Tuesday, April 18, 2017

Directly Painting on a Tablet

I figured a good challenge for today would be to directly paint on my HP Spectre in Tablet mode using the HP pen. The Sun was coming out but there Corel Painter's Colour Wheelwere a few fluffy cloud around and I figured they would be a great subject. So I fired up Corel painter and set up a coloured canvas with a rough paper texture. I then experimented with the pastel “brushes” and a directional blender.

Obstacle one was the high reflection (glare) off the screen even in the shade of an umbrella. Similar to tring to sketch directly onto my phone. Just had to preserve with this one, sunglasses didn’t help, they probably imagehindered.

Concern two was out in the sun the colour wheel tool doesn’t seem to give me and even range of colours. The deep blues all looked purple and the cyan decidedly green. I switched to the mixing tool but still found the blue of the sky difficult to judge. The screen blue was intense but the sky was more so. I can see a lot of practise will be required on matching colour if I want to continue plein-air tablet work.

After a small siesta and a G&T I retuned to do another, this time more clouds around and I took a wider view and a lot more blending.. I did the colour matching from the shade and seemed to get more natural colours

clouds1clouds2

Directly Painting onto my Phone

I have been itching to try this out for a while (David Hockney has been doing it for years) and my new phone seemed the perfect excuse to try out some software. I had downloaded the free or trial versions of a number of app Wacom’s Bamboo Paper, Autodesk Sketchbook, Corel painter mobile, Adobe Sketch and an app I had been using previously called Marker.

I have to admit it was a joyful trial, more a test of my patience. Autosdesk & adobe’s app would work without signing up for an account (not here in the land of low band width. So did Corel it wanted to upgrade because my trial had run out? Strange since I just started to use it, but it did let me work. Wacom’s Bamboo Paper is really set up to exploit their pens but I could use the basic set of brushes. They also want you to purchase additional items. No thanks, for me its try before you buy. I just want to try out plein air sketching directly onto the phone!

1492410893613 created with Marker app    Created with Bamboo Paper

So I did get to try three options, first using Marker which simulates using marker pens. Way to bright and very limited colours but it free and easy to use. The Wacom Bamboo paper is a nice little sketch book/journal into which you add you new pages and sketch on them. The tools available in the free version are limited but quiet serviceable, I can see myself experimenting more with these. I was expecting corel painter to be easy to pick up (since I have the full corel painter software 2017 now) however the touch screen mode is different enough to frustrate me, particularly in choosing colours. I gave up my first attempt took a picture to trace over and ended up testing out the colour cloning ability (with a very purple result). I think it is an issue of picking colours on a highly reflective surface or maybe I’ve been out in the sun too long.

the old bearded heath created with Corel PainterThe Old bearded Heath as a clone painting

Saturday, April 15, 2017

Why I started using an Air Gapped Archive

I'm not paranoid or afraid of the NSA. I'm just trying to avoid the risk of ransom-ware or the corruption of a disk via a virus, mechanical malfunction or a range of other things that might affect an active network and hard disk always spinning. I realise my approach is somewhat hybrid and would not satisfy Edward Snowden or the security gurus but It does give me confidence that I have addresses the long term safe storage of my source photos.

The Little Netbook that became a Linux archive machineI am using an old Toshiba netbook (it served me well as a photography & email connection to the world as I travelled around Europe in 2011). However it was always slow and it was the first computer I tried to update to windows 10 and basically windows 10 killed it! I ran out of patience and installed Linux, and a little photo software but it sat unused for the past year-ish. Then it struck me this would be ideal for the Air Gapped Archive. I leave it turned off most of the time, turn off the WiFi & Bluetooth most of the time and just use it to manage my photo archives on External Drive. It has 3 USB slots (unfortunately USB 2.0 not 3.0, ie file transfer will be slow) so I can do my transfer of files to the archive on this little Linus computer. I can also preview the files with XnView when necessary

image

The Air Gap isn't perfect because I have to get the photos onto the external hard drive (ie connect it to a network somewhere) and at regular intervals the archive must be updated, again I do this for convenience by creating a new copy of the archive and updating that. This is the Generational approach. The new copy is the SON and this become the new air gapped Archive. The old copy is the FATHER and can be put away till next cycle when It is rewritten as the new SON. In the old TAPE backup days this was often taken to a third GRANDFATHER generation. At present I only have enough spare hard disks to do two generations and I only plan to cycle them over every three months.

