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-   -   RAW Challenge! Steven Teitelbaum's Central Park New York M8 Pictures 2006 (http://www.openphotographyforums.com/forums/showthread.php?t=1684)

Asher Kelman December 8th, 2006 02:59 AM

RAW Challenge! Steven Teitelbaum's Central Park New York M8 Pictures 2006
 
I am delighted to post for Steven Teitelbaum several pictures of his recent shoot in New York.

http://idisk.mac.com/med007/Public/S...174_800pxl.jpg

We start today with Central Park. This one one of New York's most romantic places to visit. In the fall, the tall New York Skyline is reflected between autumn leaves floating in the water. Paths are lined with yellows and gold.

I have selected a few that caught my eye and Steven kindly gave OPF limited use consent for you to process his RAW files to the best of your ability and post the results here. You can use any RAW processor. We hope to learn from you something of the reserve and robustness of these files.

http://idisk.mac.com/med007/Public/S...193_800pxl.jpg

http://idisk.mac.com/med007/Public/S...179_800pxl.jpg


These compressed JPG images shown here ARE NOT FOR DOWLOAD! The files are obtainable by sending me a PM with you name and your level of experience and RAW processor and I will send them to you. If this goes well, many more files will be made available.

You can optimize them any way you like in color or B&W. You can, if you wish add film grain, if that what you like to do. All images must be posted only here and should have © Steven Teitelbaum 2006 on one edge. Your Title and concepts should be succinctly given so we can correlate variants with intents!

Thank Steven for being so generous. We hope for some very interesting images as a result!

Have fun!

Asher

Fabio Riccardi December 8th, 2006 12:51 PM

My Take with LightZone
 
Hello everybody,

I loved these images, autumn in NY has such gorgeous colors!

I wanted these colors to pop out, so I used an RGB ZoneMapper to boos the contrast in the foliage tonal range, which will also increase the color saturarion (reds and yellows!). This is the same trick photographers used to play with slide film: underexpose the shot increases saturation...

I also used the ToneMapper on the skyscrapers image, to have a more dramatic sky and open up the shadows.

But I wanted even more pop, so I used a trick that I recently learned from one of our own forums contributor and I adedd a Sharpen layer with large radius and with Soft Light blending mode, looks beautiful to me.

For the curious, LZN files are attached too.

Regards,

- Fabio

http://homepage.mac.com/fabio.riccar...0174_Small.jpg

http://homepage.mac.com/fabio.riccar...0179_Small.jpg

http://homepage.mac.com/fabio.riccar...0193_Small.jpg

http://homepage.mac.com/fabio.riccardi/L1000174.lzn
http://homepage.mac.com/fabio.riccardi/L1000179.lzn
http://homepage.mac.com/fabio.riccardi/L1000193.lzn

Asher Kelman December 8th, 2006 03:44 PM

Wonderful intepretation Fabio!

The colors, saturated as they are, add an extraordinary rich style and seem to me to provide a more personal encapsualting presence than the Adobe RAW "as is" images I posted. Mine by comparison look somewhat more open and a larger space!

The richness of colors is more better realized in your first image. The clouds have more 3 dimensionality from the way LightZone has handled the hues and tones in the clouds and brought out the subtle beauty.

I might have an issue perhaps with the skin tone of the people in the middle image, but it is likely that you din't deal with this separately.

Otherwise this is a new experience for me and I thank you!

Have you also considered a B&W, toned or untoned? That would be a special place where LZ should be king!

Kind wishes and appreciation,

Asher

BTW, you should provide titles, since htis is your intepretation! This way we might understand how the paths of related creativity works!

Antonio Correia December 8th, 2006 05:48 PM

First of all I would like to ask if Steven Teitelbaum is the person refered in http://www.drteitelbaum.com/index.html ?

The images are easy to treat. (As if I was a great expert and master of the thing... :)
The images on the left are JPG from the original files un-treated. I use PSC, the RAW converter from PS CS2.
All I have done:
1. Change to LAB
2. Apply curves and make adjustments
3. Unsharp Mask in Lighness channel
4. Crop
5. Stroke
6. Canvas
7. Copyright
8. Save As JPG 12

On the 1.st photo I made 2 shots: one for the background and another for the reflection,
They were then melted after a mask.

On the 2.ed photo I corrected the yellow overcast.

On the 3.ed photo I cloned the bench

In all of them I have cropped with my own size 30*20
They are in my site here

http://antoniocorreia.smugmug.com/ph...15607487-M.jpg http://antoniocorreia.smugmug.com/ph...15607253-M.jpg
http://antoniocorreia.smugmug.com/ph...15608336-M.jpg http://antoniocorreia.smugmug.com/ph...15608100-M.jpg

Antonio Correia December 8th, 2006 05:49 PM

First of all I would like to ask if Steven Teitelbaum is the person refered in http://www.drteitelbaum.com/index.html ?

