20170314: Got a Question? Chances are I might have an answer for you…

Just shy of 15,000 people in one day & 3700 the next, I have so much experience in so many fields I can crunch MOST any question and find answers fast for you.

20170314 15000 day followed by3700 dayQUORA

20161108 A CHALLENGE to the “Flat Earth people”…

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Big Meadow star trails, stacked/layered Photoshop file of 120 continuous frames. All photos by me, all work in stacking by me…. Using a Canon 16-35mm “L” wide angle lens. At $2000 for the lens, no it did not bend the image. Copyright Vanderhoof Photography.

OK, so a few photographer posts about flat earth and claims the Moon is not real because of the light on it is so flat looking.
I posted a comment about Soft box verses Hard light. He never responded to that, but claimed I was brainwashed in school into believing the moon is real.

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Dark side of the Moon, Venus, Mars, Joshua Tree N.P. Notice that uneven light on the dark side as the area closer to the reflection of Earth on it. Some can bet attributed to the over spill of the bright crescent, but not ALL.
So here is some simple challenges to prove the earth has to be round and Photographs BY ME, to show my challenge and the laws of a sphere!
If you can’t prove me wrong, simple, you owe me EQUAL TIME TELLING THE WORLD ABOUT FUKUSHIMA AND THE DEATH OF YOUR OCEANS IN 4-6 YEARS.

MUCH MORE IMPORTANT!

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Big Meadow in down below in this photograph. Several MILLION DOLLARS in “fake stars” to let me catch both of the angles in this Cantrell Road shot and Big Meadow shot if a “Flat Earth” existed.
First off, the DUE EAST Big Meadows star trails shot, it also happened on a DUE WEST Cantrell shot.
This a a layered photograph of 120 or so consecutive frames, there for NO LENS BEND CAN OCCUR to cause the curves the stars are moving. The stars move in opposite curves in the north & south. A totally expected action of a sphere. There are at least a 1000 such photographs being taken EVERY NIGHT AROUND THE WORLD.
That can only happen in a sphere. or in a SINGLE PLACE where all the “FAKE LIGHTS” are arranged to fall just right.
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Bristlecone Pine Forest campground. With setting moon. I woke up at 3:30am. Saw the Moon setting and set up the camera. Again 150 or so consecutive frames. NO lens bend can OCCUR. The circle is the North Star in the center. The glow on the clouds is from the Moon as it set, notice the UNEVEN light on the sky. I did a little light painting for the plants, and climbed back into my tent 3 feet away. 120-150 frames.

Now, to explain the reason I said a SINGLE PLACE is simple, any PROFESSIONAL PHOTOGRAPHER OR SERIOUS panorama photographer knows of PARALLAX ISSUES

definition:

the effect whereby the position or direction of an object appears to differ when viewed from different positions, e.g., through the viewfinder and the lens of a camera.
  • the angular amount of parallax in a particular case, especially that of a star viewed from different points in the earth’s orbit.

and uses a Panorama head on their tripod. They have spent time figuring out WHERE THE CAMERA HAS TO BE WITH EACH LENS THEY MAY USE. Because few millimeters count big time. So if you are to shoot star trails and have a flat earth with everyone believing “A Conspiracy lie of Sphere Earth”, you have to adjust every single camera to view from just the right angle, the right place. No 2 places would be the same. The “fake stars” would NOT line up.big-meadow-pano-1_mg_2046-_mg_2053_fb

Big Meadows panorama, taken same night of the star trails photo at the start of this post.
Sure you can turn in a circle and shot your frames and let the computer do it’s job, but the errors are VISUALLY SEEN by any professional graphic/photographer/artist.
THEREFORE, no one can set up the STAR TRAILS for Due East and Due West for every single photographer on the planet in the same day let alone in the same year. And HOW does the “Fake Stars ceiling make northern star bend North while at the same time the southern stars bend South and the middle stars go straight and NO VISUAL MISTAKES? Even Hollywood uses tons of computer graphics power and TIME to clean up stuff in movies. You can’t cover thousands of photographers all over the USA in a single night, let alone the world.

