Perfectly Clear why I am saving in .tiff

The problems on my HP Spectre (death by update) have forced me back onto my toshiba laptop as the first place I review my photos, cull the duds and perhaps do some preliminary evaluation of what might be worthwhile to further process. I had got used to using AfterShot pro, and in particularly had found the built in plug-in perfectly clear a wonderful little short cut to see what was possible by refining RAW files. To start I would have to try and reproduce what perfectly clear had done. Then I realized is I exported the perfectly clear changes to a 16 bit .tiff file I would have the perfectly clear image as a starting point and still access to the extra colour depth and dynamic range. Also on the HP Spectre I had got to using lightroom much more, particular as the platform to run other plug-ins like OnOne and Nik Software. Both of which work well with .tiff files. The option of running both Aftershot and then lightroom on the laptop was getting a tediously slow.

Back on the slower laptop I still like to look at potential good photos in perfect clear. A couple of weeks ago I received an offer with a Perfectly Clear newsletter to download (for free) the Prefect Exposure plug-ins tools (for lightroom and photoshop) so I jumped at the opportunity. The lightroom style plug in is still an extra step inside Lightroom but it is wonderful time saver for a lot of the manual exposure slider tweaking and it can deliver the .tiff file back into the lightroom library. Just Perfect for further lightroom, Nik or OnOne adjustments, staying with the .tiff format of course. I strenuously avoid fixed workflows (I think they are anti-creative) but I know starting with perfectly clear can avoid a lot of tedium, even if I don’t use all of the changes it recommends. I will have some knowledge of a better place to start

If you haven’t looked at the Perfectly Clear plug-ins yet they are probably going to be the best things you can add to lightroom.

What I am looking for from HDR

Its a very overcast day after yesterday’s strong wind but with that calm before a storm feel. Not an exciting time to take a few photographs (yet). What I did notice was a new yellow rose had a few buds about to flower but had been very dried by the winds so I gave them a light spray of water and took a couple of bracketed photos of the new buds.

The close up simple composition gives me a great opportunity to compare three of the HDR programs I have used recently, and specifically to discuss what I like to use the HDR Technique to do. I have written a fair bit about HDR. However few people realize how often I use it. I think that is because I am just trying to create an image as I remember the scene, rather that what the camera recorded. The images above are all a bit dark, but that usually doesn't matter within the HDR process. If I was to process just one image I would choose the one on the right and lighten it a little and increase the contrast. Since I have a RAW file that would be simple.

 

However here are alternative ways to process these photos

Picturenaut

This was my go to program for a long while because it was easy to use, free and could process RAW files (which I reasoned gave the HDR process more dynamic range to work with). Importantly for someone that usually hand holds while taking the bracketed set, it has a decent alignment correction. The ghosting (removing ghost from people or things that moved between exposures) work for small movement but my experience was it could misbehave so I only used it when I saw obvious ghosting without it. I also found that it would often need the EV setting of the images updates (ie they would often just all read EV=0). In the table beside each file used.

 
The HDR image (which can be saved) is very dark like my original photos but when I select Tone Mapping I generally select adaptive logarithmic method and accept the default settings and save it was a .tiff file. Preferring to then finish the result in either Lightroom or OnOne.

 

AfterShot HDR

When the HDR was added to aftershot in version 2 I became an immediate convert. It is also handles alignment (mostly ok). It also handled RAW files (unfortunately version 3 of aftershot Pro does not pass raw files nicely into the HDR merge program, so I must maintain a Version 2 copy just to do HDR) and it is vary easy to set up you just select the files you wish to use and then right click and select to Edit With AfterShot HDR\Exposure Merge

 
The ghosting has to be fixed by masking away the ghosts you don’t want (on specific images) which can be a little tedious but can be much better controlled than the automatic methods. Again the aligned image looks very dark. However when you process the three images into one the image generally looks much better exposed (its not magic the dynamic range is being stretched to fit the image)

 

I have the presets turned off and generally only make some minor tonal adjustments. My preference is to add a little contrast and deepen the midtones and/or shadows. In AfterShot there is an extra step where there are as a number of basic edits to finish the image but again I prefer to save the resulting photo as a .tiff file and then do my finish in Lightroom or OnOne.

