Tag Archives: exposure

The 5 Most Used Photo Enhancement Techniques – Part 2

You are back! Good. In the last article we talked about White Balance and Noise Reduction. As two of the five most useful tools in the arsenal of the night photographer.

In this article we will tackle two of the remaining items:

  • Exposure and Contrast enhancement
  • Sharpening (and de-sharpening)

Healing and cloning will be in Part 3.

While we have seem some fascinating composite and highly edited images our goal is usually to make a compelling photo. But we do like realism, too. So while we will show techniques that can be pushed to extremes to make gaudy Milky Ways, or super saturated star trails, we personally do not go there often.

Exposure and Contrast Enhancement

Below is the result we want to achieve.

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Single Exposure with exposure and contrast adjustments, healing, cloning, selective blurring and sharpening.

But we will be starting with a single daylight exposure from the Outer Banks, North Carolina. When we shot the scene we shot a bracketed exposure at one-stop intervals. Before we look at the exposures, let’s look at the histograms from each of the three exposures

RodantheHistograms

Which one is the best image to start with to make our adjustments? Hint, it’s the one at the right. The +1 exposure has no loss of detail because nothing has been over exposed.  Here is the exposure.

+1 Exposure

+1 Exposure

The scene seems flat and lifeless – almost nothing like it looked to the eye, and not close to what we hope it will be. Part of the reason it looks so flat is that we have not done any adjustments to the original RAW file. If you shoot JPGs the curves and saturation adjustments are automatically applied so you might conclude that RAW images are a waste of time. That would be wrong. The truth is there is much room for improvement in the RAW images and much of the “good stuff” is lost when the camera applies the conversion to JPEG.

All of the histograms show decently exposed images. But it looks like even in the +1 image we still have some room left. That is, we could have exposed a bit more to get the whites all the way to the right.  All of our histograms show that we have no black (nothing at the left edge), and no white (content at the right edge).  An underexposed image might have richer color but it will suffer when we boost the exposure and contrast. The lighter exposure will suffer much less degradation. In fact, the act of reducing exposure deepens the saturation – we do not have to play with the saturation sliders at all!  Pleasing saturation shifts from adjusting exposure are one of the many good reasons why exposing to the right (ETTR) is an effective strategy.

Adjusting Exposure and Contrast – Lightroom Auto

There are many ways to adjust contrast and surprisingly the “Contrast” slider is not usually the most effective way. Using contrast alone often makes the lights too light and the darks too dark. One thing you can try is to use the “Auto” button. It sometimes works. In fact, for these images, it works pretty well with the +1 exposure, but not as well with the normal exposure.

The "Auto" feature of Lightroom under Basic settings

The “Auto” feature of Lightroom under Basic settings

Here is what Auto did for this image:

Lightroom Auto Adjustment

Lightroom Auto Adjustment

The histogram has been stretched and the image looks pretty good. Note that we’ve turned on the clipping indicators by clicking where the white arrows point. After Auto we found a few small spots where black level clipping has occurred as indicated by blue blobs which are circled in red above. No big deal. You can also see what Basic adjustments Lightroom made – exposure has been reduced by one stop, contrast +20, whites +62, blacks -50.  We now have an idea what the Basic adjustments can do. Auto almost never creates a good result when working with dark or night images.

Adjusting Exposure and Contrast – Lightroom Tone Curve

There is another way, and in our opinion, a more powerful way to adjust the exposure and contrast and that is using the Tone Curve. One reason we prefer this method is that it has an almost exact analog in Photoshop (Curves), as well as an almost identical behavior if using Adobe Camera RAW.

Lightroom Tone Curve

Lightroom Tone Curve

What we want to do is to darken the shadows and midtones and slightly lighten the bright areas without losing information – that is to adjust the exposure and contrast. The process is called “stretching the histogram”.  It’s pretty straight forward. Click points on the curve and drag up or down and left or right to create a new curve while paying attention to both the image and the resulting histogram.

Before and After Tone Curve Adjustment

Before and After Tone Curve Adjustment

Can you make these adjustments using Adobe Camera RAW? Yes! The controls are nearly identical.

This is now a good starting point to apply some additional pop, But what if you wanted to do this in Photoshop?

Photoshop Exposure and Contrast using Curves Adjustment Layer

Histogram Stretch using Photoshop

Histogram Stretch using Photoshop

The image above has brought out a bit of pink in the sky, but the dune is a little flat and a little dark. The good news is there is a way to give specific colors special attention – using what we call the “twiddle finger”. You click the hand icon, then pick an area of the image you would like to brighten or darken. The luminosity selected is shown on the graph, then you drag the mouse up or down.

Twiddle Hand curve adjustment

Before Twiddle Hand curve adjustment

 

After twiddling.

After twiddling upward a bit

The twiddling can be repeated. Beware, though, twiddling is global, not local. In general the tone curve should always be flat or upward as you move left to right otherwise you will be lightening dark areas to the point where they become lighter than adjacent light areas.  One way to improve your curve is to smooth the graph. Click the pencil icon then the icon below it (graph adjust), then click the graph (above the pencil).

After a bit more fiddling and twiddling we get what you see below. What more fiddling? Well, we like to add another adjustment curve and select the “Increased Contrast” option.  If things were close to good to start with, the curve might go too far, so adjusting the layer opacity downward is the solution.  In fact, we use the “Adjust contrast curve” so often that we created an action for it and assigned it its own hot key (F9).

