|
|
|
Margaret Sturgess
{K:49403} 10/21/2004
|
Lovely colours and plenty of interest, very nice composition. Am reading about skies - I have several shots that the sky really spoils it, I have not really mastered getting a nice sky.
Margaret
|
|
|
|
|
Dorothy Di Liddo
{K:13787} 10/21/2004
|
Here's the second attempt, but I think I'll play around a bit with the gradient filter too. Never know, might help. Dottie
|
No Mask & Filter |
|
|
|
|
Dorothy Di Liddo
{K:13787} 10/21/2004
|
Rebecca, below I'll post two feeble attempts at pretting up the sky. In the first I've masked the sky as my selected area, and then added a deep blue filter without the luminosity. In the second, I've just added a blue filter without masking, again without preserving the luninosity. Deb has given me a great tip for filter use on the camera, and preserving the detail in the sky. (Yesterday I believe that was only mist,lol) but who knows maybe a bit of the mountains would have poked out as well. See if either of these techniques looks better. I'm still experimenting myself. Dottie
|
Quick Mask & Filter |
|
|
|
|
Dorothy Di Liddo
{K:13787} 10/21/2004
|
Thanks Deb, I will look into that, I've tried a few amature tricks in PS I'll post them here for you & Rebecca to see. But that filter for the camera sounds like just the ticket. Thank you for your help. Dottie
|
|
|
|
|
Deb Mayes
{K:19605} 10/21/2004
|
Dottie, ND grad is probably one of the most useful filters in landscape photography. A neutral density filter is clear on one end and dark on the other. It comes in two styles - hard, where the transition from gray to clear is a hard line, and soft, where the transition is gradual, just like a gradient. The light is reduced through the dark side and not impacted at all by the clear, so it lets you hold detail when the light range is too much for the camera.
The soft is the most useful with mountains, the dark is great for flat lines like prairie horizons and water.
The problem with using a gradient in software is it can't bring back detail that was blown out and recorded as pure white. (It is a terrific help if detail is lurking there, though.)
Don't buy the screw on kind - it forces you to put the line of transition (usually the horizon) in the middle. Start out with a Cokin square one (P); it will fit all your lenses and work with any camera. There are better brands out there, but they can get pricey.
|
|
|
|
|
Dorothy Di Liddo
{K:13787} 10/21/2004
|
ND Grad filter? On the camera? What is ND Grad, sorry to sound so dumb, but never heard of that one. TRhanks for the comment. Dottie
|
|
|
|
|
Deb Mayes
{K:19605} 10/21/2004
|
Terrific reflections, and a very peaceful feeling conveyed. As for the sky, you might want to consider using an ND grad filter to even the exposure and hold detail.
|
|
|
|
|
Kevin Collier
{K:19076} 10/21/2004
|
Beautiful scene == very nice. K
|
|
|
|
|
Rebecca Raybon
{K:26654} 10/21/2004
|
If you know how to do this, please send me a copy of coloring colorless skies for dummies! I'd love to know how to do it lol
|
|
|
|
|
Dorothy Di Liddo
{K:13787} 10/21/2004
|
Doh!!! I should haved masked the lower parts & put a filter in the sky...silly me. I'll play with it a bit tomorrow. Thanks for the comments. Dottie
|
|
|
|
|
Rebecca Raybon
{K:26654} 10/21/2004
|
Lovely composition and colors, especially in the foreground, but now you're stuck with the problem I have, with those colorless skies. I haven't figured out how to color them in and make them look right...and ya can't always crop them off.
|
|
0 