The images are easy to treat. (As if I was a great expert and master of the thing... :)
The images on the left are JPG from the original files un-treated. I use PSC, the RAW converter from PS CS2.
All I have done:
1. Change to LAB
2. Apply curves and make adjustments
3. Unsharp Mask in Lighness channel
4. Crop
5. Stroke
6. Canvas
7. Copyright
8. Save As JPG 12

On the 1.st photo I made 2 shots: one for the background and another for the reflection,
They were then melted after a mask.

On the 2.ed photo I corrected the yellow overcast.

On the 3.ed photo I cloned the bench

In all of them I have cropped with my own size 30*20
They are in my site here
http://antoniocorreia.smugmug.com/ph...15608976-M.jpg http://antoniocorreia.smugmug.com/ph...15608707-M.jpg

John Kuo December 9th, 2006 12:40 AM

Here's my version, done in C1 Pro using Jamie Robert's M8 profile, WB as shot, convert to TIFF and then resize/sharpen in Photoshop CS2.

http://kuojj.com/photo/L1000174.jpg
http://kuojj.com/photo/L1000179.jpg
http://kuojj.com/photo/L1000193.jpg

Don Lashier December 9th, 2006 01:57 AM

Here's a couple "all in C1" versions. Taken into PS only to resize, add copyright and border. Composition was good so I didn't crop. These are fairly straightforward so I won't title. Skipped the third because it doesn't strike me. The first has a double-hump histo screaming for dual or even triples so I'll do that later. Had a hard time keeping the clouds while bringing out the foreground and sacrificed contrast on the buildings to do this. AWB seems to be weakness, cooled both images slightly. Tonality (DR) is great, lots to work with.

http://www.lashier.com/images/temp/teitelbaum174.jpg

http://www.lashier.com/images/temp/teitelbaum179.jpg

- DL

James Roberts December 9th, 2006 12:10 PM

Hi Don--great to see you here!

Thanks for mentioning the tonality / DR of the M8 files. I've been "multiple exposing" files here till the cows come home, and it really is exceptionally good, even compared with my 1ds2 standard :)

You're right--that first shot screams for at least three C1 develops. I don't know if you've tried LightZone, but I like its ability to work independently with selections; I'm afraid my prowess with it though renders the results a little artificial looking still (not so good feathering the selections, and I usually want to avoid a lot of mid-tone colour shifts when compositing... and I don't know how to do that with LightZone yet).

scott kirkpatrick December 9th, 2006 02:43 PM

Straight C1 processing of just one shot
 
I cooled this to 5000 and the leaves came back to realistic. used "film extra shadow" and generic M8 profile (of 3.7.6) since the exposure looked good. Lowered exposure a bit, increased cc and cs (whatever they mean) by my usual amount, turned color noise reduction off (default is halfway across the slider!). That's all. It looks more real to me now.

http://www.cs.huji.ac.il/~kirk/testfiles/L1000179.jpg

scott

edit: the file may change to meet specifications (800 px high instead of wide, copyright overwritten), but not tonight. This will make several following comments a little obscure, but they remain useful.

Don Lashier December 9th, 2006 02:59 PM

Hi Scott,

Nice version, but you forgot the copyright. Also, I don't know about others, but I find it a lot easier to compare if all are uniform size (ala original post, 800px max).

- DL

scott kirkpatrick December 9th, 2006 03:06 PM

Quote:

Originally Posted by Don Lashier
Hi Scott,

Nice version, but you forgot the copyright. Also, I don't know about others, but I find it a lot easier to compare if all are uniform size (ala original post, 800px max).

- DL

I've never learned to do that. Does it require a trip to Photoshop? I just set C1's output specification to get 800 px width. Anyway, short description of copyright overlay would be appreciated and useful in the future. I can fix this one by replacing the file once it is labelled.

My version looked a little wetter and colder than the original, but that was probably what the day was like.

scott

Don Lashier December 9th, 2006 03:27 PM

Quote:

Originally Posted by scott kirkpatrick
I've never learned to do that. Does it require a trip to Photoshop? I just set C1's output specification to get 800 px width. Anyway, short description of copyright overlay would be appreciated and useful in the future.

C1 only lets you control the width so in this case would need to be set to 537 or 538 (if uncropped) in order to give ~800 V.

Yes, superimposing copyright does require a trip to PS. Just select the type tool, type away and you get a new text layer. The easiest way to get the copyright symbol is to copy/paste. I usually just grab from the bottom of this web page, then edit text as desired.

