City Veins – Limited Edition Prints – FREE TUTORIAL – Luminosity Mask – Read below The Shot & Technique…

City Veins – Limited Edition Prints – FREE TUTORIAL – Luminosity Mask – Read below

The Shot & Technique
Captured in Dubai from the 42nd floor. A black and white interpretation of the cold city and its pulsing veins. Down below is Sheikh Zayed Road one the most important roads in all of Middle East. It runs through all emirates down to the border of Oman. 

The photo is a single shot exposure and processed in PS6 with luminosity mask techniques. I wrote a lengthy and detailed tutorial about how I process my photos, which is available on my website here: http://goo.gl/JOZgE8. On my website (www.andredistel.com) you will also find another tutorial about manually blending different exposures for one final image. All free for you to use!

Nikon D800
Nikon 16-35mm
+Induro AT-114
Hosted on +PhotoShelter 

News
I haven't posted much on G+ lately and apologize with all my followers. Lots of travelling and other important project were and are still underway from earlier this year. Additionally, ever since to a bilingual website, the G+ post import function from +Daniel Treadwell seemed to stop working, which is unfortunate.

Featured Photographers
As part of my routine to promote other photographers as well, I invite you to check out the following amazing portfolios: +Vangelis Feleris (great astronomy photography) +Ian Plant (his Dreamscapes are mind-blowing) +Michael Ryan (Cal seascape photographer)

Others
If you haven't done so yet head over to my new Facebook Page and say hi at www.facebook.com/AndreDistelPhotography.

If you have any questions, please feel free ask

Cheers,
André
www.andredistel.com

+Stunning Moment  #stunningmoment    +Stunning Moment  #1212scenery   #photoextract  by +Jarek Klimek  +10000 PHOTOGRAPHERS by +Robert SKREINER  #landscapephotography  by +Margaret Tompkins  +Carra Riley +paul t beard +Jim Warthman  +HQSP Promotion by +Robert SKREINER  +Eric Delcour  +Landscape & Nature Photography ART  +Landscape Photography  +European Photo +Photo Mania Germany  +Best Top Photographer Group  #nikond800   #luminositymasking   #luminositymask   #dubai   #uae   #42ndfloor   #blackandwhitephotography   #andredistel  

City-Veins-Dubai.jpg

Exposure Blending using Luminosity Masks

Exposure Blending using Luminosity Masks

 

1) Foreword and preparations

As promised a few months ago in my blog post about Luminosity Masking Techniques, here comes another tutorial on how to blend multiple images. This tutorial builds upon the knowledge from my previous tutorial and requires some knowledge about how to create (custom) masks, working with layers and other basic techniques within Photoshop CS6. Now, some people refer to the technique with blending via luminosity masks as “HDR”, others as “manual blending” or “extending the dynamic range”. All of these would the suitable and you will see me using probably all three of them in this tutorial.

I only use this technique on some occassions. It is extremly time consuming and needs to be done perfectly in every step of way. Going back is not always as easy as with processing of a single RAW file. The reason for blending basically lies in the fact that today’s cameras are not able to reflect the entire dynamic range the eye can see. You have probably experienced this while photographing a beautiful sunset. The sky has great orange colors but the foreground is completely dark. This could potentially create a beautiful silhouette but might not be the intended result. Alternatively, you could just work with one single exposure and remove the shadowy areas and increase contrast with a few sliders. It will probably do a fine job and in small size the difference might not be as noticeable. However, any change to image will result in the loss of quality. By blending original exposures, the quality of the final print remains on the highest possible level with no sacrifices to image quality.

With this technique, I hope that I will be able to teach you on how to extend the natural dynamic range of your camera. As described in my previous tutorial, it does not matter what camera you use. A bracketing function certainly comes in handy but you can also do without. Most important, as always in landscape photography is light and composition.

 

2) Preperations in Lightroom

My starting point is once again Lightroom. Currently I use Lightroom 4 and the same principle should apply to at least the newer version LR5. Let’s say you have your 3 bracketed exposures and every single one reflects on perfect part of the image. Highlight all three of them in Lightroom, then Right Click and Open as Layers in Photoshop. In this example I have taken a 5 bracketed exposure but have decided that 3 exposures will do to get the result I want to. I rarely use more than 4 bracketed images to achieve the final result.

 

3) Align and sort your images

Once the images have opened up in Photoshop, the first thing you want to make sure is, that the images are prefectly aligned. Although I use tripods in 90% of my shots, there can always be a slight shift. Wind, sand, water, etc can have an impact on the photo. Highlight all layers you want to blend, then click “Edit” and “Auto-Align Layers…”. I find that Photoshop usually does a pretty good job in “Auto” mode. So, I recommend trying “Auto” first and going back and trying something else in case that won’t work. Note, that this is a crucial step and absolutely necessary before proceeding with anything else. Your blending might end up with overlapping parts and this can’t be easily reversed – at least not to my knowledge. I had to start all over again a few times, simply because I forgot to align my images in the first place. Particularly annoying if you worked on an image for a couple of hours only to find out that you have to do it all over again.

 

Auto-align layers

Auto-align layers

 

Now that all photos are nicely aligned, I usually order them to make the blend easier. Depending on the image, I start with darkest or brightest image on top. In this case, I put the darkest image on top, simply because I found it easier to blend in the lighter tones later.

