Boholscapes '09: Followers of The Light 1.0

karlo reyes · Sep 22, 2009

600 km of land trip, 7 coastlines, century old churches, 2 sunrise, 2 sunsets and 1 Light source. A Travelogue when 3 Light chasers embark on a 3 day exploration with a goal to share a different side of Bohol.

This will be dedicated to the beauty Bohol holds. Showing the most remote locations, that it is not just about Tarsiers and Chocolate Hills but a story of untold greatness. Join us in this quest to follow the Light!

#1
ISO 50 l 20mm l f6.7 l .7" l CPL l .9 NDGRAD SE l 5DMK2 l 17-40L

karlo reyes · Sep 23, 2009

Valencia is a 4th class municipality in the province of Bohol, Philippines. According to the 2007 census, it has a population of 28,043 people. It is on the southern coast of Bohol, 42 kilometers (26 mi) from the capital Tagbilaran City. - wikipedia

#2
ISO 50 l 22mm l f11 l 20" l ND8 l .9 NDGRAD SE l 5DMK2 l 17-40L

karlo reyes · Sep 25, 2009

This is the famous falls where 2 people were killed in a freak accident. Apparently, a flash flood came and in a matter of minutes the water level went high.

When we got there, there are no people at all. It just rained so probably the locals and visitors got scared that another flash flood can occur. But still I was amazed with the clear water and its natural beauty.

#3
ISO 50 l 19mm l f13 l 10" l ND8 l .9 NDGRAD SE l 5DMK2 l 17-40L

Cedric MASSOULIER · Sep 25, 2009

Hi Karlo,

Your two first pcis are very good, as clouds and sky colors are matching 'long-paused' waves and water colors. It creates a strong sense of unity.

I less like the third picture : leaves on the foreground are a very good idea and give perspective, but i find that global luminosity is too high, especially on water. With more density, this picture would be deeper.

Regards,

Cedric.

karlo reyes · Sep 25, 2009

Cedric MASSOULIER said:
Hi Karlo,

Your two first pcis are very good, as clouds and sky colors are matching 'long-paused' waves and water colors. It creates a strong sense of unity.

I less like the third picture : leaves on the foreground are a very good idea and give perspective, but i find that global luminosity is too high, especially on water. With more density, this picture would be deeper.

Regards,

Cedric.

hi cedric,

i got confused with the global luminosity on the water that you said, can you explain in layman's term? and the density making the image deeper?

much respect,
karlo

Asher Kelman · Sep 25, 2009

Cedric MASSOULIER said:
Hi Karlo,

Your two first pcis are very good, as clouds and sky colors are matching 'long-paused' waves and water colors. It creates a strong sense of unity.

I less like the third picture : leaves on the foreground are a very good idea and give perspective, but i find that global luminosity is too high, especially on water. With more density, this picture would be deeper.

Regards,

Cedric.

Agreed!

The 3rd image gives me problems especially the dense cyan water. How come? How did you process the image. Is this coming from your PP or from your polarizing filter? I really don't get it!

Asher

Asher Kelman · Sep 25, 2009

Cedric MASSOULIER said:
Hi Karlo,

Your two first pcis are very good, as clouds and sky colors are matching 'long-paused' waves and water colors. It creates a strong sense of unity.

I less like the third picture : leaves on the foreground are a very good idea and give perspective, but i find that global luminosity is too high, especially on water. With more density, this picture would be deeper.

Regards,

Cedric.

Agreed!

The 3rd image gives me problems especially the dense cyan water. How come? How did you process the image? Is this coming from your PP or from your polarizing filter? I really don't get it!

Asher

Asher Kelman · Sep 25, 2009

karlo reyes said:
600 km of land trip, 7 coastlines, century old churches, 2 sunrise, 2 sunsets and 1 Light source. A Travelogue when 3 Light chasers embark on a 3 day exploration with a goal to share a different side of Bohol.

This will be dedicated to the beauty Bohol holds. Showing the most remote locations, that it is not just about Tarsiers and Chocolate Hills but a story of untold greatness. Join us in this quest to follow the Light!

