it here in the Driftless Area along the Upper Mississippi River Valley, with its deciduous forests and wildlife, but I definitely miss the smell of resin from pines and mushrooms in abundance, as it was present in my old stomping grounds a week ago…

FROM THE ARCHIVE: BOWMAN LAKE, GLACIER NP, MONTANA

Bowman Lake, Glacier National Park, Montana, 2008

As I reorganize my photo library during the winter I come across some pictures that trigger great memories from the time they were created. This one is from September 2008. We had pitched our tent at Bowman Lake in Glacier National Park in Montana. A walk along the lake, with the camera on tripod over my shoulder in the morning, was the first attempt to capture some of the endless beauty Glacier National Park has to offer. Clouds and fog over the lake were lifting and the diffused sun showed up above the mountain ridge.

Only three pictures from that walk in the morning were kept in the archive but due to the lack of knowledge I probably missed a lot of opportunities. My post-processing skills were also still at a beginner’s level at that time and obviously one of the reasons I didn’t touch the file for almost fifteen years. Luckily from day one, since a DSLR camera was in the photo bag (in April 2007), I shot every single image as a RAW file, means all the data are lossless “conserved”. In addition post processing software has evolved tremendously during the last fifteen years. Taking an old photo like this, tweaking and processing it with the latest tools is fun and allows us to share photos, we maybe would not have considered at the time right after they were captured in camera.

So, what was done here? The gray in the sky overpowered all the colors and took a lot away from the scene as I saw it. It was important that the highlights in the sun and reflections of the sun were not blown out and would render in a white “blob” in a print on paper, or just on the screen of the computer. Although the photo was shot at ISO 100, I still used Topaz DeNoise AI for further noise reduction. This fantastic software also does a great job for the basic sharpness every RAW file needs to undergo for a final sharp image. Subtle fining tuning of vibrance, contrast, highlights, and shadows, most of it locally in Adobe Camera RAW with its relatively new mask features, has led to the final image.

COMPROMISE

Moonrise over Green Island Wetlands, Iowa, Nikon Z6II, Sigma 150-600mm / f5-6.3 DG OS HSM S, FTZ adapter,  @ 340mm, 1/1000s, f/8, ISO1600, 4 images merged in Adobe Photoshop

Last Saturday the moonrise was less than half an hour before sunset. While I was out in the Green Island Preserve, hoping to get a glimpse on some Short-eared Owls during dusk, the almost full moon illuminated the landscape, with a little bit of light left from the sun that had just disappeared behind the horizon line minutes ago. Unfortunately no owl showed up this time. An ISO setting of 1600 would still have allowed to freeze some owl action at about 1/1000s but some luminance noise in the picture was inevitable. The trick was to shoot 4-5 subsequent pictures while handholding the long lens. Later at home, in front of the computer, the 4 pictures were merged (stacked) in Adobe Photoshop into one image. Since luminance noise is randomly distributed in each picture, it would disappear in the final photo. I liked how the vertical lines of the tree trunks at the bottom were emphasized, but overall the impression of a dreamy landscape was still left. Shooting this from a tripod is probably the better way to do, but how would I have caught a Short-eared Owl in case I had seen one? Photography is often about compromise…

ON THE LEARNING CURVE

Nikon Z6II, Nikkor Z 24-70, f/4 S lens  @ 66mm, 1/10s, f/8, ISO 1000, handheld

When I work on pictures like the one above there is usually one out of two reasons behind it. It is either testing a new piece of gear that made it into the camera bag or I try to learn about a new post-processing technique or software feature. At this time it was for both reasons.

Let me start with the gear. I finally made the step into the mirrorless camera world with the purchase of a Nikon Z6II camera with the fantastic Nikkor Z 24-70, f/4 S lens. In addition the Nikon FTZ adapter allows to use all my older F-mount lenses on the new Z-mount of the mirrorless camera. Circumstances of the purchase were in my favor (I traded some older lenses in) and so it is an early Christmas gift that gives me now the chance to test and learn about the new equipment ahead of the holiday.

On the software side, Adobe had introduced new masking features to Lightroom and Camera RAW in their latest update. I’m familiar with masking techniques in Photoshop but having some of them now available in the RAW editor (like Lightroom) makes it for many photographers less time consuming and easier to do selective editing in their images. So far I like it a lot and trying it out with photos from a new camera doubles the fun.

I provide quite often operator training on machines in the print & finishing industry and I know from experience many people do not like to read manuals. As a result, some will never get to the full potential the equipment has to offer. I try to be not that person and work my way through the manual with a new camera. Even if many things are the same or at least similar on a Nikon camera, I think it is about mastering the new features that come with improved technology. New focus modes, higher shooting speed, better high ISO handling, and an Electronic Viewfinder (EVF) are only a few of the new features that got me excited about the new Z6II and I hope I can adapt my workflow quickly and don’t have to think about it anymore during shooting after a while.

