Posts Tagged ‘Adobe’

No ’Room for noise

Wednesday, June 9th, 2010

Adobe finally released Light­room 3 today, after an extens­ive beta test­ing period dur­ing which we were shown tan­tal­ising glimpses of the new fea­tures. How­ever, by far the most impress­ive of the added good­ies is the improved noise reduc­tion. I’ve included some examples below.

Bor­ough Mar­ket, EOS 5D Mark II, ISO 3200

This photo was taken at ISO 3200 on my Canon EOS 5D Mark II, shortly after I bought it, as part of a series of pho­tos of Bor­ough Mar­ket in Lon­don. All the pho­tos in the set were taken at the same ISO, which allowed me to cap­ture much of the activ­ity and goods on sale without hav­ing to use flash.

Bor­ough Mar­ket, EOS 5D Mark II, ISO 3200 (no noise reduc­tion — 100% crop)

Here is a 100% crop of the same shot with no noise reduc­tion applied (all sliders set to zero); for ISO 3200 it’s pretty good, show­ing off the low-​​light cap­ab­il­it­ies the 5DII is fam­ous for.

Bor­ough Mar­ket, EOS 5D Mark II, ISO 3200 (after noise reduc­tion — 100% crop)

After apply­ing noise reduc­tion, the chroma noise has all but van­ished, and only a hint of lumin­ance noise remains, with (in my opin­ion) sug­ges­tions of film grain.

Bor­ough Mar­ket, EOS 5D Mark II, ISO 3200 (after noise reduction)

The full photo, after noise reduc­tion has been applied. It’s hard to tell the dif­fer­ence at this size, so here’s an example of an ISO 6400 shot that has been adjus­ted with Light­room 3:

Starry night, ISO 6400, no NR

The chroma noise, even at this smal­ler size, is obvi­ous, espe­cially in the cloud and on the right-​​hand illu­min­ated tree at the bot­tom of the picture.

Starry night, ISO 6400, after NR

The dif­fer­ence here is plain. A huge improve­ment over the original.

I now feel I can more con­fid­ently use ISO 6400 more on my cam­era now; tech­nic­ally it does go up to ISO 25,600 but I would have to try that out in Light­room before decid­ing whether it’s a real­istic option.

Graduated filters

Thursday, November 5th, 2009

It’s a little late in com­ing, but I did prom­ise a les­son in how to use gradu­ated fil­ters. It fol­lows on nicely from what I spoke about in my post about the Zone Sys­tem, so please famil­i­ar­ise your­self with that one before read­ing this if you haven’t already; this one will make more sense that way.

I men­tioned that the range of bright­ness that a cam­era can ‘see’ is much nar­rower than that of the human eye. In most cases, you can isol­ate an inter­est­ing part of an image and bring out the detail where it’s rel­ev­ant, how­ever there are many situ­ations where this simply doesn’t work. For example, if you are tak­ing a land­scape pho­to­graph that includes a lot of sky, espe­cially late in the day, the fore­ground will gen­er­ally be three or four stops darker than the sky. By meter­ing for the fore­ground, the sky will be blown out, but if you stop down to increase detail in the sky, the fore­ground will usu­ally become too dark.

Of course, with RAW files and soph­ist­ic­ated post-​​processing tools such as Adobe’s Pho­toshop Light­room, it can be easy to fix such pho­to­graphs after­wards, but this won’t always work, as often the sky is so over­ex­posed that the high­lights end up edged with grey as col­our detail is lost. HDR is another option, but is time con­sum­ing, and the effect is not to everyone’s taste (myself included). It is far prefer­able, I believe, to achieve the effect you want in-​​camera. So how do you do this?

Take the fol­low­ing pic­ture of the church at Prest­bakki in north­ern Ice­land as an example:

Original image

Ori­ginal image

There is some great detail in the fore­ground, with the gravel and the weeds among the flag­stones clearly dis­cern­ible, but the sky is almost pure white. I could stop down by 2 stops to bring the clouds into detail, but then we lose the inter­est­ing tex­tures on the ground:

Underexposed by 2 stops

Under­ex­posed by 2 stops

How­ever, by apply­ing a 2 stop neut­ral dens­ity gradu­ated fil­ter (usu­ally referred to as an ND grad) with the dark half placed so that it cov­ers the sky, I can keep strong detail in both halves of the picture:

2-stop ND grad filter applied to sky

2-​​stop ND grad fil­ter applied to sky

This is a par­tic­u­larly strong set­ting, mainly for illus­tra­tion. The best use of ND grads is when you can’t tell it’s been used. Com­pare the next two pho­tos of the river Lagan in Belfast:

Without filter

Without fil­ter

With 2-stop ND grad

With 2-​​stop ND grad

The first was taken as is, and for the second I used an ND grad to drop the sky down 2 stops so that it was the same bright­ness as the river. The con­trast between reflect­ive sur­faces (such as water) and sky will always be less than that between, say, grass and sky, so it’s pos­sible to make the whole pic­ture appear more uni­form. This is another com­mon use for ND grads where you won’t neces­sar­ily get the same loss of detail caused by excess­ive dif­fer­ences in brightness.

Finally, an example of where an ND grad really comes into its own:

2-stop ND grad used

2-​​stop ND grad used

This was taken at Thirlmere reser­voir in the Lake Dis­trict. The sky was turn­ing some beau­ti­ful col­ours, but the bracken was a lovely shade of orange/​brown and the dry­stone wall provided a nice way to draw the eye into the pic­ture, so I placed my usual 2-​​stop ND grad on so that I was able to cap­ture the lot.

Note that there are many types of ND grad fil­ters. They vary from 1– to 4– stops, and in the degree of grad­a­tion, with a hard edge for clearly defined hori­zons, and softer edges for when fore­ground detail (e.g. trees, tall build­ings) intrude on the sky and would be spoiled by excess­ive dark­en­ing. It’s a good idea to have more than one to hand, but you can vary the soften­ing effect by using the aper­ture. A nar­rower aper­ture (higher ‘f’ num­ber) will harden the bound­ary between dark and light halves, so open up as wide as you can if you want a softer edge without chan­ging fil­ters. You can also buy screw-​​on ND grads which rotate inde­pend­ently of the lens, but you can’t move the hori­zon up or down with these, so it’s bet­ter to get the rect­an­gu­lar acet­ate fil­ters in the Cokin or Lee series.

I hope this les­son has also been help­ful. Please use the com­ments below to let me know if I’m strik­ing the right tone. I’d also like to see any pho­tos you take using ND grads; you can link to flickr if you have any you’d like to share.

The RE Bar

Monday, January 12th, 2009

A friend of mine runs a bar in East­cote, west Lon­don, and asked me to cre­ate a web­site for him. He also wanted pho­to­graphs of the bar, so this week­end I finally man­aged to find the time to pay the bar a visit and get some night and day­time shots. The web­site was also final­ised, and is now online at re​-bar​.co​.uk. I used Light­room 2.2 to cre­ate the gal­lery of images.