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Fun with MF images - ARCHIVED - FOR VIEWING ONLY
- Thread starter Guy Mancuso
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k-hawinkler
Well-known member
At the risk of extreme boredom I would like to revisit the subject of my Kiva images. I am fairly new (October 2018, before the 50R was available but already announced) to mini Medium Format cameras, even newer to focus stacking, and still newer to retouching a stacked image.
I first used the focus stacking feature of Photoshop, as recommended by Fujifilm in their paper entitled "Advanced Technique: Focus Bracketing with FUJIFILM Cameras", Posted on10/31/2018 with URL:
https://fujifilmxgfx.com/gfx-techniques/advanced-technique-focus-bracketing-with-fujifilm-cameras/
I used the version of Photoshop that I have, namely PS CS6, with limited success. It gave me unsatisfactory results for challenging scenarios. Here is such an example.
Fuji GFX 50S • GF250
In particular you will notice the out-of-focus areas of the river in between and around the twigs overlooking the 1000 foot lower Rio Grande. In the 33 focus bracketed images that I used to blend into the stacked image above there was not a single image that showed that part of the river clearly in focus due to the obstruction caused by the twigs. Please, also notice some fuzzy areas next to the image boundaries.
So after a couple of months exploring what PS CS6 could do and not do, upon the recommendation of Jim Kasson over at DPReview, I began using Helicon Focus. Among other features it offers 3 different methods - A (weighted average), B (depth map), and C (pyramid) - to stack focus bracketed images. For the following image I used Method C (pyramid) that seemed to give the best results for this particular set of 33 focus bracketed images.
IMHO, using Helicon Focus, this image has improved to a degree that it is almost useable! :thumbup: :grin:
I have taken single images of that particular Kiva before, trying to get as much as possible in focus by using fairly small apertures with f-numbers of f/11, 16, 22, or even higher. The problem with that approach is that critical focus/sharpness of the image cannot be achieved with f-numbers of f/11 or larger due to diffraction, especially for lenses with longer focal length. Of course, to a limited degree diffraction effects can be ameliorated in post-processing by applying the right kind of sharpening.
Anyway I thought it a good idea to try focus bracketing/stacking with the GF23 lens on that Kiva. When I took that first image, showing part of the Kiva, and posting it, I had not yet begun using and exploring the Retouching feature of Helicon Focus. So, here is that image again, but this time stacked and retouched. The retouching seems to improve the moving clouds and the trees to the left. It was somewhat windy.
What I like about this version of the Kiva image is that it conveys an exaggerated size of the Kiva. I don't get this impression, standing next to the Kiva, or from the following stacked and retouched image taken at a later date, when is was extremely windy. I had to retouch even some of the grasses, as due to the windy conditions, they had multiplied in the stacked but not retouched image.
So that's my story about the Kiva images and I am sticking to it. :grin: :watch:
I first used the focus stacking feature of Photoshop, as recommended by Fujifilm in their paper entitled "Advanced Technique: Focus Bracketing with FUJIFILM Cameras", Posted on10/31/2018 with URL:
https://fujifilmxgfx.com/gfx-techniques/advanced-technique-focus-bracketing-with-fujifilm-cameras/
I used the version of Photoshop that I have, namely PS CS6, with limited success. It gave me unsatisfactory results for challenging scenarios. Here is such an example.
Fuji GFX 50S • GF250
In particular you will notice the out-of-focus areas of the river in between and around the twigs overlooking the 1000 foot lower Rio Grande. In the 33 focus bracketed images that I used to blend into the stacked image above there was not a single image that showed that part of the river clearly in focus due to the obstruction caused by the twigs. Please, also notice some fuzzy areas next to the image boundaries.
So after a couple of months exploring what PS CS6 could do and not do, upon the recommendation of Jim Kasson over at DPReview, I began using Helicon Focus. Among other features it offers 3 different methods - A (weighted average), B (depth map), and C (pyramid) - to stack focus bracketed images. For the following image I used Method C (pyramid) that seemed to give the best results for this particular set of 33 focus bracketed images.
IMHO, using Helicon Focus, this image has improved to a degree that it is almost useable! :thumbup: :grin:
I have taken single images of that particular Kiva before, trying to get as much as possible in focus by using fairly small apertures with f-numbers of f/11, 16, 22, or even higher. The problem with that approach is that critical focus/sharpness of the image cannot be achieved with f-numbers of f/11 or larger due to diffraction, especially for lenses with longer focal length. Of course, to a limited degree diffraction effects can be ameliorated in post-processing by applying the right kind of sharpening.
Anyway I thought it a good idea to try focus bracketing/stacking with the GF23 lens on that Kiva. When I took that first image, showing part of the Kiva, and posting it, I had not yet begun using and exploring the Retouching feature of Helicon Focus. So, here is that image again, but this time stacked and retouched. The retouching seems to improve the moving clouds and the trees to the left. It was somewhat windy.
What I like about this version of the Kiva image is that it conveys an exaggerated size of the Kiva. I don't get this impression, standing next to the Kiva, or from the following stacked and retouched image taken at a later date, when is was extremely windy. I had to retouch even some of the grasses, as due to the windy conditions, they had multiplied in the stacked but not retouched image.