 

Sort layers from dark the darkest images to the brightest image

Sort layers from dark the darkest images to the brightest image

 

4) Create your custom masks

Now comes the tricky part. Blending the actual images. The darkest image is my starting point and I intend to firstly blend the “regular” exposure (what my camera told my was the “correct” exposure). Instead of creating a pre-definded masks I want to pick and choose myself, which parts I want to blend and which I don’t want to blend. There are some moving parts in here such as the palm leaves, which make it even more difficult. I start by creating a white mask next to the darkest images. Then I create all Lights Masks and all Darks Masks from the TK Actions panel. Since this is a pretty dark scene and I intend to blend the lighter parts, I choose the Super Darks masks and invert the selection to get the lighter parts of the image selected. With the selection highlighted I start to carefully brush in the changes as desired.

 

Process of brushing in a custom luminosity mask

Process of brushing in a custom luminosity mask

 

The following image shows the blending process with the first two images. Already pretty good results but a bit too dark and not enough contrast.

 

Blend with two images

Blend with two images

 

To get a balanced image the way the eye saw it I have to blend one more image. The last image will mainly effect the sand, boat and bushes on the left hand side. The sky and water looks pretty good already and just need some light tweaking later on.

I do so by creating another masks. Now, the original “light image”, was bit too bright for my liking, so I will be creating an off-center midtone mask and carefully brush in the changes, as I desire.

 

Blending the last exposure with a custom mask

Blending the last exposure with a custom mask

 

Again, by darkening the areas in the foreground the layer underneath will come through. If you look closely, you will see that not the entire foreground is black. I brushed in with less strength in the brighter areas to increase contrast. At this level we have successfully blended three different exposures. However, it still lacks some contrast and “pop”. In the following steps, I will continue to process the photo using various techniques from Tony Kuyper’s luminosity masking techniques.

 

Final blend of three exposures

Final blend of three exposures

 

5) Further Processing

My first thought here is to increase contrast. Many of my images live of strong contrast paired with something special to make them “pop”. To increase contrast I use my favorite luminosity masks technique – off-center mid-tone masks. To create the custom masks, I start by clicking CMD+Lights masks. This will highlight 50% of the lightest areas in the image. Then I subtract the Bright Lights by clicking CMD+ALT (you will see a “-“ appear with the cursor) and create a new masks by creating an adjustment layer. In this case, I created a Curves adjustment layer and increased the blacks and whites on both ends.

 

Increasing contrast with a level adjustment layer

Increasing contrast with a level adjustment layer

 

In the next step, I do basically the same with the darks masks. I create another off-center mid-tone masks and increase the darks, which actually result in less contrast, but I will deal with this later. For now, the image is still a bit too dark.

 

Highlighting the brightest parts of an off-center mid-tone mask

Highlighting the brightest parts of an off-center mid-tone mask

 

After brightening some of the darker areas of the image, I want to start to give it some “pop” by creating a “Smart Glow” using the TK Actions. Smart Glow works very well with orange and red colors. Sometimes, this effect can be very strong and needs to be toned back a bit. Therefore I simply reduce the opacity of the layer to 85% and also paint with black over the entire bottom part of the image in the Smart Filters masks, since I only want the effect on the sky, nowhere else.

The following two layers are a curves and a levels adjustment layer. The levels adjustment layer is again an off-center mid-tone mask. However, this time, it is a very wide mask, meaning I have included almost all parts of the image except the very brightest and the very darkest areas. Increasing darks and whites again helps to increase contrast.

 

Final image after all adjustments

Final image after all adjustments

 

The curves adjustment layer on top of the levels adjustment layer only effects the lighter areas of the beach and the boat, helping to further lighten and increase contrast in these areas as well.

By now the image looks pretty good to me and only the very last step of image sharpening is required before it goes into print. To make life easier I simply choose to work with the TK Actions Cloud Sharpening. Since the sharpening itself is a bit too strong for my liking, I again simply adapt it to my needs by reducing the opacity to 60%. Et voila – the image is ready for print.

 

6) Publishing for optimized web viewing

This is a crucial step for me, as most people will get in contact with my work through the web first. Again the TK Actions web sharpening actions do a pretty good job. Simply resizing the image will result in less overall sharpness and the image will look different than on your screen or when printed, thus I can only highly recommend to use Tony’s web sharpening actions – huge difference.

I hope this tutorial was helpful to you in understanding how I process my photos. Not all of them are processed in such an intense manner as this particular one, but some situations simply require the right tools, time and effort to reflect the true scene.

The image “Anini Beach” is available as Limited Edition Gold 100 Series Print or for licensing directly from my website

Cheers,
André

Luminosity Masks Workflow Tutorial in Landscape Photography and Extending Dynamic Range

Luminosity Masks Workflow Tutorial for Landscape Photography

A while ago I wrote a tutorial about my Lightroom 4 Landscape Workflow. While this still applies to a good part of my images, and especially those who are sold as stock photos on my website, using luminosity masks has been a game changer for me in many aspects. I am now not limited to the approach and editing capabilities of Lightroom and my basic photoshop masking techniques, which were cumbersome and very time consuming, but can use the full power of Photoshop in a new and fully non-destructive workflow. Now, some people refer to the technique with blending via luminosity masks as “HDR”, others to “manual blending” or “extending the dynamic range”. All of these would the suitable and you will see me using probably all three of them in this tutorial. However, the blending part again only applies to some of my images. For others a single raw file and luminosity masks is all you need. In this first part of the tutorial I will focus on how I use luminosity masks on a single raw file to extend the dynamic range in a non-destructive way. In addition to this first tutorial and one single exposure, I am planning on releasing also the more complex blending of images via luminosity masks. There are many different ways, which lead to the same result, so I encourage you to experiment and use the one you, which works best for you.