Tips on the type tool. After entering your text, you typically may want to change the font, size, or color. If you first select a different tool (eg "move"), then reselect the type tool, then changes to the pulldowns or color will reflect on existing text. Otherwise you've got to select the text and the select inverse gums up what you see (there's a way to hide the select but I can never remember the trick). If you click on the font pulldown you can thumbwheel scroll thru the fonts, previewing, although for some reason this doesn't work on my office computer and I have to use the down/up arrows. Also, if you hold down CTRL while in the type tool you get the move tool. You also get it if you move the cursor away from the text.

- DL

Luiz Vasconcellos December 9th, 2006 03:27 PM

When reading the mind fly...
http://img244.imageshack.us/img244/6...0001791en2.jpg
I wanted some “depth”, punch colors and good skin, so I converted 3 TIFs with different
contrast(Silkypix contrast center) the picture is divided in 3 parts diagonal, the first girl(reading),
the second girl and the light post.
With Photshop CS2 I mixed the 3 parts with masks.
The first received the brightest and the last received the darkest.
The darkest also received more red.
The “depth” effect is clearly seen if you look at the sidewalk.

Lost fragments lies around...
http://img152.imageshack.us/img152/8...1000193yl8.jpg
I wanted to isolate this thing, so nothing special here just plain PhotoShop trick.

The time has come, but one last view before going back...
http://img168.imageshack.us/img168/4...00174cchu5.jpg
I wanted contrast punch colors and to equilibrate the sky with the ground, so I divided the
photo into 2 parts the sky and ground and converted 2 TIFs with different settings
and mixed them with PhotoShop using layer masks.

Asher Kelman December 9th, 2006 03:29 PM

Quote:

Originally Posted by scott kirkpatrick
I've never learned to do that. Does it require a trip to Photoshop? I just set C1's output specification to get 800 px width. Anyway, short description of copyright overlay would be appreciated and useful in the future. I can fix this one by replacing the file once it is labelled.

My version looked a little wetter and colder than the original, but that was probably what the day was like.

scott

For anyone who needes to brush up on adding a © Jane Photographer Just open CS2 or any other version, click on the TEXT symbol in the tools and draw a text box you can write in. On the Mac as you know © is option G so that is easy. You then select that text and make it whatever type face size, style and color you think fits and put it at an edge. If you use the corner tool you can even rotate the text box and then you can put it on one side.

If you click on another layer the move tool will let you move it.

Save and then flatten a duplicate copy of the file by going as you know to Layers, drop down to flatten.

Please save these files as I may want to print them!

In the end, we'll resize them all and put them up in a matrix. I'll ask you for the smaller sizes later!

For now, I like the versioning. We should also have B&W since that's where the M8 must excel!


Asher

Don Lashier December 9th, 2006 03:37 PM

Quote:

Originally Posted by Asher Kelman
Save and then flatten a duplicate copy of the file by going as you know to Layers, drop down to flatten.

I don't even bother flattening. "Save as" and selecting jpeg will save a flattened version and leave your original layers intact (which I have previously saved as psd). This lets you easily paste in a new conversion or move up to dual conversions without having to redo the text or borders you may have created. Of course if my psd is full size, then I dup image and resize (and perhaps final sharpen) before saving as jpeg.

- DL

Fabio Riccardi December 9th, 2006 04:19 PM

Black and white with LightZone
 
Actually a split tone, brown in the shadows, yellow in the hilights, enjoy!

- Fabio

http://homepage.mac.com/fabio.riccar...3-BW_Small.jpg

http://homepage.mac.com/fabio.riccardi/L1000193-BW.lzn

Fabio Riccardi December 9th, 2006 05:37 PM

Skin tones and fall colors, alt take
 
Hi there,

some people remarked that skin tones in my images were not realistic, my first reaction was "so what, this is not a beauty cream ad". I like the orange cast and the dreamish atmosphere of the images, how many impressionistic paintings use real skin tones?

In any case, this is a challenge, so I tried and see if I could make an alt take to the image preserving the atmosphere and the skin tones at the same time. I just aded a Color Balance tool after the ZoneMapper and clicked on the side of the girl'd book for a neutral reference. I liked it.

- Fabio

http://homepage.mac.com/fabio.riccar...79-b_Small.jpg

http://homepage.mac.com/fabio.riccardi/L1000179-b.lzn

Tim Gray December 9th, 2006 07:40 PM

Converted in Lightroom. WB taken from sliver of bldg on the right edge. Perspective adjusted. Slight increase in contrast in L, A and B channels. USM 20, 60, 0, moderate Shadow/Highlight adjustment.

http://www.timgrayphotography.com/im...8_new_york.jpg

Don Lashier December 9th, 2006 11:37 PM

Ok, here's my triple conversion effort. Three conversions done in C1 - sky/buildings/everything-else. Separating the sky was easy but masking some of the trees was not, and I'm not sure worth the effort. If this were going to be printed any size, additional mask cleanup would need to be done.

http://www.lashier.com/images/temp/teitelbaum174tri.jpg

- DL

scott kirkpatrick December 10th, 2006 12:00 AM

Quote:

Originally Posted by Don Lashier
C1 only lets you control the width so in this case would need to be set to 537 or 538 (if uncropped) in order to give ~800 V.

