User talk:TonyTheTiger/Archive 4

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Copyright status: File:20230208 Honest Company headshot of Carla Vernón.jpg

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Thanks for uploading File:20230208 Honest Company headshot of Carla Vernón.jpg. I notice that the file page either doesn't contain enough information about the license or it contains contradictory information about the license, so the copyright status is unclear. If you created this file yourself, then you must provide a valid copyright tag. For example, you can tag it with {{self|GFDL|cc-by-sa-all}} to release it under the multi-license GFDL plus Creative Commons Attribution-ShareAlike All-version license or you can tag it with {{PD-self}} to release it into the public domain. (See Commons:Copyright tags for the full list of license tags that you can use.) If you did not create the file yourself or if it is a derivative of another work that is possibly subject to copyright protection, then you must specify where you found it (e.g. usually a link to the web page where you got it), you must provide proof that it has a license that is acceptable for Commons (e.g. usually a link to the terms of use for content from that page), and you must add an appropriate license tag. If you did not create the file yourself and the specific source and license information is not available on the web, you must obtain permission through the VRT system and follow the procedure described there. Note that any unsourced or improperly licensed files will be deleted one week after they have been marked as lacking proper information, as described in criteria for deletion. If you have uploaded other files, please confirm that you have provided the proper information for those files, too. If you have any questions about licenses please ask at Commons:Village pump/Copyright or see our help pages. Thank you.

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File:Infernal Dance of Kastchei.ogg

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SDudley (talk) 23:12, 30 January 2024 (UTC)

File:Mayor's Office Festivals Billboard.jpg

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✗plicit 00:33, 27 March 2024 (UTC)

Discussion at COM:AN#Overwritten file

 You are invited to join the discussion at COM:AN#Overwritten file. -- Marchjuly (talk) 04:47, 9 August 2024 (UTC)

Round 1 of Picture of the Year 2023 voting is open!

2022 Picture of the Year: Great Cormorant (Phalacrocorax carbo), Little Egret (Egretta garzetta) and Gadwall (Mareca strepera) in Nepal.

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Quality image

Your image has been reviewed and promoted Congratulations! 20240920 53rd Street Hyde Park Chicago near equinox stacked rotated and recropped 4x3.jpg, which was produced by you, was reviewed and has now been promoted to Quality Image status. If you would like to nominate another image, please do so at Quality images candidates. We also invite you to take part in the categorization of recently promoted quality images. Comments {{{3}}}

Tony, the bot got confused and notified me instead. Thanks for posting the picture and for being willing to try something difficult. Please keep up the good work. Acroterion (talk) 12:19, 24 October 2024 (UTC)

I think you've mainly concentrated on image review for enwiki; Commons is a little different. For one thing, it's rather, erm, Germanic in process and content. There's a lot of pixel-peeping, and a certain roteness to the processes and the kinds of images that get favored. I try to push the boundaries of that now and then, with varying success. This is most apparent in FP nominations, where there's a pretty narrowly-defined recipe for promotion. Acroterion (talk) 13:15, 24 October 2024 (UTC)

User:Acroterion, How does that impact Category:Quality images by user

Most of those "by user" categories are things you'd need to add yourself to manually - there's no automated tracking or attribution. I've never bothered for myself. Acroterion (talk) 18:55, 24 October 2024 (UTC)

User:Acroterion are you familiar with the Commons:Valued image process. I have nominated and renominated Commons:Valued image candidates/20161005 Broadway Hollywood Building from Hollywood and Vine (2).jpg without any comment. Do you have any advice?-TonyTheTiger (talk) 20:04, 24 October 2024 (UTC)

BTW, If the w:2024 World Series goes at least 6 games, I will use some miles and go out to LA. I am thinking about redoing the w:Broadway Hollywood Building with an attempt at w:Focus stacking to get the near and far all in sharp focus.-TonyTheTiger (talk) 20:19, 24 October 2024 (UTC)

I find the VI process inscrutable, it seems to hinge on very narrow use and definitional parameters that I don't have much patience for, so I've only done it a couple of times. The reviewers aren't very responsive, there seems to be little traffic there.

You can get tickets to the World Series on short notice?

