![]() ![]() You could save the files in JPEG format after optimization, but I find the JPEG size limitation to be far too restrictive for my panoramas. Optimizing the captured files in their original 16-bit format gives me more control and higher quality reducing their size to 8-bit TIFFs makes them easier to composite in the GigaPan software, Autopano Giga 3.0 or Autopano Pro 3.0 (from Once assembled, they then can be finalized within the 4 GB size limitation of the TIFF format in Photoshop. From Lightroom, I save the individual files into a single folder as 8-bit TIFF files. My preferred method is to photograph all of the segments in RAW format, then bring them into Lightroom, optimize one representative capture and sync the rest to match. But there are a couple of options you can apply to control file size, depending upon how particular you are about the final quality of your panorama. How do you deal with this problem?Ī Working with big images means big files there’s no getting around it. It’s a struggle to composite the separate images and work with the resulting massive multiple-gigabyte files. Q I’ve been working with the GigaPan system to create large, high-resolution landscape panoramas from a grid of captures. As a final note, tones set a mood, and if the mood lends itself to a low-contrast capture, then the grays will work for you in the black-and-white conversion. A sense of movement, such as a curving road through a landscape or a strong repetitive design, can be very effective in black-and-white renditions. ![]() The viewer’s eye will be drawn to lighter elements of the image, so be aware of distracting highlights and get the light on your subject. The file may lend itself to black-and-white if there’s a strong tonal range, with good separation of those tones, meaning that you’ll probably have solid whites as well as blacks within the image after it’s converted. One of my favorite photographers of the Palouse area is Darrell Gulin, who has a gallery of Palouse images at his website, .Ĭolor or not, you’re always looking for a properly exposed, sharp image. The image becomes more basic, reduced to elements of design. ![]() But in black-and-white, a photograph of the Palouse fields is about the sky and the land and the farmer who made the patterns with her tractor. If the gold is there, the image is about fall and the harvest if the green is there, the image is about spring planting. Here, the rolling hills for many miles are dedicated to grain crops, mostly wheat, that in early spring and late fall offer amazing green or gold striped patterns that swirl and move with and across the contours of the land. black-and-white interpretations is the Palouse area of eastern Washington State. As a final note, tones set a mood, and if the mood lends itself to a low-contrast capture, then the grays will work for you in the black-and-white conversion.Īnother example I like to use when talking about color vs. ![]() How do I determine which images would make good black-and-white conversions? Is there a way I should be photographing that would facilitate black-and-white images?Ī sense of movement, such as a curving road through a landscape or a strong repetitive design, can be very effective in black-and-white renditions. Q I shoot exclusively digital color files. It wasn’t a difficult decision to convert these captures to black-and-white, but it did require care to retain detail in the white snow, black lava outcroppings and massive forest areas while keeping the tone of the dark blue sky. While seeking solutions to this problem, I became aware that the image, with the exception of the dark blue sky, was fairly monochromatic in reality that is, color wasn’t an important factor in the scene. When I reviewed the captures later in the day, I was very disappointed by their distinctly cyan cast, even though they were otherwise of good quality in terms of sharpness, tone and content. Unfortunately, it wasn’t possible in this plane to remove the doors or open the Plexiglas® windows. The weather was gorgeous, and the volcanic peaks were covered with fresh snow. I recently spent a few hours photographing from a small plane, flying along the eastern escarpment of the Cascades in Central Oregon. and ƒ/11, ISO 400, converted to black-and-white in Photoshop CS6 The generally monochromatic image worked better converted to black-and-white.Ĭanon EOS 5D Mark III, EF 24-105mm at 1⁄1000 sec. The images were sharp through the Plexiglas® window, but the color was skewed to cyan. A four-capture panorama of the Cascades of Central Oregon photographed by George Lepp from a small airplane. ![]()
0 Comments
Leave a Reply. |