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(click here for Zoomify)

As I alluded to in a previous post I wanted to share via video how I edited the image. Selectively using NIK filters is a ton of fun and it removes a lot of steps involved in doing each effect manually. So without further adieu here you go:

*Note* My friend and great photographer Josh Bradley who has written the book on NIK filters pointed out to me a neat function I missed. When you launch Color efex Pro click the brush button at the bottom of the user interface. Then paint in where you want the effect. After your initial mask is created then repeat each step of the video as usual. See below for which brush button I’m talking about.

Capture

Nov 262009

Hey Everybody,

Hope you all have a happy and a healthy Thanksgiving. If I had to choose somethings to be thankful for it would be for my readers and those that help to keep  us all moving ahead. All the best and gobble gobble!

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I’ve lived on Staten Island for some time now and I have never visited Forts Wadsworth. It is located right at the anchorage of the Verazanno Bridge on the north shore of Staten Island. It’s actually part of  the Gateway National Recreation Area which is actually in our National Parks system. The fort area itself was captured by the British in 1776 and remained in their hands until the American Revolution had ended. The area continued its intended purpose of protecting NY Harbor until the Navy left in 1994.

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I know you all couldn’t be with me on my trip to Fort Wadsworth so I wanted to capture an image to put you there. These binoculars were set up along the walk way and I thought using them would be perfect. What you are looking at is Battery Weed on the bottom left and the Verrazano bridge in the upper right corner. The sky’s were very cooperative that day. The clouds added drama to a typical smoggy day. You can make out some of the smog if you look hard enough. The lens of choice was the Sigma 10-20mm. A favorite of mine, but I was worried I might make the bridge or the battery too small. Thankfully due to their proximity to me and their size things worked out just right. The openness of the sky to the top left you will have to gauge for yourself, but it having dramatic clouds to fill the void satisfied me.

I made sure to use a polarizer in the field. It wasn’t dire to add the polarization filter in NIK, but I felt it gave a bit more depth to the clouds. Other then that just a levels adjustment and a black point.

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There was just a tad of fall color left in the rampant vines and weeds at the edge of concrete fence. Dealing with this issue is knowing what your camera sees. If you were there with me you could see into all these vines. It wasn’t the dark black you see. Knowing this and that my meter will normally expose for the highlights knocking down the shadows made this happen. Also architecturally speaking I didn’t want to point the lens directly up at the bridge causing the tower to look like it was leaning backward. So I kept it level and zoomed way out with the 10-20. Thankfully there was enough foreground to make this work. Normally if you don’t have a PC-shift lens to make this work you would have to be mid-level height wise with your architectural subject. I still got some pull from the top of the glass, but it appears negligible.

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This one might be extreme for some. I tried my best to make the pole look straight, but then the bridge would look tilted. I had to choose (or not take the shot, but who are we kidding!?) The flag pole being my main subject I went with that. There are key elements here I was looking to capture as well. I took series after series of exposure for the flag to come out just right, I wanted to make sure I could get the father and son (just people in general for scale and subject matter), and also the converging lines. You can see how the flower bed runs to the bridge and the bridge across the image and then the pole takes you up. Love it.

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Part of Battery Weed you see here. My close ups were shot using my Sigma 150mm macro. I love the field of view compression. I really wanted the dark shadows and the color of the roof top. I used a small boost in saturation (9 in NX2) and a black point to make sure those shadows were dark. The thing I love most about the image? The spiral staircase showing through the spire.

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This image came from a smaller building below that was all beat down. Seeing the shadows and the selective light hitting it I knew I had to photograph it. Unfortunately the clouds turned to overcast soon after I saw it. I waited around for the light to change and quickly made my way back to the spot to take this buildings portrait. Unfortunately in these small photos it is hard to tell the immense detail I was trying to bring out. I will actually be doing a video follow up post showing how and what I did. Plus a zoomify option. The filter I used was ‘tonal contrast.’ It took only one filter to do the job.

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Black and white?