I plan to use small memory sticks (only used for that purpose) to extract files if necessary between generation updates and this in theory reduced the likelihood of large scale malware, and particularly ransom-wear but does not avoid it altogether (eg stuxnet). The fact than I'm also crossing operating systems significantly reduces the possibilities of viruses being transmitted.

The Linux computer and the hard drive  containing the Primary Archive are turned off and stored together in my studio rather than my office where the on-line collection of my photos is stored. Hopefully I will only need them every 3 months or so as I cycle and then update my primary archive.

Friday, April 14, 2017

Extending Dynamic Range

Contrary to want a lot of people believe Digital Cameras, even the best ones, are not capable of capture the full extent of light from the darkest blacks to the purest white. They struggle to get close to the capabilities of traditional film and they are certainly no where near as capable as the human eye. This range of illumination is usually referred to as Dynamic Range. This limited range coupled with an automatic light meter that is trying to get an average exposure (ie matching a mid tone grey overall) is the reason a lot of images turn out boring, washed out and flat looking even though you remember much stronger light (and often colour)._IGP6498 Untouched RAW Image as Rendered by Lightroom

Here are a couple of techniques that can help you get a wider apparent Dynamic Range in your final photo.IMAG0167 - AutoHDR using HTC UPlay CameraThe first is the use a camera app on your phone that will take an “AutoHDR” (this usually means it will take 3 exposure and combine then using software with the app, a few will do pseudo HDR a bit like the next approach.) This is the simplest approach and results can be surprisingly good.

_IGP6497A second approach is to take a RAW image (this is in .PEF format) and use software (I’m using lightroom Develop basic panel only.) I’m following what I once called SDR+ (standard dynamic range plus) and I even wrote a couple of presets to do it. The basic idea is I bring up detail in the shadows (usually moving the shadow slider to the right, sometimes I also change the blacks using the approach often called “finding the black point”, while on the black slide hold down the <alt> and the scree turn black,image the adjust the slider till a few whit areas (these are the areas that will be rendered pure black) show up. You can do a similar operation with the white slider. The objective is to get the illumination histogram to be as evenly spread across the range as possible. This doesn’t take all that long  and I prefer to do it manually to even my own preset, but it requires specialist software, some skills in the oftware and a camera that can take RAW files. Many RAW purist will explain this is why you should always take RAW images.

_IGP6496_HDRThe third approach is classic HDR (High Dynamic Range) and here I am using three bracketed +/-1 EV exposures. Then the Nik HDR Efex Pro 2 software and the balanced preset to create a new 16-bit colour .Tiff file. There are many variation of the HDR technique and software, but it normally involves two steps. First collecting and preserving the full range of illumination values from the three or more exposures. Then a second step of “tone mapping” these into the available dynamic range of your image (and this is also related to how you might reproduce the image, eg print or screen). The downside is these steps and any image prep take extra time and a lot of folk get carried away with the slider options in the “tone mapping” step, thereby producing the sickly vivid and disturbingly surreal images that have given HDR  a bad name. I personally think this method has give me a final photo much closer to the late afternoon light I was photographing in. I have to admit I do take a lot of HDR images, particularly in contrasty light or where I know I need to preserve the Highest Dynamic Range possible.

So if you are disappointed with flat washed out images you might like to investigate at least one of these approaches.

Thursday, April 13, 2017

How Wide can I go?

Whilst on my endless summer trips I’ve gone a bit overboard taking very wide panoramas. It very easy with a digital camera to rattle off the 30% overlapping images to make a stitched panorama and I have used Autostitch to do this mostly although Microsoft’s ICE is another great stitching program and there are lots of other programs and apps. Because the wide view suits so many of the vistas I’m visiting I’m also opening out my sketchbooks to paint across two adjacent Landscape pages. This is all wonderful and enjoyable in the field but it has a downside, it takes time, in fact the bigger the panorama I want the longer the stitching and other post processing of the photos takes. On busy travel and field days I simply run out of time and/or I’m likely to fall asleep waiting for the stitching to complete in the evening.

Sketch at Gypsy Point

As my LG phone got terminally ill, and misbehaved several times, I lashed out an got a new HTC U Play (why HTC, well it was not the cheapest but because my first HTC was super reliable and easy to use and is still going strong, as GPS in my camera bag, it was able to take over from the ailing LG). The UPlay was equally easy to use, the one downside is the beautiful case and screen as a bit slippery so a slip-on cover (red so I don’t leave it behind) was the first accessory. Then it was out to try out the camera, I just love it! Here is my first attempt at panorama mode.