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Notice that THIS TREE IS IN THE PANORAMA. Big Meadow, another star trails NE direction.

A flat earth, If I am 100 miles from where some one else shoots the “fake stars” simply will not line up. Physics folks.

5 miles away, back in camp, I shot this Panorama of the stars.

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I can compare this pano to the Big Meadow pano and those stars will line up hours later in a different position. A sphere does MAKE THAT POSSIBLE, a “flat earth” does not!
Don’t believe me, fine go to a stadium with a moving roof. Set up wide angle cameras at the 50 yard line, the 2 goal lines, and in the seats of each end zone.
You don’t even need lights, just have each camera set to shoot the same number of frames at the same rate of speed, and whatever it correct exposure would be. Have the roof open, have the roof close.
Compare a layered photograph of each camera and those angles of the roof. The structural members of the roof do NOT LINE UP THE EXACT SAME WAY. The angles of the roof are different and the “in the seats end zone are extremely different angles from the 50 YARD line. Again, simple Physical evidence a Fat earth can not exist. THAT ANY ONE CAN PROVE TO THEMSELVES.
That is what a “FLAT EARTH” FAKE CEILING WOULD DO.

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North Star star trails, Joshua tree.

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North Star star trails with light painting, same night as the other one, moved several 1000 ft west of the other shot.

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West facing star trails, same night as the North Star star trails photos above. I use 2 cameras or more in a single night. That straight line is an airplane passing over head.
Since I have shot stars in Arizona and 2-3 days later have been in northern Nevada, doing the same thing, the COST to adjust all the those “fake stars” just for me would be in the hundreds of Millions of dollars for any standard movie set! I have traveled 500-600 miles north latitude and 100-150 miles west longitude.

You can NOT re-position “fake star” LIGHTS  till you know my EXACT LOCATION. Which I can choose on the last second.

A perceived site is no good and I move on. An unexpected site is suddenly there and I stop for the night. If the adjustments are off by a mile, the error would be too hard NOT FOR ME TO SEE!
Simple Physics of doing the Reality Check!

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My drive back out of a location I found in the middle of the NOWHERE. As you can see no one came up that road, driving or walking.

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I shot this light painted old car at the end of the road & below, this mine shaft Full Moon rising, light painting shot.

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Since I work alone a lot, how the heck would some government know when and where to set up the “Fake Roof of a Flat Earth”
Since the USA government has threatened to kill me for being a “whistle blower”, why would they let me expose the “fake roof” or so SPEND BILLIONS to make me believe I was doing some thing normal if they would rather I was dead.

Specially if it cost Millions of Dollars to finance the lie and a dollar for a bullet.

I am in the middle of nowhere folks no one would heard the gun and any military sniper worth a shit can drop a person 1000 yards away, so they don’t even have to warn me or get close enough to talk to me.

Just kill me and walk away the buzzards and ants will take care of the body.

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Shot this photo on the road out, for the “other world” effects I would later add. Yeah, a secret society would spend BILLIONS TRACKING ME….

 

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Yosemite Star trails, took this in the evening, red glow on trees is from the campfire, and processed it in the morning for my friends who’s land it was I stayed with. No government got in there. Southwestern direction. Notice curve flattens out as it moves to the right or north side of the sphere.

 
Why waste the time. The USA or Secret Society would kill me. Not spend Billions of dollars tracking me across thousands of miles in case I decided to shot a star trails photograph and be ready on a moments notice. Nor do they any reason to access my camera & computer to do the files manually to make it seem it I made it happen, because I am known to do the stars trails & panos in the field on my laptop. Yeah, I get up check my cameras & put the cards, load the frames and during breakfast look at me results.