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Putting myself into the black and white mind set I found this door. It was ripe in detail and texture. Plus with the fading paint I wanted to make it look grungy. I turned to silver efex pro underexposing the image by a stop and then adding a selective blur vignette in color efex pro. I can choose my center for the blurring in color efex which made this image fully possible. I wanted to make sure the sign and door texture remained intact.

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I tried to write a story with this one. Not sure if it worked; what do you think?

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What your seeing here is the older Con-Ed station that is in contrast to the methane wells on the Fresh Kills landfill. Inspired by another local photographer to get up and see this new project I decided to take the tour. What project am I talking about? Why the Fresh Kills Park restoration project of course. You may know or remember Fresh Kills as being the largest landfill in the world at one time and it only recently closed in 2001. Being the world largest may be a real feat some may say, but it was a real scar to the residents of  the borough Staten Island. This dump was by no means small on any scale. It was originally created by the developer Robert Moses. Thankfully even when it was created in 1948 the infrastructure came along with it for the future. The site was designed specifically to hold the 150million tons of trash it contains plus 20+ more years. Thankfully those extra 20+yrs weren’t carried out and we have what is a great project for the future of all visitors to Fresh Kills.

The former landfill is set to become a 2200 acre park. A park that is both recreational and dedicated to wildlife. Some recreational areas will include: mountain biking, non-motor water sports, soccer fields, comfort stations (composting), equestrian trails, jogging/hiking trails, and baseball fields to name a few. The bigger excitement for me is of course wildlife. The best part is that nature is already getting a hold of the habitat before the park is even close to being completed. Although in 18 months 100 acres or so will be open to the public, the vast majority is still under construction. The great part is that the William T. Davis Wildlife Refuge ties right into the park. This is going to be the 2nd largest park in all of NYC. Yes, bigger then central park :-) Just on our tour alone you can see turkey vultures soaring high, red-tailed hawks searching for prey amongst the fields, and even a male buck ran up the slope as we drove by. Unfortunately we were kept in the vehicle for most of the tour, but it was truly exciting to see an initiative that will hopefully continue on its current path to not just build recreational for the public, but with conservation in mind as well.

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Lots of infrastructure for this immense location still remains.  The Dept. of Sanitation here still operates shipping out Staten Islands trash down to a processing plant down in South Carolina via freight train. Fresh Kills is decomposing and putting off vast amounts of methane pumped up by these wells you see in many of the photographs. This methane is a bi-product from all the natural decomposition that is done by Nature itself. The city makes around 12million dollars a year selling all that methane back to the power companies. The supply will lessen over time, but it will continue to be captured. The entire site is capped with this heavy gauged plastic that is constantly monitored. A substance called Leachate is something that has to be collected in large numbers everyday and shipped out as well to neutralize it for reintroduction into the ecosystem. Leachate is a fancy term for the run off from the trash that is produced over time. Its composition will vary depending on the landfills age and its contents. Cakes are made of the solid material that may be contained and is then put in a different landfill. Unfortunately there isn’t a new use for the Leachate cakes at the moment. However I am told the cakes aren’t harmful and will decompose over time.

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When I mention the scar on Staten Island; the reason for this is just how close the landfill was in proximity to commercial and residential districts. As close as this may feel there are other portions of the park that have residential districts only a few hundred feet from its borders. Of course part of this blame relies on the developers who decided it would be a bright idea to keep building without remorse and keep sticking more and more into a once untouched habitat (or at least strike a fair balance.) New facilities for the park is aiming to harness the power of renewable energy. Not just methane run off (as it will decrease significantly with time), but options such as geothermal, wind, and solar. The big issue with wind however is that these mounds are decreasing in size by approximately 1mm a year. The typical wind mills are very large (an awesome beautiful site if you have had the chance to see them) and will sink into the ground. Not good after all the monetary investment you might imagine. Solar is currently being looked into as there are vast areas of open space. Very unique to NYC if you have ever visited; ha ha. My suggestion would be to use solar as shade, like parking lots or overhangs serving a dual purpose.

Infrastructure such as the comfort stations are also going to be LEED certified. A building standard that makes large efforts to be sustainable and have the lightest impact on the earth in which it resides.