Replaced the picture with a smaller version. It seems to get a bit darker when produced smaller, although that may be the difference between working in a dark office at night and a daylit one in the morning. C1 Pro (which I got long ago with 5 upgrades) lets me select height in px, width in px or overall percentage on output, and allows making several sizes in the same run. I know LE does less, but don't know how much less.

BTW, I have a sandisk key for C1 LE which I am happy to give to anyone who sees this note and pm's me.

scott

Don Lashier December 10th, 2006 12:18 AM

Quote:

Originally Posted by scott kirkpatrick
C1 Pro (which I got long ago with 5 upgrades) lets me select height in px, width in px or overall percentage on output, and allows making several sizes in the same run.

Duh, of course. It's the "constrain" function that only allows you to limit width, not height. This is useful when you have a batch of randomly cropped images that you want to process all to the same width. One item on my wishlist is that this be changed to a "max dimension limit" as when I process a batch for the web I have to do the horizontals and verticals in separate batches.

- DL

scott kirkpatrick December 10th, 2006 12:31 AM

B/W using JFI red filter #4
 
http://www.cs.huji.ac.il/~kirk/testfiles/L1000174.jpg

I'm trying for a medium toned platinum-like effect. Red filter to help the IR from the foliage, decreased exposure to bring the sky back, levels, extra sharpening. Oops, forgot the copyright. will fix.

scott

Fabio Riccardi December 10th, 2006 01:29 AM

HDR In LightZone
 
Hi Again,

yes, I'm being a pest but I couldn't resist... these images are very beautiful, here is an HDR rendering of the first image. Turns out that LZ is pretty good at opening up the shadows, in this case I identifyed the zone of the building on the right and I pulled it up, subsequently pulling a couple of lower segments down a bit to densen up the blacks.

- Fabio

http://homepage.mac.com/fabio.riccar...74-c_Small.jpg

http://homepage.mac.com/fabio.riccardi/L1000174-c.lzn

Don Lashier December 10th, 2006 02:20 AM

PS Channel mixer version of my tri-conversion. For this shot I prefer color although Scott's medium tone works very nice - has a "vintage" look to it. Mine looks too contrasty in comparision - I should have gone back and undone the BP setting on the fg conversion - different tonal criteria for color and b/w.

http://www.lashier.com/images/temp/t...um174tribw.jpg

- DL

Asher Kelman December 10th, 2006 02:26 AM

I'm impressed how much creative room there is in these pictures after the shutter has opened and closed! This is fun!

Any more?

Asher

Don Lashier December 10th, 2006 02:35 AM

What amazed me is the detail in the photo. Did you take a look at what's going on on the other side of the lake? Some sort of group, a guy meditating on the rock, and another photographer shooting back this way!

- DL

scott kirkpatrick December 10th, 2006 02:50 AM

Quote:

Originally Posted by Don Lashier
What amazed me is the detail in the photo. Did you take a look at what's going on on the other side of the lake? Some sort of group, a guy meditating on the rock, and another photographer shooting back this way!

- DL

Not bad for 1/90 of a second! I checked the building edges at 400% in the C1 preview, but I wasn't getting real sharpness. You must have spent some time looking at pictures for one of the intelligence agencies.

scott

Nicolas Claris December 10th, 2006 03:20 AM

Quote:

Originally Posted by Fabio Riccardi
Hi Again,

yes, I'm being a pest but I couldn't resist...

Fabio, you're not really a pest, I CAN BE a better/worth provocative pest than you! :

Well a lots of efforts guys, it is amazing how to much workflow may disturb/break a picture when the orginal was well done (framed, colored, composed).
Despite all your efforts I still prefer the original, great picture!

I do like post prod, but only when needed, unless it is intentionaly done by the author and when the shot was done in order to be enhanced thru post prod with special effects in mind when shooting.
That is the beginning of the real "arc of intent".
Otherwise the risk is big that the pic will be destroyed by too much manipulation.

In the exercise above I'd love to see what Steven Teitelbaum would have done in post prod or read his comments...

Luiz Vasconcellos December 10th, 2006 07:15 AM

Leica truly messed with that IR filter thing... http://img142.imageshack.us/img142/3238/makefundc8.gif
http://img246.imageshack.us/img246/8...ccpaintjj0.jpg
PhotoShop with some masked layers with different effects and
blend modes to blur or emphasize as desired.