Jell Park Lake Panorama

Now that did take a few seconds to stitch in the phone but it is a wonder panorama, I might have been able replicating this with a DSLR and autostitch, which would easily take over 5 minutes or longer!

Screen Captute of a recent 3 Across Instagram Post

My passion for the wide view has very much moved into my instagram accounts especially @apimageo, which is still very much stuck in the 3 across grid view (you have to look at my profile to see it). I also recently notice that @packtography (he’s worth a follow) includes the camera, exposure and post processing summary with most posts. I reckon this is a great idea, so I will try to keep up including such info. Sharing your settings to me is important as an insight to let other understand your work, BTW my flickr posts have always included the extra EXIF data automatically if you are interested.

Monday, April 10, 2017

Experimenting in Corel Painter

I’ve never been one to follow the “workflow” of the software experts, doing so is just likely to produce the same results as most others. I believe creativity comes with learning to use your tools, but in depth and a personal way. imageThere is nothing like just rolling up you sleaves and jumping in and going for it.

I have had painter lite, then painter essentials for a while so I’m familiar with the basic workspace, but I wasn’t prepared for all the different brushes. My first attempt to just try them all one after the other created a confused mess. I did already like the Sargent and Impressionist brushes so I figured I should stat with them and work through some of the brush settings, in clone modes (copy colour, or copy image), dab patterns,  blend/bleed and just straight colour selection from the colour wheel. I had a HDR image of the shadows under a backlit oak that looked promising.

_IGP6447_HDRI first made a very rough under painting using a very broad Sargent brush doing just a colour clone to rough in the basic composition and used it in a thinner size to mark in some of the detail. Quick and dirty just to establish the composition.

sargent brush underpaintingThen I switched over to the impressionist brush and varied between adding my own colour and using colour cloning. I also concentrated on making sure the direction of my strokes followed the shapes. Also that the direction of light as described by the highlights and shadows were consistent.

Final Digital PaintingEven though this was painted inside on a rainy day. I do think it has a spontaneous  freshes, not as obvious in the original photo (despite it being HDR).

Sunday, April 09, 2017

Seeing :: The Essence of a Tree

My SketchAs an exercise in Seeing, suitable for a PhotoWalk style session, I figured the ideal subject might be a tree. So first you need to make a sketch of an idealized tree (could be a line drawing, a rough tonal sketch, or even coloured in). This exercise works well in a group so let the other photowalkers see it but then put the sketch away. The challenge is to find and photograph a tree that most closely resembles you tree. It might be harder than you think. Especially if you don’t keep checking your sketch.

DeepDream_tree (Based on my sketch)Ok I cheated a bit I  knew there was a round tree

What is going on here. Well you are doing three things

  1. Previsualising the image
  2. Learn to see a photo before you take it
  3. Framing your photo to match your expected view

These are three skills to expand your seeing good photograph beyond just looking in the viewfinder or phone screen.

Thursday, April 06, 2017

Making A Hash Of Checksums

I come from a very deep computer background, (I first used computers in 1969) and have managed several mini computers (DG, PDP & VAX) and networks of PC so I am well grounded in the need for both Backup (keep a safe copy) and Archive (long term storage). Now if you read a lot of net advice you might think they are the same and just call that process backup. Backup is important, and a lot of people still don’t do it adequately and I have written a fair bit about it, but archiving seems to have escape my posting attention (other than my The Importance of Cataloging your Digital Photo Archive Post).  I need to rectify that and I will begin with a bit more detail on how I seek to avoid storing, and identifying corrupt file

MD5 checksums (aka hash values)