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The views are nothing short of spectacular. From the top of south mound you can see the city skyline in the top left of the image and the College of Staten Island tower on the top right. Something I don’t have a 360 degree panorama to show you is that you can actually see parts of all the four bridges connecting to Staten Island. Including the parachute jump in Coney Island!

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Looking up into the William T. Davis Wildlife Refuge you can see the open wetlands that are home to many wading birds and migratory species. The grasses are shorter because I happened to arrive on the trip soon after they mowed the grasses for the year.  The haze held up just enough to get a clear shot of the Bayonne Bridge. I think this shot says it all. Where nature meets man and for the few times in the history of man it may happen; Nature will be the victor running unopposed.

The photography side of things:

When I reserved my seat for this tour I was unsure how to approach the trip. I knew I may be in a cramped tour bus (I was, but everyone was a good sport) and that the use of a tripod just wouldn’t work. Checking the forecast for a sunny day helped boost my confidences there. I then wanted to bring my wildlife lens since I knew there can be all sorts of great animals to find. However I would be without a tripod and I don’t think the general public has an interest in watching me photograph some birds they don’t know the name of. So I set a plan and a goal for myself. One to two lenses is all I would be working with. I used a Tamrac Model 5405 Shoulder bag to carry everything.

Contents of my bag:

  • Nikon D300
  • Tamron 17-50mm f/2.8
  • Sigma 150mm f/2.8 Macro
  • SB-800 flash unit
  • Polarizer for my landscape lens
  • di-GPS Pro
  • Extra Memory Cards
  • Extra Battery
  • Microfiber
  • Sigg bottle to hold my water

That’s about it. I felt these two lenses would cover just about anything I would run into. You might be asking why I would grab my macro lens, but it probably isn’t for the reason you think. It wasn’t for critters, but to compress the field of view. In the first, second, and fourth images I used the telephoto lens.  Using a wide angle proved to be an issue for many of my photographs. When shooting wide your subject in the distance gets small and your fore-object gains too much attention. By compacting the scene I tied both together to help better tell the story. If you get a chance to try it out you might just say wow. That’s what I did when I saw how the scene took on a whole new look. Using a prime was a fun exercise as well as it made my feet do the zooming. Thankfully I didn’t have to walk too far though.

Post production was pretty simple. I edited my levels and set a black point for a few where I knew I could grab a definite black. That’s it. If your curious about the numbers such as shutter speed and aperture I don’t have it off the top of my head to be honest (I know where to find it too since it’s digital ;-) .) When I’m shooting I work from Aperture priority. Depth of field if my creative tool 98% of the time and the shutter speed follows along. Working from matrix metering and exposing up or down depending on the scene takes care of the rest. it may sound like I’m leaving something out. but I guarantee you I’m not.

A family member (in-law) had asked me to photograph their sweet sixteen and I was flattered to capture these special moments in their life. I don’t normally photograph people, but it was definitely something I have trained for in the past and enjoy practicing when the time arises. For the event I used two light modifiers. On my standard light stand I used a Westcott 60 umbrella with removable cover and a 2′ square softbox. Combined with a fill-able sand bag to hold it stable and an umbrella bracket to hold everything to the light stand. Word of advice, get a solid light stand so it will hold heavier objects and not easily keel over or flex.

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The location was a beautiful one. Originally the formal portraits were going to be shot outside, but thankfully we decided to just wing it outside and fight the sun. The reason I say I was fighting the sun is that our originally overcast skies decided to magically part and backlight our subjects. Thankfully the backdrop never really developed any harsh blown highlights as the brush and vegetation ran high enough to cast a full shadow over the scene. The photo of the family you see above was one that I put my personal touch on. I do have normal full length verticals for the family, but I wanted to tie in the water feature per request of Briana in her beautiful red dress. For her sweet sixteen portraits she wanted this scene the most rather then in doors. It was definitely for the best that it played out this way.

Lighting for the larger group portraits was done by shooting the SB-800 into the silver side of the umbrella. This creates a huge soft light source and will evenly spread across our subjects. That’s the key there, even light. If you bring the light source too close to some of the group or use one that does not provide a large enough light source fall off will be very dramatic. Leaving some of your subjects in the dark.