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Original Exposure Contrast Enhanced, Histogram Stretched, fully twiddled 🙂

Now we have quite a bit more drama, and much more contrast.  Where are the distractions? What leads your eye away from the interesting parts of the scene?  What are the interesting parts of the scene? Now is a good time to make note of the distractions, because soon we will conquer those.

In truth, we have one more thing to address in the exposure category. The sky is a bit too bright. The solution is to apply a gradient using either Adobe Camera RAW or Lightroom (it can be done in Photoshop but it is harder than it should be, and less convenient).

Graduated Skies – Lightroom

The graduated filter (M) is our friend for not only darkening the sky, but also making other adjustments. That you can make multiple adjustments simultaneously is one thing that sets it apart from the Photoshop methods. Here we have zoomed to 100% to show both a portion of the sky and the location of the graduated filter tool. Note that the sky is a bit “gritty”. We will fix that!

Graduated Filter tool and gritty sky

Graduated Filter tool and gritty sky at 100%

Our sky fix will illustrate one of our other techniques: selective sharpening – only in this case we will de-sharpen to remove the “grit” as follows.

Applying a Gradient to the Sky

Applying a Gradient to the Sky

We use a sky gradient so often that we created a pre-set for it.  The preset reduces exposure by -0.76, contrast by -17, saturation by -24, sharpness by -40, and noise by +100.  Those last two, decreasing sharpness and increasing noise processing result intentionally in blurring. In this case the exposure correction is a bit too strong, but that is easy to fix by bumping the exposure up a little (-0.51).

Let’s look at what this gradient did to our sky. Notice how the grit is just about gone.

gs_2014-02-08_122146

 

If you are thinking that applying a gradient to darken the sky is somehow dishonest, then please don’t use a graduated neutral density filter (GND) which does the same thing at image capture time – but a physical GND does so less elegantly!

Sharpening and Desharpening

We snuck in a trick to desharpen a mottled/gritty sky above, so please read that for one direction. In fact, we find that using noise reduction is often the most effective way to soften because the result – if not pushed to an extreme – is often more satisfying than using any other method. But some things need a little sharpening, like the eyes and hair of people, the boundaries between objects in a landscape.  When we want to do sharpening we never (ok, almost never) do global sharpening.  One reason we do not globally sharpen is it tends to make mottle things more mottled – like the gritty sky we showed earlier.  It seldom makes sense to sharpen clouds or things that are not sharp by their nature.

Indeed in our beach scene there is really nothing that demands sharpening, but all the same, we’ll apply a little bit at the sky/ground border – mostly to help the sea oats stand out a little more. It’s tempting to think that the Lightroom adjustment brush “sharpen” tool is the right one to use here, but often sharpen alone is not as effective. When sharpening is overused it creates odd artifacts. Often the more effective way to sharpen is to use a bit of “clarity” as well as sharpening. Clarity is a local contrast adjustment which has no analog in Photoshop. If you want to use clarity in Photoshop you must bounce over into Adobe Camera RAW. In Photoshop CC you can get a layer into ACR using the Filter -> Camera Raw Filter dialog. Lightroom and ACR are very similar, so lets show ACR here.

Adjustment Brush in Adobe Camera RAW

Adjustment Brush in Adobe Camera RAW

After setting all the adjustments to zero (easy in Lightroom, just double click on each item), we set the Clarity up (+15), and the Sharpness up (+6). Adjust the size, feathering, density and flow of the brush and paint along the horizon and through the grasses.  It’s always better to go a little at a time than to try to go all at once.  When done hit apply or Open.

In Photoshop we often take a completely different approach. Instead we duplicate the layer, label it “Sharpened” then sharpen (using the smart sharpen filter) or noise reduce the entire layer and then mask it all off. We then “paint back in” the areas we want a correction applied to using a white brush on the mask.

Wow. We’ve spent quite a lot of time talking about exposure enhancements and sharpening and desharpening, so spot removal (cloning, healing and cropping) will appear in part 3.

The 5 Most Used Photo Enhancement Techniques

We have been watching ourselves over our shoulders – yeah, kinda weird, right? Our goal is to figure out what it is we do the most to fix and beautify our photography – night photography in particular.  We cover nearly all of these topics in greater detail in each of our NP150 – Photo Manipulation Webinars but we will hit the highlights here. So what are the 5 most used “tricks”?

  1. White Balance / Color correction
  2. Noise Reduction
  3. Exposure and Contrast enhancement
  4. Sharpening (and de-sharpening)
  5. Healing and Cloning

The first two topics are tackled below. The next two in the following article.  Healing and cloning will get it’s own short article.

First to be clear our goal is usually to make a compelling photo, not merely to represent reality. We do prefer realistic over bizarre, but we are not opposed to removing telephone wires and other distractions.  We DO prefer natural looking scenes and eschew the over-the-top contrast and color saturation that seems to be the rage these days.

White Balance

We hate to be the first to break the news, but your camera is pretty clueless about what color white is. The camera will take its best guess. Our experience with night photography is that the camera choice is usually wrong – or at least unappealing. At its core white balance requires adjusting the red, green, and blue colors so that an area that should have a neutral gray or white color is actually gray – not tinged red, blue or green. When shooting at night, understand that every light in the scene – including stars – has a different color bias (tint). Sodium vapor lights for example are horrendous. Sodium vapor lights used in many streetlights are predominately yellow-brown and almost monochromatic. Under sodium vapor lights it will be impossible to achieve a natural color spectrum. You may want to adjust different parts of a night image separately.  You may have to compromise and have a scene that has a bias of a pleasing kind rather than the ugly variety.