I find that luminosity masks give you the greatest creative power over your images and will help you in defining and developing your own unique style. Luminosity masks are more complex, require time and effort to edit and to learn. Luminosity masks have become an important tool for me to get the best possible quality out of my images. Same as the image, they are part of my creative approach to reflect the true scene in a sense that today’s DSLR cameras cannot reflect yet. Even my latest Nikon D800 with the highest dynamic range of 14-15 stops of light of today’s cameras cannot reflect the human eye, which has about 24 stops of light. Thus our images never reflect the true scene, no matter how good of a camera or lens we are using. With this tutorial I will try to help you to increase the dynamic range of your images. Here is what you need:

Camera + Lens

No matter which one you have. The best would be a DSLR which has a bracket function (BRKT), if you intend to blend multiple images, like we will do in a later tutorial. Professional Nikon cameras, such as the D800 can bracket up to 9 exposures. Consumer models might only be able to do 3 brackets. Even if you camera does not support bracketing at all, you can still take multiple exposures. Any other than that, most important is the capability to take RAW images. RAW files are meant to be processed, hence the name “raw”. No one likes a raw steak either. For me it has to be done medium-raw to medium-well, depending on the situation and meat. You also certainly don’t want to overcook your meat. Same goes for processing. Beginners tend to overcook and use all the tools they can find to process a certain image. It might look good to you at that moment, but I can almost promise you, that when you look back in a year from now, you won’t like it anymore. It happened to me many times and I have learned to be careful and use my tools wisely. As little as possible, but as much as needed to reflect what I want to show. I have successfully worked with images from Nikon D60, D7000 and now D800 files.

Tripod

A sturdy tripod is essential for landscape photography, especially for those that are intended to be blended manually afterwards. 80% – 90% of my images are taken with a tripod. I currently use an Induro AT-114, but any tripod will do. If you in the process of buying one, I can recommend Induro, Gitzo, Really Right Stuff (RRS) and Manfrotto. There are many other good ones out there. Take something that suits you and your camera, without breaking the bank. Having said that, a tripod is probably the one item you should not cheapen out on. Nothing worse than getting home and see only blurry photos, because the tripod moved slightly in that heavy wind you endured for getting that one shot.

Remote Release

Not essential but very helpful. With a remote release (Wireless or wired. I prefer wired after I dropped my wireless in a lake on an early morning shoot) you don’t have to touch your camera during the process of taking multiple exposures. If you don’t have one, use your timer mode and set it as low as possible. Also, if you want to take it really far and impress all the other camera geeks around you, also use the “Mirror-up” mode ;). Honelsty, I have never noticed a real difference…

Photoshop

I think anything from CS5 and up (CS6, Adobe CC) will work. Maybe even older versions, but I cannot guarantee for that.

Tony Kuyper’s Actions

You can create the actions yourself by following Tony’s instructions here. I took the easy way out and bought the full package. If you are making a living of photography, I can’t think of a better ROI. You can buy the package of your choice here and read up on it on Tony’s website or watch Sean Bagshaws videos.

I use Adobe Lightroom as my base and main catalog, so this is where I will start. Import your photos and use the lens correction tool first to remove chromatic aberrations and any distortion. I personally find it easier to do it in Lightroom than in Photoshop. After this is done make a right click in Lightroom “Edit in…/Open in Photoshop”. Depending on your computer and file size this might take a moment and you will realize that the file size has almost tripled. The import process in Photoshop creates a new TIFF file of the RAW image (depending on your settings in Lightroom it may also create PSD files). Now before jumping into “editing mode”, consider what you want to achieve. What is your goal with the image? What is your style or what do you want to be your photographic style? In my case, I am usually intending to re-create the original scene, add some drama, increase contrast and correct color where necessary. I try to stick as close to the original scene as possible, simply because I have no interest in creating something that did not exist. Re-creating a scene also includes to reflect the feelings, sense and emotional connection to let the viewer take part in it. Translating all this in Photoshop language, the actions I use most frequently are lights masks, darks masks and mid-tones masks in combination with levels adjustment layers, curves adjustment layers, hue/saturation adjustment layer and color balance adjustment layer as well as different layer blending modes (normal, multiply, lighten, screen, hard light, soft light).

 

Processing example using one single RAW image file and Tony Kuyper’s Luminosity Masks Actions

Step 1) Creating lights masks and darks masks

Now is the part where the creative editing process starts. There is no right or wrong from this point on. In this example, I’ll demonstrate how I processed my image “Remember Me“. The first step in my process, after opening the image in Photoshop is to create all the lights masks and all the dark masks as you can see in the Channels Panel on the right hand side. To do this I simply use the TK-Actions Panel, so I don’t have to re-create the masks every time I process a photo. The lights masks and darks masks are selections of the lighter respectively the darker tones in the image. This allows me during the editing process to target very specific parts of the image, while leaving others untouched.

step1-layer

RAW file with luminosity masks in the channels panel

 