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Southern Nevada, I shot this and 3 days later was north of Mono Lake, north movement of 400-500 miles folks in a straight line. And possible 200+ miles westward direction as the crow flies. I was on the road for 10 days & 1700 miles.

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Mono lake a few days after the Super Moon Eclipse shot.

A Eclipse that I would personally talk to 40 or more people, all levels of photographers about what they shot in whatever part of the WORLD they were in. Flat earth debunked again, millions of places on the planet, a 1/4 to 1/2 of the saw AND SHOT the same types of images… can’t be done on a “Flat Earth”, your violate Parallax laws.

I also shot with Sierra Club Camera Camera Committee in Southern California, we went out with 10-20 members doing shooting night skies. You going to tell me some secret group came changed 20 different MAKES & MODELS of cameras to every different perspective of each camera in a single night and not a one of many who like me nap at our cameras never noticed a mistake.

I shoot 2 cameras or more some times at the same time, 2 different views. Yeah right, my Australian shooting partner for over 2 years would jump in the night  if a mouse broke a leaf near his tent. I had a snoring problem for a while.

I had to put my tent 20 ft or more from him. Many a night in the desert he never slept good, coyotes would howl on the distant hills. They got mean ass snakes in Australia, Black Mombas. It will scare you good to see a snake come from 20 ft away to get after you.
Sorry “FLAT EARTH PEOPLE” your story can NOT BE PROVEN!
Even if all star trails photos looked like my north star point camera shots you still lose out to parallax, the center can’t be over the same place on a flat earth, because a 100 miles of travel would move you out of line and you would have an oval light shape like one sees looking at a spinning record and shining a light on it from the side. You would NEVER HAVE THE SOUTH BENDING STARS.

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Pacific coast line, Jamala Beach.

If you have ever been on a boat at sea, you know that the ship does not go off in a straight line till so tiny you can’t see it. If you have a powerful enough telescope or camera, you will see the hull get lower and lower til you can’t see it. It has gone below the horizon.  And disappears below the horizon regardless of the power of your scope/lens. Again NO FLAT EARTH CAN DO THAT. I have a few thousand miles on oceans liners, and a few thousand more on private boats. Again the cost of “fake horizons” would be too much to continue for any length of time when you are talking of millions of boats and ships on the waters of the planet every day.
So if I alone have shot in so many places, the same kind of star trails and star shots, and shooting stars. Plus panoramas and landscape shots from 10,000 to 14,000 ft in elevation of horizons and every time I get what I see.

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Bristlecone Pine forest, 11,000 ft elevation, shooting star & “Famous dead Bristlecone trees”. I with a group of 20 photographers, and we had maybe another 20-30 photographers coming and going through the as we did our light painting of these trees.

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Same night opposite side and the camera on the other side getting the shooting stars. Milky Way, Southern view.
Like this Inspirational poster, 11,000 feet up and several hundred miles of view.

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Or this photo of myself taken because of the curve of this dry lake bed was plain to me and I loved it! My camera saw what I saw, not A BENT $2000 LENS photo. Canon 16-35mm f/2.8 “L” has a very low lens distortion of ANY LENS ON THE MARKET! “L” is PROFESSIONAL QUALITY!

20161023: Nature B/W photos, Sunday Fun!

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Ancient Bristlecone Pine. Several thousands of years old tree. At almost 12,000ft of elevation on the White Mountains in Southern Calif.

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Dead tree. Hidden Valley Joshua Tree Nation Park, Southern Calif.

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Passing storm, Mono Lake. California.

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Reflections, Eastern Sierras, California

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Storm Clouds. Eastern Sierras, California.

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Wild flower portrait. Trona Pinnacles, Searles Lake, Mojave, California

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Contrasts. Trona Pinnacles, Searles Lake, Mojave, California.

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Weston Cliffs, Red Rock Canyon, Mojave, California

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Weston Cliffs 2, Red Rock Canyon, Mojave, California.

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Angles and Pebbles, Valley of Fire, Nevada.