Correcting White Balance

The easiest way to make the adjustment in Lightroom or Adobe Camera Raw is with the White Balance tool.  It looks like an eye dropper. You click the tool, then click a gray area of the photo – if there is something that should be gray in the photo, that is. Even a white area is fine (but not an overexposed white). Stars are generally not good choices for gray-scale selection both because they are often over exposed and because many of them are NOT white! In the example below you see a photo of the Ocracoke Lighthouse which is definitely white, not the orange that resulted from sodium vapor lights.

LR_WhiteBalanceExample

The White Balance tool in Adobe Lightroom

ACR_WBtool

Adobe Camera Raw White Balance Tool

The dubious result of getting the lighthouse to its proper color via the white balance tool appears below. The sky and stars are unnaturally and artificially blue.  There are several solutions to this problem: color correct the lighthouse separately or compromise by warming (increasing the temperature) of the selected balance. Or try again by clicking elsewhere!

LR_WhiteBalanceExample_After

By selecting a different location for the gray sample tool a better compromise can be achieved as shown in the photo below. An examination of the scene reveals that the lighthouse is directly lit while the shed (near the bottom of the shot) is not. The shed and other areas in shadow are lit by ambient light reflected from many sources – including sky glow. After selecting the shadow area the remaining white imbalance of the lighthouse can be handled by desaturating using the local adjustment brush – or leave it like it is.

LR_WB_ChoiceB

 

White Balance Correction in Photoshop

The same eyedropper style adjustment can be found in Photoshop, but you’ll have to hunt for it because the “Color Balance” Adjustment is not where you’ll find it!

PhotoshopWB_a

White Balance (gray point) selector of Curves in Photoshop

White Balance (gray point) selector of Curves in Photoshop. The gray point selector is also in the Levels adjustment.

Note that in Photoshop you have two ways to go: use an adjustment layer, or use an Image -> Adjustments -> Curves (or Levels). We recommend using an Adjustment Layer because you can paint on the mask to control the effect and that makes it easy to adjust different parts of the image separately.  To adjust areas separately in Lightroom, use the Local Correction brush and adjust the white balance slider.

Selective Color Balance Correction

Consider the following photo. With the new flight rules, you can use your camera while the plane is taking off or landing.  Here the plane is landing at San Jose International Airport. There are two things about it that are good candidates for fixing. The first is the distracting glare of reflection from light inside the airplane (that’s due to Virgin America’s “Purple Ambiance”).  We’d like to get rid of the distraction and it’s clear we will not be able to simply crop it out without giving up some of the interesting details.

Landing

Glare from internal reflections leaves a blue cast. There is also noise in this one second, ISO 1600 exposure.

The second thing that is noticeable in the 100% (Zoomed view) is the colorful noise in the dark (and light) areas of the photo.  No sky has grit in it – at least not like that!

gs_2014-01-28_085553

100% View of the noise near the wing.

We can tackle both problems separately or at once.  Selectively desaturating, and slightly darkening the blue glare is simple in Lightroom.  Select the adjustment brush (it looks like a face powder brush right below the “Histogram”), dial down the saturation, and slightly dial back the exposure. Then paint on the image where we want the change to occur.  It may be useful to adjust the brush size, density and feathering. Here some feathering is important. We will not try to also increase the noise processing here, because the whole image needs some despeckling.

Below the mask shows where we painted – and not particularly carefully, either!  The Saturation was turned down to -69, and the exposure by almost a full stop. In a brighter sky we might not have been able to darken the touched up area as aggressively.

Attacking the Glare with Local Adjustments in Lightroom

Attacking the Glare with Local Adjustments in Lightroom

The next thing we want to address is the noise. It’s everywhere in this photo. As we will learn in the next article, we often use noise reduction for smoothing things like blue (or dark) skies and in shadows where you would not expect to find details.  Using Adobe Camera Raw for saturation, exposure and noise reduction works the same way as in Lightroom it’s just that the adjustment brush is shaped differently and found in a different place.

The adjustment brush in Adobe Camera Raw

The adjustment brush in Adobe Camera Raw

Out Darn Noise

In Lightroom (and Adobe Camera Raw), there are two simple – and effective ways – to reduce noise in photos. One is to selectively reduce noise using the “Noise” slider of the adjustment brush as we saw with our selective saturation adjustment. Moving the Noise slider to the right increases the amount of noise reduction but does not give you control over what KIND of noise reduction is performed. ACR and Lightroom have specific controls to reduce Luminance noise (dark and light speckles) and Color or Chroma noise (colored speckles). The noise reduction slider with the Local Correction brush does not let you control which type of noise reduction is applied. Sometimes correcting only the luminance noise is the best approach.  Both methods of correcting noise result in some blurring of the photo. How much blurring depends on how severely the sliders are adjusted. There is no formula for getting noise reduction to work well except to be careful not to over do it!  Surprisingly, a little bit of noise makes a better photo. Indeed, there is an option to ADD noise in the “Effects” panel (called Grain). One thing to beware of: using the color noise reduction aggressively will result in loss of star colors in your night sky. In the examples below we’ve brightened the image to make the changes easier to see.

Before any Adjustment

Before any Adjustment, Turning off the default sharpness enhancement.

The noise reduction portion of Lightroom is found in the Details section. Any controls used in this section will apply to the entire image – which is one reason adjustments should be made carefully and deliberately.  The first step we usually take is to eliminate the default sharpening that Lightroom wants to apply.  We would rather selectively sharpen what needs sharpening than doing indiscriminate global sharpening. Next zoom in to 1:1 view of an area (Z key) where noise reduction is needed. For this pick a dark area where some details should be observable. It is also helpful to pick a dark area adjacent to a lighter area where sharpness is desired so the effect of noise reduction can be seen on two elements at once.