User:Acroterion, Tix will cost $ on 2ndary market like stubhub or seat geek. I've got miles for a free ticket and my sister has a guest room for free accommodations. -TonyTheTiger (talk) 20:53, 24 October 2024 (UTC)

It looks like time of day (and maybe season) would be critical for the Broadway Hollywood Building. A tilt-shift lens would also help, software perspective correction starts to distort pixels sometimes. Acroterion (talk) 20:41, 24 October 2024 (UTC)

User:Acroterion, I don't have tilt-shift lens and would not know how to use one. I have a new 28mm-70mm F 2.0 lens that is suppose to arrive tomorrow. Most of my glass is F4. However, I have been getting a lot of night shooting requests on Thumbtack and feel capturing 4x more light with an F2 would make me more marketable. It won't be wide enough to recreate this shot though. So, I will be using my 10mm-20mm F4.0 lens. I have been experimenting in the neighborhood with focus stacking and feel this is the ideal subject with the near stars and far building. I might be able to get it up to QI or FP quality level.-TonyTheTiger (talk) 20:53, 24 October 2024 (UTC)

I have almost all F4, for things that don't move much it's fine. I have a 24mm TS lens, which is fiddly and manual, but when it works it's magic. Most architectural photographers use one, since it saves time in post. It doesn't solve all issues of proportion - you can get an image that looks very top-heavy if you have the wrong angle. The shift function is what I need it for, to correct vertical perspective, I've never bothered with the tilt function (though someone who's adept would use it to get the foreground stars in focus too). Acroterion (talk) 21:23, 24 October 2024 (UTC)

• I am thinking about the time of day to retake the w:Broadway Hollywood Building. There is the shadow issue. Getting up at sunrise when there might be less traffic, would have more shadows. The more I wait for the shadow to be less of an issue, the more the sky will be blown out, I think. At some point, I also want to get the back view of that building at night with its iconic lit sign. Not sure if it will be this trip.-TonyTheTiger (talk) 21:55, 24 October 2024 (UTC)

Circular polarizing filter for sky? Acroterion (talk) 23:47, 24 October 2024 (UTC)

Or a graduated neutral density filter, though it's not ideal for that composition. Acroterion (talk) 23:49, 24 October 2024 (UTC)

I have a 77mm variable neutral density filter that I could put on my 14mm-35mm F 4.0, which I guess could redo the original shot at 10mm with my crop sensored 7DM2 (16 mm). I haven't really experimented with it. Could I still focus stack with it on?-TonyTheTiger (talk) 04:26, 25 October 2024 (UTC)

Don't see why not, the filter shouldn't make any difference. Do you mean focus stacking or exposure stacking? I'd only do focus stacking where depth of field is hard to control, although I'd consider it to get the stars in the foreground to be sharp (where a shift function would theoretically work too). I've only done focus stacking in controlled environments for macro photography, but exposure stacking is commonplace for things like the blue hour.

A really dense ND filter would allow very long exposure that effectively edits out moving objects, if timed and exposed right (but wouldn't be so amenable to focus or exposure stacking because of the time involved and shifting light). Acroterion (talk) 13:54, 25 October 2024 (UTC)

I am not familiar with the term exposure stacking. Is that the same as exposure bracketing and compositing, which is very different from focus stacking, to my understanding. As I understand it bracketing is generally done by modulating light with different settings. I usually use auto exposure bracketing (AEB), which in many shooting modes modulates shutter speeds, as a first priority, but then modulates ISO and aperture if you are stopped out. E.g. Suppose you have a 7 picture bracket in full stop increments from 3 to -3, but start at shutter speed 1/2000. Then at 2 stops one is at the minimum shutter speed of 1/8000 and the additional stop has to be achieved by modulating the ISO or aperture. Alternatively, one could choose to modulate light with ISO or aperture as the priority. Similarly, one could modulate light with flash exposure bracketing. These techniques are valuable when a setting has a wide dynamic range and needs different settings to enable the camera to capture light information of the scene. E.g., my recent QI, I was shooting directly into the sun, the brightest known light source. The amount of exposure time to inform the sensors of the sun element of the setting is far shorter than other elements of the setting that are in the shadows of this source, such as the leaves that you feel are very dark. By using software to assess the information from each pixel in various bracket sequence elements, one could take the best of various pixels to produce an image that has well exposed dark areas without overexposing the well-lit areas. I could recomposite the shot to brighten the leaves. However, with additional information the perfection of the w:sunburst is diminished and the center of the sunburst becomes more mishapen. From the +3 to -3 7 shot sequence combining the +1 and +3 elements brightened the dark areas of the +1 scene while retaining the form of the in the free Canon software that I used. Focus stacking, is a different technique unrelated to capturing light. My understanding of focus stacking is that it is a technique used to improve depth of field of a particular scene by moving the plane of focus scene incrementally in a sequence and combining all elements of the scene with information from a shot in the sequence where the plane of focus is near that part of the scene. E.g., in the Broadway Hollywood Building photo that I want to do, I could set the camera to focus on the near by stars and then sequentially move the plane of focus towards the building and beyond. Then I could combine parts of the scene from whichever part of the sequence has a plane of focus near it. I see a lot of focus stacking in the Picture of the Year contest. I have not noticed bracketing very much. This is based on time spent on YouTube and pestering the Canon Professional Service phone support who will talk with a member 24/7. I am still a grasshopper with both techniques. I have been bracketing since August and stacking since September.-TonyTheTiger (talk) 04:04, 26 October 2024 (UTC)

