Bannack - HDR

Symmetry

Tuesday, February 22, 2011; 2pm; Bannack, Montana
f/4; 1/1600; Canon EOS T2i; 70-200mm f/4L@154mm

Quill
Tuesday, February 22, 2011; 2pm; Bannack, Montana
f/1.4; 1/320; Canon EOS T2i; 50mm f/1.4

  Truck - One Shot HDR
Tuesday, February 22, 2011; 2pm; Bannack, Montana
f/4; 1/640; Canon EOS T2i; 17-40mm f/4L@17mm

  Masonisms
Tuesday, February 22, 2011; 2pm; Bannack, Montana
f/4; 1/320; Canon EOS T2i; 70-200mm f/4L@168mm

 The Hotel
Tuesday, February 22, 2011; 2pm; Bannack, Montana
f/4; 1/250; Canon EOS T2i; 70-200mm f/4L@200mm

 More Masonisms
Tuesday, February 22, 2011; 2pm; Bannack, Montana
f/4; 1/800; Canon EOS T2i; 17-40mm f/4L@17mm

Before the edits:

Bannack - Macro Blend

Pitcher - Blend
Tuesday, February 22, 2011; 3pm; Bannack, Montana
f/1.4; 1/640; Canon EOS T2i; 50mm f/1.4

Stove - Blend
Tuesday, February 22, 2011; 3pm; Bannack, Montana
f/1.4; 1/640; Canon EOS T2i; 50mm f/1.4

Before the merge:

To create these two blends, I took a few macro pictures by getting close to some small objects.  I then took a couple pictures of some interesting textures around Bannack.  I used photoshop to add the textures over the images as a new layer and changed the blending modes to overlay to give the blending effect. On each picture, I increased the temperature, added a hint of blue to the shadows and a hint of yellow to the highlights.  I added a flexible vignette to give a burned edge effect and increased the contrast.

Bannack - Reverse Depth of Field

Through the Window

Tuesday, February 22, 2011; 1pm; Bannack, Montana
f/1.4; 1/4000; Canon EOS T2i; 50mm f/1.4

At the Window
Tuesday, February 22, 2011; 1pm; Bannack, Montana
f/1.4; 1/4000; Canon EOS T2i; 50mm f/1.4

This was relatively simple.  I opened the aperture as far as I could to f/1.4 to give a shallow depth of field.  I then focused on the window and building outside alternately and took a few pictures.  I then increased the temperature, added a hint of blue to the shadows and a hint of yellow to the highlights.  I added a flexible vignette to give a burned edge effect and increased the contrast.

Bannack - Freeze/ Blur Action

Snow

Tuesday, February 22, 2011; 1pm; Bannack, Montana
f/4; 1/1250; Canon EOS T2i; 70-200mm f/4L@126mm

Ghost
Tuesday, February 22, 2011; 2pm; Bannack, Montana
f/13; 10"; Canon EOS T2i; 17-40mm f/4L@17mm

To capture the action, I increased my shutter speed to 1/1250 and took the shot outside when there was plenty of light.  I turned my camera onto burst mode and took several pictures in a sequence as the snow fell.  To capture the ghostly picture, I set my camera on a table (forgot the tripod) and left the shutter open for 10 seconds.  To compensate for the massive amount of light being let in, I turned the aperture down to f/13.  On each picture, I increased the temperature, added a hint of blue to the shadows and a hint of yellow to the highlights.  I also used the adjustment brush in camera raw to lighten their faces.  I added a flexible vignette to give a burned edge effect and increased the contrast.

Bannack - Portraits

Rachel
Tuesday, February 22, 2011; 2pm; Bannack, Montana
f/1.4; 1/160; Canon EOS T2i; 50mm f/1.4

The Photographer and His Son
Tuesday, February 22, 2011; 4pm; Bannack, Montana
f/4; 1/800; Canon EOS T2i; 70-200mm f/4L@200mm

For my portraits, I made relatively few edits.  On each picture, I increased the temperature, added a hint of blue to the shadows and a hint of yellow to the highlights.  I also used the adjustment brush in camera raw to lighten their faces.  I added a flexible vignette to give a burned edge effect and increased the contrast.  To get a good depth of field, I got my subjects as far away from the background as I could and dropped the f/stop as low as I could.