A German Rolling Stone magazine with the title image of the late Charlie Watts was on the table. I poured a glass of port wine in a tasting glass as my subject and lined it up with the elements on the carpet in the background. Just playing with autofocus response and higher ISO values. In Lightroom I darkened the foreground, brightened Charlie’s face, and worked with the shadows on the glass, all on separate masking layers. On the turntable played a record of the Rolling Stones… Reading the manual doesn’t have to be boring!

Nikon Z6II, FTZ adapter, Sigma 150-600mm / f5-6.3 DG OS HSM S,  @ 600mm, 1/800s, F/8, ISO 400, cropped to DX dimensions

The FTZ adapter arrived a few days later and I was really excited about how the Z6II would perform with the long Sigma lens. Last weekend I spent some time on the front porch, watching woodpeckers and other birds. There is no verdict possible in such a short time but I was impressed about sharpness and focus tracking on a fast moving bird. More testing has to be done…

Nikon Z6II, Nikkor Z 24-70, f/4 S lens,  @ 70mm, 1/320s, f/4, ISO 100

The woods here in the driftless area along the Mississippi River are not always attractive at this time of the year without snow on the ground. But the low “winter light” can still make a difference. This image was made during a short hike in the Swiss Valley Nature Preserve last Sunday. I found a spot with almost no dead wood and branches on the ground and as the sun came briefly through the clouds, well I had a photo that tells a story about the quality of that “winter light”…

TRYING ‘SUPER RESOLUTION’

Peregrine Falcon, Bellevue State Park

Before someone gets excited, this picture of a Peregrine Falcon was taken five years ago below the rockface at Bellevue State Park. I drive by there any time on my way to or from the Green Island Wetlands. There is a nest box mounted to the rocks that has been used by peregrines before. The last time I saw a bird was in 2019. Unfortunately I haven’t spotted a falcon this year yet. Maybe I haven’t spent enough time and left always too early…?

The reason I dug out this image from 2016 is the new ‘Super Resolution Feature’ in Adobe Camera RAW. It allows to enlarge a low resolution photo to a resolution four times its original size. It doubles the horizontal and vertical resolution. I tried that with a few older pictures already to see what is possible and I have to say I’m pretty impressed how the software boosts the apparent resolution, powered by machine learning, and enhances the details.

How can we use this technology to our advantage? If your current ‘state-of-the-art’ camera isn’t your first digital camera, you probably have older photos in your library that were shot with a 10, 6, or even 3 megapixel camera model. So the 3MP picture can become a 12MP version. This will allow much larger prints or you can crop the picture much more if you really need an enlargement of an important detail in the shot. Don’t take me wrong, I’m still an advocate for GET IT RIGHT IN CAMERA! However, we all have taken pictures that didn’t turn out perfectly sometimes, but contain valuable memories for us.

Back to the Peregrine Falcon. The bird was high up in a tree and there was no way to get even a foot closer. I had the lens at 600 mm focal length with the camera set to DX mode, which results in an angle of view that is equivalent to a 900 mm lens. The falcon was still only a small part in the photo. It was the first time I ever saw and photographed a Peregrine Falcon, a moment I wouldn’t forget. With the new ‘Super Resolution’ I was able to crop the photo and bring this memory back and share it with you.

If you like to read and learn more about this feature and how to use it in combination with Adobe Lightroom, here is the link to a great article that has a lot more details: https://lightroomkillertips.com/how-to-take-advantage-of-super-resolution-from-lightroom-classic/

10 YEARS

Petrified Forest National Park is only a small part of the Painted Desert. From here goes the view over the seemingly endless badlands of the desert. (If you view this photo on a computer, click on the image for a wider view.)

This week marks the 10th anniversary of my blog. February 5th, 2010 I posted a photo from Cerro Gordo, an old miners ghost town in the Inyo Mountains, California. Much has happened since but the blog was always about “Nature and Photography”. I wanted to tell the stories behind some of the photos and by writing about it, also improve my English language skills. As I evolved as a nature photographer over the years my focus shifted more and more towards the goal of creating awareness about the nature, animals, and landscapes that surround us. I still believe a storytelling photo or blog post can help to create attention for conservation and protection needs of our natural heritage. And yes, it is still fun to use a camera and try to make a good image, even if the attention span for a photo in social media seems to drop a little more every year.

Well, today I tried something new. This is a photo from my recent trip to Arizona. The panorama is stitched together from 6 handheld photos in portrait orientation. A few years ago this would have been a tedious task in Photoshop and without using a tripod, good results were not necessarily guaranteed. Using Adobe Lightroom Classic these days makes the process of merging the photos a breeze. It took less than a minute until the panorama was on the screen, ready to be finished to my taste. Almost 15,500 pixels on the long side will allow to print this image 60” (~1.5 m) wide without any loss of detail.

I like to thank all friends and readers of my blog for the time they spend here. Your encouragement and support keeps me going.

FOLLOWING THE CURVE (PART 2)

If this looks familiar you must have visited my blog a few days ago. Today I tried the same image as a black and white version. I had this in mind when I took the shot but later at home, in front of the computer screen, the play with the color contrast appealed to me as well. Now, with both versions on hand, I think the monochrome version supports the graphic impact of this photo better. The Z-shaped curve of the clouds and the edge of the field are better pronounced.

