When did life get so complicated? The pursuit of visual perfection in photography has never been so achievable so confusing at the same time. Just look at the jargon we have to deal with! JPEG vs RAW, 16-bit vs 32-bit, HDRI, tone mapping, EV bracketing, tone compression, and more. The digital SLR camera and its abundance of settings combined with a plethora of feature rich image manipulation software has created a virtually unlimited number of options for photographers and artists. Out of sheer appreciation for those that take the time to post the methods of their artistic pursuits, I thought I would contribute to the knowledge pool with the results of an experiment I conducted today to increase my proficiency in HDR imaging.

3 EV merge to HDR result in Photoshop

Photoshop has an automated Merge to HDR script built into the FILE>AUTOMATE menu that will allow you to combine multiple exposures of the same scene into a single optimized image. It is generally accepted that you need at least three exposures to create a decent HDR image. Some folks use as many as seven to nine exposures! The image above is the result of running Photoshop’s HDR Merge script on three images I took in Times Square last week. All the exposures were taken in RAW image format at an ISO setting of 100, which was set to minimize noise from the long-ish exposures. When shooting in RAW, the only settings in the camera that really matter are ISO (film speed), shutter speed and aperture. Instead of the camera doing the post processing for things like white balance and image compression, you take control once the image is downloaded into your computer with a RAW conversion program like Photoshop. It is really amazing how much control you have when working with the RAW sensor data. It takes a little practice but once you figure it out, you will never go back to accepting JPEG output again. As you can see, the merged image (number 1) is pretty nice with a good balance between the light and shadow portions of the image. For those interested, I used a 17mm to 40mm professional Canon lens on my 15 megapixel Canon 50D for the shoot. I used aperture priority at f20 to maximize the focus area of the image. Since I was using a tripod, the long exposures did not matter that much.

Although Photoshop has the HDR merging capability, a number of seasoned photographers recommend an additional program called Photomatix Pro by HDRSoft – especially for tone mapping.

Photoshop HDR image tone mapped in Photomatix

You can use Photomatix Pro to do the HDR merge if you like but I have heard that Photoshop is among the best at getting the alignment of the exposures spot on. So, for the purposes of this experiment, I took the file that I merged in Photoshop, converted it from 32-bit file to a 16-bit file (again with Photoshop) and then opened it in Photomatix. I then tone mapped the file to see what I would get. The best way to explain the result is that the lights suddenly went on! Compare the Photohop file (number 1) with the Photomatix tone mapped file (number 2). Look at the “Wicked” sign and how the green and white actually looks illuminated compared to the top photo. Also notice the gladiator dude on the right and how there is so much more rich color in the sign. The building also glows more giving the sense of being lit by the floodlights. Trust me, I tried to get the same effect right in Photoshop by pushing sliders around and it seemed unattainable without blowing out parts of the image. So, the Photomatix step results in a much better image in my view but there are things that I am not happy with that will need to be adjusted again back in Photoshop.

Blended files in Photoshop for desired result

I saved the Photomatix file and then brought both image (1) and (2) back into Photoshop for a little layer blending. The cross of lights between the big signs lost a little something in the Photomatix result (2) and I wanted to tone the far building lights back a little as well as reduce the glow of street level lights since they seemed a little hot and distracting to my eye. To accomplish this, I put the Photomatix layer (2) at the top and the the original Photoshop merged file (1) on the layer below it. I then clicked the Photomatix layer (2) and chose LAYER>LAYERMASK>REVEAL ALL. This creates a mask that I can paint with black to reveal the layer underneath. With my brush set at 30% opacity, I clicked and moved my mouse over the areas that I wanted to show through from underneath. The changes in the composite image are subtle, but if you compare the photo number (3) to number (2), you will see that I have all the vibrance of the Photomatix result (2) with the selectively toned down areas of the original Photoshop merged image (1). I hope this makes sense. If not email me an I would be happy to clarify.