#1
ISO 50 l 20mm l f6.7 l .7" l CPL l .9 NDGRAD SE l 5DMK2 l 17-40L

This is just exciting and impressive. The 20mm focal length is right for this scene. It's dramatic and captivating. I get a lot of pleasure seeing this wonderful water coming over the rocks.

The slightly curved horizon and perhaps distortion in the foreground are the only small niggles I'd work on before printing.

Thanks for sharing,

asher

karlo reyes · Sep 25, 2009

Asher Kelman said:
Agreed!

The 3rd image gives me problems especially the dense cyan water. How come? How did you process the image? Is this coming from your PP or from your polarizing filter? I really don't get it!

Asher

hi asher, actually i didn't move the cyan slider on this one. sure will be glad to share my PP workflow, Will be attaching also the converted jpg directly from the raw file of this one.

BEFORE (NO ADJUSTMENTS)

AFTER WITH PP ACR ADJUSTMENT
+.3 EXPOSURE
CONTRAST +20
CLARITY + 15
VIBRANCE + 10
SATURATION +5
PHOTOShHOP FOR SHARPENNING

what you think?

much respect,
karlo

Asher Kelman · Sep 25, 2009

BEFORE (NO ADJUSTMENTS)

I'm wondering whether this water is full of some mineral that colors it like this? Is it possible this is an effect of your RAW processing? Was this color in the jpg too?

Asher

Cedric MASSOULIER · Sep 25, 2009

Hi Karlo,

What i tried to say is that you could try to densify water rendering : try LAB mode and slightly decrease luminosity curve at the middle of the spectrum, apply this only on very clear zones like the water. If you want, i could try this tonight, when i am at home.

Cedric.

karlo reyes · Sep 25, 2009

Cedric MASSOULIER said:
Hi Karlo,

What i tried to say is that you could try to densify water rendering : try LAB mode and slightly decrease luminosity curve at the middle of the spectrum, apply this only on very clear zones like the water. If you want, i could try this tonight, when i am at home.

Cedric.

sure would appreciate that. would try it myseld also. cheers!

Bart_van_der_Wolf · Sep 25, 2009

Cedric MASSOULIER said:
What i tried to say is that you could try to densify water rendering : try LAB mode and slightly decrease luminosity curve at the middle of the spectrum, apply this only on very clear zones like the water.

Changing mode from RGB to Lab potentially loses color accuracy, and again when going back to RGB after alterations. One doesn't need to go through the Mode change to Lab, and back. Just add a luminosity blending layer to the image.

Make a copy of the original layer, and change the blending to Luminosity. Now you can adjust only the luminosity of the composite (e.g. by dodging and burning locally, or curves adjustment globally), including the use of masks to restrict the effect to certain areas, without altering the original layer data. It is also easy to check the before/after situation and, if needed, redo it again if you don't like the results.

Cheers,
Bart

Cedric MASSOULIER · Sep 25, 2009

Hi Bart,

Photoshop internal engine works in LAB mode... If you convert a picture from RGB to LAB mode to work L (luminosity) layer and re-convert it from LAB to RGB mode after modifications, i don't think you have losses about colors at end, as you didn't modify A and B layers.

It is the way i work light and contrast for my pictures and it works very well !

Regards,

Cedric.

Cem_Usakligil · Sep 25, 2009

Cedric MASSOULIER said:
Hi Bart,

Photoshop internal engine works in LAB mode... If you convert a picture from RGB to LAB mode to work L (luminosity) layer and re-convert it from LAB to RGB mode after modifications, i don't think you have losses about colors at end, as you didn't modify A and B layers.

It is the way i work light and contrast for my pictures and it works very well !

Regards,

Cedric.