We slowly bump up the luminance until we see less “grit”.  Be sure to wait long enough to see the changes made in the image.  We do not generally notice much difference with the detail and contrast sliders, but if we find ourselves adjusting as far as halfway on luminance and not getting what we want, we play with those sub-sliders.

If we still have not achieved the correction we want, we bump the color slider as well… only much more carefully. If there is a LOT of color noise the color noise correction may be the slider to bump first.  Once things are “almost” where we think they look right we choose another area to take a look. It  is important to select an area of the photo that did not need much adjustment – usually a bright area. If the brighter area has become too blurred, we back off on the overall adjustment and then use a local adjustment to add still more noise reduction selectively.

All adjustments made - note that perfect smoothness is not a goal.

All adjustments made – note that perfect smoothness is not the goal!

In Photoshop there are many more ways to reduce noise than those provided in Lightroom and Adobe Camera Raw. Our experience is that the noise controls in ACR and Lightroom are very good – better than any specific filters you will find in Photoshop.  We do use Topaz Lab’s DeNoise photoshop plugin quite a lot however.  The best noise reduction method – when possible is to use the Simple Astrophotography Processing Technique. A photo like the one shown here is not a candidate, however, because that Astro technique requires multiple frames of the same image – that wasn’t possible here with the aircraft coming in for its bumpy landing.

Finished Image

Finished Image

In the next article we will take on the remaining subjects, but you may have already figured out one of the techniques we use for desharpening – aggressive noise reduction!

Creating a Night Panorama

Asylum at the Sea

That’s it. You just found the perfect composition but there is a problem. The interesting bit does not fit with the other interesting bits.  So you sacrifice and change to a wider angle lens but that does not improve the shot. In fact, you can’t get an image wide enough or tall enough. Let’s change our frame of reference for a moment because not many people think about the ability of panoramas to connect the foreground to the heavens.

Although taking truly panoramic star circles is next to impossible within a reasonable budget, you can connect the earth with the sky with a little bit of planning and some tricks to aid in your alignment later in the process.

We are proposing a vertorama that is a “vertical panorama” to extend our photo to the ground and blend it into the star trail on top.  Our approach will be to shoot in landscape mode and tilt our camera up as we progress.   We can take a series of two or three shots but it will look odd if the star trails don’t extend into the edges of solid land (lower portions).  We also have to make sure that we don’t end the last frame too high as this leaves the star trail disconnected from the ground (lower) images.

Gear

The minimum amount of gear required is a camera a tripod and an interval timer.  However the whole process is going to get much easier if we have a method to align the “no parallax point” with the axis of rotation.  Huh? What did you just say…If you didn’t get that last sentence I suggest you read our primer articles on panoramas here and here or by following links out to other resources.

Planning a Shot

By this time I am assuming that you have read all of the prior articles on shot planning and alignment.  If not they can be found here, here, and here.  Now that we are up to date on planning and alignment we can get into the gory details. We are going to have to take some additional steps to help in the alignment in post processing.

I can get obsessive about the details but I want to do it right not get back to my computer to discover I spent 4 hours in the cold, dark night with stars and nothing interesting in the foreground.  I begin with an idea of how I want the image to look then I walk around with a compass and the local north declination adjustment to fine tune where the center of rotation will be in my final image. I set up my tripod where my chosen foreground will be in  alignment with Polaris (aka The North Star). Before I take the first photo I know where Polaris is going to appear in my frame. When I am really particular I will use a laser line to insure I have the object exactly where I want it in the photo.  I then level the tripod and assemble the pano head.  I use the pano head to determine the elevation of the north star this helps me know exactly how high the star with be in the sky.  This helps me to see where the star circle is going to be in the photo.  [Editor’s comment: If you know the angle of view of your lens you can determine the altitude of the north star by using your camera’s field of view as a measurement]. Knowing how high Polaris is in the sky will help me to determine the overlap I need to include all of the elements in the photo I want.  This all may seem like over-kill but to go home and thinking you have an image of a lifetime only to find you have a dud is not fun.

Shooting (and Bracketing)

I take a lot of photos with different settings until the blue period ends and the stars begin to appear. I make sure that I take a lot of bracketed shots that have 30% to 50%  of overlap. Having plenty for foreground images to choose from later is going to be very helpful when merging the final images.   Once I am satisfied I have enough images the next step is to lock the camera and tripod down tight to take the series of star trail photos.  If I didn’t get to my intended location in time and still want to get foreground shots it is still possible. Darkness merely means that my foreground exposures are going to have to be long, perhaps very long. Alternatively I can light the foreground with a flash light, strobe, or fire or I will let you borrow some light from my moon. 🙂

These are some of the images the top and bottom of the vertorama. I took right before the blue period ended. You can see the various bracketing and over lapping I did.

 

Post Process

I assume that you already know how to process your star shots into star trails. If you need a refresher check out Steven’s articles on star trail creation.  I like to do a few different versions of the with stars because I like to include different amounts of blue and so I have an easier time blending them in later in the stitching process.

Just some of the Star Circles I generated using different amounts of blue period photos.Combining a star circle with a foreground can be done with several different stitching engines, I prefer PTgui, however for other stitching engines the workflow is similar. Your images may be bright enough to do the whole process with Photoshop’s stitching or in Microsoft ICE engine but if you are blending in photos to get a darker sky then Photoshop might be a dud.  Also these stitching programs will not allow you to add control points to help align and warp the image to the background and let me be the first to  say the alignment and warping the foreground image is not fun or easy.