Rich black and white conversion of final image

Incidentally, I tried merging the exposures and tone mapping the files completely with Photomatix. The result was nice but in my opinion, not as good as merging with Photoshop and then tone mapping with Photomatix.

Finally, with all the dynamics of the color image, I wanted to see what it would look like as a black and white photo. As you can see, it makes a pretty nice impression. I love the subtle gradations combined with the high contrast. There is a nice balance with no areas that are distractingly blown out across the dynamic range of the image.

I know all this techo-geek stuff is not for everyone but I wanted to share because I feel that my photographic possibilities were magnified exponentially this week!

3 Exposure HDR image of Times Square

One of my goals this year is to improve my photography skills so I can create better photographic references for studio paintings. I have read over and over again that cameras are not equipped to capture the true essence of a scene like our eyes are, and that painting from life is the only real answer. In principle I wholeheartedly agree, but my current life situation does not afford me the luxury of setting up my easel in the middle of Times Square at 11:30 at night to paint. Besides, camera technology was no where near where it is today when John F. Carlson wrote his treatise on landscape painting, in which he condemned the use of cameras for capturing nature. If I have to paint from photos for the time being, my primary task is to try and capture as much of a scene’s impression on the silicon sensor of my digital SLR as possible.

HDR of restored structure in Central Park

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Gibson HDR Photo

While stepping out of my zone as a photographer today to learn something new, I ended up shooting a subject that reminded me of something my son and I did 11 years ago to do the very same. The story actually starts 14 years ago when Matt, then eight years old, asked for a guitar for Christmas. We were happy to oblige, but being the practical parents that we were, we delivered on his wish with an acoustic guitar instead of the electric guitar that he really wanted. You see, we were sure that any pursuit of virtuosity must surely have to start on the purest of all forms of the instrument, which was the old fashioned resonating wood box we knew as an acoustic guitar.

Our intentions were pure and although he was excited with his new found instrument on Christmas morning, he quickly lost interest in his weekly lessons and, as happens with many a music student, getting him to practice was a feat of unimaginable magnitude.

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Can this actually exist?

A few weeks ago, I sent a picture of the Swiss Alps to Donna at work with a message that simply said, “Next?” She replied promptly with, “Looks good!” Although we have been near the Swiss Alps, we have not gotten a good look at them due primarily to weather. During a trip a year ago last November, we visited Munich, Dachau, Salzburg and Schloss Neuschwanstein. We were closest to the Alps while visiting Schloss Neuschwanstein but, since the weather is pretty unpredictable at that time of year, the mountainous areas were shrouded in low hanging cloud cover. What we did see was amazing and left us wanting to see more. Below was the view of the castle the day we visited. We were not bummed out because we knew what we were in for. Besides, sun or not, this is not something that you see everyday!

Schloss Neuschwanstein in Southern Bavaria

The photo below gives you a bit of context for the castle. Pretty amazing thing to be driving down the street and then seeing something so beautiful perched upon the hillside. For those unaware, this is the castle that inspired Walt Disney’s version at the theme park.

Schloss Neuschwanstein

So, we are flying into Zurich this summer to explore Switzerland and will be on the ground for two full weeks. If any of you have been, I would love to hear of the places we should stay or the restaurants that we must visit. We are completely flexible and plan to take the train around the entire Swiss countryside while we are there. We definitely plan to spend some time at the lake areas and head up into the Alps to take the Glacier Express as well.

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"Mining Museum" final painting - 9x12 Oil on Linen

After struggling to paint the dormant cottonwood trees that are at the location of the museum, I decided to replace them with evergreens. Unless I decide to move to the deserts of the Middle East, I need to spend some time learning to paint a variety of trees. I liked the look of the house but was alarmed by the fact that the painting was going to go downhill fast because I do not have enough experience painting trees…especially dormant ones with tons of branches and virtually no easily defined masses to cling on to. The evergreens were easier to pull off and I think they blend nicely with the subject. This exercise falls under Richard Schmid’s rule of not letting the painting be the boss of you. We are the painters and have the authority to do with it what we please. In honor of lessons learned, I plan to do a series of studies of trees from Schmid’s book as well as from life. I really don’t want to be caught off guard again, liking one part of a painting and not being able to finish it to my satisfaction!

