Often when working in the shade, or anywhere we need Cloudy or Shade white balance, we’ll often see a blue tint in the white clothing. I suspect this might be due to detergents being used which give a blue-ish tint to white clothing to make them appear cleaner. Or perhaps this is from UV light when we’re working in cloudy conditions or in the shade. However it might be, we will often get that blue tone in white clothing, as in this photo below …
The best way to deal with digital noise in photographs is to start with having a correctly exposed photograph taken by a high-ISO capable camera. Then digital noise mostly isn’t an issue unless you start pushing the upper limits of what the camera is capable of. But sometimes (hopefully only sometimes), you have to deal with an under-exposed photograph from an older camera … and then the digital noise becomes apparent. Then we have to use software to clean the image up …
… that’s a question that baffles photographers who are just starting out with digital photography.
You have a few options in setting the WB on your camera:
you could shoot in auto white balance (AWB), and hope your camera nails it. And then you can also feel excited as each new generation of camera offers better AWB.
you could set your camera to one of the preset WB settings, such as Daylight, Cloudy or Incandescent. And hope your camera’s preset is close to the correct WB.
you could do custom white balance readings and save it as you encounter and work in new situations. These custom white balance readings can be done with all kinds of white balance cards and discs.
These all work … usually. However, what we need to understand is that quite often, there is no ‘correct’ white balance setting. What we are after is a pleasant white balance …
Until recently, I’ve been a PC user. I didn’t have much interest in using a Mac, although I dearly loooove my iPhone and iPod. I also have a high appreciation for Apple’s minimalist design and aesthetics. Macs do look very cool.
Yet I didn’t feel the need or desire for a Mac. PCs run fast. It’s a stable platform with a wide choice of programs. On top of that, there were some things which put me off the Mac. The thing I found most annoying was the fanboyism of the Mac enthusiasts. Any problem you’d encounter on a PC, you’d get a gloating chorus of, ”just use a Mac.” Equally aggravating was the assertion that Macs are sooo intuitive. You know what? If Macs were so intuitive you wouldn’t have to explain their operation to me, would you?
Initially I was a little under-whelmed with the Mac experience, but then a few things fell into place for me in terms of software and hardware options … and then I switched my main computer that I work on (ie the laptop), over to the MacBook Pro. Suddenly it all made sense!
All of this will be old news to Mac lovers. When I was gushing about my new setup to a friend of mine last week, she just laughed, “Where have you been all this time?”.
The things that fell into place for me had a big impact on my post-production workflow and efficiency, and I’d like to share some of my observations and new experience …
When you resize an image with repetitive patterns, you stand the chance that the pattern itself will form another pattern. This is called moiré. When I resized this image for web display, I had to take care to make sure the blue window shutters didn’t generate a moiré pattern.
Here is the full image resized for web. The image here is 600 pixels wide.
Click on the photo to see the image as a 900 pixel wide image.
By going from the original 12 megapizel image (4288 pixels wide), directly down to 600 pixels in a single adjustment ..
.. I get an image where the detail looks like this:
You can see the moiré pattern there in the blue window blinds as a diagonal shaded pattern. You run the risk of this happening if you do a massive jump in resizing in one go.
But by doing the resizing as 10% reduction steps, you can most often avoid that. Here is how it looks when resized as a sequence of resizing steps:
Instead of changing the pixel dimension from 4288 pixels right down to 600 pixels wide, instead do it as approximately 10% jumps in size. You would now change from 4288 pixels (as an example), 3900 pixels wide. And from there you would change to 3500 pixels, all the way down to the size you want your image to be. The diagonal moiré pattern has now been nearly completely eliminated.
Sharpening an image (as you have to when you resize an image for web use), also enhances the pattern. Therefore, with this image, I removed the sharpening for the window shutters to further reduce the effect.
Of course, doing this kind of step-by-step resizing, is best done as an action. You can create your own, or use one of the many available on the internet. The best actions also provide some sharpening as an intermediate step for best results.
A little bit about the post-processing of the image …
The classic shot – a beautiful bride lit by soft window light.
That’s a yes on the beautiful bride – but it’s a solid no on the window light.
What you see there is on-camera flash. (Which most likely won’t be a surprise to regular readers of the Tangents blog.)
This image is from a wedding this past weekend, and it makes a great example of how light, choice of lens, composition, angle and technique come together to make an image work. With a bit of post-processing added finally for that vintage feel.
Let’s look at the light first .. how I used on-camera bounce flash for my lighting here.
My favourite image of the week is this one from a sequence taken during the romantic portrait session after a wedding. The wedding took place in Florida, earlier on in November. (It’s my favourite image of this week since I am only now catching up on a backlog of work.) As a wedding photographer in New Jersey, it is quite a treat to do a destination wedding – someplace a little more exotic than the Garden State.
Not only was it a destination wedding in Florida, (timed with a flash photography workshop), but this also happened to be the first time that I photographed a same-sex wedding. And I felt particularly honoured to have so much faith placed in me with a special event like this.
The reason why this image is my favourite is that it shows a wonderful couple together in a spontaneous moment. It is very much *them*, and I am sure their friends and family will instantly recognize this image as capturing the essence of who they are, and how they are.
This is where a lens like the 70-200mm f2.8 is essential .. it allows breathing space between you and your subjects. The light is all available light. No flash necessary with the soft early evening light.
But I did a little bit of work on the image in Photoshop, so let’s see how I got there ..
What do you do with an image that is under-exposed but there is a certain moment that you love?
Well, perhaps you get lucky that when you convert it to B&W and crank up the exposure and embrace the noise / digital grain … and all this adds to the mood and in this case even poignancy of the moment.
Here is the original unedited image of the bride dancing with her dad …
the progression of an idea during a photo shoot; incl the use of off camera flash
Because of the positive comments I’ve had to the recent addition of video clips that show a glimpse of how I work, I thought I’d show the progression of an idea. Not just how the actual image was made, but how the idea progressed.
The photo above of Sarah and Mark at Coney Island, is from the day-long photo session where we went to different locations in New York. Where this image above started, was in a previous sequence ..
One thing I always loved (actually awed) from your photos in the blogs are how effectively you use flash (among various other ways) to balance the bright backgrounds with the subjects to catch the details and colors in both. However the images above seems to been blowing out the details from the sky. I am sure you would have had a reason for doing so. But would you mind sharing it to your readers?
I thought I would rather answer the question here. But taking it a step back …