Utility in Total Commander that creates MD5 Hash Table

With the recent death of two western Digital 2GB external drives, I have become a bit paranoid about the potential for file corruption as a drive slowly fails (One drive just dropped dead the other slowly started to show problems). Because most of the files are in a binary format such corruption can easily go unnoticed and the corrupt file could easily be diligently backed up. There are solutions, like having mirrored drives (extra hardware & software and expense) or regularly reviewing the files (a challenges with lot of photos). I have found a much simpler approach, that is to use Example of the MD5  Hash Valueschecksums created from each file. If the file is corrupted the check sum will change. So each time a file is moved or the disk is rotated these check sums can be checked. I choose MD5 because they are a public format and there are a lot of utilities to create them and they are widely used to detect duplicate files (particularly photos, video & music Files. It would be nice if photo software undertook this task automatically but alas while I can see similar numbers in picasa and lightroom they are not true MD% hash values but just look like them. My only conclusion is they are propriety formats, which creates the risk that if the company disappears (google has already washed its hands of picasa) so does the long term suitability as check sums.  The process to create these files can take some time and I am using Total commander, which creates the check sum for an entire subdirectory (folder) and writes a single .md5 file containing the check sums. This is an ASCII file and can easily be read or a particular Hash value cut and pasted into a Example of  MD5 checking processdifferent utility to verify check sums. They are small and take up negligible space. To verify the checksums also takes a little time because the checking software must read through each file. Good utilities will be able to read the .MDR file and report missing files or errors (ie corrupted files). Total commander has a second utility to do this job. So the final big question is – “how do I know the photos are ok, not corrupted, when I make the MD% hash value?” Simple answer is I can’t be sure so I also have to at least look at the files, using picasa, the default windows photo viewers, Lightroom or Corel Aftershot Pro (which actually seems the fastest option particularly with RAW files). So setting up the checksums for a proper archive does take some time but but I can have more confidence in that archive as it is passed around different media and locations.

Wednesday, April 05, 2017

#AIart Shoot Out

I was certainly an early follower of the developments in the deep dream style art filters, which use neural networks to recognize and amplify aspects of any photographic images. I must admit I like the potential of the forward seeking neural networks that can replicate line work and other mark making characteristics of the training image. I  chose to this called Deep Dream Style, and starting giving such creations the  hashtag #AIart (which seems to have caught on on Instagram). My prediction that these might become over used Art Filters is probably also an astute observation, there is certainly a plethora of such apps. Fortunately most are based around famous artist and great art, Even Adobe is joining the crowd offering researching a AI style filter that can “copy” the look from another photo. I still think these filters can be used creatively rather than as “look at me” plagiarism so obvious in social media today.

Testing my new phone camera contre-jour

This photo was just an experiment, the first photo I took with my new HTC U Play mobile phone. I was trying out the AutoHDR feature and it handled the difficult strong lights and shadows well. Its just afternoon tea, aka Coffee & fresh figs. It is an interesting enough composition so I thought I would try the image across a variety of current #AIart tools (google deep dream style, on computer, Dremscopeapp & Prisma on phone)

google deep dream styleDreamscopeappPrisma

Which rendering do you like best?

Tuesday, April 04, 2017

The Challenges of Blogging while Travelling.

My Endless Summer project should be giving me lots of content for this blog. Certainly there have been some considered post mainly around my art but the more routine posting of photos has suffered.

There are a few reasons.
  1. When you are travelling, taking photos and sketching there isn't a lot of time left to blog.
  2. My travels have been in poor low band width areas (eg NBN satelitte service in East Gippsland is pathetic).
  3. My mobile phone was dying.
  4. My 4G mobile WiFi modem often just refused to work (related to point 2, lowband width poor reception).
  5. Instagram is easier to use.
I have replaced the phone, and this blog post is directly from it (the blogger app is still a bit tedious) but I'm not sure how to address the other issues. Keep tuned as I look for and hopefully find some solutions

Sunday, April 02, 2017

The Challenges of Watercolours at the Beach

final (5)I now have a very comfy beach chair that is perfect to sit and do some sketching at the beach. I also have a nice little backpack that holds my art gear. So I should have little trouble making decent sketches. However there are two challenges wind & sand that introduce a fair bit of stress to the watercolour sketching process.
Using my wet/watercolour portable pallette on the beach is a like a magnet for sand. The mixing areas in particular have areas of wet paint being mixed and any small sand grains tend to collect here. The sketch book itself often collects a lots of sand on the damp areas and the little grains tend to suck in the surrounding moisture and pigments creating a speckled effect (nice for foliage and sand but not attractive in the flat wash of sky). If I put the sketch book down on the beach to dry … sand everywhere.
_IGP5074
However it is the wind even just a brisk breeze that plays more havoc. It blows around more sand and also pulls at the pages of my sketch book )one sketch book was pretty much unbound on this trip so it is now a lot of loose pages. Also the wind makes it hard to balance my portable paint pallette, brushes and water
There are a couple of  good solution to windy days, that I discovered, and relied on, on my recent trip. The first is big bulldog clips and/or masking tape. to hold my sketch book securely on my drawing board. The second is my set of Derwent Inktense Blocks which I use little like a “dry” pallette. Using a water brush I can just pick up the paint I need from the blocks and essentially leave the blocks dry (and less sand attracting). I tend to then mix the colours on the sketchbook page and I’m pleased with the results.
scan0003scan0004