Import your Images

I like to import a lot of different bracketed images into the stitching engine just so I can have some variety to work with.  Also it will allow me the automatically find control points on overlapping images and then tell the software that the other images have zero pixel shift from that image in the bracket series.  This allows me to save time by putting control points on only the images that are dark or match the star circle image.   Thus I can align and blend the pano in one step then use Photoshop to blend in the stars.

Once imported click the align images,  did it work…if so hooray!! You now only have a small amount of clean up to do (skip down to the projection part of the article).  If not then you have to add some control points and align the images yourself.  Control points are areas on an image that match in overlapping images the software needs to know these areas to know how to warp adjacent images to stitch them together.  So lets look at how PTgui does this.  Below is a screen shot of PTgui’s control point placement feature.

Control points selected between the star circle image and the bright forground image. I pick areas in the image that have 1) sharp contrast, 2) Jagged edges and 3) don’t move.

All you have to do is open the adjacent images at the seam and then zoom in to find distinct points that match.  I like to use object with good contrast and unique shapes to help guide my cursor to a pixel accurate match.

In the image above you can see that the transition between the rock and the sky is the area of overlap.  I follow the rock edge because of the contrast between the sky and the rock but also it has bumps that are easily distinguishable between the top and the bottom photos. Once I have these set I do the same for the star trail photo see below.

Aligning the Star trail image with the photos from the blue period

I will align the star circle photo with the corresponding photo of my foreground just so I have less stitching errors and it is easier to align.  Again if the star circle is light enough then these images may automatically align.

Projection and orientation

Once all of the images have control points then I will go and see how the preview of the image looks in the panorama editor.

Looking at the stiched images in the panorama editor for the first time to see the errors in overlap and the corrections needed to correct the distortion.

You can see the top and bottom images of the vertorama are properly aligned at this point don’t worry about the blending we will handle that later in photoshop.  Two things are very off, causing distortion of the star circle 1) the projection and the vertical height of the image.  The projection is the way the images are projected on to the inside of a sphere during the alignment.  If you are interested in the types of projections  (and there are many in the image below) and how the distortion affects the overlap and warping of your image more info can be found here. I am not interested in the type or how it works in this case I am just worried about what looks right.  For most vertorama star circle images the “Rectilinear” projection often looks the best but is not always the case.

Correcting the projetion to make the photo appear flat and not as distorted at the edges.

We can quickly correct the oblong star circle by moving the top image toward the bottom. This will change the amount of space that is blank but once we crop the image those areas will not longer be visible anyway.

Changed to rectilinear and moved the whole image down. You can see I changed the vertical FOV with the slider on the right (right red arrow) I changed the projection at the top to rectilinear. and the line in the middle shows the movement of the image down.

 Outputting the files

Once you are satisfied with the preview the next step is to use the image optimizer to hone the control points to reduce the error.  It is so easy I am not even going to include a photo just click and tab and click optimize.  It will give you a rating “very good”, “good”, “not bad”, etc.  then suggest some corrections my usual experience is just accept them they more often help then harm.

The only step left is the output the files and then mask them in photoshop.  Go to the “Create Panorama” tab and preview the settings.  You can see the settings I use is to output the images as a “.psb” for use in photoshop but you can output what ever you would like.  The most important is to output into 16bit layers under the “LDR file format” or “HDR file format” settings. This is shown in the screen shot below.   Since the blending is going to  cancel out some of the stars the aligned images need to be output in seperate files so.  I will uncheck the image that represents the aligned star circle in the screen shot below this is “Image 6” the rest of the images are the aligned HDR brackets.  Then I will name the file something like “file….SC_BKGD” were file is the former file name and the “SC_BKGD” stands for “Star circle Background”.

Outputing the top and bottom layers

Once this is done stitching I output the star circle image alone.  So in this example I would un-check the boxes next to images 0-5 and only output image 6.   So once all of these images are outputted I select them and open them as layers in photo shop.  If your blending went well in PTgui then  great skip the next step and forward on to the next.  If the blending shows seams or other artifacts of stitching follow then next steps.

If the blending was bad then go back to PTgui mask out the areas the blending did not work so well if you have PTgui version 9, if not then output all of the layers and we will mask and clone in photoshop.  I picked this example specially because I had blending issues in the past so if you have blending issues you will know how to approach them.

This is my stitched Foreground and star circle images notice the two red arrows are places where the blending did not work so well

The first thing to try since the layers are aligned is the auto blend layers under the Edit menu.  Select the top and the bottom then navigate up to “Edit” and click under “auto blend layers”

 

This is the first tool I reach for when blending is the auto blend layers. Once the layers are aligned (and HDR-processed) thanks to PTgui the blending in Photoshop is usually easy.

If the auto blend function does not work it is time for some good old fashion hand blending. I will open the individual blend layers and the PTgui blended photo with blending issues.  I will use the photo with blending issues as the background and layer over the top the individual planes to blend by using a mask to gradually make the layers more transparent using a big soft brush.  I slowly make the seam fade or use the surrounding colors to add detail.  I will also use the clone stamp to replicate areas like clouds and blend them into each other.  This takes a lot of patience and practice to make some areas look “normal” but keep zooming in and out to see what affect you are having on the whole photo and local areas.