Asher Kelman December 10th, 2006 10:48 AM

Hi Nicolas,

As you recognize we divert a little on whether or not itís kosher to edit someone else's photographs. However, I should as one word: "unless". Unless?

Unless there's a good enjoyable reason! :)

1. Steve wants to see how much possibilities there are digitally with his files. He's a long time Leica film shooter, new to digital just 5 weeks or so!

2. We all want to see how robust the files are to creative work.

3. We can get an idea of the quality of the lens-sensor combo to see how it affects resolution, contrast dynamic range and more.

4. It gives an opportunity for folks considering an M8 to look at files without personal cost.

5. It helps me understand more about siblings variants possible from the original artists vision.

As you know, I postulate there's an arc of intent in Art. Art is a form made to put one's vision in something that someone else can experience and reinvoke that vision, emotions, ideas, and significance.

There's an arc of intent: Vision, work then experiencing the art by the artist or someone else.

So the new photographer is both experiencing the joy of Steve's work and the fun of making one's own vision as if one was there, (but shooting say from a hotel window where one cannot move around).

So that is why we do this!

This is consensual sex!

Asher

James Roberts December 10th, 2006 11:04 AM

Quote:

Originally Posted by Don Lashier
What amazed me is the detail in the photo. Did you take a look at what's going on on the other side of the lake? Some sort of group, a guy meditating on the rock, and another photographer shooting back this way!

- DL

Don--I've been astounded by the detail in the M8 system....simply blown away. They are definitely doing something right here with the sensor that preserves the beauty of the glass.

And now I should be doing my own DNG conversion of these files. Scott beat me to the JFI conversion!

Fabio Riccardi December 10th, 2006 11:41 AM

Yes, the Leica images are really sharp, after the bare raw conversion the buildings needed no additional sharpening at all, I added a bit of extra sharpening only for the foliage, just to please the eye.

- Fabio

Don Lashier December 10th, 2006 11:47 AM

Quote:

Originally Posted by Nicolas Claris
I do like post prod, but only when needed, unless it is intentionaly done by the author and when the shot was done in order to be enhanced thru post prod with special effects in mind when shooting.

I agree in general - I prefer my single C1 version to the tri. In these challenge threads I generally go way beyond what I do with my own images. I only resort to multi-conversions/layering if the image is unsalvageable otherwise and a majority of my prints never even are touched by Photoshop (and in fact got flamed by Sokolsky for advocating this at RG). Some images just don't work without this (imo Asher's hollywood blvd shot for example), but these Central Park shots are not among them.

- DL

James Roberts December 10th, 2006 12:01 PM

My take on these wonderful shots...
 
Ok, so here's something a wee bit different on these wonderful images (thanks Asher; thanks Steven)...

These are C1 develops from profiles I've been playing with that have "film curves" built into them.

What does that mean? It means I'm trying to work the colour response and contrast response of some well known negative and postive films into the actual profiles in C1. Less work in PS (I'm with Don on this!), but also quite a different take on images.

The M8 is one of the first cameras I've seen that has a combination of tone and color response that makes this sort of doable.

Anyway, they profiles are not nearly done, and I'm actually having a bit of trouble right now with the contrast ;) But I thought I'd use them anyway to get to a different interpretation of the files.

So this is my "Fuji Provia (400, I think)" curved profile.

One develop in C1 for each of these files; then a quick optional trip into PS just to add a tiny tiny bit of grain to smooth some highlights from the excellent Alien Skin plugin (BTW--they're take on Provia looks a lot like this too!).

Here we go:

http://www.fouldsroberts.ca/test/gamut/L1000174_one.jpg

And here's the next


http://www.fouldsroberts.ca/test/gamut/L1000179_two.jpg

Nicolas Claris December 10th, 2006 12:43 PM

Asher
You read me wrong, it is not a question of "kosher" or not "kosher".
I don't care people to manipulate files if it has been asked for (which I never do for mine).
Simply, my own little report:
Quote:

Despite all your efforts I still prefer the original, great picture!

Don Lashier December 10th, 2006 01:56 PM

Quote:

Originally Posted by James Roberts
The M8 is one of the first cameras I've seen that has a combination of tone and color response that makes this sort of doable.

Maybe that helps explain why I ended up choosing "linear response" in both my "C1 only" conversions. I rarely do this (usually using the "film standard" curve) unless the image has a large proportion of highlight and/or shadow. The sky of course was good reason for the one shot but still preferred linear response for the other also.

- DL

Asher Kelman December 10th, 2006 08:17 PM

So, now you have all worked on these files, do you have an impression as to the robustness, quality and range of the data in the Lecia files.