Step 2) Creating magic mid-tone masks and curves adjustment layer

The first thing I did here is something more complex and would require a basic understanding of luminosity masks but something that I found to be really helpful. This is a so called off-center mid-tone masks. Let me explain what I did here. When you click on the lights, light lights or any other lights masks Photoshop shows you a selection of the lightest tones in the image. When you click on the “Lights” masks, Photoshop shows you the 50% brightest pixels, “Lights Lights” reflects the 25% brightest pixels, “Bright Lights” the 12.5% brightest pixels, “Super Lights” the 6.25% brightest pixels and “Ultra Lights” the 3.125% brightest pixels in the image. By selecting one of these lights masks (CMD/CTRL + click on the lights masks), Photoshop will mark the selection for you and you’ll see the marching ants. The same goes for the darks masks and its selections, but of course for the darker pixels in the image. It is exactly the opposite of the “Lights” selections. Now coming back to my off-center mid-tone masks in this example, I made a selection of the “Light Lights” (25% brightest pixels) and subtracted the “Super Lights”. This can be done by selecting the Lights Lights (CMD / CTRL) and then clicking on the Super Lights with CMD+ALT.

step2-curves-alt

Off-center mid-tone mask from light selection

 

Now I have a very narrow selection which only affects a small part of the image, which I can use to increase contrast with the help of a Curves adjustment layer by creating a S-Curve (lighten the lights and darken the darks). If you compare this one with the original RAW file, you’ll notice slight adjustments to the lighter parts of the image, without affecting the brightest parts or any of the darker parts. Lighten through a lights maks increases contrast, as well as darken through a darks mask.

step2-curves-new

S-Curve Adjustment Layer from off-center mid-tone mask

 

Step 3) Increasing contrast with darks mask

Having increased contrast using a off-center mid-tone lights mask, I also want to increase contrast with a darks masks. The RAW file still appears to be pretty flat and needs some further adjustments to pronounce darker and lighter areas better. To find the best suitable darks mask, I start by clicking on the darks mask in the channels panel and work my way through. With a little bit of experience you’ll notice pretty quick, which one will do the job. In this case, I have settled for the “Shadow Darks”, which gives me a nice narrow selection of the 12.5% darkest pixels in the image. Again, I create a curves adjustment layer and use a slight S-Curve to darken parts of the image. By doing so, I can effectively increase contrast by darkening through a darks mask and only affect the darker areas of the image. The screenshot below shows the very narrow selection of the “Shadow Darks”. These areas are highlighted by the marching ants.

step5-curves2-marching-ants-alt

Shadow Darks Adjustment Layer

 

The tonal separation between lighter and darker tones increases, which means, I have increased contrast, without touching any pixels or effecting the quality of the original photograph. In fact, through the pronunciation of shadows and lights, the image has suddenly increased in its dynamic range and depth. This looks like a good start, but we are not done yet. Noticed how the file size keeps creeping up? We are already at 974MB with just two layers and the original RAW file.

step4-curves-norm-visible

Levels Adjustment Layer after adjustment with Shadow Darks

Step 4) Adjustment layer for lighter tone separation

My next step is to work on the white foamy part of the water. There is already a nice separation between the darker beach area and the water, but it could be more pronounced especially the white foam against the water itself. Now the foam is a lighter part of the image, which leads me to choose one of my lights masks if I want to increase the brightness. The “Bright Lights” mask seems to nicely separate the foam from the rest of the water, but I also notice, that it selects other parts of the image, such as the bright parts of the shelter on the pier, where I don’t want to increase brightness. This time, I decide to create a “Brights Mask” with a levels adjustment layer and afterwards paint with a black brush over the areas, I don’t want to affect. In this case, I simply paint carefully over the areas on the shelter. You can see in the screenshot below, that the shelter is almost completely black and only the white foamy areas of the water remain white – meaning only these will be affected by my levels adjustment layer.

step6-levels1-marching-ants-alt

Levels Adjustment Layer for lighter tone separation

 

It is a small adjustment and barely noticeable in the screenshot, but it’s one of those things that will make a difference when you see the image printed large. Compare the image again to the one in Step 3 and the increase in contrast and separation of darker and lighter tonal values.

step7-levels1-on

Levels Adjustment Layer of the Adjustment

 

Step 5) Make it glow

One of those things, that can give your image a nice punch in color is the “Smart Glow” Action by Tony Kuyper. I have found that it works especially well with red color values but can also work well with any other image. In most cases, the increase in saturation is too strong for my liking and I use a lower opacity for the layer. Anywhere from 25% – 75%, avoiding the extreme at higher end. As this image, does not have a lot of color and came out pretty flat as a RAW file, I feel comfortable leaving the opacity slider in this case at 100%. The early morning light at this scene with the sun still low on the horizon gave a really nice saturated green on the hills in the background. What the camera could not capture in RAW format, I can change again here to reflect the original scene and give some of that warm early summer morning feeling from one of Kauai’s best locations. The technical aspect behind the “Smart Glow” option is a combination of increasing contrast in the mid-tone, a slight boost in saturation in combination with Gaussian Blur.

step8-smart-glow-on

Smart Glow Adjustment Layer

 

Step 6) Focused use of color adjustment

The “Smart Glow” did a great job of further enhancing the dynamic range of my image. However, I am still not quite happy as I remember the scene to show even more of that lush green color, Kauai is so famous for. One way to achieve this result would be to simply create a new layer and paint with a brush over the areas, I would like to show more vibrant color. Instead of doing so, I refer back to Tony’s Actions and use a very focused mask, that really only targets the areas, I’d like to increase color values. The Actions allow me to create saturation or vibrance masks or both of them. I choose the vibrance mask, as I feel, this will be more helpful as it only targets the already more saturated areas in the image. I don’t want to saturate, where there was no color in the original scene. While creating the mask with the Actions from Tony, I have the choice between a “Regular Vibrance Mask” or a “Focused Vibrance Mask”. I opt for the focused mask, which seems to be the best fit for the job. The screenshot below shows you the marching ants and that they only mark the most saturated colors, especially on the green hill in the background.