Friday, March 31, 2017

My photo (below) shown on Jane Bund's 7 News weather tonight

Sunday, March 26, 2017

Collecting Photographic Reference Material

Most artist have their very own way of collecting reference material for a later studio painting. Some might just take one snapshot style photo (or perhaps a few) then essentially just copy that.
image
I must be from a more plein-air background, I much prefer to do a sketch or two (or three) on location. There is more time to breath in the atmosphere, listen to the sounds and get a real sense of the place, than just pressing a shutter button and moving on. More significant you still generally have only limited time so you have to gloss over the less important details, ones you might be tempted to copy from a photo. Instead you have to concentrate on what will be your subject/centre of interest, getting the relative tonality right and pulling together the colour palette. This requires keen direct observation, but with a little practise it come easy. In my initial pencil sketches I could see I needed to include the distant people to consolidate the vastness of the beach (Seven Mile Beach near Gerroa, South Coast of NSW )_IGP5449-2
Where a photograph will just reproduce the colours (and detail in a scene) within the technical limits of a camera, an artist will usually refine the colour palette to enhance or subdue the atmospherics. Possibly tweak the relative tonality to emphasize the subject. I always feel even rough sketches capture the essence of a place and are fresher than just a photo.
_IGP5480-3

Take 5

However it doesn’t hurt to have some extra detail and this is where photography can be a great assets for any artist. My advice is always Take 5 
  1. The snapshot (first impression of the scene)
  2. Wider perspective (wide angle, panorama, or just adjacent overlapping shoots)
  3. Zoom in on your subject
  4. Take some atmosphere (eg the sky, the surf)
  5. Look behind you (ok not literally but do look around and get a context photo or two of the place).
image
You may as well get the obvious snapshot out of the way. However next spend a bit of time looking for a wider view. Camera phones are already slightly wide angle but unlike a DLSR you can’t change lenses but there are lots of panorama apps that will allow to get a wider view. Alternatively you can take several overlapping photos and use a stitching program to join them. The next option is to zoom in close (most phones can do digital zooming) and a DSLR with a good zoom lens will save you leg work. Otherwise just walk in to get a closer view. It is also wise to take a couple of atmospheric photos, if it is a cloudy sky, take a photo just of some of the clouds. If the light is intense take some photos showing deep shadows, A blue sky is a lot of blue but it will give you a good reference for tonal changes, particularly towards the horizon, Make sure you can record the direction of light (shadows in photos will help here). Don’t forget to look around, sometimes what's behind you can make a stronger picture.

Make that 10


That set of five type of references should give you a big start back in the studio, but why stop there. Here are a further set of optional photos you should consider as well. You don't have to follow my suggestions here exactly these steps they should just be an excuse to do something different, perhaps more create.

  1. Take a photo of the sketch in place
  2. Try a range of different framing options
  3. Try a range of exposure options (eg EV bracketing)
  4. Look for Abstract shapes (or lines) and focus on them
  5. Get in really close, record interesting texture (this could be very close up or plants, rocks, ripples in the sand or a stream)

