Skip to main content

"Nutimik Lake"



The Whiteshell region in eastern Manitoba is spectacular in autumn when the hardwood forest starts to change color.



I stood at a narrows where a fast-flowing stream emptied into the lake. A long exposure (4 seconds) blurred the rushing water. But I wanted the water to look even more silky-smooth - in contrast to the fine detail of the forest - so I softened it (and the sky) by turning down the level of fine-contrast (using a tool in DxO PhotoLab). 

While softening the appearance of water and sky, I wanted to retain the sharpness and detail of the forest. I made two copies of the image - one with the softening effect and one without - and layered the softened one on top of the other. I then erased the forest area from the top layer. I had to be especially careful when using the photoshop eraser tool at the border where the forest meets the sky so that the blending would be smooth and seamless. I turned the opacity setting of the eraser down to 25 percent to accomplish this.

The light in the BEFORE image looked a little flat. I fixed this with tone curve adjustments. There was also a yellowish color cast that masked much of the interesting color variation in the forest. I addressed this with a color-balance adjustment in photoshop.

I cropped the image a little and adjusted the horizon line to correct the slight upward tilt of the BEFORE image.

Comments

Popular posts from this blog

"Boat Tour"

On a boat tour of Western Brook Pond in western Newfoundland two women focused on the spectacular scenery while I focused on them. The pastel colors of their windbreakers contrasted with each other and with the natural tones of the land, water and sky. The image tells a strong, simple story: two people awestruck by 600 meter (2000 foot) cliffs towering over a remote, pristine lake. This image required less work than many of the others featured in this blog. It's a good example of how even relatively modest adjustments can transform a photograph from merely "interesting" to "worthy of displaying". I wanted to separate the women from the landscape - make each part of the image stand out in its own right. I was taken by the colors and textures of the jackets so I increased vibrancy a little to bring out the color and used  fine-contrast and tone curve adjustments to  highlight the fabric's folds and shadows. I added drama to the background through t

"Trepassey"

The isolated coastal village of Trepassey, Newfoundland sits in the southeast corner of Canada's eastern-most province. The vantage point of this photograph makes for a classic Newfoundland scene: a sliver of human settlement poised between sky and sea. Ethereal, other-worldly: I wanted to capture that feeling. Because I had pointed my camera slightly upward to get more sky in the frame, I had to correct the resulting perspective distortion - notice in the "before" image how the lines of reflected light closest to the sides of the image are twisted away from the center.  I fixed the color temperature to eliminate the strong bluish cast. I corrected the vignetting - notice how the "before" image is significantly darker at all four edges. I cropped from the bottom of the image to bring the bottom border closer to edge of the reflected lights. How do you convey "ethereal"? For me the key elements were delicacy,  l ightness, and a sense of &qu

"Tablelands"

The tablelands of western Newfoundland are a rare geological formation - a piece of the earth's mantle, normally buried seven or more kilometers beneath the earth's crust, but forced to the surface here several hundred million years ago. The area lacks the usual nutrients required to sustain most plant life, and so is nearly barren. The high iron content of the rock accounts for the rusty brownish color. In the BEFORE image the sky is correctly exposed but everything else is badly underexposed. This was fixed with an exposure correction in the RAW image.  The BEOFRE image has a slightly bluish color cast which was fixed with a color temperature correction. After making those global adjustments, I worked separately on four sections of the image: the sky, the land in the upper part of the frame, the creek, and the large rock that dominates the lower right-hand corner.  The overall plan was to bring out the textures and contrast in the rocks, maintain the darker ton