Do you feel that these images are in any way superior to other types of files you work on?

Asher

Ken Tanaka December 11th, 2006 12:04 AM

My Submissions
 
Before proceeding I want to thank Steven Teitelbaum for offering us the opportunity to get a good look at some M8 raw files and to process them for ourselves. I found the files to be a very high quality, the equivalent of my Canon 5D and 1-body files. Each image was quite sharp, owing certainly to the quality of Leica M lenses. I applied no sharpening to any of the images below. The only sharpening applied, indirectly, was when downsizing them and applying a bicubic sharpening algorithm.

General Remarks: Please note that my remarks are by no means intended as criticisms of Steven's work. I do not know his intentions for any of the images and simply treat them, and narrate the processing, as if I had captured them.

Autumn foliage scenes can be as seductive to one's lens as Homer's sirens. They seductively attract the lens with each turn of the head. It isn't until you find yourself poring through the images that you discover that many of your images are often visually tedious. When you consider why you pressed the button you may discover that you were trying to capture more than a camera can capture. The sounds and scents of the scene. The crisp breeze. It's like returning from Maui with only a souvenir t-shirt. So as I repeat such photography I look for opportunities to make the foliage an interesting background for a more specific subject.

The general theme of such scenes in urban parks, particularly New York's Central Park, is the environment's relationship to people. People, after all, are the only reason for these parks to exist. So it was with this principle in mind that I began work on Steven's images. With regard to general tonality adjustments my goal was, and always is, to make such adjustments sparingly. It's very easy to go far overboard with such scenes, slipping out of photography and into artistic fantasy. I avoid that. Since it was a dreary, overcast day with flat lighting I primarily used slight saturation, color temperature, exposure, and black level adjustments to enhance the actual scenes rather than to create scenes that didn't exist. I made most such adjustments in Adobe's Lightroom Beta 4.1 and a very few adjustments, as noted below, in Photoshop.

This first image created the biggest compositional challenge. The original image established a nearly perfect "H" with the buildings forming the uprights and the edge of the park forming the horizon. I felt that a choice had to be made with regard to the image's subject. I chose to crop the bright sky and tops of the towers. This encouraged the eye to dwell on the tranquility of the pond, and the general luminance of its surroundings, with its reflections clearly revealing the urbanities cropped from above. In cropping, however, I left enough of the buildings to reveal that this scene could be no place other than New York's Central Park. No other city has so many stepped-back building elevations (due to some unique building codes).


http://www.pbase.com/tanakak/image/71529868.jpg


This next image was, to my eye, an example of those sirens calling the lens. I'm sure that the trees were beautiful. But the subjects of the scene are the people enjoying a leisurely moment in their midst. The trees' presence is everywhere in the scene, so it was unnecessary to show their trunks and branches. You know they're there and what their coloration is. Cropping also created a more interesting composition, with the pavement of the path leading the eye from the girl in the foreground to the people on the next bench, to the man walking towards the camera. I added a very subtle vignetting to help further contain the eye.


http://www.pbase.com/tanakak/image/71529872.jpg


I wasn't planning to work on this fountain but it kept calling my name. By cropping I tried to establish the fountain's bowl as the primary subject and also a relationship between it and the nearby bench -- suggesting a spot of peaceful rest and contemplation. I used subtle dodge and burn to bring out the patina of the wonderful old bronze bowl and also to make it seem more like an organic extension of the leaf litter. Again I added a slight vignette, this time to give a heightened sense of specialness to the fountain.


http://www.pbase.com/image/71508123.jpg

Thanks again, Steven, for use of your files in this exercise. I hope my interpretations have not offended you, but rather provided you with some entertainment. Enjoy that M8!

Asher Kelman December 11th, 2006 01:00 AM

Ken,

I enjoyed your description of how your intentions are framed by your perception of human presence. Your crops to my mind stengthen the images.

Stephen, BTW has been without internet until he was in the airport and got someone to let him get on line. He wrote me that he is "amazed" and very appreciative for all the labor od love that is still going into his work.

How could people all over the world share their creative viewpoints in anything but this new digital media. Somehow, even scanned film I don't think would allow such license!

We still have other posts to follow, i'm sure!

Asher

Don Lashier December 11th, 2006 02:23 AM

While I like Ken's third crop (fountain) (and perhaps it solves comp issues that led me to reject the image in the first place), I experimented with cropping on the other two and don't feel the initial shots can really be improved upon other than perhaps some drastic crops on the lake/building shot: eg, a tall skinny one, or a rather severe horizontal crop highlighting the far shore activity, but the latter is really a different shot best done with a different lens.