Adding the Star Circle

Once the blending the top and bottom image is finished the star circle can be added.  Since you exported it as a separate layer out of PTgui this can be brought into photoshop as a layer in the document.  Opening the photo as a layer then by changing its blend mode to lighten or screen blend mode then bright stars will out shine the dark background.  Thus adding the star circle to the finished photo was easy.  Don’t forget to mask out some of the areas were affected by the screen blend.  Say in cases of light pollution the foreground might be brighter then they should be.  Crop then your done.

Final image

This is the final image after the stars are added as a background layer and blended in using the screen blend mode.

Thanks for reading, as always comments and questions are encouraged.  If you have found this interesting please forward to your friends and follow us on Facebook. If you are interested in this topic (panoramas), night photography, shot planning, or super cool post processing techniques come and join us for a workshop.

 

Alignment (Part 2 of 2)

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In a previous column: Alignment Part 1 of 2, I touched upon the many elements that complicate capturing the moon near an object on the horizon. Here they are again for consideration:

  • The amount of moon illumination changes daily.
  • The moon’s rising and setting location must be accurately calculated – and it changes daily.
  • Exposures to capture moon detail require the right amount of foreground illumination.
  • The site chosen must have an unobstructed view of the sky in the desired direction.
  • To get a “big moon” it is necessary to get far enough away from the foreground.  If too close, depth of field problems may arise.
  • A well supported telephoto lens is required.
  • Capturing a shot of the moon near the horizon means the atmosphere must be relatively clear of clouds, dust and haze and when very low in the horizon there is more atmospheric distortion.

Figuring out how to tackle the moon location is computationally challenging. Fortunately with the internet there are many free resources to aid in this endeavor. And more fortunately, there is one tool which is almost ideal for the task: The Photographer’s Ephemeris.

We will address the problems step by step.

  1. Obtain the appropriate camera gear.
  2. Identify a suitable target.
  3. Calculate how far away we want to be from the target.
  4. Identify possible vantage points to shoot that target.
  5. Verify (visually, if possible), that the target is viewable from the vantage point and that there is sky behind our target.
  6. Verify that the moon will pass near our target and at an opportune time of day.
  7. Determine how high in the sky the moon should be.
  8. Fine tune the location to be sure the geometry is correct.
  9. Pray for good weather!

The camera gear element of the puzzle is easy: get the longest telephoto lens available. 2,400 mm will work great with a 35 mm (full frame) camera. I do not have anything that big (or expensive), so I use a 70-200 mm lens with a 1.4x extender on a 1.6 crop factor camera.  That effectively gets me 200 \times 1.4 \times 1.6 = 448 mm focal length. The “short” focal length of 448 millimeters means I can not fill my frame with the moon – it would take 32 moons laid out in a grid. Getting more foreground in the shot creates more opportunity for an arresting image however. Besides, those really big lenses are not only expensive, but unwieldy. In fact, they call them telescopes! Working with a crop camera in this scenario is a benefit.

No telephoto? Well then I probably would not bother – at least I would not bother trying to capture moon DETAIL.

Picking a Target

The moon is obviously one of our targets, but we want something interesting in the foreground to pair the moon with. Ideally we want a target that clearly stands above the surroundings and preferably one that allows us to get the proper distance away to maximize the “big moon phenomenon”. How far away?  Here is an easy formula: multiply the height of the object by 114.6.  If the object is 100 feet tall, the proper distance is 1,114.6 feet away.  If the object is 20 meters tall, the distance is 2,292 meters.  If 6 inches, then a distance of 687.6 inches is about right.

For the curious, the number 114.6 corresponds to 1 \div {\tan{(0.5)}}, where 0.5 is the number of degrees of the angular size of the moon from anywhere on earth. If shooting from somewhere else in space more advanced trigonometry may be needed.

It might be tempting to start with something short and nearby, like a golf ball. But getting a good depth of field is going to be difficult.

Let’s get started on the target, shall we? Fire up The Photographer’s Ephemeris (TPE) and follow along with me.  Switch to Ephemeris Mode (it is the first selection in the upper left). In the search bar (lower left), enter “Pioneer Park, San Francisco, CA“.

Now would be a good time to make the TPE window as large as possible, and select the “Satellite” mode in the map.

Figure 1: Pioneer Park Coordinates and Elevation according to TPE

Right above the upper right corner of the map you should notice two things: an elevation (here shown as +190 ft), and the GPS coordinates (37.8…blahblahblah).  If you prefer metric (or it shows metric and your prefer feet, you can change that using “Configure”).

Looking at the zoomed in map, put the cursor over the map near the bottom and click and drag upward. The map should move and soon you should see a conical shape casting a long shadow. Hooray. You found the Coit Tower. Double click in the center of the structure and it should look about like this.

Figure 2: Coit Tower in Pioneer Square, San Francisco, CA

Here I cheated and moved the elevation (+266 ft) and the GPS coordinates on to the image from above the map from the bar above.  I also zoomed out a bit so you can see the parking lot that you first landed on.

Did you notice that the elevation moved up from 190 to 266 feet?  You gained 76 feet in just a few parking spaces! It is steep there, but that number is NOT a measurement of the height of the tower, my friend. That is the elevation of the BASE of the tower. Don’t believe me… click a few spots near, but not on the tower or the building.  Click things farther away if you like, I’ll wait.  As you can see from the image at left taken from the parking lot, there is clearly not a gain of 76 feet between the two places.  The elevation information comes from a variety of sources, mostly the United States Geological Services (USGS) data.

