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just watched a video of that bridge, any advantage with this design rather the traditional design?Poole's Twin Sails Bridge (a double leaved bascule bridge). I knew where the bridge is located but had not previously seen it. Stumbled across a handy viewing point yesterday, was standing there pondering whether or not to change lens (a prime 50mm on the camera) when it started to open! So 50mm it was.
1) In progress. 2) Almost there. 3) The reason why...
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M11, 50mm Noctilux f1.2
Well, according the the local tourist board blurb:-
Hello – I couldn't remember where I'd seen this excellent picture and I've scoured the forum to return to it. The picture has been bugging me. I have no sense of a 15mm field of view, but I make the [safe?] assumption that a diverging and a converging image are corrected and joined. I have candidate methods for the joining, with duplicate layering and mask erasing, but I'm uncertain of how you did it. Are you willing to reveal the work sequence you used to determine your smooth join?
Sure thing Chris; thanks for the good words, but sorry it's been bugging you! However, I have a feeling your workflow is significantly more sophisticated than mine, and you may be disappointed.
One thing worth knowing is that I shot the base images from the 19th floor of our hotel across the street from the IBM Tower. I think that was something of an advantage for this composition. There are five base images, each of which consists of three bracketed exposures. Portrait orientation. HDR combination was done in Capture One with alignment only, no adjustments. Each of the five images were then adjusted and random RGB values were checked to make sure that all five images appeared to be different pieces of one big image. Then, each image was adjusted in C1 for keystone as much as possible, and I checked the pixel dimensions of the two buildings and selected elements. Even with all that, C1 did not want to stitch the panorama. It's funny, sometimes it does a fantastic job without breaking a sweat, but not this time. So, I did the panorama in PS [I miss Autopano Giga].It took several different efforts to get the best result with what appeared to my eye to be the least amount of distortion possible. IIRC, I found the most satisfactory outcome with the Reposition Layout, but still had to do some manual mask adjustments. I layered another piece of a sixth image to address some stitching artifacts in shadows, but I'll need to do that more carefully when I work on the final image. As I mentioned, this was just a proof of concept done while I was still on the road. I like the concept, but it needs more work to get to how I want it to feel. Hope this was helpful; if not, ask away. Cheers!
Thank you very much for your speedy and generous reply; this unsophisticated peasant is very grateful. I'm sure a largish print would look handsome and compelling – your concept is proven admirably, congratulations.Sure thing Chris;..... I have a feeling your workflow is significantly more sophisticated than mine, and you may be disappointed.