Yes, essentially it is compositing a set of bracketed images so you have a high dynamic range (HDR) image. Photoshop has a process for that, and it's possible to do it in-camera with an R5, but that yields a JPG rather than a RAW image. As for combining focus and exposure stacking, that's not something I've tried. Adobe has a tutorial here [1] Acroterion (talk) 17:04, 26 October 2024 (UTC)

I have been back and forth with Canon Professional Services in the past regarding whether it was possible to set up the camera to focus stack brackets so that each bracket stop-level element had the range of focal planes and they could not instruct me how to do that in my R5M2. Neither as individual images for post or as an incamera composite/stack. I have been told by CPS that you can not composite brackets and focus stack simultaneously. What are you talking about?-TonyTheTiger (talk) 03:56, 27 October 2024 (UTC)

I was describing what you are in fact trying to do, both exposure and focus compositing in one. I think the only way to accomplish what you're describing is to do the focus manipulation optically and the exposure with exposure adjustment and compositing. In other words, using a tilt-shift lens to correct perspective (shift) and get foreground clarity (tilt), and then bracketing and compositing that composition. While I've never done more than experiment with the tilt function of my TS lens, tilt is used by landscape photographers and in-studio product photographers to get a sharp foreground, like the stars in the sidewalk. It's simple to adjust the focal plane with a large-format bellows-style view camera, where the offset and angle of the lens are manipulated on the spot; Ansel Adams didn't necessarily keep his lens aligned and centered on the plate. It's not intuitive at all, but there's a reason people still do large-format images with view cameras. Acroterion (talk) 13:30, 27 October 2024 (UTC)

I am not going to be trying to focus stack and exposure bracket in the same work. i see myself trying to redo the shot a handful of different ways and see what produces the best result.-TonyTheTiger (talk) 03:48, 28 October 2024 (UTC)

Look at en:Tilt–shift photography, which is a little hard to understand, but the diagrams are helpful, particularly the examples where tilt is used to extend the focal range. Once you've used it a couple of times, it's easier to get an intuitive sense of what can be done. I'd recommend that you rent a TS lens to try it out. Acroterion (talk) 13:37, 27 October 2024 (UTC)

Very detailed article, but I am going to have to get on en:YouTube for this one.-TonyTheTiger (talk) 10:07, 28 October 2024 (UTC)

Also, this on enwiki en:Multi-exposure HDR capture Acroterion (talk) 17:08, 26 October 2024 (UTC)

User:Acroterion, At some point I will use my Canon Professional Services option to request loaner lenses and bodies for 10-day tests for a tilt-shift. However, after taking in some youtube intros to TS, I am convinced that tilt shift could enable me to tilt to focal plane so that some elements of the foreground and the background are in focus simultaneously, but not necessarily the whole building. Similarly, it would enable me to address perspective correction and capture the whole building with the shift. I am not sure that the latter would enable the foreground to be in focus simultaneously. I think a well-executed focus stack would enable me to get all stationary scene elements in focus in a single stacked image in the face of the challenge of having the collateral moving scene elements make a non-negative contribution to the stacked composition. A separate AEB composite with a narrow aperture would handle the sky better. A variable ND could handle the sky but reduce the depth of focus. A joint use of the variable ND and the focus stack might succeed (again with the collateral moving elements at issue). This all might be moot as with the Dodgers up 3 games to none in the World Series, it does not look like there will be a reason to go out and see a game 6 or 7 that won't happen. So this may be a future vision. By then, I will have more experience with my variable ND.-TonyTheTiger (talk) 14:39, 29 October 2024 (UTC)

That's a lot at once. Nobody can accuse you of lacking ambition or being unwilling to try something difficult!

The Yankees have certainly failed to impress. The odds of the series coming back to LA to finish look poor. Acroterion (talk) 15:02, 29 October 2024 (UTC)

Some of the youtube videos seem to discuss the shift in conjunction with stitching to get a superior wide angle shot, but then you seem to be subjecting yourself to pixel alignment difficulties because of the shifting resulting from manually moving the knobs between shots. In addition they mention that superior pixel alignment would come by shifting the body and keeping the lens in place rather than having the body on a sturdy tripod and shifting the lens.-TonyTheTiger (talk) 16:57, 29 October 2024 (UTC)

I just noticed that I conflated two uses of the tilt shift lenses. I watched a youtube which presented 4 main use types: 1. Improve tall building perspective, 2. Improve panoramas, 3. allow focal plane shifting when shooting subject at different distances 4. miniaturization by focal plane shifting.-TonyTheTiger (talk)

• P.S., I don't think I could redo this shot with 24mm. My original is a crop sensored 10mm (16mm on Full Frame).-TonyTheTiger (talk) 22:01, 24 October 2024 (UTC)