Nik Efex HDR Pro

Whilst I’ve had Nik software since google offered it for free download. I was a little slow to try out the HDR merge features. I have been working through the various screen via the rather big collection of presets. To my taste a lot of these are just hideous, those strong halos around constraty edges and super crunchy detail and lurid colours are off putting. Still I like enhanced colours and a little extra contrast so I can see a few presets that are getting me close to the nature feel I am looking for. These include default, balanced, Soft Colour and soft Landscape presets. Nik Efex HDR needs to be run from Lightroom and it has to be started a little differently to other plug-ins. Instead of the normal Edit In option, you have to export the photos to Efxex HDR  Pro via a specific option in the export menu (shown on the right). Lightroom does take a little time to prepare these exports.

 

I am still experimenting with how to do minimal tonal adjustments, but already have discovered that I need to slow down the drama (mostly) and often experiment with structure which is a bit like lightroom clarity and OnOne’s dynamic contrast. Again I prefer to save the .tIff image at this stage and do the tonal finish in lightroom. Perhaps with a little more practices I’ll gain more confidence. For the moment Nik’s Efex HDR pro remains an interesting diversion rather than a go to tool.

In the end I choose the Aftershot Pro .tiff image as having the closest to my feelings looking at the water droplets on the new buds. I finished this in OnOne 10 using the perfect eraser to get rid of the hole in the petal and a small curl of another bud below left, crop in a bit and add my favourite big softy vignette to bring the rose forward from the background a little more.

All of these steps take considerably longer than just processing a single image but I tend to think the extra time spent is worthwhile and creates a stronger and more real image.

DNG and the Month of Living Dangerously

Well i’m glad September is over, I can reset the dial of my beloved Pentax back to RAW/PEF not RAW/DNG. This story began several months ago when I installed the new version of OnOne 10.5, and suddenly I started having problems with OnOne Browse not display RAW files. Initially it wasn’t every RAW file but as I tried reinstalling the update and specifically once I had installed version 10.5.1 I was not able to view any .pef (the Pentax native RAW file) other than for a fleeting moment when the file was first viewed. Also .tif files and .cr2 first would intermittently disappear. This made trying to use OnOne software standalone tedious and frustrating. My continued request for support were just answered with trite rubbish about updating drivers and re-installing the software. I got frustrated and stopped using OnOne for a long time.

I got used to using Aftershot Pro mainly for my initial review and perhaps quick processing in the field. Then loading up lightroom back home and finishing images. For a few photos I wanted to do extra post processing I used the plug-ins linked to either OnOne Enhance, OnOne Effects or Nik’s Software.There is really nothing wrong with Aftershot Pro, in fact despite OnOne’s claims to have the fastest RAW rendering I suspect aftershot might be faster. However I quiet liked being able to flag just the images I wanted to further post process and load only those into lightroom or just finish them in the other OnOne modules, as I had been able to in version 10.0.1.  This was ok and seldom more than two steps. usinf aftershot, then lightroom and then a plg-in was three and meant having to generate an intermediate exchange file. Then I remember that my Pentax is one of the very few cameras that can capture DNG files in camera. I had previously looked at using that format but the files where substantially bigger so I couldn’t see any benefit. However if I avoided the intermediate copies I felt I could still be ahead in terms of spaced consumed so I bravely decided to only take DNG files during September.

Where did all the space go?

 

In september I created 1420 photo files. Most RAW plus jpeg pairs and most of them RAW DNG with a few .cr2 files. They took up a whopping 85 GB (excluding any .tiff post processing versions)
compared with 3710 files taking up only 40gb for my  month long candian month long trip earlier.

Exploding DNG  Grenades

The first hint of an issue had showed up before September but I assumed it was an isolated accident. Occasionally, and I still can not figure out why or which piece of software is to blame, some of the DNG files will suddenly double in size. Typically it is my better shot that I am interested in. Then sometimes they double in size again. as an example most DNG file from the camera are around 23 MB each, then when they first explode they will reach around 54MB then the second explosion will see them at 120mb plus. It is only when I try to view one of these exploded files that the havoc begins. Aftershot nicely reports it has stopped working, and trying to restart it report that it shut down unexpectedly and is set to read that directory again but it nicely reports it is stopping again, and so on. Lightroom seems to disappear for a while and eventually just doesn’t acknowledge that these bigger DNG files exist. OnOne browser however goes into suspended animation and my computer totally locks up. If I kill the process, restart the computer OnOne will refuse toit refuses to restart.

