Famous Landscape Photographers Urban Landscape Photography
Famous Landscape Photographers Urban Landscape Photography
Famous landscape photographers, Good morning, everyone back in Dallas again this morning. I am here to do an exterior shot. Museum is back over there and we’re going into a building up here. If this weather will hold out it’s awfully cloudy, I have to say the parking situation downtown could be much improved and less expensive that ended up going really well, it is overcast out here, but it’s not completely overcast and I actually think this ended up working pretty. Well, I was convinced we were gon na have to come back out a second time and reshoot, but we got it. Of course that’s up to the client, so I’m obsessed with the idea of lunch here so got a kill a little time first, but since we have a minute to kill I’ll show you where we are, this is actually a park that is built over a freeway When I was a kid growing up for years, we referred to this as the canyon, because it all just went underground. Well, they built a park up at the top and it’s surrounded by the Arts District on one side.
On the other side, you have hipster expensive apartments. There’S like two restaurants in here that are excellent lots of mirrors. Here’S the museum I worked in for seven years. Is it just me or do these two sculptures look like bird sh…, whole slew of food trucks and some more food trucks? That’S the opera hall and behind that is where I went to high school. You can sort of see the Symphony Center back there. This new building, whatever that is, is now in the way: sculpture, center Asian Art Museum. Oh tough choice here or there we’re going to the Phoenix enchiladas check time to head back to the fort.
You know in the last vlog a lot of you complained about the highway footage and yeah. It’S a long drive between Dallas and Ft Worth, but just for you guys we’re gon na cut to the chase. I won’t do highway footage today, mainly because I forgot the dashcam. I need to work on that. I need to like pimp this car out so like when it gets a little cooler, we’ll find a cooler set up for this. But anyway, let’s go ahead and head back to Fort Worth right. Now, no… wait! Oh not! Yet there we go so let’s go in and see what we got.
Oh these guys, I’m a construction magnate like seriously. It follows me everywhere. Okay, so essentially, this is an urban landscape, so my plan here was to end up with a composite image that had the maximum depth resolution that I could possibly crank out of this, and so what I did was a series of images that are stitched together in Lightroom at the end and I’ll show you how to do that in a second. The lens I chose for this is the Zeiss Loxia. This is the f/2 35mm. It is a Sony mount. It is incredible, and so essentially what I do is go through and just do a series of three or six images that are just side by side that are going to be stitched together in the end now.
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The key to this is making sure that your exposure is identical on every one of these images, so what you want to do, if you want to do this, is go through and find the brightest spot in your image and sometimes with landscapes. You’Ve got the Sun in there. You’Ve got to find that and you’ve got to expose for that and then that’s the exposure you’re going to use throughout and I’ll explain how we get into this in Lightroom next thing, you’re gon na want to do I’m going to show you how to do this. In Lightroom is you’re gon na want to actually apply any lens correction profiles that Lightroom offers. If that’s a possibility, there are some cameras like Panasonic and Fuji, for instance, that do it internally in-camera and that’s fine. You can just use them straight off the camera, but if you’re using something else like Canon Nikon Sony, what you want to do is go in and manually select those lens profiles and what that will do is it’ll help you with them in the vignetting and any Distortions that you have and it’ll make it easier for the algorithm to stitch those together, okay, so we’re in Lightroom now – and I want to make a couple points about this image. First of all, as I said before, this is not the client image and the reason I’m telling you that actually there are two reasons that it will get to, but first of all, this is shot the opposite direction from the landscape that I was actually shooting for The client they asked me what my preference of time of the day was, and it was kind of a favor that was called into a business that has two floors in this high-rise.
On the other side – and I said well, we want to shoot it in the morning knowing where the sunrises and knowing where the building is, and they said fine and so before I left I did a couple shots, so I could use the same technique to illustrate To you guys in this article, but it is shot in the opposite direction. I was in a hurry and it was overexposed and you can tell because if you look in the sky here, you’re seeing some blown highlights. So I didn’t have time to bracket this at this point, because the priority unfortunately, was not doing this article. It was doing the job for the client, but I want to show you at least the process, but the point I want to make, though, is that, even though this was overexposed a lot of it was recoverable because of the settings that I chose to use. So you can see what I used over here. This is actually the final stitched panorama. It makes a dmg file, and this was one sixtieth of a second at f/8 at ISO 100, and the Sun is right here over the Chase building.