step10-focused-vibrance-masks-marching-ants-alt

Focused Vibrance Mask Selection

 

I want to increase vibrancy of the greens slightly. To do so, I revert back to my color image by clicking Alt+Layer. In the properties panel of the focused vibrance mask, I usually work with the finger tool to modify specific color areas of the image by moving the cursor of the green part of the image, click and drag, which will then move the slider either left or right.

step9-focus-saturation-slider

Custom Color Value Adjustment

 

The difference is once again not significant but it is there and at this point, I am confident that I have achieved a realistic result of the original scene. And not only the scene in itself but also the warmth of an early summer morning, the dramatic clouds hovering over the beautiful lush green mountains in the background. Now, who doesn’t want to stand right there  and right now? Have you noticed the file size? We are at 1.36GB with all layers.

step11-focused-vibrance-masks-on

Focused Vibrance Mask after the adjustment

 

Step 7) Sharpening the final image

One last step is necessary, before we release this image and hand it over to the printing lab. RAW files are not only pretty flat, when they come out of camera, they are also not the sharpest. If you only shoot JPEG, this step might not be necessary or even as noticeable, but with RAW files it is an important step of the process for me. There are multiple ways to finally sharpen the image. The most common way of sharpening is to sharpen through an “Unsharp Mask”. Yes, you have heard right. An unsharp mask. If you don’t feel comfortable to sharpen through an unsharp mask, you could also use the “Smart Sharpen” option in the filter menu. As I want to demonstrate the TK-Actions and Luminosity Masks Technique, I will go with the “TK-Cloud Sharpen” action. It does, as the name says, a particular good job with clouds, which tend to appear very soft in most images. I want to give them some structure and add to the mood of the strong mountains in the background. Whatever way of sharpening you choose, I highly recommend to create a new layer for sharpening, as you don’t want to alter any of the pixels in the original scene. The only downside is, that your file size keeps on creeping up even further. In this case, we have reached 1.6GB.

Back to the cloud sharpen action. The action has done a remarkable job with the clouds, mountains, pier and shelter. Again, I could have achieved the same or very similar result with any of the other two (un)sharpening masks. However, the cloud-sharpen action has also done something that I wanted to avoid – it has sharpened the water and honestly, sharpened water doesn’t look very appealing to me. I personally find water best when it’s smooth and silky and has some sense of implied motion. To restrict the sharpening action to the areas I want to, I simply create a new off-center mid-tone magic mask and additionally paint the areas I want to sharpen with a white brush on the mask. If you look closely in the layers panel, you will see that I painted with a white brush over the mask in mountain and sky area, as I did not want to restrict the sharpening only to the mid-tones in this area of the image.

step14-tk-cloud-custom-mask

Cloud Sharpening Action with a Custom Mask

 

Step 8) Export for web use

Depending whether or not you are coming from Lightroom, the saved image, will now also appear automatically in your Lightroom catalog. I have the made the experience, that a well processed image, can be either exported from Lightroom or Photoshop for the print lab. It does not make a difference. If you want to showcase your work on the internet, I recommend you open the image the image again in Photoshop and use the “Web Sharpening” Actions from Tony. They do the image more justice than a simple downsize in Lightroom or Photoshop. Bear in mind though to not print the web-sharpened image for your clients.

I hope you have enjoyed the insight into my creative landscape photography workflow using luminosity mask to extend the dynamic range of my images. It’s been fun to write this up and share it with you. In addition to this tutorial I am also planning on writing another one in the near future about blending images while using luminosity mask techniques.

I’d appreciate if you shared this tutorial on the web through your social network, so more people can make use of it.

Thanks,
André

Sydney Moments – Limited Edition Gold 100 Series

*Sydney Moments* – Limited Edition Gold 100 Series

The Shot & News

Remember my print sale until December 14th! 25% off all prints. Simply use “xmas25″ as promo code during checkout or contact me directly for ordering offline. I have added also “Galleries by Theme” as additional entry point on my website: http://andredistel.photoshelter.com/gallery-collection/Gallery-by-Theme/C0000PeSdkDyZWUw

Sydney Moments is part of Andre Distel Limited Edition Gold 100 Print Series. It was a short walk to capture this shot. The building across on the pier is the hotel I stayed at in Sydney. I actually wanted to get a different shot, one that I saw in the hotel lobby, but later found out to be photoshopped. The angle the images was taken on is impossible to reach, except you are standing right in the water. Anyhow, I like how the evening and colors played out on this one with some dramatic cloud coverage over the harbor area. One more for my growing Sydney Gallery.

Much of the translation of my website is done and most pages are now available in English and German language. I’ll keep adding German to other pages, as I find time to do so. In the meantime, feel free to check my website for any typos or other errors :).

 

Technique

Nikon D800
Nikon 16-35mm f/4
+Induro AT-114
Vanguard SBH-250 Ballhead
Remote release
Three exposures
Filesize: ca. 1.26GB
+fstopgear Loka
Processed in PS6 using Luminosity masking techniques. I used one exposure for the sky, two for the building to balance highlights and contrast and two for the water.

I am thinking about creating a German or English Tutorial about how I use luminosity masks and my workflow in general. Would anyone be interested in learning more about that?

 

Featured Photographers

As part of my routine to promote other photographers as well, I invite you to check out the following amazing portfolios: +Dallas Nagata White (If you want to see great images from Hawaii, check out her new website!) +Tobias Ackermann (promoting a fellow German photog) +Keith McInnes (as Sydney resident)

 

Others

If you haven’t done so yet head over to my new Facebook Page and say hi! – <a href=”http://www.facebook.com/AndreDistelPhotography” rel=”nofollow”>www.facebook.com/AndreDistelPhotography</a>. I am usually not crazy about numbers but it would be great to reach the 1000 mark before the end of the year!