I eventually worked out if I renamed the last directory I had used before such crashes I could restart the misbehaving software. However if I tried to re-access that directory with OnOne browse, it was back to sleep, and crashes again. Lightroom just kept ignoring the big files after long contemplation and aftershot was ok unless I tried to look more closely at those files. Picasa would still view these files but took a long time to load them, perhaps understandably because they were large. These problems occurred on both my new HP Spectre laptop and my HP desktop, but less so on tests on an old Toshiba laptop.

I soon came to the conclusion that these exploded DNG files were not good, possibly corrupted some how. Which left me with a risk, if I tried to view these files before I had a backup I could loose the RAW version (since I take RAW and jpeg I would at least still have the jpeg version). Unfortunately I realised this AFTER I lost a couple of rather nice photos. I do nothave decent DNG version of these now.

As the month progressed this just became a bigger and more frequent problem and I am no closer to knowing why. I just have a mass of DGN files I am reluctant to even veiw.

Toxic Tiffs

When I am working with plug-ins like OnOne or Nik’s software I had adopted the idea of using .tiff files which give me more colour bit depth and preserve the illumination dynamic range compared with Jpeg and are way smaller than using the .png format (photoshop file format). Again occasionally to start with these .tiff files derived from DNG files began to refuse to load. I could work on the file to begin with, but once i quit the plug-in concerned the file would not open. Worst once this occurred within a session all other tiff files I tried to access would suffer the same fate. Exiting the software and starting a new session sometimes fixed the problem till I hit another toxic .tiff. the file sized does not seem to be altered in the case of the .tif files, so there is no easyway to figure out which fie will or won’t open. So opening any .tif file has a risk!

At this stage I also started to suspect a photo/dng targeting virus or malware, but I can not findany reports of such a beast and my virus and malware scans do not report any problems,

So I have stopped recording in DNG for four days now and guess what? no problems for two days!

 

Is the problem in the Pentax version of DNG, or is it in the software, or even combination of software I’m trying to use?

 

The fact that the new apple IPhone 7 will save optionally save in DNG format could see others finding similar problems. I’ll let the do the debugging. I’ve had enough for now no more DNG for me!

PhotoProject :: Seeing by thinking sideways

The lighting was not so perfect this afternoon, so I had decided to try another seeing exercise from Freeman Patterson. This time I’m looking at the idea of thinking sideways, looking at something familiar, but not normally photographed. However thee trick here s to think of a reason you don’t take the photo and instead look for something to become a photo. Freeman’s suggest trying to break a rule, like not photography into the sun or avoiding balanced and cantered compositions. On the way to my favourite spots on the far side of jells park lake to capture the setting or late afternoon I have to walk along bush tracks. I have seldom photographed them so next I look to break a rule of too.

On my way out I turned and looking back towards the sun (and yes damn there is sun flare). I also took a bracketed set of exposures so I could play with the tonal aspects. I then processed HDR versions in two different applications (firstly on the right using Aftershot HDR merge and secondly of the left Nik’s HDR Efex Pro 2)

I treated the Aftershot Pro merge as I normally do (without  using a presets) and adjusting the tonal sliders myself to match the scene I remember. The HDR Efex software is still a bit new to me so I choose to use their Soft Landscape preset.

On the way back further back along the track the sun broke through the clouds for a few moments and Looking Straight Back down the track, with the classic composition you are supposed to avoid. I took another bracketed set of photos. However the cross lighting and shadows in the distance do attract the eye and make the composition appear more interesting. Again I created two HDR versions.

Of these images I do like the bottom left one, it has stronger contrast (because I created it that way) and perhaps fits more closely with what I remember of the lighting at the time. I’m glad I spent some time thinking sideways and looked at these tracks a fresh.