So but you could still see even though that it was somewhat backlit. I was still able to recover a lot in this image, and that is a key, because there are two things that you have control over when you’re shooting, basically an urban landscape or any kind of landscape. For that matter. The first one is ISO, and ISO, as most of you guys probably know, is a metaphor in the digital world for what we dealt with in film sensitivity and so typically, if you’re gon na get the most detail. The most information out of the image that you possibly can you want to shoot at the cameras base ISO now that may be very conservative by today’s standards, because cameras are really good with higher gain settings or higher ISO settings. But anyway I shoot at the base. Iso and the other thing is, I definitely wanted the lens at f/8 that it’s just it looks really good at f/8, everything’s sharp.
You could shoot at f/16. This lens doesn’t have the aberration problems that some lenses do, but anyway, f/8 was my choice. So the shutter speed is all I’m left to deal with and we’re shooting into the Sun, and if this were the shot that I were trying to get, this is not the time of the day that I would have tried to get it, which was in the Morning so anyway, with that being said, though, this is the final stitched image and you can see that there’s a lot of detail, even if i zoom in you can tell it retains a lot of detail, and I wouldn’t have chosen this time of day. Like I said to shoot this particular image, this is the opposite way. The way I was shooting but anyway, just to tell you how I did this, so this is basically a stitched panorama based on six images that I took, and so, if you go look at the original images here, they are so real exciting here, but you can Definitely tell that I’m slightly overexposed with that sky blowing out. But when you do these, you want to create enough of an overlap so that Lightroom or Photoshop or however you’re stitching these. The algorithm can tell what’s trying to be stitched together, and so it needs information that is similar in each image.
So if that makes sense, so they need to overlap. Slightly is my point: if they definitely don’t overlap, it can’t invent it. The image, that’s not there. So you’re gon na have a problem, so what you basically do to do this is you select all six images and you do control+m and it’s going to bring up a panorama merge preview. Now there are three choices you have here in algorithms and they are spherical cylindrical and perspective, and these are based on how the image is mapped out, and so it could be very different if you’re using a drone to go in a spherical pattern anyway. So you want to choose the correct one, the correct one in this case, because I’m simply just like hand holding this and just moving the camera over is going to be perspective. Of course, if you click on any one of these, you can see a preview.
So you can always experiment with it from there and then what you want to do is just click, merge and I’ve already done I’ll, say, cancel and it will give you a DNG composite of those merged six images. So what you end up with is very much a higher resolution image than your camera and, of course, I’m using the sony a7s on this, and so that’s kind of part of my thinking on this. If I had a higher megapixel camera, the original a7s is only 12 megapixels. You know feel free to go wild but in my case I have a lower megapixel count and I want a really high megapixel image in the end, and so I could have gotten even higher than this. There are different ways you could go about it, but I really love this whole concept of working with composited images, so that is essentially my approach to landscape photography. I am a big fan of stitching in this instance, because what I want to do is be able to retain the maximum amount of detail that I possibly can out of a single image, even though it’s six all stitched together. But it is a cool technique and if you want to try it yourself remember, it is really important to get things right in the camera before you do the stitching in post and when you’re kind of going around, you want to find the brightest area of the Image and make sure that you retain those highlights – and I know this was kind of a weird example, because I was doing something for a client and so that’s where my attention was and then I wanted to have something to share with you guys.
So I kind of flipped around the opposite direction, which was not ideal and I didn’t get the time to bracket it appropriately. But you get my point, the main things that you want to remember: to have your camera at the base, ISO. That is really important, because any gain that you start to introduce will start to degrade the image quality somewhat. Of course, in the modern age, this is a little different than it was 10 years ago. The other thing you want to remember is to have your aperture set at f/8. This will avoid any kind of aberration distortion and it’s also not too shallow. So you won’t have any depth of field issues.
Okay, so one other thing that I want to mention is: I am NOT Joe Landscape and don’t claim to be, and I want to recommend you two posts on site. That definitely are, although I wouldn’t call them Joe Landscape. The first I want to mention is somebody that I’ve known online for years his name is Ben Horne. He has an amazing post, he does behind-the-scenes and vlogs. He shoots film shoots eight-by-ten if you’ve never seen an eight-by-ten, negative or positive. You are missing out. I’Ve only kept to Ben’s post in the show description make sure you check that out.
Another gentleman, I would highly recommend is Thomas Heaton and if you haven’t seen Thomas, he does a lot of vlogging a lot of behind the scenes on how he’s getting the shot and he goes to some really amazing locations. Both those gentlemen are awesome, check them out. I will see you guys on Monday we have photo assignments and this week is going to be really good. So until then I’ll catch, you Monday later.
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