- DL

Uwe Steinmueller December 12th, 2006 12:49 AM

Here is my take on one of the images. All done in LightZone 2.0

http://www.jirvana.com/for_opf/L1000193-uwe.jpg

I used the clone tool in LightZone to remove parts of the bench :-).

Uwe

Asher Kelman December 12th, 2006 01:50 AM

Uwe,

Congratulations on another B&W interpetation with LZ! This software seems born to go with M8 files. Unfortunately Aperture is not ready for Leica DNG nor is Bibble or SilkyPix, TTBOMK.

Here, Uwe has concentrated a lot on the tonality of the water fountain itself, something which Fabio made secondary to his wonderful work with the leaves and dual toning in yellow and brown of his B&W version.

We can see that there's a lot of information in the dark brass tones that have been brought out in this case by Lightzone.

With no bench, the image is simpler and that is a matter of the artists eye and looking at this scene as if from a window and frankly not liking the bit of bench and therefore getting rid of it as we don't have the option of changing one's position ex post facto!

I believe we all do this when we look at our own images on the screen. We, in a way, can reconsider our orginal intent with the brilliance of the LCD display acting as a window to the world again.

Now some of us will never crop or remove things. I respect that. I too try my best to include or exclude everything in the single shot. Often, I cannot do this.

In this case, getting rid of the bench does change the meaning of the picture. That is what's interesting about our different approaches, the relationships between our separate visions of exactly the same thing.

Making art involves embedding thoughts and emotions into the form we present to others.

With each version I see of this image, I learn something new about the process.

Thanks Uwe for your work.

Asher

Denis de Gannes December 12th, 2006 06:20 AM

Images by Stephen Teitelbaum NY
 
This is my rendition of the raw files converted in Adobe Photoshop Lightroom beta v 4.1.
Resizing and unsharpmask applied in PSCS for posting on the web
After viewing the initial rendition by LR I came to the opinion that the images were possibly taken in very dull overcast conditions. The exif camera data and the almost complete lack of any shadows prompted my thoughts. I did the following to create what I believe would have been the visual effect had I been there.
Reduced exposure by .25; .50; .33; respectively.
Adjusted WB by reducing the tint from as shot -26 to -15.
Made slight tonal adjustments using the curves sliders.
Appied a small increase in vibrance and saturation using the sliders.
Sharpening and NR at the Lightroom default.

http://www.pbase.com/denis_de_gannes/image/71566243.jpg

http://www.pbase.com/denis_de_gannes/image/71566176.jpg

http://www.pbase.com/denis_de_gannes/image/71566329.jpg

Uwe Steinmueller December 12th, 2006 10:05 AM

>Now some of us will never crop or remove things. I respect that.

I understand. We hardly have the problem with own images because we are in charge of framing. Our images are about 90% not cropped (means printed as framed in the field).

Actually one also could have moved the bench :-)

Uwe

James Roberts December 12th, 2006 05:22 PM

Quote:

Originally Posted by Don Lashier
Maybe that helps explain why I ended up choosing "linear response" in both my "C1 only" conversions. I rarely do this (usually using the "film standard" curve) unless the image has a large proportion of highlight and/or shadow. The sky of course was good reason for the one shot but still preferred linear response for the other also.

- DL

Don, I've also been finding myself heading towards "linear response" with a lot of C1 converts of the M8 lately too.

The M8 tonal range is such that I'm writing my own curves for this thing, and more often than not (with faces, anyway) they resemble a modified the "inverted hockey stick" curve I first saw on your site (what? Years ago now...). I'm actually lowering contrast to "fit all the tonal details" in the conversion.

In other words, the inverse compression I'm doing with these files is amazing: there's so much detail and tonal range that you really don't want to just roll them up in a regular "film curve."

Hope that makes sense. I'm still new at working with these M8 files and finding them pretty surprisingly dynamic.

Cem_Usakligil December 13th, 2006 04:01 AM

A Humble Tribute to M.C. Escher's Three Worlds
 
Hi All,

When I saw these beautiful pictures, I knew I had to have a go at them :-).
Especially the first one made me think of the famous work by M.C. Escher called the Three Worlds:

http://www.envisagement.com/opf/shad...23_0_LW405.jpg

I liked the symmetry of the H form of the buildings and the reflection on the pond. As an added twist, I thought it would make the image much more interesting if the sky and water to be swapped, hence the rotation. The leaves floating in the air, as it appears to be, adds a degree of surrealism (says he humbly). So I processed the image in LightZone (rotating, tone mapping, zone mapping, cropping, blurring, etc) and exported it to a TIFF file. Then in CS2, I have added waves and USM and exported to JPG.

http://usakligil.com/photo/fora/opf/...CU_2Worlds.jpg

What do you reckon?

