the blog of Seldom Seen Photography

Archive for October, 2012

Fall’s Come and Gone at Heather Meadows

Shuksan and Picture LakeI went with a friend and my trusty dog Carson (just over two weeks ago) to Heather Meadows at the end of the Mount Baker Highway (in a earlier post, I gave a Quick Shot from the trip). The fall colors were fantastic, as I hope these images show. Want to go for the colors? You may be too late. The fall color season was short at Heather Meadows this year (though it’s probably short most years). A trail report on the Washington Trails Association websitedidn’t mention fall colors on September 30th, nor did the accompanying photos show much.  And as of October 22nd, according to the US Forest Service website, all the Heather Meadows trails are now snow-covered, the lakes have started freezing over, and the road is gated at the ski area’s upper parking lot – a good distance below Artist Point were about half of these photos were taken. Winter has come to Heather Meadows. Fall lasted about 3 weeks.

Though on the Mount Baker Highway, the real star of the Heather Meadows area is Mount Shuksan. The view of Mt. Shuksan from Picture Lake (the featured image above) is one of the most photographed scenes in Washington State. Unfortunately, when we were there, there was a breeze, ruining the reflection in Picture Lake, but it still made a great scene.

Besides Picture Lake, we drove up to the end of the highway at Artist Point and did the short hike along Artist Ridge. Again, Shuksan is the star here – though the view of Mount Baker is good too. We were there in the afternoon (and later, at sunset), and the light was much better on Shuksan than Baker. I venture that Baker looks better in morning light (but with a 5+ hour drive from Tacoma, I wasn’t about to get there early).

Unlike the northeastern United States, the Northwest is not know for its autumn colors. This is not surprising, considering the primary tree cover in the Pacific Northwest is composed of firs, pines, and other evergreens. But, there are some spots where fall color can be found. The Heather Meadows area is one – you just have to be quick to see it.

Grass in Picture Lake

Grass patterns in Picture Lake

Fall Colors

Fall color along the Mount Baker Highway below Artist Point

Fall at Picture Lake

Another shot of Mount Shuksan at Picture Lake

Picture Lake Shoreline

Color along the Picture Lake shoreline

Mount Shuksan

Mount Shuksan from the Artist Ridge trail

Mount Baker Highway

The Mount Baker Highway just below Artist Point

Red

Close up on red huckleberry leaves – I love how the backlighting brings out the color.

Shuksan from Artist Ridge

Mt Shuksan from the end of the Artist Ridge trail

Carson Hanging Out

Carson hanging out, enjoying his hike

Shuksan Sunset

Mount Shuksan from Artist Point at sunset

Pointing to Shuksan

It’s impossible not to point the camera at Mount Shuksan. Even the clouds point to at it!

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Off Topic – US Presidential Election

I know this is way off topic for my photography blog, however, I do have another persona as a groundwater geologist (in my day job). I work for a company called Robinson Noble, we do environmental consulting and geotechnical engineering. We recently started a company blog, and I wrote a post there concerning the upcoming election. If you are interested on how the two candidates rate on water, environmental, and infrastructure issues (issues important to Robinson Noble and its clients) and science issues in general, you may wish to read my post on Science and the 2012 Election.


Evolution of an Image: Previsualition to Print

Low Tide, Beach #4
Low Tide, Beach #4

This is the final image, which I’ve titled “Low Tide, Beach #4”

The image above is another from my trip to the beach last month. It is my favorite of the whole trip, and I recently made a print of it. I thought I’d tell you how this particular image went from just an idea to a final print. However, if you want to skip all the details, and just see what the original RAW image looked like, you can just compare the final processed version above with the unprocessed RAW image below.

Prevision: It was near sunset and the tide was low. I had wanted a sunset shot with tide pools in the foreground, but that idea was out because of the fog bank I described in my earlier post . Instead I thought about an image with tide pools and the incoming waves  mist-like on the shore. Because it was so gray out, for color I needed starfish (which are naturally purple and orange on this part of the coast) and green sea anemones. I wanted the starfish and selected tide pool to be the focus, with the rest of the image dark and misty (from the waves).