Fine Art Templates

Max Daines Photography Fine Art Template I

Image: The Gas Mask
January 14, 2011; 2pm; Rexburg, Idaho

f/2; 1/160; Canon EOS T2i; 100mm f/2

Max Daines Photography Fine Art Template II

Image: DJ FM

  January 19, 2011; 9pm; Rexburg, Idaho
f/1.2; 1/160; Canon EOS T2i; 50mm f/1.2L

I created these "Fine Art" templates by using a clipping mask on the image over a shapes layer.  The effect allows the picture to show through only where you have placed a shape- in this case 5 rectangles.  This is a classy way to display your photographs.

Night & Light

Graffiti

(Light Painting)

Saturday, February 19, 2011; 11pm; Rexburg, Idaho

f/13; 20"; Canon EOS T2i; 17-40mm f/4L@17mm

+

f/4; 1/5; Canon EOS T2i; 17-40mm f/4L@17mm

Tron?
(Light Painting) 

Saturday, February 19, 2011; 11pm; Rexburg, Idaho

f/22; 30"; Canon EOS T2i; 17-40mm f/4L@17mm

Zoom

(Camera Motion Painting) 

Sunday, February 20, 2011; 8pm; Rexburg, Idaho

f/6.3; 2.5"; Canon EOS T2i; 70-200mm f/4L

Street

(Moving Light Capture) 

Sunday, February 20, 2011; 8pm; Rexburg, Idaho

 f/22; 20"; Canon EOS T2i; 17-40mm f/4L@17mm

The Moon
Tuesday, February 14, 2011; 9pm; Rexburg, Idaho
f/10; 1/400; Canon EOS T2i; 2000mm f/10

To create these images, I used a long shutter speed to capture more light.  Most of the time, it was not pitch black so to get the correct exposure it was necessary to stop up my aperture to about f/13 or f/22 depending on the natural light available.  On "Graffiti," I took two long exposure shots and used an LED light to write on the walls. I then used a flash and took one last picture of me.  I then blended the three images together in photoshop.  "Tron?" was very similar, except that I blended 15 images to create that effect.  For "Zoom," I left the shutter open for about 3 seconds, and while the camera was recording the image I zoomed out from 200mm to 70mm to create that effect.  On "Street" I simply left the shutter open for 20 seconds and captured the taillights of passing cars.

"The Moon" doesn't really fit into any of the categories; I just took the picture at night and I liked it.

Scanography

Collage Scans

Piranha

Epson V500

Keep your hands and feet inside the boat

Epson V500

Fish & a hand

Epson V500

To create this collage, I scanned my hand and a couple of piranhas. I left the lid of the scanner open and turned off the lights in the room to give a nice black background. I then cut the three subjects out in photoshop and combined them on a new black background.

One-scans

Tetris?

Epson V500

Optics

Epson V500

It was simple to create these: I arranged the glass pieces and the lenses on the scanner, turned off the lights, then scanned them.  No edits were done except for light color adjustments.

These two pictures are quite large, but I loved the amount of detail that was captured.

Mineral

Epson V500

Piranha

Epson V500

Edge Effects

Brushed-on Effect

Before:

Hillary

Saturday, February 12, 2011; 2pm; Rexburg, Idaho

f/4; 1/640; Canon EOS T2i; 70-200mm f/4L@154mm

I took this image and cropped it. I then deleted the image and chose the history brush.  I started with a large brush with a low opacity and painted over most of the model to slightly bring back the image.  I continued to do this three more times, each time using a smaller brush and increasing the opacity a bit more.  By the end, my brush was at 100% opacity and I was focusing on the face.  I then took that brush and cleaned up the edges of the brush strokes.

Flexible Vignette with white stroke

Before:

 Hillary and Lisa

Saturday, February 12, 2011; 3pm; Rexburg, Idaho

f/1.4; 1/1000; Canon EOS T2i; 50mm f/1.4

I added a flexible vignette to this image by adding a new green layer in photoshop.  I put that over the image, then made a selection on the green layer.  I deleted that to let the image show through.  I then decreased the opacity on that layer.  Then I selected the image layer with the box still selected.  I then used the stroke tool to add a 5pt white stroke to the box.