If you have any questions, please feel free ask

Cheers,
André
<a href=”http://www.andredistel.com” rel=”nofollow”>www.andredistel.com</a>

Tree of Life – Limited Edition Deluxe 10 Series – Landscape Photography Andre Distel

Tree of Life – Limited Edition Deluxe 10 Series

The Shot

One of my new personal favorites. There are things in this world, that are simply perfect and that a thousand words cannot describe. Even if I’d use every word I know, I’d fail. I hope some of my photos tell more than a thousand words.

“Tree of Life” will be available as a Limited Edition Print in a series of only 10 and is available here: http://andredistel.photoshelter.com/gallery-image/Limited-Edition-Deluxe-10-Series/G0000I.aB7Czm1Wg/I0000HHv5pJZKYsg

 

More News

I have started to work with +PhotoShelter now for 7 months and I can truly say, that it has already paid off. The price you pay seems high, but it creates so much less work for me. Most of my sales, still don’t go through the site itself but individuals approaching me directly. I mostly use it to showcase my artwork, but of course also to attract new clients.

The translation of my website is almost complete. All main pages, have been translated other will follow over time.

 

Technique

Nikon D800
Sigma 50mm f/1.4
+Induro AT-114
Vanguard SBH-250 Ballhead
Remote release
One shot exposure
B+W Kaesemann Polarizer Slim
+fstopgear Loka Backpack

Processed in PS6 using Luminosity masking techniques by +Sean Bagshaw and +Tony Kuyper with slight corrections in contrast and sharpness.

 

Others

If you haven’t done so yet head over to my new Facebook Page and say hi! – http://www.facebook.com/AndreDistelPhotography

If you have any questions, please feel free ask

Cheers,
André
www.andredistel.com

Double Rainbow – Oahu, HI – Limited Edition Landscape Print

Double Rainbow – Limited Edition Gold 100 Series – Oahu, Hawaii

The Shot & News

Catching a complete double rainbow in one frame is rare, but exciting if it finally happens. The photo will be part of my Gold 100 Series. More information on print releases and quality can be found on my website in German and English here and here.

You have to look closely to see the other rainbow on top.

More News

Much of the translation of my website has happened and most pages are not available in English and German language. I’ll keep adding the German to other pages, as I find time to do so. In the meantime, feel free to check my website for any typos or other errors. Thanks :)

Technique

Nikon D800
Nikon 16-35mm f/4
+Induro AT-114
Vanguard SBH-250 Ballhead
Remote release
One shot exposure
Filesize: ca. 450MB TIFF File
F-Stop Loka
Processed in PS6 using Luminosity masking techniques.


Others

If you haven’t done so yet head over to my new Facebook Page and say hi! – www.facebook.com/AndreDistelPhotography

If you have any questions, please feel free ask

Cheers,
André
www.andredistel.com

Anini Beach – Kauai, HI, USA – Limited Edition Landscape Print

Anini Beach - Kauai, HI, USA – Limited Edition Print

The Shot & News

Anini Beach Park is a wonderful stretch of sand on the North Shore of Kauai. It’s a bit away from the main road, but usually fairly empty. I was already running out of time, as the sun was setting and tried to find the perfect composition. When I saw the boat about a hundred meters from where I parked, I ran towards it and knew exactly how I wanted it to set up. The timing was perfect, as the sky just started to explode in the background. Kauai has truly main options for photography and I can’t wait to go back some time, if I ever get the chance. Coming from Europe, it is pretty much the other end of the world.

“Anini Beach” is available as a Limited Edition Print in a series of 100 at http://goo.gl/PWc83d

 

More News 

- Alright folks, here it is. My website is now available in German and English. I just finished the German translation (except blog posts) and depending on your browser language, it should detect the language automatically. Give it a try at www.andredistel.com

- I have added a considerable amount of stock photography to my website through wonderful people at +PhotoShelter  (who also helped my out solving that Google Chrome SSL issue). Checkout, Cart, Sign-up, etc. all working well now.

- Stock Photos are mainly aerial photography from Kaua’i. Such an amazing time in the air photographing lots of inaccessible land and countless waterfalls. More on the stock photos in a separate blog post later.

- Many more new small things. I have been working on my SEO and I am getting more traffic again and again. Still lots of work to do and my photos to process, but I am getting there :)

 

Technique

Nikon D800
Nikon 16-35mm f/4
+Induro  AT-114 Tripod
Vanguard SBH-250 Ballhead
Remote release
Four shot exposure
Filesize: 2.59GB TIFF File
+fstopgear  Loka

Processed in PS6 using Luminosity masking techniques by +Sean Bagshaw. I started with cleaning up all images from dust spots and then hand-blended them into one image. Luminosity masks allow you to precisely fine tune your photo. If you seek the best in post processing with no sacrifice towards quality, it does not get any better than this. Check out the very reasonably priced tutorial from Sean. The return on invest is sure (no, I am not getting paid to say that ;)).