Camera Work: I found a several promising tide pools, some of which I showed in the earlier post. I spent a lot of time at this one, I thought the composition looked good, with the tide pool opening to the right rear and the big cluster of starfish. To blur the incoming waves into a mist, I knew I needed a long exposure, which forced me into using a small aperture. The final image was taken at ISO 100 and f/22 for 8 seconds. Obviously I used a tripod. I needed to be close to the tide pool, requiring a wide-angle lens to capture the entire scene. I put on my 10-22mm zoom and set it to 22mm. Finally, I wanted the center of interest to be the starfish on the far side of the pool. This was actually close to the darkest part of the scene. To help I used a flash to light up the far side of the tide pool. The original RAW capture, with just Lightroom defaults, is shown below.

RAW capture

The original RAW capture processed only with Lightroom defaults

Lightroom Processing: As you can see, even with the fill flash, the rock with the starfish was very dark. I knew it would take some dodging and burning work to bring it out to my original vision for the image. However, first things first. I always do global adjustments (those affecting the whole image) first before targeted ones. Usually my first step is to level the horizon and use LR’s lens correction feature. I typically use a bubble level on my hot shoe to help keep the horizon level when I shoot, but with the flash, that wasn’t possible. With the wide-angle zoom, there is a lot of distortion and chromatic aberration, both easily fixed in LR.

lens correction and crop angle

Slight rotation to level the horizon and reduce lens distortion with LR lens correction feature.

Next I adjusted the white balance. I slid LR’s blue-yellow slider to the right (yellow) to add warmth to the image.

adjust white balance

Added some warmth by adjusting the white balance.

The image needed a bit more contrast, so I then set the white and black points by using the Whites and Blacks sliders. In this case, I moved the sliders to broaden the histogram and add just a little clipping of both blacks and whites.

set white and black points

Set the white and black points; adds contrast.

I knew I wanted to essentially invert the luminosity of the image, making most of the image darker and lightening up the back wall (which is dark in the original capture). To most effectively do this, I darkened the whole image by significantly moving the Exposure slider to the left (about 3/4 a stop), then recovered that much in the dark areas with the Shadows slider, moving it to the right.

adjust exposure and shadows sliders

Adjusting to darken everywhere by the shadows using the Exposure and Shadows sliders.

This was generally it for global adjustments, at least initially. Now it was time to work on problem areas to bring out my vision. First, the sky and water was still too light. So I added a Graduated Filter in LR. I used a relatively soft edge, and set the center of the gradient about 1/4 the way down from the top, reducing the exposure by another 1/3 stop. Then to add a bit more contrast to the background rocks and water, I adjusted the Contrast slider on the filter to the right.

add graduated filter

My first targeted adjustment, darkening and adding contrast to sky, water and background rocks with a Graduated Filter.

Next I knew I needed a lot of painting with the Adjustment Brush. First I needed to lighten up the main area of interest – the tide pool and nearby rocks. The following shows where I added the brush and the effect. I added about 1/2 stop with the Exposure slider and even more with the Highlights slider to bring out the highlights.

first brush area

Area of first brush

first brush
Effect of first brush – lighten main area of interest

It was still to dark in my primary subject area, so I painted a second time in the area shown below. This time I added another 1/2 stop in exposure, with lighted up the shadows more, added some “crispness” with the Clarity slider, and bumped up the color with the Saturation slider. (Normally, I do not use the Saturation sliders much in LR. I more typically use the Vibrance slider as a global adjustment. Here, to really emphasis the back wall of the tide pool, I didn’t use the Vibrance slider at all, and only used the Saturation slider with targeted adjustments).

Second brush area

Area of second adjustment brush

add second brush

Effect of second brush – emphasize back wall above tide pool by lighten overall, lighten shadows, and adding clarity and saturation.