PhotoProject :: A chance to compare

This is an alright photo for an overcast drizzly day. Actually I was waiting in hope of catching a rainbow, but the sun never shone for me so I didn’t get a rainbow, just the last of the oak leaves falling. Being adventurous and warm back inside I figured this was perfect for a comparison of how I might post process the RAW version of this image in my software on my HP spectre 2 in 1 laptop.

Picasa (no adjustments)	After Shot Pro 3 (Perfectly Clear)
Lightroom (Tonal & Colour Adj)	OnOne 10 (Enhance & Effects)

I have included the unaltered render of the .pef RAW file, just to show that an unedited RAW file usually looks flat and often a bit dark. My goto tool for the first pass look at photos at the moment is After Shot Pro and the perfectly Clear filter (in this case it has the colour a bit loud and the sky blown out, not that wasn’t pretty much blown out in the unedited version). At this stage I think the image has potential and flag it was a keeper and even give it a couple of stars.

I then fired up Lightroom and set to doing a fairly standard tonal tweak, recovering some shadows by mainly looking to pull highlight down and deepen the blue of the sky (moving the blue channel viberance to the left) I also cropped the image to avoid the leading lines of the edge of the road drawing the veiwer to the bottom left corner. I felt this was better than the Perfectly Clear. Next I used OnOne, I’m having trouble with the browser not display my RAW filesin version 10.5 so I took the unprocessed lightroom rendering into OnOne 10 Enhance and tweaked the total range similarly to lightroom and I also used the magic eraser to remove a couple of post a swing and BBQ and performed a similar crop. Next I went into OnOne 10 effects and started with a soft dynamic contrast, added a little sunshine and finished with the big softy vignette. Happy with this and it becomes my photo of the day, albeit a dull day.

ArtInspired :: The Banksia in the rain

Still thinking of the process used by artist to create an image versus how a photographer might capture that image. It has been a overcast and drizzly day but I managed to get a photograph of a banksia cone in flower. A almost good photo in itself and I had run a bracketed set (handheld) but it was windy so it was hard to merge and properly register. Rather than commit them to the reject bin it was a worthwhile starting point to reconstruct an image in the manner an artist might.

I’m just using my HP Spectre Tablet in tablet mode so I started with the original image and used the Polarr app to add a little contrast, contrast and strength to the red (both luminance and saturation, but not two much). I might have normally preformed this in lightroom and/or OneOne but they are not as touch screen aware as Polarr, which is a pretty neat photo edit app with really intuitive and easy to use basic tools that can easily be used by hand in tablet mode. An artist might start with the background and the overall colour, so I switched to Corel painter essentials and first set up what they call smart blur (which help highlight the strong compositional elements) and also refined the colour palette (I just wanted to enhance the two colours red and green, classic complimentary colours so I pulled back the saturation of any other colours). I use painter essential to do a very quick starter clone painting of the background. Unfortunately this smeared out the red so I use a soft clone brush to bring out sharper edge  of the Banksia flower (this helped later registration of the images). Next I re-ran the HDR merge using Aftershot Pro, with particular focus on getting best registration on the banksia. However the droplets of water where no longer perfect.

  

I now had three separate and subtly different images and used OnOne 10.5 layers to blend them together.  The background from the clone painting, the foliage and water droplets on the upper stamens from the original photo and the flower itself a combination (a soft blend mode) of the original photo and HDR image (mainly to enhance the colour).  With a Brush Border from OnOne Enhance

I’m not sure how to refer to this style of image. Is it digital art, a faked photo (aka photoshopped which of course it isn’t) or photomontage or something different (and new)?

“We called it photomontage because it reflected our aversion to claiming to be artists”  …Hannah Höch

Aftershot Pro 3 is available & Z Series Plugins are back

Aftershot Pro 3, is already here and prompting itself as providing the world's fastest RAW processing. Aftershot pro 2 in the 64 bit version on my HP Spectre with the SSD drive is certainly already lightening fast. So I’m not sure about the need to upgrade right now but camera calibration interest me (as it is the one thing my lightroom is still more useful for). I will probably be cautious and try out the free trial first.