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As the sun came out Dina was a phenomenal good sport in her heels on grass. She was holding up my translucent pop-out circular reflector to cast a shadow protecting highlights from forming on Briana’s left shoulder. When shooting one to two people I would use the softbox. The quality of light is fantastic and just really wraps the subject. The better your lighting the less work in photoshop later. You don’t want to create harsh shadows showing off features the way they aren’t meant to be portrayed. There was no crazy post production work done in these first two photographs. Other then touch ups to faces using the healing brush and black point/levels; we were set. I shot cloudy white balance all day as a warming effect to make skin tones more pleasing.

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Her theme for her sweet sixteen was the Nightmare at the Opera. I wanted to make sure that some of the portraits, formal and of the party, were not all candid smiles. Sometimes people in their relaxed state or in a moment speaks larger volumes. Here I asked her to strike a more serious post to be more dramatic and fitting to what I would do in post production. In photoshop I used silver efex pro and went with a dark sepia overlay. Dialing a tad more structure and darkening it a bit more to really put emphasis on the texture of her dress.

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Details, details details… A key often over looked at a party/ceremony. The family more often then not -you would imagine- puts an awful amount of effort and energy into the presentation of the event. If you did all that work wouldn’t you want to remember it for decades to come? For that reason you should try and be creative photographing all the elements of the event. Creative to an extent however. You don’t want angles too crazy or things too cropped or wide missing the point of the event. These two photos had a tonal contrast filter pass in color efex pro. It adds that extra punch and crispness to bring extra relevance to the photo.

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Moments. Capturing the moments is another element to the whole picture. This is something that will keep you on your toes. You have to constantly be aware and in tune with what’s going on. Make sure your buffer is ready and your flash charged. Your going to have moments where someone will step in front of you during a crucial moment (happened) or your caught off guard because your switching from the dance floor to the family meet and greets throughout the event. The best way to approach it all is  to know as much as you can time wise and when things are supposed to unfold and stay on top of your gear. Make sure if you made an adjustment to get a certain shot you brought it back to normalcy. How many times has a person left their camera in manual mode trying to get the camera to do exactly what they wanted, but when the quick moments happened we were caught off guard and ended up with an under/over exposed image. It’s not easy and it will happen to us all, but keeping it in the back of your mind goes a long way.

A 30% fill with a tonal contrast filter for the first photo and a blur vignette and silver efex black and white conversion for the other.

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One thing Briana planned for her party was a grand entrance. No one at the party would see her until she was introduced to everyone on the floor. I wanted to edit this photo to put focus on our subject. There was a lot going on and two other competing people. Considering our subject was blocked I turned to the computer for help. Using color efex pro I used a blur vignette to soften everything else, but our subject. Sort of like a lensbaby effect. Next I used a mask to apply a tonal contrast filter only to the feathers and our subject. Adding a sharpness that draws your eye as the rest is blurred out of focus.

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No editing here. There was a beautiful fireplace that was great for portraits. Throughout the event I stuck person after person in front of it for portraits. Had them step out 4-5ft to prevent a harsh shadow and we had it made. I did a portrait here with one flash on camera of over 10 people. The lighting was simple. I had the SB-800 mounted pointing upward with the bounce card extended. The flash head was clicked in by the 60 degree mark and used TTL. That was it. Surprisingly simple and produced great light from one person to a whole group.

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The show was capped off with putting the lady of the night in the spot light. Quite literally. I took out the softbox set it up high and shot downward toward her. Shooting as slow as possible to get a sharp image. Around 1/8th of a second or so. I was slowing the shutter as much as possible to pull in that beautiful ambient over head lighting. The shadow cast was used to knock out the outlets for the electric. And that’s all she wrote. No special filters.

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Lastly have fun! Don’t fear experimenting with the light. The big man up front has wanted to do something scary and his cousins were a great sport. I took the flash unit and had someone hold it 90 degrees off the subject. Creating this harsh lighting with deep shadows.  All that was left was the perfect expressions from the subjects. As stressful as it all can get you can’t forget to try new things and have fun!

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