Now it was time to work on the water in the tide pool. I wanted the highlights in the water to show better, and for there to be more contrast between the light and dark portions of the water. So I added a little exposure and bumped up the Highlights and Contrast sliders. I also upped the saturation slightly.

Third brush area

Area of third adjustment brush

third brush

Lightening highlights and adding contrast to the tide pool water.

That helped with the water, but I wanted the white areas of the water in the tide pool to be more pronounced, so I painted those areas with another adjustment brush to lighten them up.

Fourth brush area

Area of fourth brush

Effect of fourth brush

Effect of fourth brush – lightening the white areas in the tide pool water

I wanted to add a bit more color and lightness to the starfish and anemones  (on the rock and in the water) in the foreground. So I added another adjustment brush, upping the exposure slightly and adding some saturation.

Fifth brush area

Area of fifth adjustment brush

effect of fifth brush

effect of fifth brush

At this point, I liked the luminosity of the areas I had used the adjustment brushes on, but thought the rest of the image was too bright for my original vision. So I decreased the exposure slider by another 1/2 stop to darken the whole image.

adjust overall exposure

Another overall exposure adjustment to increase the darkness of areas away from the tide pool.

Then I restored the exposure values to each of the previous adjustment brushes, adding back the 1/2 stop of exposure only in the brushed areas.

restore brush exposures

Restoring exposure to previously brushed areas to make up for the global decrease in exposure.

Then to further focus the eye to the center of the image, I added a vignette with the Post-Crop Vignette slider.

add vignette

Vignette added to help keep center of image the focus of the viewer’s eye.

With that done, some of the rocks on the left still seemed a bit too bright. So with another adjustment brush, I made them slightly darker.

sixth brush area

Area of sixth adjustment brush

sixth brush effect

Effect of sixth adjustment brush, slightly darkening rocks on left of the tide pool.

And, the white water at the mouth of the tide pool still looked a bit dark to me, so I added a seventh adjustment brush to brighten up this area a bit.

seventh brush area

Area of seventh brush, prior to partial deletion of brush.

seventh brush effect

Effect of the seventh adjustment brush.

At this point, I was close to the final, pre-Photoshop image. However, with all the adjustment brush work, the image had lost contrast (mainly by darkening the highlights). I needed to re-establish the white clipping point to gain back the lost contrast. So I adjusted the whites slider upward and also fine-tuned the color temperature (cooling the image slightly).

WB adjustment_ restore white point

After all the brush work, the image had lost contrast. So I re-adjusted the white point upward and fine-tuned the color temperature.

But with that adjustment, some of the white water at the mouth of the tide pool was too bright, so I deleted part of the seventh adjustment brush.

delete seventh brush

With a portion of the seventh adjustment brush deleted, the white water at the mouth of the tide pool looked better.

Now it was time for some touch-up work with the spot removal tool to remove sensor dust spots (I’m bad, I don’t clean my sensor nearly often enough). The dust spots were very visible because of the small aperture used on the image. I was able to fix all of them except one straddling the surf line near the upper center of the image; I knew I’d need the cloning tool from Photoshop to fix that one.

At this point, I was done processing the RAW image in Lightroom. Though it looks close to my vision, I thought I could improve it a bit further in Photoshop (in addition to fixing the final dust spot). Before sending it to Photoshop, I applied some noise reduction.

final image out of Lightroom

Here’s the final image as it came out of Lightroom, prior to additional processing in Photoshop

Photoshop Processing: The first step in Photoshop was to adjust the global contrast again, this time using Curves, giving it a slight “S” adjustment, and giving the image some more pop.

curves adjustment

Result of a Curves adjustment in Photoshop, slightly increasing the contrast.

I occasionally use a luminosity masking technique, known as the Triple Play, created by Tony Kuyper to improve the shadows and highlights when in Photoshop. I tried it out, and in this case, the Triple Play lead to a slight improvement in both the shadows and highlights.

triple play

Result from using the Triple Play actions by Tony Kuyper

I cloned out the final dust spot that I couldn’t fix in Lightroom. And then refined my previous Lightroom brushwork painting on a dodging/burning layer.

clone and dodge-burn

Final touch-up with cloning one dust spot I didn’t get with Lightroom and a bit of refining with dodging/burning.

