Steve,
Wow...that does look like doom and gloom. I hope you get some sunshine soon. 😀
Jan. 20, 2024
35
-
-
The agenda of the meeting is still not obvious.
😀
David
-
A real heavy fog had descended on us right about sundown. it made everything hazy and out of focus.
Suggestive rather than well-defined.
I decided to use that to my advantage.
When I went to take the pictures, my wife told me to beware of the werewolves.😀
Steve Thomas
-
Subject: Dig Comes With Food
Goodie, goodie, goodie...Dig comes with bags of food. Nah...it's just those stupid cameras. 😀
Sometimes the ducks think I have food. It works to my advantage sometimes, as this encourages them to come closer. I took this yesterday, before the rains returned to our area.
Model - Canon EOS 800D
ExposureTime - 1/500 seconds
FNumber - 9
ISOSpeedRatings - 500
ExposureBiasValue - 0
FocalLength - 250 mm
Lens Model - TAMRON SP 150-600mm F/5-6.3 Di VC USD A011 -
Subject: Yesterday's Weather
Yesterday we had glorious weather. So I had to go outside and take a few snaps of it. I hope you who have gloomy weather like seeing this. 😀
Photo No. 1 - Where you see the brown reeds, that's where I often find the Wood Ducks. But I only saw one female and possibly two males in another nearby location behind the thicket.
Model - Canon EOS Rebel T7i
ExposureTime - 1/400 seconds
FNumber - 9
ISOSpeedRatings - 500
ExposureBiasValue - 0
FocalLength - 70 mm
Lens Model - EF-S55-250mm f/4-5.6 IS STMPhoto No. 2 - After I got home I saw this heron in the image. I didn't know it was there at the time. Have any of you done that, where you discover something interesting later on the computer? I could have gotten a lot of nice pictures of this heron.
Model - Canon EOS Rebel T7i
ExposureTime - 1/800 seconds
FNumber - 9
ISOSpeedRatings - 640
ExposureBiasValue - 0
FocalLength - 55 mm
Lens Model - EF-S55-250mm f/4-5.6 IS STMPhoto No. 3 - It was so nice to have this sunshine. This is also where I find Wood Ducks, but there were none visible at first until I poked around some of the bushes. I definitely saw one, but there may have been a total of three.
Model - Canon EOS Rebel T7i
ExposureTime - 1/640 seconds
FNumber - 9
ISOSpeedRatings - 400
ExposureBiasValue - 0
FocalLength - 55 mm
Lens Model - EF-S55-250mm f/4-5.6 IS STM -
Here's one for you Steve!
David
-
David,
That's pretty cool. Nice sky.
I like the juxtaposition of that massive cloud in one corner and the small female figure in the bottom right.
It's like it's going to drop a bomb right on her head any minute now.Good job.
Steve Thomas
-
Subject: From Snow To Flooding
As I have shown, the snow we had is all melted. Now we have some flooding in areas near the rivers. Yesterday we had pouring rain for a short while. Here's the area where you all saw the orange sled on the ice.
Model - Canon EOS RP
ExposureTime - 1/250 seconds
FNumber - 9
ISOSpeedRatings - 2000
ExposureBiasValue - -0.33
FocalLength - 48 mm
Lens Model - RF24-105mm F4-7.1 IS STM -
Subject: Another One For Steve
Steve, here's one for you too. I exposed for the sky with increased exposure compensation. Then I brightened up the trees a little in post processing. I don't know if that accomplished what you were seeking. But that was my way of doing it, to make it an acceptable image.
Model - Canon EOS Rebel T7i
ExposureTime - 1/500 seconds
FNumber - 9
ISOSpeedRatings - 250
ExposureBiasValue - 0.67
FocalLength - 55 mm
Lens Model - EF-S55-250mm f/4-5.6 IS STM -
Dig,
That looks about right.
I went back and re-read that article again and realized that the author was doing all his "compensating" in post processsing..
Steve Thomas
-
I was passing the new main railroad station in Vienna the other day and noticed how difficult it was to see the clock when I was approaching it. From further away, it was completely shielded by the bus station!
Closer, one can read the time easily.
But if you arrive at the station by train and are on the way out, this is what you see...
The station near where I live has a similar large clock, which is completely obscured by the roof over the bus and tram stops in front, making it a complete waste of time and money!
David
-
Sorry, Steve. That's not how I read it -- are you certain?
David
-
David,
No. You're right, and I was wrong.
I'm going to go away now.
Steve Thomas
-
David,
I can see the clock in all three images. But in the first picture, the clock is more difficult to see with the pole or column that could be in the way (depending on where a person stood at the time). I assume the clock is built-in to the window. That's pretty neat but it's not made to be seen easily. Maybe if the clock was more brightly painted in a different color that would help. What do you think the architect and/or contractor could have done for this clock to have been better for the public?
-
Steve,
I did not read the article. Sometimes using the word "all" (as in your statement) can sometimes be not the best choice, if there might be other things or exceptions. Maybe David could help explain his point of view. David has a lot of good insight and experience.
I (we) appreciate your thoughts, prompting us to show more photos. 😀
-
It seems to me that the clock design is more a question of branding than utility. I walked past the one on our local station today, and the most that one can see from any angle, due to the roof over the bus shelter is when the hands are between 10 and 2. I have never looked for it inside. It must be visible from the platforms -- reversed! For interest, I will take a photo this week if the weather allows. As one can see the clock face is about 2 meters in diameter!
David
-
Thank you for your kind remarks, Digi. The general principle is to optimize the range of light levels that the camera can record. This is often much less than that in real life. (The film industry has total control to ensure that sets are lit so that the range is not too wide for their cameras, and presumably studio photographers do the same.)
This being the case, the objective in ETTR is to ensure that the brightest parts of the scene are properly exposed and not "blown out", and this is done by adjusting the exposure until the brightest spots are at the extreme right of the histogram. The problem is that the histogram is very small on the screen and doesnt always show the truth well enough. The camera's automatic exposure tries to set the bright spots in the middle of the histogram. This means that if you accept the camera's advice, snow will come out grey! Hence the exposure compensation adjustment, which tells the camera to expose more than it wants to (or less, if there are prominent highlights that are being ignored by the metering system). If the subject allows, I usually take a test exposure and then adjust according to the playback readings and then follow with the real shot, though not always successfully!
The good news is that modern mirrorless cameras, while they are merciless to over-exposure, deal kindly with the dark areas and these can be brought up in level afterwards in software. Indeed, post processing of raw files is an integral part of getting the best out of a recent camera. Together with the ability to move the reading sideways on the histogram, and brighten the dark areas without affecting the bright ones plus, any noise which is exposed by the process can be neutralised by noise reducing algorithms.
The automatic equivalent is the HDR technique that you and others use, which leave all this to the camera. I just personally prefer to (live dangerously and) have control of this myself, as I showed with the Christmas lights recently, though that was an extreme case.
It is a different world from 20 years ago, though analogous to the days of analog film, when the making of positives (contacts or enlargments) could also be influenced by adjusting the exposure of different sections of the scene, or varying the chemical mix used for developing.
Experimentation is that name of the game and we are living in a period when doing incurs no extra costs.
David
-
The new weekly thread is open here. Please start using it now.