 

I really loved a couple of the Z Series Community developed plugins, but they where mainly 32 bit versions and didn’t work in the 64 bit version of Aftershot Pro 2. whilst I didn’t complain I missed them especially zPerspector. Well the good news they are back in 64 bit version ready for Aftershot Pro 3 (which I understand is only available in a 64 bit version). However is you have a 64 bit version of Aftershoot Pro greater than or version 2.2 you can install them now. zPerspector is a set of  perspective correction tools. It isn’t automatic like Lightrooms upright, but is actually more powerful because it gives the users many up and down and in and out adjustments, rotations and scaling. In this case just a couple of slight adjustments get the horizontal and vertical lines looking more natural

My thoughts on collecting Photo Reference for Painting

Whilst there is a school of artists that still insist the only landscapes are those painted plein-air. The vast majority will finish their big painting in the comfort of their studio, a few from just sketches but the majority will use photo reference. I love to sketch and paint outdoors but time and the light seldom let you finish a big work outside. However I know that when you try to slavishly copy all the detail in a photo it can make a painting look very flat. Whereas a sketch hurriedly dashed off is more likely to be dynamic and truly capture the sense of the place. So my take on this is to spend time to do a sketch or small composition painting to capture your impressions of the view, and record the important aspect you see. Do this on site. I like to use a watercolour wash, then add the the detail with a soft pencil afterwards (I’m not filling in a detailed sketch with colour, I’m putting down the area of colour and main composition elements then adding a bit of detail.) Or alternatively I just sketch monochrome in pencil of graphite stick.

So My First Rule of taking reference photos is

Start with a sketch

• Put your camera down
• Do some compositional sketch to capture you what you first see and feel. Just the main elements

Whilst I wait for the watercolour wash to dry enough to sketch without damaging the paper. I find this is a good time to pick up the camera and take those reference picture because you now know what is important in the image. The first photo being the obvious, the same view you are painting. This is where a camera with a zoom lens comes in handy because it is likely that your composition will not match a snapshot from your camera. You will probably have to zoom in or out. In my example I have taken two images side by side and then stitched them together, using Austostitch, because my sketch is a little wider than by camera can handle (alternatively I could walk back behind me before I took the scene, assuming their is room and the full scene if not obscured)

However don’t stop there, take at least an additional 4 views, zoomed in (or walking close) to key aspects of detail that will help you finish or zoom out to get the broad feel of the place (you might like to add some slightly out of view detail or subject into your composition). If there are large areas of colour or texture photograph them, they could be the key to visual appeal in your photo.

 

So My Second Rule of taking reference photos is

Take Five

• The composition you intention to paint.
• Plus 4 details zoomed in or out, or concentrating of a key texture or colour

The biggest limitation of trying to copy a photo religiously happens with tonal issues. Whilst modern digital cameras are great they still have limitations with Dynamic Range and photos typically look flat compared with what you saw as you where sketching. There are two approached here that can help here by they may require a upgraded camera.

The first approach if to take a bracket set of images (many but not all point and shoot cameras can take a set of three EV settings, older camera usually don’t have this built in but there are several camera apps that add this capability. The bracketed set gives you an underexposed version (to focus on the highlight) a normal exposure and an over exposed version (which will give you a lot more details in the shadows). These three images should give you the ability to play with the tonality to suit your composition. If you want to take the tonal representation further you could investigate processing this bracketed set as a HDR image and refine the tonal mapping to bring out the tones as you remember. HDR is an advance post processing technique that requires specialist software but it will give you a lot of freedom adjusting the tonal range.

The second approach is to take RAW format images (probably as well as jpeg). This require software that can handle RAW images (like Lightroom, Aftershop Pro, OnOne or RAW therapy). The advantage here is the raw format records everything recorded by the camera sensor and it is possible to “pull” extra detail out of the shadows and often bring back the highlights. This requires learning how to use this software and extra time to refine the RAW images. However the ability to refine tonality and colour can be wonderfully inspiring. I started to like having the overhanging tree as part of the composition.

So My Third Rule of photo reference, if you have the technology to do it, is

Why not Take Ten?

• Use Bracketing
• Take and Process RAW images