Posts Tagged ‘Oregon’

Showdown at Wildwood

Blame it on the summer sun…  Yeah, it creates all this dynamic range in the luminosity that we have to deal with.  I know that I’ve been (over)-emphasizing HDR stuff lately, but I had to do one more entry on the HDR – or maybe I’ll do a bunch more, I don’t know yet!  Anyway, I decided to do a comparison and see how it all shakes out in a more or less  challenging but representative image.  So, dear friends, here we go, first with a standard image with best-effort-in-about-one-minute processing; an HDR image generated using Tone Compressor mode; and an HDR image processing using the Detail Enhancer…

Standard Processing

Standard Processing

HDR Tone Compressed

HDR Tone Mapped

HDR Detail Enhanced

HDR Detail Enhanced

Processing on the standard image consisted of basic adjustments in ACR,  including refinements in Exposure, Recovery, Fill Light, Blacks, and Clarity.  For the Tone Compressed image I applied the Overlay move to further enhance detail in the highlight (clouds).  In the Details Enhanced image I had to blend the image with the results of the post-conversion processed version of  the Tone Compressed image to reduce a very strong dark halo effect in the clouds.

The standard image is about all we could hope for given the scene and time-of-day.  There is good detail in the river and in the greenery, but of course the sky and clouds are completely gone.  In the Tone Compressed image these problems are eliminated.  Perhaps the greenery is a bit over-saturated, but when did we ever complain that the color is too strong – we can easily reduce this if desired.  I like what happens with the water too – a natural result of combining several images recorded using different shutter speeds.   The detail in the clouds is even better with the Details Enhanced image, and here if anything, the greenery seems a little under-saturated.  I also like the water here – maybe even better than in the Tone Compressed image.

The source images were recorded on June 19 at 13:30 PST, at the Wildwood Recreation Site, just east of milepost 39 along Oregon Highway 26.  I used the Nikon D700 with the AF-S VR Zoom-NIKKOR 70-300mm f/4.5-5.6G IF-ED lens at 70mm.  Exposures were f/18 at 1/250s, 1/160s, 1/100s, 1/60s, 1/40s, 1/25s and 1/15s.  ISO was set at 200.  White balance set to Auto.

Detail Enhancer settings:

Luminosity:  0

Strength:  100

ColorSaturation:  46

WhiteClip:  5.000000

BlackClip:  5.000000

Smoothing:  High

Microcontrast:  10

Microsmoothing:  0

Gamma:  1.000000

HighlightsSmoothing:  0

ShadowsSmoothing:  0

ShadowsClipping:  0

ColorTemperature:  0

SaturationHighlights:  0

SaturationShadows:  0

Tone Compressor settings:

Brightness:  3

Compression:  4

Contrast:  2

WhiteClip:  0.000000

BlackClip:  0.000000

ColorTemperature:  0

Saturation:  0

The Lights of Timberline Lodge

Massive Timberline Light FixtureTimberline Lodge on the south slope of Mt. Hood in Oregon is one of the classic historical lodges of North America.  Built by skilled craftsmen during the 1930’s, the lodge survives today as a living museum.  It’s an excellent hotel, with nicely appointed rooms, and an excellent bar and restaurant.  The entire business is laid out in grand scale – like the stuff was built to last…well, forever.  After 80+ years, it all looks like it just might have a chance.  The attention to detail is persistent  throughout the structure, yet the light fixture shown above, got my eye.  You just gotta ask…Why?  Massive, over-designed, and completely impractical, yet startling beautiful – or at least I think so – and so, I must guess, did the men who crafted the stuff.

I’m still experimenting with the Detail Enhancer mode of the HDR software package Photomatix.  As I’ve mentioned before, this adds a sort of magical quality to images of interiors that I find quite compelling.  The image above was generated using the Nikon D700 and the AF-S NIKKOR 14-24mm f/2.8G ED at 24mm.  Exposures were f/16 and 1/4s, 1/2s, 1s, 2s, and 4s, all at an ISO of 800.  The following mapping parameters were used:

Luminosity:  0

Strength:  90

ColorSaturation:  46

WhiteClip:  0.249450

BlackClip:  0.000000

Smoothing:  Medium

Microcontrast:  10

Microsmoothing:  9

Gamma:  1.000000

HighlightsSmoothing:  21

ShadowsSmoothing:  12

ShadowsClipping:  0

ColorTemperature:  0

SaturationHighlights:  0

SaturationShadows:  0

<pmtm:Method>Details Enhancer</pmtm:Method>
<pmtm:Luminosity>0</pmtm:Luminosity>
<pmtm:Strength>90</pmtm:Strength>
<pmtm:ColorSaturation>46</pmtm:ColorSaturation>
<pmtm:WhiteClip>0.249450</pmtm:WhiteClip>
<pmtm:BlackClip>0.000000</pmtm:BlackClip>
<pmtm:Smoothing>Medium  </pmtm:Smoothing>
<pmtm:Microcontrast>10</pmtm:Microcontrast>
<pmtm:Microsmoothing>9</pmtm:Microsmoothing>
<pmtm:Gamma>1.000000</pmtm:Gamma>
<pmtm:HighlightsSmoothing>21</pmtm:HighlightsSmoothing>
<pmtm:ShadowsSmoothing>12</pmtm:ShadowsSmoothing>
<pmtm:ShadowsClipping>0</pmtm:ShadowsClipping>
<pmtm:ColorTemperature>0</pmtm:ColorTemperature>
<pmtm:SaturationHighlights>0</pmtm:SaturationHighlights>
<pmtm:SaturationShadows>0</pmtm:SaturationSha<pmtm:Method>Details Enhancer</pmtm:Method>

<pmtm:Luminosity>0</pmtm:Luminosity>

<pmtm:Strength>90</pmtm:Strength>

<pmtm:ColorSaturation>46</pmtm:ColorSaturation>

<pmtm:WhiteClip>0.249450</pmtm:WhiteClip>

<pmtm:BlackClip>0.000000</pmtm:BlackClip>

<pmtm:Smoothing>Medium </pmtm:Smoothing>

<pmtm:Microcontrast>10</pmtm:Microcontrast>

<pmtm:Microsmoothing>9</pmtm:Microsmoothing>

<pmtm:Gamma>1.000000</pmtm:Gamma>

<pmtm:HighlightsSmoothing>21</pmtm:HighlightsSmoothing>

<pmtm:ShadowsSmoothing>12</pmtm:ShadowsSmoothing>

<pmtm:ShadowsClipping>0</pmtm:ShadowsClipping>

<pmtm:ColorTemperature>0</pmtm:ColorTemperature>

<pmtm:SaturationHighlights>0</pmtm:SaturationHighlights>

<pmtm:SaturationShadows>0</pmtm:SaturationShadows

dows

Atkeson Point

Atkeson Point

Ray Atkeson. For native Northwesterners the name is synomous with outdoor photography.  During the 70’s and 80’s Atkeson published a series of  color coffee table books that pretty much defines the genre.  For those of an earlier vintage, you may recognize Atkeson as a renowned ski photographer – yeah, it’s a popular style-type, and Atkeson’s BW prints are some of the very best images of this form made by anyone at anytime – and done mostly using a 4×5 Speed Graphic camera that he toted around in the era before ski-lifts – folks were tougher in the olden days…  I actually own a couple of prints meself – night shots at Timberline Lodge.

In honor of his stature as Photographer Laureate of Oregon, a point on the south shore of Sparks Lake has been named after Atkeson.  It is a very pleasant spot,  reached easily by walking a short distance along a paved trail from the boat launch parking lot at the southeastern corner of the lake.  Near Atkeson Point you can setup to try your skills against the morning light, South Sister and Broken Top.  Warning: it is mostly cold here, even in summer, right around dew-point temperatures, and the light is curiously fickle.  It is nevertheless one of the most lovely spots on Earth.

The image above of South Sister and Broken Top with Sparks Lake in the foreground – an Atkeson classic – was recorded on July 22, 2008, at 08:40 hrs, using the Nikon D300 and the AF-S NIKKOR 24-70mm f/2.8G ED lens at 35mm (52 mm full-frame equivalent).  Exposure was f/16 at 1/80s, ISO 200.  The image is a crop from a panorama generated using a series of 17 images overlapping by ~30%.  The images were processed identically using a camera profile set at the DX2 Mode 3 (landscape), and clarity set up to +43 to enhance the detail up on South Sister.  The stitch was made using AutoPano Pro.  The composite image was futher processed by copying the image to a layer, and changing the blending mode to multiply.  A mask was then added to the layer to install a gradient that emphasized the darkening effect of the multiply layer in the upper half of the image.  As usual, I’m happy to answer specific questions about the processing.