 

Others

If you haven’t done so yet head over to my new Facebook Page and say hi! – http://www.facebook.com/AndreDistelPhotography

If you have any questions, please feel free ask

Cheers,
André
www.andredistel.com

Burning Skies over Hanalei Bay – Kauai, HI, USA – Limited Edition Print

The Shot & News
I just returned from a three week trip to the US. 2 1/2 weeks was spent in Hawaii, mostly on the islands of Kauai and Maui. We stayed at the North Shore of Kauai, due to the insane amount of photo opps and the incredible landscape that surrounds you up there. It is rather isolated with only a few tourists. Most resorts are on the dry and hot south side of the island.

It took me a few attempts to capture Hanalei Bay, which has become one of my favorite spots in the world, the way I wanted it. I ventured out for several sunsets and sunrises until I found the perfect conditions. The sky was simply burning for a few minutes, creating wonderful reflections in the water and sand. Strong contrast with the mountains only lit up halfway and the dark clouds moving out on the right hand side. There is so much going on, that I don't tire looking at this photo.

"Burning Skies over Hanalai Bay" will be available as a Limited Edition Print in a series of 25 and put on my website (www.andredistel.com) shortly. 

Featured Photographers
I haven't done this in the last few posts but I do strongly believe in supporting other photographers as well through this. Check out the following amazing portfolios: +Elia Locardi +Rene Kisselbach and +Jarrod Castaing 

More News
I have started to work with +PhotoShelter now for 6 months and I can truly say, that it has already paid off. The price you pay seems high, but it creates so much less work for me. Most of my sales, still don't go through the site itself but individuals approaching me directly. I mostly use it to showcase my artwork, but of course also to attract new clients. 

I am in the process right now, to translate the page into German language. Hey, I am bilingual, so why not make use of it right? 

Technique
Nikon D800
Nikon 16-35mm f/4
+Induro AT-114 Tripod
Vanguard SBH-250 Ballhead
Remote release
One shot exposure
Filesize: 2.41GB TIFF File
+fstopgear Loka

Processed in PS6 using Luminosity masking techniques by +Sean Bagshaw  with slight corrections in contrast and sharpness.

Others
If you haven't done so yet head over to my new Facebook Page and say hi! – http://www.facebook.com/AndreDistelPhotography

If you have any questions, please feel free ask

Cheers,
André
www.andredistel.com

+1212Scenery  #1212scenery   #photoextract  by +Jarek Klimek +10000 PHOTOGRAPHERS by +Robert SKREINER  #landscapephotography  by +Margaret Tompkins +Carra Riley +paul t beard +Jim Warthman +HQSPPromotion by +Robert SKREINER +HQSP Landscape by +Delcour Eric +Landscape & Nature Photography ART +Landscape Photography  #nikond800   #nikon1635   #kauai   #hanaleibay   #hanalei   #northshore   #pier   #water   #ocean   #hawaii   #luminositymasks  

Rolling Hills of Maui – Limited Edition Print

I have started this a while ago on Facebook and will try to follow through with this on Google+ and my website. Posting in English and German language. I am bilingual, so why not make use of it :-)

The Shot
When you were asking for photos of Hawaii this is not what you necessarily expected, is it? We drove the entire Hana Highway and thought it was a bit overrated. There are some pretty sights on the way but we found that the Southeastern side of Maui is mentioned nowhere and is totally underrated. This was taken during sunset time on a very lonely stretch from Hana all the way back through southeastern Maui. 

—————-

Als ihr nach Fotos von Hawaii gefragt habt, ist das sicherlich nicht dass, was ihr erwartet habt oder? Wir sind den gesamten Hana Highway gefahren und sind der Meinung, dass er etwas überbewertet wird. Er hat schöne Ecken, fanden aber das der Südosten von Maui, der übrigens fast nirgendwo erwähnt wird, sehr unterbewertet ist. Das Foto ist während des Sonnenuntergangs hinter uns entschanden auf einem sehr einsamen Stück zwischen Hana und Kahului.

For more regular updates like my Facebook Page at https://www.facebook.com/AndreDistelPhotography 

Techniques:
Nikon D800
Nikon 70-200 f/4 at 120mm f/8
1/200 sec.
27 Megapixel (Ratio 2:1 from 36 Megapixel sensor)
Filesize 1.38 GB
Luminosity masking techniques in PS6 to increase contrast, midtones and sharpness from one RAW file. by +Tony Kuyper and +Sean Bagshaw 

Please share if you like this 

André
www.andredistel.com

+1212Scenery  #1212scenery     #photoextract  by +Jarek Klimek   +10000 PHOTOGRAPHERS by +Robert SKREINER  #landscapephotography  by +Mark Esguerra  +Carra Riley +paul t beard +David Heath Williams +Bill Wood  +Jim Warthman  +HQSPPromotion by +Robert SKREINER  +HQSP Landscape by +Delcour Eric  +Landscape & Nature Photography ART  +European Photo by +Janusz Brakoniecki  #nikond800   #nikon   #d800   #maui   #hawaii   #hanahighway   #hana   #roadtohana   #southeasternhawaii   #southeasternmaui   #sunset   #rollinghills   #photography   #photooftheday  

Hidden Castle – Bonn, Germany – Limited Edition Print

The Shot
I took this shot a few weeks ago and was one of the first serious shots with the D800 in combination with the Nikon 70-200 f/4. What a beautiful and sharp lens that is. I instantly fell in love with it and can't stop using it. I think you will see more telephoto landscape photos in the near future. 

This mountain area is right across from our house. Just walking down to the river and taking the shot. Luckily I can decide a few minutes prior if it's worthwhile visiting or not, depending on the light. On that particular it was definitely worth it and the last rays of sunshine hit the trees and just made the whole variety of greens pop. Of course the castle, tucked away in the tree is the highlight of this shot. It's in perfect condition and can be visited by climbing up the mountain from the left. To the right side of this shot is an even higher peak with even older ruins on top and steep cliff. 