  6. The photo of your sketch in position will give a great reference of understand any difference in the colours captured by your camera versus what your sketch recorded. If nothing else any white background of your sketch book will be perfect to do a white balance on the photo later (which decent software should let you can carry to your other reference photos). Next is the idea of trying different framing options (its a little like steps 2 & 3 but instead of focusing on the subject you should move the frame around shifting the subject up and down or to right and left).  You might like to change your position so you are looking up or looking down (eg standing or sitting on a beach makes a big difference to perspective). Perhaps you can find a track, fence line that leads you nicely to the subject. Walk around. Perhaps a portrait orientation (vertical) may be better than a landscape (horizontal) orientation. Your camera viewfinder or phone screen are fixed aspects but you might like an image with a slightly different aspect. For example I am finding many sunny vistas lend themselves to a super wide format and I even sketch across two pages (3:1 aspect), so why not take two or more photos and join them later. image
    A lot of folk don’t like the default HDR style of photos (chunky detail and over vivid colours) but taking a set of images at different exposures can give you details in the shadows right through to delicate highlights. A single photo even when perfectly exposed can not provide these in a very contrasty situtaion. Learning to use HDR methods/software in a constrained manner can deliver photos that are much closer to what you remembered of the light & colour. Most DSLR have bracketing options and now many phone camera apps do as well or can do HDR multi-exposures directly on the phone. You don’t have to put up with bleach out skies and blown out highlights anymore.image
    The second last task is slightly obscure but it relates to balancing the tonal areas in your final painting. You can use your camera to help find the dominant shapes of dark and light. It requires looking at the scene in a more abstract manner. Its a lot like the advice to half blur your eyes in order to better see tone. If you have a DSLR put it in manual focus mode and then blur the image until you just see abstract shapes. Strong diagonals, curved lines and edges or sharp shapes can lead the eyes of the viewer. Try framing those shapes such that the lightest light against the darkest tone become the centre of interest (such contrast is generally what involuntarily draws a viewer’s eye first). Then refocus the camera and take that view. Mobile phone cameras generally don’t have a manual focus but you can resort to any of those camera/filter apps that change what is displayed on the screen as you take your photo. Changing the camera display to black & white or using a posterizing filter with only a few steps will help make it easier to see the tonal shapes. If you don’t have a phone with such apps find a some software that can help you perform these steps (I have used Paint.net on my computer and Snapseed on my phone) This is much the same step as doing a small tonal composition/notan sketch. As with the framing step it pays to move your view around, even a little. It can also help you zero in on what contributes  to an interesting composition and what can become just a broad area of tone, and perhaps a little texture.image
    Finally a few really close ups that record pattern & texture and/or some of the details you particular want included in your painting, a few quick detail sketches of such items might be useful as well. After realising I needed some people to give me scale I took a few difference photos of people both near and far walking on the beach.
    1-people

    Saturday, March 25, 2017

    Refining the Travelling Kit

    This is my third endless summer trip and I am starting to refine the gear I am carting around. I can almost carry everything at once but normally I don’t have too, The backpack in which I carry two computers, (why two computers? why not) is fine for travelling on an airline, where one of the camera also goes in the backpack and the second camera (normally the Pentax) imagebecomes my hand carried ba). The art gear travels in my luggage for flights.

    In the field I leave the computer back in the room (or car) and just carry one of the cameras and the sketching gear, with papers (A4 or quarter watercolour sheet size) already taped to my A4 plus sized drawing board that fits inside the little red backpack.

    For more established and longer sketching I have an A3 sized sketch board in the blue folio which takes half sized Watercolour paper, it also has a bolt on the underside that can screw into a tripod for a make shift portable easel. The blue folder also holds about half a dozen watercolor sheets and a couple of extra sketch book.

    Thursday, March 02, 2017

    HDR on the forest floor

    HDR on the Forest floor

    I visited the Tahune Air Walk and forest on a largely bright (summer) sunny day, but rainforests are typically dark (shaded) places on the forest floor. Shouldn’t a sunny day be a better time to photograph?

    The answer is NO! The dynamic range of light (the range in strength of illumination, from darkest to brightest) on a sunny day is significantly higher on the sunny day, The bright splashes of foliage where shafts of full sun light is reflected many times brighter than the nearby glom of full shadow, yet there is detail there also. Whilst our eyes can handle this situation a camera and the dynamic range it can capture will probably be a lot less than required.  Typically you will your photo will have correctly exposed (or maybe slightly overexposed foliage behind dark silhouettes of tree truck of overhanging vegetation. On an over cast day this difference is much narrower, and you are much more likely to get a decent picture.

    imageSo it seemed logical that this is a perfect opportunity for getting better images with a set of bracketed images (using EV steps, see screen capture on the right) and HDR post processing these images. Here I am using lightroom and the NIK software add in which has worked fine. The resulting HDR image does manage to get the shadow detail and preserve (not over expose) the colour of the foliage. I is much closer to what I remember seeing (and feeling). There is a lot that can be done at the post processing stage and this is usually referred to a tone mapping, how the extra illumination and colour detail is mapped back into the colour image and this is where HDR can get its bad name because you you can push the colour, local contrast and other aspects into very surreal and painterly abstractness. I am becoming a fan of NIK HDR Efex and their realistic presets (either balanced of deep) because they stay closed to my expectations.

    I have returned to using lightroom to mamage photos on my HP Spectre and definite use two organization tools, Colour (eg. I flag bracketedimage sets with yellow) and then I stack the original images together. Thus reducing the clutter or many images that are the same.

    I also have gone one step further in this image and used OnOne 10’s enhance and magic eraser to reduced the impact of a dead fern frond in the upper right and also detail filter to reduce overall digital noise, but keep as much detail as possible.