As much as I like the relativ new B&W presets in Adobe Lightroom Classic, for the finishing of this image I used the well trusted NIK Silver Efex Pro 2. In Lightroom I started with the same Camera RAW settings as for the color version, opened the photo as a Smart Object in Photoshop, and finally applied NIK Silver Efex Pro 2 as a filter. I still love the way how global and local adjustments interact with each other in any program of the NIK Suite. The final touch was made with a subtle dodging and burning layer in PS, mainly in the lower half of the photo.

WORKFLOW FOR LANDSCAPES

Mississippi River, Dubuque, Iowa --------    

It was quiet here in the blog for a week. We had good friends from Germany visiting and although the camera was always with me while we showed them Dubuque and the Mississippi Valley, there was no time to write a new blog post.

Thursday evening we went for a cruise on the Mississippi River, followed by some beer and food on the deck of “Catfish Charlie’s”, a popular restaurant at the river. I could not stay in my seat when the setting sun put some magic on the clouds and boats in the marina… 😊

For this photo my usual landscape post process workflow was applied to the RAW file. I start in Adobe Lightroom for small corrections of the shadows and highlights if necessary. Many landscape photos benefit from the use of the Dehaze slider and sharpening and noise reduction are of course mandatory. If necessary “spot removal” is applied to get rid of any spots from sensor dust in the camera. I than open the file in Photoshop as a Smart Object, a layer that has the RAW data embedded. This allows me to make changes at a later time in case I change my mind about any previous adjustments. The NIK Color Efex Pro 4 plug-in is still my best friend when it comes to romance the image. Most of the time I enhance the tonal contrast, color contrast, and darken the edges of an image slightly. There are tons of filters in CEP but I only use what benefits the photo. It is easy to overdue things. 

Google, who owns NIK, has recently announced that they will not longer support this product. With other words it may stop working when a new operating system comes out or Adobe makes changes to their software. This is the reason that I currently test Macphun’s software Luminar. I use it the same way as the NIK collection, I apply it as a filter to my smart object. This is a non-destructive way to work with the photo and if I want to make changes at a later time, I can always revert to the original file and settings. Many other photographers write good things about it and have already replaced the NIK plug-ins with Luminar.

The last step in my workflow is “border police”, the removal of anything around the edges that distracts from the subject, like a small branch sticking in from the side or a piece of paper that is just an eyesore in the photo. This all sounds like a lot of work for anybody who is new to post processing but usually I do not work longer than 5 - 10 minutes on one of my landscape pictures. The trick is to work with presets that I have created or copied from other photographers. I use them in Lightroom, Photoshop, and with the NIK software. Luminar is new to me. It comes with a number of presets but finding the right settings for my own photography may take a little time...

STITCHING A PANO TOGETHER

Click for larger image! --------

We had a dull, dreary, and rainy day and as a result no new pixels made it onto the memory card today. Not a big deal and it was a perfect time to browse through older images and clean up the photo library this evening.

During my recent visit at Mono Lake on the east side of the Sierra Nevada I made a few attempts to shoot some panorama images. As mentioned in an earlier post, it was extremely windy that day and so I shot handhold the whole time. I remember my first attempts to make a digital panorama, about 8 - 9 years ago, were a nightmare in post process. Thanks to the amazing software capabilities of Adobe Lightroom or Photoshop (I used Lightroom for this photo) it is really a breeze to stitch several photos together for a panorama these days.

So why even doing it? On a website, like this blog, a panorama looks most of the time tiny, depending how big your computer screen or mobile device is. It is the printing that makes all the difference. This picture was made from four photos. The content needs to overlap a little but at the end it led to an image with over 12,000 pixels on the long side. This allows to make a print 40 inch wide (~ 1 meter) or even larger without any loss of detail.

RETRO AND CLOUDS (AND SOME FINISHING THOUGHTS)

Orlando, Florida

Looks like vacation again, doesn’t it? No, I just returned from GraphExpo, the annual trade show of the printing industry in North America. This year it was for the first time in Orlando, Florida. Attending the show as an exhibitor does not leave much time to enjoy the city or visit any of the big entertainment places, like Disneyland or SeaWorld.

Busy places like Orlando are anyway not my cup of tea and I’m definitely not a fan of the heat and humidity down in Florida. But there is one weather related feature I really like. Clouds and giant thunderheads showed up every day and this can always lead to some interesting pictures. The photo was made through the glass of my hotel room window in the Cabana Bay Beach Resort - Universal Orlando, which features a retro theme that takes you back to the 1950’s and 60’s. 

These were not the most impressive clouds we saw, but I like how the twilight goes together with light and colors of the hotel. The RAW file was developed in Adobe Lightroom and afterwards the photo was finished as a smart object in Adobe Photoshop, with some filters of Google’s NIK collection for tonal and overall contrast applied. Usually I do noise reduction in Lightroom if necessary, and that works pretty well for me. Shooting with ISO 500 and through the thick glass of a window created more noise in the picture than I like. As a remedy I used NIK’s Define 2 noise reduction filter and that took care of the problem.