All photography copyright Vanderhoof Photography 2016

20161017: B/W Conversion E-book update.

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I am had at work on this, but with 4 photos done and in the book, and 30 pages so far, yeah 15 photos is going to take some thing to do right!

But cheap and sleazy was never my style…. I will run a coupon when it is done fro for HAVING GOT IT DONE!

Creative shooting everyone.

$11 each E-book Sale till Oct. 23rd 45% OFF

45% Discount CODE:  Q-T-C E-book Release

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Just some inside pages to tease you.

3 e-books all work done by the artist, me.

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The covers, and links.

 

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CALM Photos e-book link:    https://goo.gl/KW5yV7

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Trona Pinnacles E-book link:   https://goo.gl/iDiwNc

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Quinta 90 Minutes e-book link:   https://goo.gl/B6tuYV

100% my work folks… just an artist trying to get a paycheck.

45% Discount CODE:  Q-T-C E-book Release

Each e-book is 50+ pages long, photos on every page. Each e-book was created this year, while Calm & Trona photos span several years past collection of photographs.

Regular price is $20 so with the discount you get 50+ nice photos and hopefully inspiring thoughts for Just $11 USD.

20161009 B/W Conversions, Extreme Cases of Color to B/W.

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This is the finished photo, not great. But since it is a camera wanted the photo shot, here is where the photo started.

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Yeah, right camera you want a view of the walk thru tunnel???

Shutter release was hit as I carried the camera, see past posts of street photos.

With Lightroom, I brought it up to this in color.

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As a film photographer, I have very little issue of grain. Modern folk of course have different ideas. Too each their own. That is art.

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As you can see I use a “graduated circle filter” to select then invert the area effected.

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In these Lightroom, you can see colors are not changed but overall exposure is also pushed up.

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Once I “Virtual Copy” the color image I can then play with the sliders, and cropped it in more.

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And here you see the ‘color’ sliders are pushed around as well as the ‘curves’ sliders

In PhotoShop I decided the Winne the Pooh ride was too grainy and selected it made a copy layer. Added some Gaussian Blur, and reduced the Opacity to make it a little softer.

Just an “Extreme case” to show what you can do.

Here is photo I selected to make example of, again due to the extremes involved.

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My diagonal green vines is nice in color.

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Not too many tricks to make this work but I did do some color and light balancing work.

However in b/w…

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I had to do a lot of reworking. The 1st screen shot shows the diagonal circle graduated filter use in the color shot.

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But I had to push thing around some more.

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Here I used a adjustment brush.I also used a straight gradient filter on the top and under this “adjustment brush” as well as the right corner coming up towards the vine. That corner was both “too dark” and “too bright” so it took some playing around

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You can see the changes made to the color sliders here and I have the “highlights” pulled down. I was pulling the green around but that “effected the background” because of the greens back there too. Here can see my “too light top left corner” It just pulls the eye off the center vine. But I could not use the graduated filter as I wanted the detail in the wrought iron railing.

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Again, in this photo the colors are nice but the auto conversion was very unattractive.

 

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The basic colors are similar,

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Pushing the color sliders around got things more contrasted.

Some local graduated filters, 1 on the vendors on the right to lighten them up and another on the man on the left. But his lower legs got black and I spot adjustment brushed that area lighter.

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I also cropped it in tighter.

In the next color shot I shot it for the short depth of field and in the b/w version I wanted to keep the separation.

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Nice in color.

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As the screen shots show I have to push the color slider around, but yes, the background is

maintained as less of interest and the bee & foreground seed pods are lightened up, Because of the red flower tips, it was easier to keep them standout. the bee was a little trickier.

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And of course the church got shot but with a different cloud formation.

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Since this was shot in the afternoon “golden hour light”, the stone work had a more uniform tone, but by pushing up the contrast and playing with the ‘lights’ & ‘highlights’ as well as the color sliders I got the stone work to pull out nice and “rough”.  I did an ‘adjustment brush’ on the bright clouds on the left to drop them some so that the right tower stood out more also.

