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Sometimes the only thing I need to do is some simple editing in Aperture 3. I chose this composition to capitalize on the linear elements that the power wires imparted to the image. I did add a small black border in Topaz Adjust but there wasn’t much else to do there.
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Today’s post is the last one I want to share from my Kansas tractor series. Sometimes a detail is all that is needed to tell a story; I think that is the case with this image of an Allis-Chalmers grill shell and Allis-Chalmers emblem. The patina, the complex curves of the metal and the Allis-Chalmers emblem speak to an era long ago when industrial design was also concerned with aesthetics. The farm trucks in the background exist as metaphors for a time when America was struggling to survive the Great Depression and tractors such as this Allis-Chalmers were working to feed the world.
Because I was working with a single frame I used a preset in Topaz Adjust that I built especially for these images. I started with the Spicify preset that I dialed down to a level that emphasized texture and color; I then added a vignette and a border to the image as my finishing touches.
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Here’s another image from Cawker, Kansas. I chose this one because I like the composition with the wheel coming forward in the frame as if it is on the verge of entering the viewer’s space. I had a polarizer on my Nikkor 12-24 mm lens which really cut down on the glare and saturated the colors before any processing was done. The sun was almost directly overhead but by using Topaz Adjust with the Spicify preset I was able to bring out the texture and patina on this tractor.
One thing I currently strive for is to keep from overdoing the texture in these types of images. I like bold color but I try to avoid getting too much texture when applying the various filters to my Topaz work. I wasn’t always so restrained and when I go back to some of my earliest examples I wonder how I could have been so heavy handed with the software back then. I also credit Topaz Labs for refining their entire line of software and giving us the tools to take greater control of the various filters in it. As with many skills in photography the more one uses a given technique, or tool, the better one gets with it and they evolve into becoming a better photographer.
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Memo From the Department of Shameless Self Promotion
I am still accepting participants for my next HDR Workshop on May 17-18, 2013 here in Louisville. The last session was a great success; the participants all felt that it was time well spent and were applying the things they learned the next day. Here’s a link to the sign up page at Outdoor Photo Gear.
http://outdoorphotogear.ticketleap.com/using-hdr-photography/
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In the tradition of honoring my Irish roots I thought I’d post some green images today. For me green is the color of spring, hope, rebirth and my eyes. This first image is my favorite shade of green too. All these images come from the past several years of the NSRA Streetrod Nationals held here in Louisville, Kentucky.
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These images are from my trip down to Alabama a few weeks back. While exploring the countryside I came upon this old log building that has become a piece of Americana. The owner of the property is obviously into collecting old signs and old gas pumps. The sky was full of clouds that were remnants of a thunderstorm that went through the night before while off to the east the sun was breaking through and illuminating the cabin and the surrounding area. In the distance the sky and horizon were still dark and foreboding. The light was bright enough that I was able to handhold the shots and that allowed me to move quickly around the scene.
I processed this image using NIK HDR Efex Pro 2 for the merging of my three frame bracket set. My bracket set was -2, 0 and +2 EV. After I tone mapped the image I made some adjustments to vibrance and contrast in Aperture 3 and then I took the image into OnOne Perfect Effects 4 where I applied a vignette using the Big Softy preset.
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This is another image from the same shoot. I loved the way the sun was lighting the buildings and the field around them while in the distance the horizon and sky were still dark. I followed the same basic procedure for processing this image as I did in the one above but I spent a little more time in OnOne Perfect Photo 7 playing around with Perfect Effects where I once again added the vignette using Big Softy preset as well as experimenting with some of the other adjustments that Perfect Effects has available.
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In this image the sun went behind some clouds and it really softened the light. I shot a handheld three frame bracket at -2, 0 and +2 EV and merged them in NIK HDR Efex Pro 2 before taking the merged image back into Aperture 3 for final processing. The change in the quality of the light creates an entirely different feel to the scene and I didn’t feel that Perfect Effects 4 would be of any benefit on this image so I finished it with Aperture 3.