I had the good fortune to attend the Red Carpet Reception at the Coors Western Art Exhibit and Sale in Denver last week with my wife and another couple that she works with. The show was held on the evening of January 6th during a nice snowstorm that made getting to the venue a bit of a challenge. It took almost three hours to get there, which is a ride that normally takes about an hour and thirty minutes. Anyway, we got there about 7pm with about 45 minutes to spare to view and bid on the art in the exhibit. Having depleted my acquisition funds a month earlier on a Jay Moore and John Taft painting, I was not planning to buy anything – I just wanted scope out some new artists and enjoy the view.

The art exhibit was separated into two areas, one for sales in the gallery and a long wall outside the gallery for the silent auction. Originally the Western Art Exhibit and Sale began as a joint project between the Coors Brewing Company and the National Western Stock Show, which is considered one of the finest western art exhibits in the United States. The quality of the exhibit was nice and very well attended despite the bad weather. More than 60 artists displayed their work, which included a wide variety of oils, watercolors and sculpture.

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Initial drawing for Mining Museum painting - 9x12

In my obsessive quest to learn as much as possible about the process of creating successful oil paintings, I am reading Richard Schmid’s highly acclaimed book, Alla Prima. My project for this weekend is to take some of the elements I have learned from my month of drawing exercises and apply them to my painting process. Seeking validation for the seemingly dispassionate process of drawing in great detail before picking up the brushes, I frantically scoured Alla Prima for some encouragement. In chapter four of the book, which is titled “Drawing,” Richard states, “Careful drawing need not result in ‘tight’ or excessively detailed work. On the contrary…drawing well gives me the freedom to play with interesting brushwork as much as I please. Control through fine drawing is key. ‘Looseness,’ as I am fond of pointing out, should be the way a painting appears, not how it is accomplished.”

I can draw but, since I have not practiced all of my life, it does not come effortlessly. When approaching a drawing, I am constantly surprised that the places my brain says to put or size objects are not necessarily correct. This alone reinforces the fact that, until I can place and size objects accurately, I need to spend more time getting the drawing right before clinging to a branch of hope that I can create a successful painting.

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Guess the portrait #1 - graphite drawing

This will be my last graphite drawing for a while. I have decided that I need to get back to the brushes and start making some progress on my painting. I must admit though, these drawing exercises have been a good study in observation and control. They have really taught me to look for the finer details in a piece that make a difference. Working values off of each other and determining which edges to accentuate were among the most valuable lessons I learned.

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Graphite Portrait WIP - Stage 1

I figure I am kidding myself to think I can paint a portrait if I can’t draw one. So, more drawing it is. I am trying to focus on the anatomical foundation of facial features as well as the delicate values that define them. I don’t think I would ever paint to this level of detail, but studying a subject so intensely will help me make decisions in future paintings. Above is a scan of the initial phase showing the contour and early drawing. I always enjoy seeing the subject emerge from the Bristol. Kind of like the old Ah Ha video. I’m not dating myself now am I?

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Richard Schmid's latest book, "The Landscapes"

The written word in Richard Schmid’s latest book, The Landscapes, is as eloquent as his paintings. “That sort of endurance and never-give-up mindset became bedrock conviction in my art…My countless early failures in painting were simply provocations to try harder,” he writes in a section entitled The Midwest and Chicago. “In order to render my subjects with as much fidelity as they demanded, I had to learn and apply as many diverse techniques as possible. That is why the works in this book may seem to have been done by many different artists.” Words like these mixed among more than 300 plates of brilliantly crafted landscape paintings fill the insecure caverns of my creative mind with hope and promise as an artist.

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