Flexible Brushed-on Effect

Before:

 Hillary

Saturday, February 12, 2011; 2pm; Rexburg, Idaho

f/1.4; 1/4000; Canon EOS T2i; 50mm f/1.4

To create this effect, I added a white layer over the image.  I then added a mask to that layer.  Then I started with a large brush with the color as black with a low opacity and painted over most of the model to slightly bring back the image.  I continued to do this three more times, each time using a smaller brush and increasing the opacity a bit more.  By the end, my brush was at 100% opacity and I was focusing on the face.  I then took that brush and cleaned up the edges of the brush strokes.

Portraits

Devyn and Maddy

Saturday, February 5, 2011; 11am; Rexburg, Idaho

f/4; 1/800; Canon EOS T2i; 70-200mm f/4L@70mm

Devyn

Saturday, February 5, 2011; 11am; Rexburg, Idaho

f/4; 1/800; Canon EOS T2i; 70-200mm f/4L@131mm

 Maddy

Saturday, February 5, 2011; 11am; Rexburg, Idaho

f/4; 1/1000; Canon EOS T2i; 70-200mm f/4L@200mm

 

Megan

Friday, February 4, 2011; 4pm; Rexburg, Idaho

f/4; 1/160; Canon EOS T2i; 70-200mm f/4L@122mm

Megan #2

Friday, February 4, 2011; 4pm; Rexburg, Idaho

f/4; 1/160; Canon EOS T2i; 70-200mm f/4L@200mm

Megan #3

Friday, February 4, 2011; 4pm; Rexburg, Idaho

f/4; 1/160; Canon EOS T2i; 70-200mm f/4L@70mm

Megan #4

Friday, February 4, 2011; 4pm; Rexburg, Idaho

f/4; 1/160; Canon EOS T2i; 70-200mm f/4L@118mm

 Kirsten

Friday, February 4, 2011; 1pm; Rexburg, Idaho

f/4; 1/800; Canon EOS T2i; 70-200mm f/4L@200mm

 Cydney #2

Friday, February 4, 2011; 1pm; Rexburg, Idaho

f/4; 1/800; Canon EOS T2i; 70-200mm f/4L@200mm

Cydney and Kirsten

Friday, February 4, 2011; 1pm; Rexburg, Idaho

f/4; 1/800; Canon EOS T2i; 70-200mm f/4L@200mm

 Cydney #3

Friday, February 4, 2011; 1pm; Rexburg, Idaho

f/4; 1/800; Canon EOS T2i; 70-200mm f/4L@163mm

Environmental Portraits

The Surrender

Friday, February 5, 2011; 9am; Rexburg, Idaho

f/4; 1/800; Canon EOS T2i; 70-200mm f/4L@70mm

 Captain

Friday, February 5, 2011; 10am; Rexburg, Idaho

f/2; 1/200; Canon EOS T2i; 100mm f/2

 Dead?

Friday, February 5, 2011; 9am; Rexburg, Idaho

f/4; 1/800; Canon EOS T2i; 70-200mm f/4L@70mm

DJ FM
January 19, 2011; 9pm; Rexburg, Idaho
f/2.0; 1/160; Canon EOS T2i; 50mm f/1.2L

 Promo Shoot / Jib
January 19, 2011; 9pm; Rexburg, Idaho
f/2.0; 1/160; Canon EOS T2i; 50mm f/1.2L

 Cassette Optics x DJ FM

January 19, 2011; 10pm; Rexburg, Idaho
f/1.2; 1/400; Canon EOS T2i; 50mm f/1.2L

 I adjusted each of these images in camera raw to bring out the blacks, increase the contrast, lighten faces and eyes and lightly adjust the color.  I shot wide open to get the best bokeh - and in many cases I zoomed to increase the effect and fill the frame with the subject.  I also added a light vignette on most of the images to make the subjects stand out.