The idea of using eyebolts as levelers isn't original with me; unfortunately, I don't know who should properly receive the credit.
Thank for the kind words. The California sun does make everything look a bit more magical (it better, as that's where most of our taxes go) And still getting the hang of this newfangled photography thing, especially outdoors. A big issue with that photo shoot was just in the location: Given the downward slope of the fire trail, it was very difficult to get the module to block out the closest ridge (yellow bar). And the photos that did "work" even clipped out the middle ridge (blue line) so that just the far hills (red arrow) appeared in the photo behind the module. Lighting was also an issue: the only view at this location is looking south, so lots of trains-in-shadows shots. I was shooting at ISO 100. Should have tried some 400 just for comparision. As I couldn't really tip the module towards the camera, it was a constant battle between getting low enough to include only the far hills and high enough to get some details on the module, as you can see with these two shots: Getting rid of more of the "near" oversized background grass results in losing a lot of the cows and D-2 details. Some of that will improve when I start focus stacking: Finally read the manual and figured out how to turn off auto focus, so we'll see how the next photo shoot goes. A shot like this works out all right in terms of background, but could really benefit from a greater depth of field, especially close to the camera: So I'll be playing around with CombineZP in the future. But first I have a couple of clinics to prepare for the NMRA/PCR Iron Horse Express convention in about three weeks, as well as finish 3-4 structures and a lot of trees for the Wye Knot module. Have a groovy weekend and thanks for looking.
Just installed the Eggel River Mining Co. Freight & Store on the Wye Knot module: Built from parts of a Bar Mills "The One" kit and scratched the rest. And the back side, which no one will see (but I'm still going to install a wooden staircase, dirt tracks, people, etc.): And my first attempt focus stacking: Still got a long way to go, but this focus stacking thing is pretty cool. Thanks for looking.
Well, I should say that any "public viewer" wouldn't see it. The center pit of the Wye Knot module is now actually useful as an operating pit for all the industries (especially the quarry), so anyone in the pit will be able to see parts of that backside loading dock But, more important, the building doesn't make much sense with out those details.
A hot, sunny spring day up in the Sierra Nevada when the Ten Wheeler rolls the supplies into the Eggel River Mining Co. Freighthouse and Store: Watch out, people: the man's got Helicon and he's not afraid to use it! (probably because he doesn't know what he's doing with it) But focus stacking + sunilight = photo fun: Helicon rocks. Now just have to figure out how to use all of it's nifty features Happy St. Paddy's Day
Lighting is often going to be an issue when your shot is back-lit, especially when shooting dark objects. The way landscape photographers get around this, of course, is to simply take their photographs when the lighting is right. Shooting ISO 400 may have helped a little bit, but you run the risk of losing some depth of field. There are a few things to consider on the depth-of-field. I learned these tricks on a totally manual film camera before all this fancy-dancy digi-stuff, and since I dislike spending a lot of time on a computer editing photos I try to get as much of this right at the time of exposure as I can. 1) Use a tripod (which I bet you're already doing) 2) Constrict the f-stop. Don't shoot wide open (e.g., f/3.5 etc.) but something more like f/16, or even f/32, if you have it. In large format gear I have a few lenses with f/64 even. This will admit less light for a given time period to your image capture technology (image sensor, film, etc.). This will necessitate number three... 3) Go for a longer exposure. With your f-stop constricted, you'll need to take a longer exposure, and that's actually what you want. The longer exposure will tend to increase your depth of field, getting the locomotive AND the vines AND the D-2 in focus. 4) "Close-up" model shots are sometimes shot better with the camera actually further back but using telephoto. This is because you are basically forcing your subject into the depth-of-field range. The atmosphere closer to the camera is too close to you to come into focus but who cares, since it's not the subject. Meanwhile, your subject is in focus. Then you have less to manipulate later on the screen.
Check! Check! I shoot at f/22, the farthest it will go. Check! I go as long as I can without whitewashing the photo. Thank goodness for light meters Check! I back up and then zoom in & shoot. Basically I need to find a better place outdoors to shoot so my garage isn't the backdrop (or the piece of foamcore that I sprayed bluish-grey). Man, once you shoot outside in the sunlight AND focus stack, it's difficult to see "normal" progress shots as decent...
Hallo, modules and focus stacking can be used to shoot from really spectacular "trackside locations": He next one was made six years from 16 photos made with a Canon G2, stacked with freeware Combine ZM (now Combine ZP) and a sky "backdrop". Nearest focus: Infinite focus: Result after "postprocessing":
Okay, good. I kind of figured that being technically competent you would know at least a few of these, and I knew I ran a bit of a risk of preaching to the choir here, but I have also found sometimes that people have problems and then it turns out through question and answer that you find out they've been shooting hand-held, wide-open, with crappy lighting, etc., etc. One thing you might try for the lighting on your engine is to use a reflector of some sort behind your camera to bounce some of that sunlight back toward your subject. I see fashion photographers do that all the time at a nearby park where so many photo shoots take place. I love your shots, and your work, BTW. I am really trying to step up my game on some of what I do.
M.C., the Helicon bug has bitten, and it's a good disease to have--your exceptional modelwork is enhanced still further by terrific images. You're off to a great start. For maximum sharpness, set the aperture to the midpoint of the lens, which is usually around f/8 or f/11. The reason is that the smallest possible aperture can soften the image due to diffraction. This will require shooting more images to ensure you're covering the entire depth of the scene. It's not unusual to shoot up to 20 images or more. If you have a compatible camera, Helicon will control the camera for you and take all of the required shots automatically. Also recommended: do the white balance manually, then lock the camera at that setting, and lock the exposure time as well. This will avoid the possibility of the white balance and shutter speed "drifting" when shooting a stack.
BerNd: that's a very nice shot! Very much like the grass and light. Crap. Now I have to read the manual again. :question: Thanks for the tips and the kind words. Will get the hang of it someday!