What you hopefully learned is not to COMPLETELY trust the elevation shown. The elevation does not include buildings or trees and is not that precise, but it will probably be good enough.

In a while you will need to know the height of the tower above the base. Guess where you can find that? Yep, Google. Did you find it yet? It’s 210 feet (65.4 meters) tall.

So doing the math: ideally we’d like to be 210 x 114.6 feet away (24,066 feet or 4.5 miles) to have the moon’s apparent size be as big as the tower. Unfortunately going to the east, our choices are mostly in the San Francisco Bay, farther away on the Oakland Shore (near the Bay Bridge), or closer. Treasure Island looks like a good spot. It’s 2.11 miles and there is a lot of flat, publicly accessible shoreline to move along to align the moon behind the Coit Tower.  And besides even though the Coit Tower sits up on a high hill, only about the top half of the tower is above the sky line. So 2.11 miles might work out very nicely.

Since we have chosen a site to the east of the Coit Tower when can the moon appear behind it?  Near moon SET of course.

If you want your diagram to look exactly like mine, change the calendar to June 15, 2011. And change the Ephemeris mode to “Detail” (use the D key, or click the box down near the calendar).

When you switch to Detail mode, a hollow little gray marker will appear. Usually to the right of the red marker near the right edge of the map. Don’t lose it – you’ll need it in a minute.

Calculate the Moon Location Near Moon Set

You may have noticed all those colored lines extending from the Coit Tower in Figure 2. Here is what they mean: the light yellow line is the direction of sunrise, the orange line is the direction of sunset. The light blue line is the direction of moon rise and the dark blue is the direction of moon set.  All by itself that won’t help much. To see the moon setting in the west behind the Coit Tower, you obviously must stand to the EAST. But where?

Zoom out your map until you can see the Coit Tower on the left, and Treasure Island on the right. Make sure you are in Detail Ephemeris mode (you’ll know when you see a graph like this:

Figure 3: Sun/Moon graph and time slider.

Your map will look something like this:

Figure 4: SF Bay Map with Coit (lower left) and Treasure Island (upper right)

I have stripped off all the stuff around it to focus your attention. You’re focused, right?

Now would be a good time to play with the time slider. Click and drag it. Whoa! Did you see the lines moving? The skinny ones, that is.  There is a lot going on here, but the one thing you’re not yet seeing is where you need to stand to see the moon behind the Coit.

Stephen Trainor, the author of TPE put a cool feature in this tool. He did so because I asked politely and I support him with donations – I urge you to do so too. Buy his iPhone/iPad version of the tool (or Android if that’s available) or make a donation if you’re using the desktop (free) version of the Ephemeris. It’s the right thing to do!

Move your time slider to 5:13 as in Figure 3.  Now hold down the shift key. Did you see the thin blue line jump out? That blue line traces roughly where the shadow of the moon would appear. It can’t be completely accurate, however since the exact location would have to take into account topography, trees and man-made structures. We helped ourselves around that worry by choosing a flat shoreline where not much can get in our way.

Now would be a good time to find that hollow gray marker. Lost it? Click “D” then “D” again. It will appear near the right side of your map connected by a dim gray line to the red marker.

Hold down the shift key again, and drag and drop the gray marker on the Treasure Island shore DIRECTLY over the dark thin blue line.  Zoom in if you have to and get the marker EXACTLY on the line. And try not to stand behind a building or a palm tree.

You probably didn’t notice, but three things appeared at the bottom of your Ephemeris Graph in the box labeled Geodetics.  Those are: Apparent Altitude (which here will be negative), Change in Elevation (also negative), and Distance and Bearing.  Each time you move the gray or red marker it will recalculate the distance, altitudes and angle between gray and red.

One last little coup for now… notice next to the word Geodetics it has a little red and gray dot with an arrow over the top? Yeah, click that. The gray and red locations magically flip. Now all of your altitude and elevations will be positive. The calculations are FROM red TO gray. Since red is at sea level now, and gray up 266 feet on the top of Pioneer Hill the angle above the horizon toward the hill is  positive: specifically the base of the Coit tower is 1.1 degrees above the horizon. So can we conclude that the moon must be 1.1 degrees high in the sky?

NOPE. Sorry, we can’t. So close and yet SO far!

Q: What is wrong? Did you figure it out?
A: TPE has no idea how tall the Coit Tower is! (Stephen tells me one day he’s going to add the ability to specify the height at the red or the gray marker), but for now, YOU have to make that adjustment yourself. I’m afraid it’s going to involve some math. Trigonometry, actually.

What is the CORRECT Angle?

If you can answer this question, you’ll get the solution. “If an object at 2.12 miles away is 210 feet taller than the current 1.1 degree elevation, how many more degrees will that be?”

\tan^{-1}(Height / Distance) = altitude\ in\ degrees

Or in this case  InverseTangent( 210ft / 11311ft ) = 1.06 degrees.

So the CORRECT altitude is 1.06 + 1.1 or 2.16 degrees.

Hint Use the built in calculator in MS Windows in Scientific mode (Alt+2). Set the units to degrees. To get to the inverse tangent function (also called tan-1) use the “i” (inverse) key.

NOTE: If you do not want to do the trigonometry, there is another way to find the angle: use your camera.  Go to the desired site, take a picture with your telephoto lens aimed level with the horizon and with the top of the object visible. Determine the angular field of view of your lens/camera combination. Then measure the height of the target on the image and use the ratio of the height of the target to the field of view.  That sounds complicated, but it’s actually pretty easy. Using a 200mm lens, my angular field of view is 4.3 degrees. My photo shows that the tower spans 1000 of 1800 possible pixels. So the tower is 4.3^{\circ} \times (1000 / 1800) = 2.388^{\circ}

Now that we know the moon altitude must be 2.16 degrees we do not have to start over. Let us make sure the red maker is back on the tower and adjust our slider until the moon height is 2.16 degrees, then follow the line of the direction of the moon set to get our new location.