The final step was to apply a bit of sharpening and the image was complete. I use an adjustable sharpening action based on the book Real World Image Sharpening with Adobe Photoshop CS2 by Bruce Fraser. The sharpening applied here is intended to sharpen to remove the slight blur caused by the camera. With that, the image was complete and my vision was realized. Easy right?

After the processing was done, the only thing left to do was make a print (I do additional sharpening prior to printing after resizing the image). I made 10×15-inch print, matted it, and it is now hanging at the gallery in Gig Harbor where one of my photo clubs (Sound Exposure) hangs their work.

You might be asking, “how long did all this processing take?” Though I didn’t time myself, it took much less time to do than to write this blog post. I’d guess the complete processing, from RAW to the final photo below (not including printing) took about 30 to 40 minutes. I don’t spend that much time on every shot; but in this case, I think it was well worth it.

final sharpening

The final image after source sharpening in Photoshop. This image is the same as the one at the top of the post and was used to make my final print.

Quick Shot

Mount Baker

At last the rain hit today, ending perhaps the longest dry spell in western Washington history. Luckily, I spent the last day of the dry weather (yesterday) up at Mount Baker in the Heather Meadows area. The fall colors were fantastic. Tomorrow, in the morning,  I’m heading off to eastern Washington for the weekend to go to a football game. I wanted to leave you with a blog post before I go, so here’s a quick shot I took yesterday. This is Mount Baker, as seen from Artist Point. More from my trip up to Heather Meadows later.


Historic Ships

Bow of the Arthur FossBy working on my Seattle ebook project, I’ve visited a few sites in Seattle that I’ve never been before. Though I’ve been to Lake Union Park and the Center for Wooden Boats several times in the past, somehow I have always missed the Historic Ships Wharf, that is until last week. If you like maritime history, this is fun little place to visit. It is located in Lake Union Park, at the north end of the Naval armory (soon to be the new home of the Museum of History and Industry).

There are five or six boats berthed at the Historic Ships Wharf. Northwest Seaport  owns two of the ships – the tugboat Arthur Foss and the lightship No. 83 “Swiftsure”, both of which are National Historic Landmarks. The Arthur Foss was built in 1889 and has a long history of working from Alaska to Hawaii, including starring in the 1934 movie Tugboat Annie. She was decommissioned in 1970. Lightship No. 83 was built in 1904 and has served on both the east and west coasts. She retired in 1961 and is currently undergoing restoration by the Northwest Seaport.

Other vessels at the wharf include the 1922 steamship Virginia V (also a National Historic Landmark) and the 1910 fireboat Duwamish. The Virginia V is the last remaining steamer of Seattle’s famous Mosquito Fleet. It currently hosts the Farmboat Floating Market (a farmers market, for information go to www.farmboat.org) every Thursday.

The wharf is also home to schooner Lavengro – the last original Biloxi “White Winged Queen” schooner in the world. When photographing the Lavengro, I had the good fortune to meet her captain – Kim Carver. She told me a little history about her ship and suggested that owners of most the boats at the wharf would welcome a photographer on board by just asking. Captain Carver also said that she gives free rides on the Lavengro most Sundays as part of a program sponsored by the Center for Wooden Boats.

There are few places  where you can see several historic ships like these all on one pier. If you like old boats, I suggest checking it out.

Lavengro

The historic schooner, the Lavengro

Boat details

Rigging on the Lavengro

Lavengro and MOHAI

Looking from the Lavengro back toward the armory (now the Museum of History and Industry)

Rusty chain

Rusty chain laying on the wharf

Duwamish

The stern of the fireboat Duwamish

Virginia V

I was amazed how tall and skinny the Virginia V is.