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The plants at the bottom had an ‘adjustment brush’ on them from the color version and I did adjustment some as well.

 

 

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20161007: Black & White Conversion Lesson, Don’t just do “auto”.

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In an answer to Cee’s Black & White Post Processing Photo Challenge, I put this post together.

{UPDATE NOTICE: I have put the screen shots of the street lamp conversion in as 20161016. Was working on the e-book and did them. Well worth looking at. PEV}

Here is the above photo in color.

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In the Lightroom screen shot you can see the color sliders pushed around to bring out the textures in the clouds and darken the building.

However to make the fountain in the foreground apparent to the viewer, I used the adjustment brush.

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I did not like the warning sign to take the viewer’s eye into it so I left it out of the adjustments. That way the viewer looks at the “water beasts” of the fountain & the clouds. Again you can see my pushing the sliders around in the screen shot. I also use the Dehaze slider on the overall shot to increase the clouds depth of texture.

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Here I am further back from the church where the fountain is at, but again I want the focus on the towering clouds.

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The color original shot, again I have “Dehaze” the shot some to increase the cloud structure. The color “Graduated filter” slider screen shot. After adjusting the shot in the color mode. I then hit “ctrl + ‘” to make a Virtual Copy. That copy then gets the Black & white treatment.

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As you can see the sliders are massively changed in the black & white to lighten the river containment wall and add some balance.

I then decided to crop it more to the clouds on top and removed some of the rock river containment wall.

I had to use the green color slider to lighten up the trees, just to powerful a black and that was also part of the cropping consideration.

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These clouds coming in over the western side of town were intense, I wanted to place as much as possible on them yet leave the human element of the town in focus.

The color image.

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Pushing the Color sliders to darken the Blue & Aqua on the sky & clouds, while using the green, red, orange, to lighten the city building, road and palm fronds made that happen. {sorry guess I forget the Lightroom screen shots}

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Again, I want the emphasis on the clouds, while letting the river water draw the viewer “upstream into the photo”.

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As you can see I first correct the color image to get where I want to go.

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Then pull the Virtual Copy sliders around to make things more in that range of  ideal image. Pushing the blue & Aqua sliders to darken the skies. Sliding the red & orange & yellow & green to lighten the city and river banks. I could also if I wanted more of the reflection on the river use the Adjustment Brush to add some Dehaze & Clarity plus other adjustments and make it stand out more.

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In this shot, I wanted the clouds there to make a nice background, but wanted to keep the viewer on the church itself. So this shot went through several adjustment. Also in Lightroom “crtl + E” opens the image in Photoshop and lets you save those changes BACK INTO Lightroom, quick and fast.

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Here is the cleaned up color version. Below is the Lightroom screen shot showing the several versions I had Virtual Copies & Photoshop changed which puts a TIFF file into Lightroom.

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The TIFF with all color sliders zeroed.

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The Black & white version and the color sliders pushed around to draw the eye to the church. By playing with the”red & orange & purple” sliders I got the brick work of the church to standout  more. Since there is the palm fronds and plant at the bottom I did push up the green slider to lighten them, keeping interesting detail.

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And the top screen shot to show the Contrast slider and Exposure sliders pushed up. Highlights are pulled down to keep the clouds from blowing out.

You can also see in the final image I have cropped sky down lower, the plants at the bottom are cropped up towards the church. I also in the final image used the Burn in Photoshop to darken the Shadow & Midtones of the plants some more to keep the eye on the church.

Street Lamp Sunset

{UPDATE NOTICE: I have put the screen shots of the street lamp conversion in as 20161016. Was working on the e-book and did them. well worth looking at. PEV}

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I have fun with these street lamps… this one was lit up and the clouds behind made a nice composition… but way too many distractions…

So to work on it and we have.

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Virtual Copy at this point and the Black & White work begins to get this image.