So that's my story about the Kiva images and I am sticking to it. :grin: :watch:
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Quick test of my manual focus Pentax 645 200mm lens on a recently acquired Fuji GFX 50R. Hand held with camera resting on the railing of our balcony. About f11. Maybe not as good as my Fuji 23mm and 32-64mm but pleasantly surprised it did this well. First image is actual pixels crop. Thanks for looking
Dave in NJ
Dave in NJ
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GFX50r + GF63mm
View attachment 139110
View attachment 139110
GFX50r + GF63mm
View attachment 139111
View attachment 139111
Dave,
Lovely composition and tones! The full image shows why 100% crops can be superfluous, IMHO.
John (formerly from NJ)
Lovely composition and tones! The full image shows why 100% crops can be superfluous, IMHO.
John (formerly from NJ)
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I hope this is hanging on your wall soon. I keep coming back for another look and like it more each time I look. Well done!!
stevenfr
Active member
Thank you, very kind of you to comment. I just returned from this shoot and still trying to get time to look at all the images. Hopefully, you like the other images from this shoot. I have a meeting with one of the galleries that represent my work in a few weeks. I will present this image as a suggestion for printing.
Bill Caulfeild-Browne
Well-known member
No gain without pain! Well worth it though....
stevenfr
Active member
Thanks Bill. I am thinking to go back next year. We have been home a week and my fingers are starting to feel normal again.
M
mjr
Guest
Afternoon
A street corner in West Mosul. Anything not blown up is riddled with bullet holes.
A street corner in West Mosul. Anything not blown up is riddled with bullet holes.
M
mjr
Guest
Some Alan, the resilience of the people is pretty amazing but everything is stacked up against them. West Mosul is largely destroyed, bodies still buried, IED's still all over the place and yet, there are little market stalls and shops opening back up and many thousands of displaced people are returning to find they have nothing left, all pretty sad to be honest. We continue doing our bit, daunting task though.
Cheers
Mat
Cheers
Mat
dave.gt
Well-known member
Mat,
the question in my mind is: How do you cope with the depressing sad state of life around you? And... did you bring your guitar with you as you have carried it all over the world already?
A very good friend of mine (a veteran) is still suffering from his time there, more than a decade later. He is finally moving on with graduate studies now, learning to be an art therapist and is using his creativity to both recover and help others.:thumbup:
I would think that your guitar (along with photography) would be great therapy as would any musical or creative endeavor would be, when you are not working, of course.
M
mjr
Guest
Hi Dave
It's an interesting question, not so easily answered! For one, it is important to point out as I have mentioned before, I am not an EOD specialist, I work with incredible guys who are actually at the sharp end, doing the physical work of finding, uncovering and disabling explosive devices, there's is the really tough job not mine. These guys are pretty extraordinary and I have a massive amount of respect for them, if I brought out the guitar though, they would probably blow it up! There's a type of humour here which allows a lot of guys to cope with what they do, it's tough and you have to be to deal with it.
I support these projects and facilitate their environment to operate, I get out as much as I possibly can so I understand fully what they need and what they are going through, they can't hide away from it and I easily can, but I am a pain in the *** and make sure i'm there as much as possible.
Ultimately, my own view is that I am extremely privileged, I chose to be here and those living it have absolutely no choice. The reality is that I have worked on these projects in Afghanistan, Mali, Darfur, South Sudan, a lot in Iraq and many others, the people you meet are just incredible. Here the normal person just wanting to get by, has had situation after situation forced on them, there is also a lot of very frustrating talk from this agency or that, lots of good intentions that don't go anywhere, so they are wary. When you turn up and do the work you can see the benefit in their faces. It's not always the same, I have been to some very scary places where we were not wanted, then it's much harder.
In the last 10 years I have often got home and needed time, but then I understand my part is very small so just get on with it, photography has immense power for me when I get home. I can sometimes take time between projects but I know I should be doing more than I am so I go back to do what I can. I am frustrated here now with photography because there are so many stories to tell and it is difficult to do it, they are human beings not subjects for my photographs.
Anyway, I'm rambling on, thanks for asking the question, not sure I've answered it! I cope much better than those with no option.
Cheers
Mat
It's an interesting question, not so easily answered! For one, it is important to point out as I have mentioned before, I am not an EOD specialist, I work with incredible guys who are actually at the sharp end, doing the physical work of finding, uncovering and disabling explosive devices, there's is the really tough job not mine. These guys are pretty extraordinary and I have a massive amount of respect for them, if I brought out the guitar though, they would probably blow it up! There's a type of humour here which allows a lot of guys to cope with what they do, it's tough and you have to be to deal with it.
I support these projects and facilitate their environment to operate, I get out as much as I possibly can so I understand fully what they need and what they are going through, they can't hide away from it and I easily can, but I am a pain in the *** and make sure i'm there as much as possible.
Ultimately, my own view is that I am extremely privileged, I chose to be here and those living it have absolutely no choice. The reality is that I have worked on these projects in Afghanistan, Mali, Darfur, South Sudan, a lot in Iraq and many others, the people you meet are just incredible. Here the normal person just wanting to get by, has had situation after situation forced on them, there is also a lot of very frustrating talk from this agency or that, lots of good intentions that don't go anywhere, so they are wary. When you turn up and do the work you can see the benefit in their faces. It's not always the same, I have been to some very scary places where we were not wanted, then it's much harder.
In the last 10 years I have often got home and needed time, but then I understand my part is very small so just get on with it, photography has immense power for me when I get home. I can sometimes take time between projects but I know I should be doing more than I am so I go back to do what I can. I am frustrated here now with photography because there are so many stories to tell and it is difficult to do it, they are human beings not subjects for my photographs.
Anyway, I'm rambling on, thanks for asking the question, not sure I've answered it! I cope much better than those with no option.
Cheers
Mat
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