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Discussion in 'Shiny Things' started by NikonsAndVStroms, Feb 25, 2010.
1/1000 second shutter
f 5.3 kit lens
focal length 165
processed in Lightroom 4
so....I'm in the pits at the Dallas SX this weekend. Guy walks buy with enough money in Nikon product hanging off him to buy BMW. Like a 5 series...:huh
he's got a D3, a D3S, and a D4. A 24-105 or there abouts, I assume F2.8, and a 300 prime F2.8 and a 200 prime F2. This boy was loaded for bear. Chatted for awhile and asked about the D4, the odd card arrangement, says he's using the Sony card because he stuck the Sony card in the CF slot and bent a pin, but he's got a 32 gig sony card which is plenty as he shoote jpeg.
really I asked, I though shooting RAW was another hill I needed to climb.
he basically said jpegs are practically as good, they've been blown up to billboard size, and RAW is for if you shoot and fuck up a lot then there is more flexibility in fixing it, or words to that effect.
in other words he doesn't shoot raw and doesn't lose sleep at night because of it..
just thought I'd throw it out there...
and throw one up from the Dallas SX.
I think I need to see some more of this subject matter to give a proper opinion
As for RAW VS Jpeg I used to shoot lots of Jpeg for situations like motorcycle races due to card size limitations. If you do this the big thing is getting the Jpeg settings close to your ideal. But now with 32GB cards especially with the D3/4 you have more than enough room so that advantage isn't nearly as clear. And with programs like lightroom you make a base development profile and just put it on all of em. If the lighting changed for awhile you'll have that latitude to fix the exposure.
The vignetting is pretty strong, I'd ease it in so it's more subtle.
But you picked a hard subject with this one, the snow was exposed for middle grey so ideally you'd want that to be closer to white. But looking at the bike some parts are already close to being blown out so doing so would really do a number on it. The first question is there enough there to make the snow lighter and have it look natural still (and not something that has just been pushed a good amount) and if there is you have 2 options One is fully in lightroom where you just do a mask over the rider or background to set a different exposure. The other and what I'd do is to export 2 images into photoshop and then cut on part out leaving
I know that sounds like a good bit of work but think of it this way, back in the day you'd have to do a print, cut out the rider, attach that cut out to a thin wire (which you hope doesn't show much, otherwise that's even more work), expose the print for the rider, then move that stick back and forth slightly to slightly feather in the dodging.
As for the composition the rider is pretty centered and I don't know if static is the right word here but it could get some more movement to it. If you did it landscape instead of portrait and put the rider all the way to the right you could get a lot of that tail really showing the movement. Now if the tail isn't long enough feel free to crop it down like it looks like you've done here.
I feel this is a good starting point, if you could camp yourself out on a corner like that and just experiment with different compositions that would be ideal. I haven't shot ice racing before but the idea I gave with the tail of snow going up looks great but also is a standard go to. If you just mess around you might find that doing X could look really cool and have a totally unique image.
I'll do a write up later (gotta start prepping for a shoot so I don't have the time I'd like to spend on it) but a quick technical question, how long was that exposure :eek1
Also that metering was pretty damn good, a little longer and if you could ignore the star streaks it would look like daytime. But it hit the snow for middle grey, not ideal but it's what the metering system looks for. Was this an auto or manual exposure? And what camera?
OK that's sweet. It's the bloody red of the lighthouse that does it for me. And the fact that there's still detail in the the lighthouse fire.
This zoomed and cropped photo was shot a few seconds before the Black and White photo.
I am very careful were I set up, as the tire spikes are scary.
Thanks for your comments.
No problem, oh and Klasjm and Kaanan would it be OK if I try out some crops of your images and post the results? Looking at these images I see some compositions that I think you might like.
The first thing my eye focuses on is the red light, and then the background of the streaky stars finally coming back to the lighthouse itself and then the rocks. The main thing I'd try is to get the viewers eye on that lighthouse a bit sooner by cropping a bit since the streaky stars become almost like a pattern....which is a good thing just right now it dominates with over half of the composition. Just moving the screen up and down for rough crops you have a lot of room to play with. Even with half the area from the top of the lighthouse to the top of the frame cropped off there still is enough of that sky to keep that pattern you have going, along with still giving enough room so the lighthouse doesn't seem cropped in since too close of one can make it feel a little uneasy.
To keep the aspect ratio you'll have to crop some horizontally....leaving a bit of ocean to the right is key so then it becomes the balancing act of where in the frame you want the lighthouse. There's a minimum amount of the sea that you'd want to keep as to not have an uneasy crop like I talked about before (basically where the viewer is looking for more content and then suddenly cut off, leaving that buffer can be key) but otherwise it's what looks best if you want to give this crop idea a go.
The other thing I'd try out is making the image a little brighter especially in the mid tones (use a tool like curves) to bring out the lighthouse itself. Right now that snow is a bit dark and while bringing it to day time levels would probably be too much going somewhere in the middle could help.
Cool, will do later on after I hopefully get some more sleep, got 3 hours early on and have been up (and at least productive) since. But quick question, what are you using to add your watermark? If you have an opacity option try taking it down a bit, I'm down around 15-25% usually which is really low (I'm trying to just have it in there for protection more than marketing) but even at 50 It'll still be easy to read but wont grab the viewers attention away from the image. You might need to go with a black one for images like this though to show better, I have a file with both B&W watermarks to put on an image as the last step of my PP.
And here's a fun pic I took awhile back with an inmate that shows it over something other than a solid background:
That's quite a nice background.
Is your monitor calibrated?
Over here, the riding gear is solid black, in the last three images. That's either a conscious choice for a more high-contrast look in post processing, or an issue with shadow detail retention at the exposures you selected.
Who would have thought they made such great tables?
For one of them I changed the aspect ratio to 16:9
I was looking at em on my laptop initially which runs a bit bright, on my desktop they do look underexposed, and going into curves there's not much on the highlight side of it. One thing to remember is the camera is shooting for middle grey so when it see's all that white it'll underexpose.
Also by having the snow whiter the rider (especially when wearing black like this one) will pop more. I made an adjustment in curves and it looks like this:
The challenge being to shoot it so the snow is near this while keeping detail.
Snow is hard.
Sunset at Tanah Lt Bali.
My first real outing using the Lee Big Stopper.
Nikon D800E and 35/1.4. 10 Minute exposure
Tanah Lot D800E DSC3435-2 by rpo83, on Flickr
I really like the colors and the general gentle feeling of the whole composition. The 2 things I'd try are a higher ISO/shorter exposure because while the effect of the motion softening everything is nice this takes a step or 2 where I'd ideally want it making some of the clouds look well mushy for lack of a better term.
The other thing is would you be able to take that shot from a location without the bush in the lower right? My eye is drawn to that due to it being busy with all the leaves which doesn't really fit that soft and easy feel of the rest of the composition.
Also I think you've got a dirty lens, there is a spot in the upper left hand corner that is a lot bigger than anything I've seen on a sensor before, though that's still a possibility. Try another lens and if it's still there run the self cleaning cycle a few times and hopefully that'll take care of it. These FF cameras are like vacuums sucking in all the dust they can.