Cheers,

Cem

Denis de Gannes December 13th, 2006 06:52 AM

RAW Challenge! Stephen Teitelbaum
 
This is another rendition of one the raw files converted in SilkyPix Studio 3.03 (support has recently been added for the Lieca M8 along with some other recent camera models)

Resizing and unsharpmask applied in PSCS for posting on the web
After viewing the initial rendition of the RAW files I came to the opinion that the images were possibly taken in very dull overcast conditions. The exif camera data and the almost complete lack of any shadows prompted my thoughts. I did the following to create a late evening sunset mood.
Reduced exposure by .25
Applied the Sunset taste from the supplied presets.
Appied a small increase in saturation.
Sharpening and NR at the SilkyPix default.
http://www.pbase.com/image/71620348.jpg

Mark Vigna December 13th, 2006 11:04 AM

Great shots.
Mark

Ken Tanaka December 13th, 2006 11:27 AM

Quote:

Originally Posted by Cem Usakligil
Hi All,

What do you reckon?

Cheers,

Cem

I like your Escher-esque interpretation, Cem. It's a creative use of the image's content that takes a few moments to decode (making it all that much more enjoyable).

Stefan Hellstrom December 15th, 2006 07:37 PM

Another take using Silkypix 3.0.3.8
 
The M8 files seems to have a lot of margin for stretching the limits. Is the output from the sensor 12 or 16bit ?
-The first one I develoed with a bit low contrast using the colorfull M1 profile and later doing the local contrast in PS with Lightmachine:

http://static.flickr.com/131/323488727_685be20d71_o.jpg

The second was developed using a Velvia type film profile called V1:

http://static.flickr.com/143/323488729_963e0ca537_o.jpg

The third one using the M1 profile together with some adjustment on the fine color controler:

http://static.flickr.com/127/323488731_3c90673023_o.jpg

BR/ Stefan

ian sanderson December 16th, 2006 11:44 AM

I just want to thank to Stephen for the chance to work with a raw M8 file. It seems I can't post attachments so I have put my version at http://www.iansanderson.com/L1000174.jpg
I processed the file in ACR and then used selective highlights and layer modes with a bit of dodging and burning on an overlay layer with 50% grey. I treated the image as if it was my own so I felt obliged to correct the verticals as much as I could and remove the building to the right as I found it distracting.

kind regards

Ian






Hi, Ian, I corrected the url by adding "http://" Asher

Asher Kelman December 30th, 2006 10:35 PM

Leaves are still golden in Central Park!
 
We still welcome new attacks on these files! There is such a great deal of reserve in the M8 files that you can do a lot of your RAw development and the files will take it.

So if you haven't done so already, drop me a line and I'll send you these DNG files for wroking on. Note that we are also sending out DNG files for Steve's Sailboat's at sunset shoot. Just a little behind!

Asher

sonya modotti January 28th, 2007 06:00 PM

my interpretation of central park 1
 
hi everyone,

the b&w conversion was done with lightroom. all other adjustments were done with lightzone.

sonya

http://homepage.mac.com/sonyamodotti...mb_194_194.jpg

Ray West January 28th, 2007 06:27 PM

Hi Sonya,

Welcome here.

To post an image, you have to put it on your site, and link to it. As yet no way of posting straight to here.

Best wishes,

Ray

sonya modotti January 28th, 2007 06:30 PM

my interpretation of central park 1
 
ok, second try to get the image posted.

sonya

http://homepage.mac.com/sonyamodotti...20park%201.jpg

Asher Kelman January 28th, 2007 09:09 PM

Congratulations, Sonya! Are you also working on the fountain and park bench?

An excellent B&W rendering. The files seem to have a particular robustness to manupalate the tonalities. Stranglely these are 8 BIT files. What drew you to B&W? Was it that you saw so many colored version or that's how you would process your own image in this circumstance.

Stefan you asked about the output. AFAIK, the output from the chip is at least 12 BIT, the processing then is optimized, I think at 16BIT and then the output is at 8BIT.

Asher

sonya modotti January 28th, 2007 09:35 PM

my interpretation of central park 2
 
as with central park 1, the b&w conversion was done with lightroom and all other adjustments were done with lightzone.

asher - i'm just starting in photography and seem naturally drawn to b&w. somehow it is more pleasing to me, and perhaps with time i will be able to explain the reasons for this : )

sonya

http://homepage.mac.com/sonyamodotti...20park%202.jpg

Asher Kelman January 28th, 2007 09:39 PM

Hi sonya,

I hope you have saved the PSD files, as I might want to print all the versions for an exhibit of Steve's work. Just to show how much porential there's is in each unprocessed image.

Everyone will be given mention of their contributions, of course.

Again, thans for your work.

What did you feel about these files compared to other files you have worked with?

Asher


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