You can purchase a print of this image here: http://andredistel.photoshelter.com/gallery-image/Germany/G0000IHBAH5bOuw8/I00006loPhmAHFeQ

For more regular updates like my Facebook Page at https://www.facebook.com/AndreDistelPhotography 

Gear
Nikon D800
Nikon 70-200 f/4 at 200mm
+Induro Tripods AT-114
Vanguard SBH-250

Technique
I took about 5 exposures and ended up using 2 of them. One for the sky and one for the forest. Some slight cures and contrast adjustments – done! I blended the images manually in Photoshop using luminance masking techniques.

Please share if you like this 

André
www.andredistel.com

+1212Scenery  #1212scenery   #photoextract  by +Jarek Klimek +10000 PHOTOGRAPHERS by +Robert SKREINER  #landscapephotography  by +Margaret Tompkins +Carra Riley +paul t beard +David Heath Williams +Bill Wood +Jim Warthman +HQSPPromotion by +Robert SKREINER +HQSP Landscape by +Delcour Eric +Landscape & Nature Photography ART +European Photo by +Janusz Brakoniecki  #nikond800   #nikon   #landscape   #photography   #germany   #germanlandscape   #deutschland   #siebengebierge   #drachenschloss   #drachenfels   #sunset   #sonnenuntergang   #bonn   #königswinter   #sommer   #summer  

The Opera – Syndey, Australia – No edition assigned yet

Hey +Keith McInnes and +Michael Sutton this is what you guys missed out on last week ;-).

The Shot
Taken just about a week ago in Sydney from Mrs. Macquarie's Chair. The sunset light was perfect and I was playing with different compositions and techniques until I found what I wanted. With all the Opera shots I have by now, I could open a Syndey Opera Gallery alone.

Even though I did not have many nights to shoot the conditions were once again perfect on the night that I went out. Most days and especially the mornings were flat and boring. I realized how lucky I was when I captured these last year http://goo.gl/2ePj4m  

For more regular updates like my Facebook Page at https://www.facebook.com/AndreDistelPhotography 

Gear
Nikon D800
Nikon 70-200 f/4 at 70mm and various apertures
+Induro Tripods AT-114
Vanguard SBH-250

Techniques
I took about 7 exposures and ended up using 3 of them. One for the water, one for the sky and one for the Opera House. To recreate the original scene I used luminance masks in PS6 and adjusted the contrast accordingly. Processed on the flight from Sydney to Bangkok. Thanks to +Sean Bagshaw for his great Luminosity Masks and Extending Dynamic Range tutorials :-) 

Please share if you like this 

André
www.andredistel.com

+1212Scenery  #1212scenery   #photoextract  by +Jarek Klimek +10000 PHOTOGRAPHERS  by +Robert SKREINER  #landscapesphotography  by  +Margaret Tompkins +Carra Riley +paul t beard +David Heath Williams +Bill Wood +Jim Warthman +HQSPPromotion by +Robert SKREINER +HQSP Landscape by +Delcour Eric +Landscape & Nature Photography ART +European Photo by +Janusz Brakoniecki  #nikond800   #d800   #nikon   #induro  +Induro  #sydney   #sydneyopera   #sydneyphotography   #sydneyoperahouse   #sydneyharbourbridge   #water   #harbour   #sunsetphotography   #sunset   #sunsetphotos  

Marina Bay Sands – Singapore – Limited Edition Print

News
In my recent Facebook post I wrote, that I might be back sooner than you think, Singapore. Well, no, I won't. When Thai Airways cancelled my flight to SYD, I was on the verge again to book with Singapore Airlines, which would have included a layover in SIN. I got the booking confirmation today from Thai for another flight and will have a short layover in Bangkok instead. Only a couple hours but the perfect time of day at around 8pm. So, I'll try to venture out of the airport for a couple hours before my connecting flight back to Europe. Has anyone been to Bangkok and is it easy to get around? There seems to be a railway system to the city, I think.

Print Sales
Going well…Just sold another Limited Edition Print in 36"x24" (90x60cm) as acrylic face mount of this image. Thanks +PhotoShelter for hosting my images . It's a great help. And also again to +Sean Bagshaw of whom I learned a lot! And to Singapore Airlines for providing the best flying experience and customer service. 

If you wish to get your copy just visit http://andredistel.photoshelter.com/gallery-image/Limited-Edition-Prints/G0000ANLAamgP2Lw/I0000.vGq6gFdIKI

Technique
I managed to manually blend four different exposures, using luminance mask and hand-made masks, to get the perfect dynamic range. One for the foreground and water, one for the extreme highlights in the foreground, one as the main image with all the beams and one with slightly stronger green beams due to the length of the exposure. It worked out perfectly and kept the original scene intact. I did not add or remove anything from the original scene. 

Cheers,
André
www.andredistel.com

+1212Scenery  #1212scenery   #photoextract  by +Jarek Klimek +10000 PHOTOGRAPHERS by +Robert SKREINER  #landscapephotography  by +Margaret Tompkins +Carra Riley +paul t beard +David Heath Williams +Bill Wood +Jim Warthman +HQSPPromotion by +Robert SKREINER +HQSP Landscape by +Delcour Eric +Landscape & Nature Photography ART +European Photo by +Janusz Brakoniecki  #nikon   #singapore   #marinabaysands   #marinabaysandssingapore   #lightbeams   #laser   #hotel   #southeastasia