Of course if we move significantly higher, lower, nearer or farther away we must recheck the angle calculations.  In a hilly or mountainous location it is extremely non-trivial to get all the heights and angles just right. Using the “Terrain” mode of the map may help, but changes of a few dozen feet may make a big difference in the alignment.

Just remember the following things:

  1. The satellite maps may be out of date. A tree, building, crater, fence or obstacle might be in the location you want – or directly in front of it.
  2. There is no substitute for prechecking the line-of-sight BEFORE the event (see 1 above)
  3. Terrain maps are not visible when zoomed in.
  4. Elevations of the terrain are ROUGH.
  5. Moving 10 feet to the left or right may make or break the shot.
  6. I am NOT available to solve your trigonometry problems! Ok, I am but there will be a fee!

But wait, there’s more!

Getting the Ideal Exposure

To get the ideal scenario for moon details AND foreground light, it helps that the sun is on the opposite side of the sky and sometime during Civil twilight. In Figure 3, above, notice how the time we arrived at (5:13 AM) has the moon 2 minutes before Civil twilight.

Wondering what Civil twilight is? It is the legal equivalent to either dusk or dawn. Dusk when the sun has set, dawn when the sun has not yet risen. Signs that say park hours are “Dawn to Dusk” mean something quite precise. But those times change daily. For more click on the word “Civil” in the Ephemeris and it will tell you! Or take a look here.

The ideal exposure for detail in a full moon is about 1/100 of a second at ISO 100 and f/9. But atmospheric conditions, and the moon’s altitude may significantly affect the settings to use.  The best choice of aperture is to stop down enough for a sharp shot that keeps the foreground through to infinity (the moon’s focal distance) in focus.  If your foreground is at or beyond your hyperfocal distance (as it most probably will be), you’re good to go.

The problem, of course, is that your foreground is probably not going to fare well unless it is also well lit – so bracketing your exposures is always a great idea. The darker the twilight, the wider the bracketing needs to be.

Verifying The Sight Lines

After all the calculations and planning, a group of Bay Area Night Photographers ran out at the crack of before dawn to capture the “Full Moon Set behind Coit Tower“. One of the bleary-eyed ambitious photographers was Phil McGrew. Phil get’s extra kudos for going the morning before the planned event (that’s two thermoses worth of coffee) and here is what he got:

Photo 5: Coit Tower? And the Moon by Phil McGrew

The moon is in the right spot, but, whoops, there is something else in the shot, too! A big square building blocking the view behind the tower.  A more thorough scouring of the map in Figure 4 might have revealed the problem (see Figure 5).  Behind the Coit, and set up on a hill are a series of apartment buildings.  From almost anywhere else on Treasure Island, or Fort Baker in Marin, the Coit tower sits all by itself on the skyline.

Figure 5: Oops! (Click to see it larger)

What are the takeaways here:

  • There is no substitute for direct observation from the planned location. Any number of things can be a problem from light posts, billboards, trees and shrubs to, well hulking square buildings in the line of sight.
  • Extra scrutiny of the sight lines in TPE *might* save one from a needless trip to get a direct observation.
  • Knowing the local topography helps as does picking a structure or formation that clearly stands above the surrounding area.

Phil also discovered that the lack of brightness on his foreground meant he had to choose between exposing for moon detail, or exposing for the foreground. In Photo 5 he nailed a great foreground exposure and might be able to tease some moon detail out of the RAW file.  Or he could resort to…

One Last Trick – HDR

First I am a hater of images that have been composed by dropping a well exposed (oversized) moon into a separately taken landscape. There are technical challenges to embrace here so why not embrace them! Besides my desire as a scientist and engineer is to maintain reality through honest acquisition.

I am not, opposed, however, to using technology to overcome the limits of technology. Namely a camera can not readily capture the range of exposure – brightest to darkest – that the human eye can so a trick called “High Dynamic Range” photography (also called tone compression, tone mapping or image fusion) is sometime a necessity.

In the morning of June 15th, moonset behind Coit Tower was the target as describe earlier. That evening, moon rise behind the Transamerica Building was the goal.

You can click the diagram to the left to see where we were. As kismet would have it, the very parking space that I had calculated at the correct spot was open and I pulled in!

The haze was heavy, contrast was low. But in the end, the moon peeked (and peaked) right on schedule and right where it was supposed to go. It is always satisfying when things work out like that. More satisfying if the weather is great.

Rising Moon Collage

Photo 6: Moon rising over San Francisco (through the haze)

The fifth shot in the panel above is like all of the others in that it is a three-shot bracketed exposure combined using Photomatix Pro. The three shots were:

Figure 7: Bracketed Exposures

A wider bracketing range may have helped, the haze was quite thick. Using Photomatix Pro, playing with the knobs a bit I got this result:

Yellow Moon [5_032356-8tm]

Photo 7: High Dynamic Range Composite of 3 Images

I can only imagine what having a clear day to shoot in might have accomplished.

Best of luck on your alignments!

Comments, questions, praise, quibbles over the math – we’ll listen. Find us on Facebook.  Or attend one of our workshops. Want to keep it cheap, hook up with me, Steven in the Bay Area Night Photography group.