NEW Good Down-to-earth Theoretical Tutorials on Tilt Shift Lenses (you have to register-but worth it).
Tilt Shift
Canon30 /40 D Manual Manual
Why Raw Images
Processing Raw files
2010 First Assignment
2010 Student Show
Wednesday, May 30, 2012
Useful technical references for AP class
NEW Good Down-to-earth Theoretical Tutorials on Tilt Shift Lenses (you have to register-but worth it).
Tilt Shift
Canon30 /40 D Manual Manual
Why Raw Images
Processing Raw files
2010 First Assignment
2010 Student Show
Perspective Correction Updated Thoughts
I am a big believer in using Tilt Shift lenses to correct perspective with DSLRs, but newbie's may not have the resources for these expensive lenses. As I have said, ad-nauseum, to do professional level AP work with a DSLR you have to carefully structure your work flow to maximize file quality at every step. Doing perspective correction in Photoshop eats quite a few pixels and introduces a fair amount of computer interpolation in the stretched areas. These kinds of practices lead to image degradation, but for end products like websites, this quality may be acceptable.
EXAMPLES
Leveled camera with a wide lens=too much foreground.
Unless you compose for it, choosing an interesting foreground.
Point the camera up to get rid of the foreground and you get massive perspective convergence.
Do a simple PC in Photoshop and you get what I call truncating of the forms-they come out way
to squat and you lose allot of the left and right edges. More PS work ensues to correct the squat!
The "squat" corrected with the "Distort" tool in PS. That is go to Select>All the go to Edit>Transform>Distort and stretch the top to taste.
Whereas correcting perspective with a Tilt/Shift lens preserves the proportions and the edge framing.Canon 24 T/S on full frame 5DMII.
There are many ways to correct perspective. Even with T/S lenses you may not have enough rise and still need to point the camera up slightly. I prefer the one below because the correction is rarely symmetrical (instead of the more common method see this Simple Method which is worthless unless you had truly leveled the camera before pointing it up and had symmetrical perspective problems. With this next method you correct each side separately. Prefered Method of PC. Remember sometimes a very slight convergence looks more natural than a fully corrected perspective on very tall buildings.
But sometimes....sometimes the best thing to do is just make the composition work with a ton of convergence. Example-My recent image on the cover of Antoine Predock's new Rizzoli monograph (number 5) =The University of New Mexico School of Architecture.
EXAMPLES
Leveled camera with a wide lens=too much foreground.
Unless you compose for it, choosing an interesting foreground.
Point the camera up to get rid of the foreground and you get massive perspective convergence.
Do a simple PC in Photoshop and you get what I call truncating of the forms-they come out way
to squat and you lose allot of the left and right edges. More PS work ensues to correct the squat!
The "squat" corrected with the "Distort" tool in PS. That is go to Select>All the go to Edit>Transform>Distort and stretch the top to taste.
Whereas correcting perspective with a Tilt/Shift lens preserves the proportions and the edge framing.Canon 24 T/S on full frame 5DMII.
There are many ways to correct perspective. Even with T/S lenses you may not have enough rise and still need to point the camera up slightly. I prefer the one below because the correction is rarely symmetrical (instead of the more common method see this Simple Method which is worthless unless you had truly leveled the camera before pointing it up and had symmetrical perspective problems. With this next method you correct each side separately. Prefered Method of PC. Remember sometimes a very slight convergence looks more natural than a fully corrected perspective on very tall buildings.
But sometimes....sometimes the best thing to do is just make the composition work with a ton of convergence. Example-My recent image on the cover of Antoine Predock's new Rizzoli monograph (number 5) =The University of New Mexico School of Architecture.
Wednesday, May 23, 2012
Images from Canyon of the Ancients ......
Some preliminary images from my stint at Canyon of the Ancients National Monument (as the first ever BLM artist-in-residence) are being posted on their website: CANM
Nikkor 120 SW lens, top dark green filter-bottom no filter, scanned 4x5 Fuji Acros film, developed in Pyrocat HD, bottom low placement and expanded development.
Nikkor 120 SW lens, top dark green filter-bottom no filter, scanned 4x5 Fuji Acros film, developed in Pyrocat HD, bottom low placement and expanded development.
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