Colonial Williamsburg

[Mike Buckley]

#4 is spectacular, but the black point is somewhat higher than I think it should be

Glad to know that we agree on your first point!

Now about your second point. Based on simply reviewing the image, there seems to be no black point; the darkest luminosity seems to be brighter than a true black. My software confirms that both in the display of the histogram and in the display of shadow areas that would otherwise be clipped.

[kdoc856]

Dave,

Very much appreciate your input. Valid points all. I considered the cropped version of #1 to be a different image altogether, and I have one as Richard described but didnt include (dont want to bore anyone more than I must)

I confess I didnt note the perspective distortion in #3- I think it's both from the wide angle and that I was holding the camera over someone's head (a tourist...hmmmmph) and didnt get the focal plane parallel. I'll mess with it in pp but perspective correction challenges me more than most pp for some reason

Very perceptive note of the black points in the last two. I have recently gotten quite enamored of lower black points and experimented with it in both of these shots, and finally decided I'd overdone it and backed off. Will certainly relook it- i suspect I'll be doing exactly as you suggested.

The lady's sleeve was in the bright sunlight as you suspected, and I just couldnt make it look right as it was slightly blown, and felt the better compromise was to amputate it. I pray the patient is healing nicely.

thanks again for your encouragement and insight

Kevin

[Dave Humphries]

Hi Kevin,

I considered the cropped version of #1 to be a different image altogether, and I have one as Richard described but didnt include (dont want to bore anyone more than I must)

That's fine, I think it is seeing the three shoes that puts me off, once I can't see any, I'm happier - don't know if that make sense.

I confess I didnt note the perspective distortion in #3- I think it's both from the wide angle and that I was holding the camera over someone's head (a tourist...hmmmmph) and didnt get the focal plane parallel. I'll mess with it in pp but perspective correction challenges me more than most pp for some reason

Must have been a short one (tourist, I mean), but yes, it can be annoying when people get in the way and cause problems you don't even see until later (been there and done that)

The lady's sleeve was in the bright sunlight as you suspected, and I just couldnt make it look right as it was slightly blown, and felt the better compromise was to amputate it. I pray the patient is healing nicely.

You see, I just knew you wouldn't have shot it like that
I know the sort of problems you mean with toning down that kind of highlight too, I struggle with them too - I tried equalising the crop from the other side, but that doesn't work either, what you have is the best result.

I'll try to knock out some PP'd architectural shots from Gloucester over the weekend - so you can help put me straight, or guess my compromises

Cheers,

[WJT]

Frank, Paul, Richard, Joe and Wayne,

High praise from truly excellent photographers. I am pleased and honored to have approached your high standards. Thank you.
My pleasure Kevin, look forward to seeing more of this quality. Some photographers like yourself are determined to use the natural light and I agree that it gives the natural look. I have never learnt to use the flash to a professional level or used studio lighting so I am one who loves to see this quality wether it be through personal choice or through improvising. Well done.


PS
Frank, the only image that ws done as an HDR was #3. #4 was a single shot processed in LR4 (you can see some noise artifact from having raised the shadow exposure locally) I have been shooting less HDR sice LR4 came out- it's a truly amazing program for preserving dynamic range.

[Dave Humphries]

I'll try to knock out some PP'd architectural shots from Gloucester over the weekend - so you can help put me straight, or guess my compromises

Hi Kevin,

As promised, although a day late, here are the Gloucester shots for you to have a look at/comment on (if the fancy takes you).

Cheers,

[kdoc856]

Hi, Dave

Thanks for sharing the Gloucester shots. I particularly liked #5 and #6, and was intrigued by your processing. Clearly you demonstrated very nicely that the character of the building can be truly revealed by careful compositional "extraction", without overreaching into perspective distortion disasters and unaccommodating skies.

I am interested in architectural photography, especially old structures and most particularly churches, but have been somewhat thwarted by the perpsective challenges, and my own sophomoric attempts at control and correction in PP. I clearly need to study (and practice) this area more. Thanks for your help.

Kevin

[Dave Humphries]

Hi, Dave

Thanks for sharing the Gloucester shots. I particularly liked #5 and #6, and was intrigued by your processing. Clearly you demonstrated very nicely that the character of the building can be truly revealed by careful compositional "extraction", without overreaching into perspective distortion disasters and unaccommodating skies.

I am interested in architectural photography, especially old structures and most particularly churches, but have been somewhat thwarted by the perpsective challenges, and my own sophomoric attempts at control and correction in PP. I clearly need to study (and practice) this area more. Thanks for your help.

Kevin

Glad to be of help Kevin - and thanks for the kind words.

In summary, avoiding the perspective issues can be summed up as follows;
Don't try to get the final composition at the time of shooting (seems counter intuitive, but there's method in this madness)
a) get as far away as possible (balancing foreground clutter/obstructions against desired content)
b) shoot wide enough to keep the camera dead level (horizontal)
c) check that everything near the edges is parallel to them (on both sides)
d) don't put square church towers anywhere near the corners in a WA shot (while shooting)
e) if you are aiming upwards to 'get it all in', as I did in a couple, make sure that the centre of the shot is 'vertical' (unless deliberately going for something different; e.g. a spire, which may suit a diagonal composition)

Then a simple crop of the (usually) excess foreground is all that is required, well that's (almost) how it worked for several of the St. Mary de Lode shots.

Good luck,