Hi Cedric,

Unknowingly, you could end up opening a beehive here ;-). There have been a zillion flame wars on the net about this very topic. Having also read the (in)famous book by Don Margulis (Photoshop Lab Color) I am a follower of the school of thought that any conversion introduces losses, however slight they might be. So I never convert the image to LAB in photoshop. And there is no need to do so if you follow the advise given by Bart. Use layers and change the layer's blending mode to luminosity, that is all it takes really. No more roundtrips to LAB!

BTW, photoshop doesn't use LAB as the internal engine. It is a rumour which has been difficult to eradicate so far. Lab space is used as a reference when conversions are done from one space to another. I think that Andrew Rodney can tell us the technical details if we ask him nicely. Also a good read is this Adobe technical paper written by Andrew himself.

Cheers,

karlo reyes · Sep 25, 2009

Asher Kelman said:
BEFORE (NO ADJUSTMENTS)

I'm wondering whether this water is full of some mineral that colors it like this? Is it possible this is an effect of your RAW processing? Was this color in the jpg too?

Asher

hi asher, this is the actual color of the falls. the prior image is direct convert from raw with out pp.. export from lightroom then 20% quality. that's it. what you think?

Cedric MASSOULIER · Sep 25, 2009

Cem_Usakligil said:
Hi Cedric,

Unknowingly, you could end up opening a beehive here ;-). There have been a zillion flame wars on the net about this very topic. Having also read the (in)famous book by Don Margulis (Photoshop Lab Color) I am a follower of the school of thought that any conversion introduces losses, however slight they might be. So I never convert the image to LAB in photoshop. And there is no need to do so if you follow the advise given by Bart. Use layers and change the layer's blending mode to luminosity, that is all it takes really. No more roundtrips to LAB!

BTW, photoshop doesn't use LAB as the internal engine. It is a rumour which has been difficult to eradicate so far. Lab space is used as a reference when conversions are done from one space to another. I think that Andrew Rodney can tell us the technical details if we ask him nicely. Also a good read is this Adobe technical paper written by Andrew himself.

Cheers,

Ok ok Cem, i dont' want to relaunch the war ;oD
I will try method suggested by Bart and you.

Cedric.

Bart_van_der_Wolf · Sep 25, 2009

Cedric MASSOULIER said:
Ok ok Cem, i dont' want to relaunch the war ;oD
I will try method suggested by Bart and you.

Hi Cedric,

Don't worry, we are not war mongerers here at OPF (maybe at times 'rebels with a cause', but that's it ;-) ). I just want people to be aware of the real potential risks, rather that just follow urban myths. I also try to avoid any degradation of the original image data, as much as possible. That's why I advocate the use of layers, and they offer a lot of efficiency benefits as well.

For those interested, here is an article from a colorscience 'guru' also warning for the potentially detrimental effects (quantization losses) to the image data caused by the mere mode conversion. Not all colors are at risk, because not all the risky colors are present in all images, but I'd hate to find out at the end of a significant editing job for large output, that the image has visibly suffered.

Cheers,
Bart

Cedric MASSOULIER · Sep 25, 2009

Very instructive, thank you .

karlo reyes · Sep 29, 2009

These rocks are really awesome and the green algae attached to some remains still, Ignoring the strong waves constantly crashing at them. Dynamic water is a joy for me.

#4
ISO 50 l 20mm l f22 l .7" l CPL l .9 NDGRAD SE l 5DMK2 l 17-40L

karlo reyes · Sep 29, 2009

Our first sunrise in Valencia. We were there around 430am to do an ocular of the place. As soon as the first hint of light touched the ocean we went down and started shooting. This scene just got my attention and the waves are just crashing at Lem's feet. I know it would look crazy after wards!

#5
ISO 50 l 24mm l f16 l 1" l CPL l .9 NDGRAD SE l 5DMK2 l 17-40L

Boholscapes '09: Followers of The Light 1.0

New member

New member

New member

New member

New member

OPF Owner/Editor-in-Chief

OPF Owner/Editor-in-Chief

OPF Owner/Editor-in-Chief

New member

OPF Owner/Editor-in-Chief

New member

New member

pro member

New member

Well-known member

New member

New member

pro member

New member

New member

New member