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Surf - Quiksilver Pro NY 2011
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www.mjrphoto.net
Nikon D4, Nikon D3, Nikon D3
Nikon 14-24 f2.8, Nikon 24-70 f2.8, Nikon 70-200 f2.8 VR II, Nikon 50 f1.8, Nikon 85 f1.4
Nikon 300 f2.8 VR, Nikon 200-400 f4.0 VR II, Nikon 600 f4.0 II, TC-1.4, TC 1.7, TC 2.0
(1) SB-800, (2) SB-900, (4) Multi Max Pocket Wizards
Nikon D4, Nikon D3, Nikon D3
Nikon 14-24 f2.8, Nikon 24-70 f2.8, Nikon 70-200 f2.8 VR II, Nikon 50 f1.8, Nikon 85 f1.4
Nikon 300 f2.8 VR, Nikon 200-400 f4.0 VR II, Nikon 600 f4.0 II, TC-1.4, TC 1.7, TC 2.0
(1) SB-800, (2) SB-900, (4) Multi Max Pocket Wizards
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Comments
And it's always a pleasure to see Kelly Slater working his magic. I had the joy of shooting the Rip Curl contest here in San Fran last November, but you had much better conditions.
Great work!
John
Nikon D4, Nikon D3, Nikon D3
Nikon 14-24 f2.8, Nikon 24-70 f2.8, Nikon 70-200 f2.8 VR II, Nikon 50 f1.8, Nikon 85 f1.4
Nikon 300 f2.8 VR, Nikon 200-400 f4.0 VR II, Nikon 600 f4.0 II, TC-1.4, TC 1.7, TC 2.0
(1) SB-800, (2) SB-900, (4) Multi Max Pocket Wizards
I have that 1st shot hanging on my wall above the TV in 20x30. Also have #12 in 20x30 on the wall.
#15 is one of a 10 shot sequence of Slaters perfect 10
Nikon D4, Nikon D3, Nikon D3
Nikon 14-24 f2.8, Nikon 24-70 f2.8, Nikon 70-200 f2.8 VR II, Nikon 50 f1.8, Nikon 85 f1.4
Nikon 300 f2.8 VR, Nikon 200-400 f4.0 VR II, Nikon 600 f4.0 II, TC-1.4, TC 1.7, TC 2.0
(1) SB-800, (2) SB-900, (4) Multi Max Pocket Wizards
I know which shots were in the morning...:D (back lit waves)
All well exposed and super captures
Nikon D3 and a Nikon 600mm at f4.0
Just some HDR on #1, #12 and #17
Nikon D4, Nikon D3, Nikon D3
Nikon 14-24 f2.8, Nikon 24-70 f2.8, Nikon 70-200 f2.8 VR II, Nikon 50 f1.8, Nikon 85 f1.4
Nikon 300 f2.8 VR, Nikon 200-400 f4.0 VR II, Nikon 600 f4.0 II, TC-1.4, TC 1.7, TC 2.0
(1) SB-800, (2) SB-900, (4) Multi Max Pocket Wizards
Natural selection is responsible for every living thing that exists.
D3s, D500, D5300, and way more glass than the wife knows about.
Just curious, how do you do HDR in these situations? I'm not much of an HDR shooter, but always thought you needed to take multiple images to do this. This seems rather difficult to do in action shots, unless you merge several water shots into a final image with the surfer. Inquiring minds want to know...
Thanks. I just open my raw file with Photomatix and go from there. They have some presets that you can start with then play around with the sliders from there.
Nikon D4, Nikon D3, Nikon D3
Nikon 14-24 f2.8, Nikon 24-70 f2.8, Nikon 70-200 f2.8 VR II, Nikon 50 f1.8, Nikon 85 f1.4
Nikon 300 f2.8 VR, Nikon 200-400 f4.0 VR II, Nikon 600 f4.0 II, TC-1.4, TC 1.7, TC 2.0
(1) SB-800, (2) SB-900, (4) Multi Max Pocket Wizards
Thanks--never tried Photomatix, just the HDR feature on PS (and not with much success). But my main question is how you incorporated multiple images when the scene is changing so rapidly. Or maybe you just used a single image but used some of the HDR features to alter contrasts??
Nikon D4, Nikon D3, Nikon D3
Nikon 14-24 f2.8, Nikon 24-70 f2.8, Nikon 70-200 f2.8 VR II, Nikon 50 f1.8, Nikon 85 f1.4
Nikon 300 f2.8 VR, Nikon 200-400 f4.0 VR II, Nikon 600 f4.0 II, TC-1.4, TC 1.7, TC 2.0
(1) SB-800, (2) SB-900, (4) Multi Max Pocket Wizards
I thought HDR was blending images with different exposures.
Do they accomplish that with one shot?
or is the process a selective saturation for a single
Keep in mind that all images are ultimately mapped into the dynamic range of the output medium: monitor or print. What HDR gives you is the ability to maintain tonal gradations and contrasts across the image by taking multiple images and merging them.
However, most HDR images have a look to them, and that look can be created to some extent from a single image (perhaps preprocessed at different exposure levels to give several images to merge). For example, in water shots I often meter so that none of the highlights get totally blown out. This of course leaves the quarter tones and below very dark to black. Not much can be done about the black pixels, but it is possible to pull up anything above this and get *some* gradients and detail back. It is possible to do this by playing with the curves--which is what I do most of the time--but it may be easier to achieve the HDR look by adjusting the curves in HDR-specific software. I am guessing that was done in the examples above.
In my spare time I am working with an academic who does some research in sensor design (he's in the electrical engineering department at a nearby university) and we're trying to develop a single sensor that has an aperture array on top. The idea is to have the ability to adjust aperture (or more precisely, light intensity) at the pixel level, then have the camera set each addressable pixel aperture so that the intensity at each pixel is within the dynamic range of that pixel. One the shot is taken, a set of address-specific calibrations accompany the file, and an HDR image is created from it.
So far we have some interesting data, but nothing anywhere close to a practical sensor. Still, it's a lot of fun...