June 29, 2008..............................................................................HOME..................................................."The Best Thing Since Sliced Bread"
Lorem
Lorem
Technical Data (26 exposures)
Camera: Nikon D300
Lens: Nikon 105mm f/2.8
Extension Tubes: 2
Capture: NEF
Metering: Matrix
Release Mode: Aperture
ISO: 400
Shutter: 1/90
Aperture: f/8
Camera: Nikon D300
Lens: Nikon 105mm f/2.8
Extension Tubes: 2
Capture: NEF
Metering: Matrix
Release Mode: Aperture
ISO: 400
Shutter: 1/90
Aperture: f/8
I hope this finds everyone enjoying a wonderful and photographically productive summer. I know I've been punching the shutter button on several projects and am happy with some of what has made it out of my head and onto the screen. Today I'm going to diverge somewhat from my typically intangible creative raves, and talk a bit about a piece of software and a technique that may have great potential for some of you. Its not necessarily for everyone, but for those willing to invest the time, the yield can be awesome, as is obvious in this installment's image.
You may recall I have an interest in macro photography. For years I've aimed mostly at floral subjects, but had great success a while back with dragonflies, my favorite insect. Living helicopter predators, their structural and behavioral features just mesmerize me. The challenge of course is the limited depth of field when you're magnifying a small subject. With a typical approach, you must compromise and select a specific focal point to emphasize, crafting your image to maximize the potential from the few mms of available depth of field.
Several years ago, after becoming comfortable with layers and masks, I experimented with the concept of shooting multiple exposures of a small subject, gradually walking the focal point through the depth of the subject, capturing narrow slices of sharpness. I then built a multilayered image file and used a mask on each layer to show only the sharp portion. The challenge with this approach is that as you focus along your subject, from your stationery point of reference (you are not moving, just changing the focus on the lens), the magnification of your subject changes. As you add together all the different layers, you find that the size of structures changes from layer to layer. This can make it difficult to add the elements traversing several layers together. One solution is to use selection and image transform functions to scale the particular layer, making the structure the right size for a fit. If you think that reading a paragraph about this technique is confusing, wait until you manually try to walk through the process. Oh and did I mention the need to have the camera on a tripod for consistent position in the frames you're shooting?
This is not a revolutionary idea, as the macro layer composite has made the rounds. What is new, at least to me, is the solution I've come across, which alludes to this posts catch phrase, "the greatest thing since sliced bread." In fact, I don't think there could be a more appropriate hook for this post, since what's great about this software solution is it's ability to put the sliced "bread" back together.
The program, called Helicon Focus ( http://www.heliconsoft.com/heliconfocus.html ) uses sophisticated technology to "find" what's sharp in each image file, create a layer mask to reveal that area, and then merge all the results together in the final rendition with a depth of field that is literally out of this world. I say "out of this world" because given the physics of optics and lens design, it would not be possible to create an image with this much detail from a single shot. While there are options within the program that could keep the inquisitive person busy for hours (Cindy says it's been days, not hours!), using the default settings can be as simple as open your series of image files, then click the RUN button. There is an "A" method and a "B" method for combining images (I suggest you experiment a little and at least contrast these two results).
In my hands as an early user (your mileage may vary), I could see that different subjects were interpreted with varying degrees of success. In some frames, large areas with simple focus depth transition could be handled extremely well. There were troublesome areas that the program seemed to choke on a bit. When you see an area that does not merge well, you might go back and analyze the frame sequence responsible for that focal zone, and see if by eliminating some of the sequential frames, the program produces a cleaner result. I did and reached a point where I was very pleased with a large (85%) portion of the frame, but still got my best result by manually selecting the sharp area from two to three important frames and manually adding them to the composite, where I was able to use my own layer masks to fine tune things. In this example, the wings and body were handled exceptionally by Helicon Focus, but the head detail was best resolved by hand.
Now, some of you are undoubtedly going to ask, "How did you get this close?" The fact is that all it takes is patience and stealth.
Dragonflies like water, so ponds (or swimming pools, as in my backyard) make them easy to find. They fly a lot, but are always taking rest stops on perches. Just stop and watch a while. You'll notice that the one dragonfly may return to the same perch over and over. As an experienced GWDFH (great white dragonfly hunter), let me give you a tip. They are quite sensitive to movement within their lateral field of vision. Think about it; their eyes face mostly sideways, only a little bit forward. If you walk beside them, they are likely to startle. If you move slowly, and approach them from the front, or back, you can get quite close. How close? I was using a 105 macro lens with 2 extension tubes on a Nikon D300, a setup that lets me focus insanely close. With the camera on a lightweight tripod, preset to the correct height for the perch (to minimize changes once close to the subject), I was able to get the front of the lens to within 3 or 4 inches. I found it worked best to get within a couple of feet, then hold the camera and look through the viewfinder to find the dragon, then move slowly with the camera out in front, eye plastered to the viewfinder and hands on body and lens, so I could actually see the composition develop. Once in position I would gently lower the extended tripod legs to the ground and with very minimal movement fine tune the tripod head for exact framing. I used a cable release to keep from punching the shutter button and jiggling the camera with each exposure. Start the series by focusing on the closest point of the subject, then make very tiny shifts of the focus ring (use manual focus!) shooting frame by frame as you walk back through the subject, be it insect, flower, or what have you. As long as your subject will tolerate you, shoot several successive series; don't rely on just one series to be "THE ONE".
This is a great example of "it's better in your backyard." I got a National Geographic quality image without enduring a plane ride round the world (although I'm ready to do that NG, if you're reading...). As a matter of fact it was almost surreal to shoot nature with the stereo playing around the pool in the background, and a bikinied Cindy in her lounge chair ten feet away, margarita in hand. Who says you have to suffer to find inspiration?! Of course others are saying, a woman with a margarita ten feet away in a bikini, and you're photographing insects! Guilty, as charged.
For those of you who want to give Helicon Focus a try, there is a 30 day download trial free. Who knows what creative uses some of you will find for this unique program. If you like it, email Helicon and tell them mark@imagema sent you!
.
.
Mark Alberhasky is a Nikon Mentor for the Mentor Series Worldwide Photo Treks.
Join him as he travels and share his enthusiasm for photography and learning.
Lorem ipsum dolor sit amet, sapien platea morbi dolor lacus lacusnunc, nolor HOME