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Experiment in Digital File Adjustment: Helsinki Airport Train with Clouds in Four Variations.

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Yesterday on Tracking the Light, I mentioned how on the morning of 31 July 2015, Markku Pulkkinen, Sakari K. Salo, and Juhani Katajisto provided me a tour of the new Helsinki Airport line by car.

Mr. Salo selected this location as being one of the best places to try to get a plane and train in the same photo.

While this didn’t line up the way we’d hoped, the location did allow me to make a variety of dramatic photos. My challenge was in capturing a high-contrast scene digitally.

The sky was dressed with some impressive clouds. So how to best work with such a scene?

I opted to gauge my exposure to retain detail in the sky, while allowing for underexposure of the train. I intentionally included the array of electrical wires to show the advantages and disadvantages of various digital treatments.

With the following four images, the first is the un-manipulated camera ‘RAW’ file. The next three show various types of post-processing adjustment using Adobe Lightroom.

This view is a Jpg converted from the camera RAW file without any manipulation in post processing. All of the detail in the subsequent views exists in the camera RAW file. The challenge with the unmodified RAW file is holding sufficient detail in the shadow areas without blowing out the highlight. Ultimately I'm aiming to achieve balance. However, as you can see, it is easy enough to exaggerate the conditions of the seen to make a more dramatic image.
This view is a Jpg converted from the camera RAW file without any manipulation in post processing. All of the detail in the subsequent views exists in the camera RAW file. The challenge with the unmodified RAW file is holding sufficient detail in the shadow areas without blowing out the highlights. Ultimately I’m aiming to achieve balance. However, as you can see, it is easy enough to exaggerate the conditions of the seen to make a more dramatic image.
This is a simply modified version. All I did was adjust contrast using 'highlights' and 'shadows' sliders under the 'develop' section of Lightroom. Doing so provides better contrast that more closely resembles the way the seen appeared to my eye.
This is a simply modified version. All I did was adjust contrast using ‘highlights’ and ‘shadows’ sliders under the ‘develop’ section of Lightroom. Doing so provides better contrast that more closely resembles the way the scene appeared to my eye.
To accentuate the effect of the sky and make a more dramatic image, I've used the graduated neutral density effect. This has an effect that digitally emulates the application of a two-stop gradated neutral density filter to the front of the camera. The effect is easily spotted by its treatment of the electrical pylons.
To accentuate the effect of the sky and make for a more dramatic image, I’ve used the graduated neutral density effect. This applies the effect that digitally emulates the application of a two-stop gradated neutral density filter to the front of the camera. The effect is easily spotted by its treatment of the electrical pylons.
In this fourth version, I've heavily manipulated contrast and exposure, and used both 'Clarity' and 'Saturation' sliders. To me, while the photograph has an impressive punch, it no longer resembles the scene. Such manipulation is relatively easy, thus owing to it being commonly applied to images today. Incidentally, you can apply the same techniques to photographs exposed on film.
In this fourth version, I’ve heavily manipulated contrast and exposure, and used both ‘Clarity’ and ‘Saturation’ sliders. To me, while the photograph has an impressive punch, it no longer resembles the scene as I saw it. Such manipulation is relatively easy, thus owing to it being commonly applied to images today. Incidentally, you can apply the same techniques to photographs exposed on film.

Back in the old days, I’d routinely make adjustments to contrast and exposure when I printed my black & white negatives. Often, I’d expose and process the film in anticipation of manipulation in the darkroom. (I’d also make prints from color slides using Cibachrome and Type R materials, but that’s a story for another day).

In effect, my digital manipulation of the RAW file is a modern interpretation of this traditional processing technique. I’ve not added anything to the original file, I’ve simply altered contrast, exposure, and color saturation using controls offered by the program.

 

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DAILY POST: Irish Rail Weed Spraying Train, Fiddown

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The Old Weed Sprayer was Good Sport.

One of my all-time favorite Irish Rail subjects was the annual weedspraying campaign. Every spring, a Bo-Bo would be allocated to haul the ancient looking contraption that functioned as the weed spraying train. Over the period of several weeks this would gradually make its way across the network.

Weed Spraying train
Irish Rail 175 leads the Weedspraying train near Fiddown in May 2003. Exposed on Fujichrome using a Contax G2 Rangefinder with 45mm lens. Slide scanned with Epson V600; the contrast was manipulated globally and locally in post production to improve overall appearance of the image. The chevrons on the front of the locomotive were icons of the weed-spraying campaign.

Highlights of the campaign typically included travel over a variety of lines closed to traffic and this made for high adventure! [scene censored to protect the innocent]. I also made countless images of the train on regularly used lines.

Yet, finding the train could be a challenge, as it often didn’t hold to its program. Equipment difficulties were among the cause for delay.

On this bright morning in the second week of May, several of us had intercepted locomotive 175 with the spray train at Carrick-on-Suir, County Tipperary and followed the train toward Waterford. I made this image from the Fiddown bypass just east of the old station at Fiddown. The distant signal for Fiddown gates can be seen in the distance.

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