2016-bw-conversion-lessons-6093-aIn the above screen shot, you can see the virtual copies. Because these are just sets of instructions NOT whole image files, you an make several without the huge disk memory space use of creating several Photoshop files. The pipe pointing at the street lamps had to go, “crtl + E” and into Photoshop,  once you make your changes hit save in Photoshop and the TIFF file is created in Lightroom with those changes. Very quick and easy to move back & forth in the work flow.  Again nothing in the original RAW file is affected/effected.

The photograph was shot with the understanding I wanted the ‘angle of the street lamps’ to be matching the ‘angle of the clouds’ so I knew I would crop and straighten it out later. Get rid of the pipe by itself up above the balcony. Not much about the balcony & roof on the left side. Simply too much Healing brush for my desires. I knew I wanted the sunset and street lamps to be focus, so I figured I would wait and see where I cropped at. As you can see in the right hand photo, just a tiny piece left after I cropped and straightened the image. I did apply some “Dehaze” on the Main slider and increased the exposure to compensate. Both “Dehaze” and “Clarity” darken the image. 9 years as Photo Editor of 6 newspapers, working an image to make something of it is nothing new to me.

 

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In these two screen shots you can see that I have cropped the image. I have removed the offending pipes. but just a little of the roof on the right side remains.  The exposure sliders have been adjusted some, but not the color sliders.

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The Black & White conversion and the beginnings of the color sliders being moved around.

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In the above screen shot you can see that the color sliders have been adjusted to lower the street lamps, the ‘orange’ & ‘yellow’ dim these lights nicely and don’t affect too much else.

In the screen shot below, I have also adjusted the exposure, contrast and other sliders for the black & white effects.

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Here I have started to use the “adjustment brush to darken in the clouds and make my “light beams” more obvious without overpowering the whole photo. Those rays on the setting sun were a bit hard to keep. I used an ‘adjustment brush’ on that area & then used a 2nd adjustment brush layering on the darker area on the top to lighten it back up.

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The below screen shot you can see I put a second ‘adjustment brush’ to lighten up the area where the first adjustment brush was too dark.

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Next I have used the ‘circle graduated filter’ to darken the HOT spot of the sunset.

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Next screen shot,  I have come in with a second ‘circle graduated filter’ and adjusted the contrast of the “light beams” & clouds. Because each of these you can go back and re-adjust, you may play for hours to do this. Since I was shooting for the sunset & those beams in the very bottom right. Yes, the lights of the street lamps were near correct exposure too. Pure Luck, photography is a matter of timing, being there when the light is right. However as you can see, several objects are really screwing up the photograph otherwise. I knew I wanted the diagonal of the lights to match the clouds so shooting off angle on the frame did not matter. I would straighten it later. A single second to click the shutter and capture the image, hours in a darkroom or in Lightroom doing post-process, photographer verses a snap-shot shooter.
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In the bottom screen shot, you can see I have added a third ‘circle graduated filter to reduce the the exposure slightly on the left side of the image clouds.

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In the bottom screen shot, you can see the global “Dehaze” control at the bottom of the tools panel.

Again I must stress, everything can be adjusted & re-adjusted, you may find adjustments on one level messing up some thing and need to go back and forth adjusting stuff.

Your end product, that Final Photograph, however will be so much better for the effort.

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The final image again….

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Well, I do answer questions, so ask me in the comments below if there are issues about what I did here.

And I hope Cee likes my showing the difference between “auto black & white” conversion and a Old Timer playing around with the tools of the trade.

I do put my camera in black/white mode when shooting for black & white, I started shooting film in 1962 at age 4yr. I had my 1st darkroom at 16 in 1974, so I don’t have an issue with looking at a color image and conversing it to black&white, but by having ALL images in RAW, and the reminder of seeing it on my camera in b/w while shooting is nice. I get a clue what is happening and what to adjust if needed while shooting.

 

Creative shooting everyone

 

 

 

 

 

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