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In this digital photography tutorial we go on location and face a fantastic scene to shoot but with little space to maneuver.
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Welcome back to ProPhotoInsights and today we’re photographing this lovely tin church behind me. And it’s a location I shot when I preserve a shot actually back on 21 or 22 years ago and the last picture I’ll show later it’s a lot bit of interesting. A bit of a mess up but it turned out to be a really good shot and certainly the problem here is there’s a quite busy road behind me here. And not a lot of spaces so a worse resort to you is evade wide angle shots. But I’m going to show you a technique a stitching technique to help add resolution to the picture and also enable to use to get the entire image that you need. In a very tight spot, so that’s what’s that video is about today. The sun is just dropping down we got about 30 minutes until sunset, we got enough amount light left on the church. So we’ll cracking quickly and get some shots done.
Okay so that’s the shot completed you can see from the video is a really tight spot and quite a busy country road behind me, so it’s a bit very moving around too much because you might knock over. And but the space is very tight and if you don’t want to use a wide angled lenses. Then this is a way of shooting and it’s quite useful. So that’s the shoot to finish with and we’ll just need to get back now and process the pictures and do whatever retouching is required, to finish the picture off.
Okay so here’s the original image that I talked about a shot old 21 years ago and I remember it was of the first pictures that I actually shot and develop and printed and one of the very first pictures that I was really chuffed with it because it actually came out the way I pre visualize. And which is once part of a battle and I went out with some black and white film camera and seen this lot of these lovely black and white pictures in a magazine and want to try them and I’ll also went out early morning to catch the light would be just perfect to pick up.
All this lovely text on this corrugate roof and have a red filter lens. Now what I didn’t do I did allow it to exposure for the red filter so what actually happen was actually it’s underexposed the negative a fair bit. Probably about stopping a half of them rightly, And of course when I went, to develop the negative and print it. I realized that the negative was a little thin but actually in fact the associates helps to create the effect is a lot of dense black min here and it’s very hard to print if I remember rightly but it actually works quite well in the end. And I was really chuffed at the pictures so that’s it that’s one of the very 1st images that I’ve ever shot and the same location and you know it’s in this shot, a wide angle lens was needed to get all the picture. And I love this kind of looming creepy tree and it just works pretty well with the ambience of the place and the dark brilliant sky so following on two years later. We’re back at the same location and then using modern techniques to re-shoot this picture but a bit of slight different way. And let’s go straight in to that now and let’s see what we got.
Welcome back. We’re now in the bridge and we’ve got our images open that we’ve selected from and as you can see form this. You can tell actually how I shot this picture a bit more clearer and perhaps in the video. And I start from the bottom left hand corner and captured a frame there. Then I move across to the bottom right hand corner and capture the frame, now you notice from the picture here of a low overlap probably 20%, 30%. And you need to dot that, you need a low quite of overlap of these images so that you got here and enough of this software to stitch the images together. That’s quite important thing to remember, I then move to the top right hand corner and again allowing enough overlap being of a sign and I photograph that. Then I move across to the top left hand corner and gain pretty overlap and shot that picture and we can now select all these four and we go tools, photo shop and photo merge. And you can just leave that an auto click OK and that will basically ready those pictures and stitch the images form together.
So photo merge is finished on it’s stuff and its output our four images into pasty farm with a mask already in place and on this particular image the common little problem we need to look at first of all the gate area is missing where the blend is taking place. It’s kind of cut-off half the gate here on one of the vertical poles, so we need to go in and just squeeze that, so we highlight the mask. Get our brush tool and with white to the foreground, we just going to paint on the mask like so and bring back the upright on the gate there so it all aligns up and go over that didn’t line up to get rid of that like so and that’s easy as that, takes care that little problem.
Just mask sure we get rid all of that and then a little problem one now is here on the actual corrugate build in, front it’s quite not aligned up here. So what I’m going to do rather than working on mask I’ll go add an layer hold down ALT key and go to a layer pallet here and go to merge visible and that’s going to create stamp and basically merge all these layers underneath into a single layer. You can turn off if you want to and then we’ll going to use this one re-touch on, so I’m just going to duplicate it and I’m going to call this one. Retouch like so and then we can just basically go in now and try and just tidy up some of this little mask on the church front.
So we’re going to draw a selection around this area here where this corrugated frontage goes out of alignment and so I want to take a little bit more than we need like so and then I’ll try the selection down. I do Command to make sure that the re-touch layer is how it is. Command C to copy, Command V to paste and then we’ll drag the copied here, up like so and we’re going to try and align this up like that and Command click on the layer at the layer mask and then what we can do is get a brush with black set in the foreground color. And we’ll just blend the end by knocking down the opacity and we just take that out, we don’t need that bit.
It is always a good idea to take more than you need and then adjust the top here and bring back to the original image underneath like so and that’s about it here just blend it in nicely. I think you’ll see it and that’s looks much better. Adjust the amount a little bit, that’s before and that’s it. We can add actually if we try to click on the mask and just bring up a curve adjustment and we darken it slightly little bit. Layers merge that down so it’s just kind of blends in a bit better, so that’s that little job sew it now we can layer that down there on our re-touch layer. And that I think it was the end of the little problem that we had over the stitching, so now we got a nice re-touched layer that we can progress with.
What I’m going to do now if you’re watching the extended version. We will go into the lens correction to distort lens correction and just correct the little problems here. With a bit of distortion we have on our image. Let’s now load, it, so I’m going to turned off the lens correction there and you can see it’s almost receding in to the picture and it’s get a bit more of a nicer perspective on the image. I think we use a different size because it’s bowing out on the original so we just corrected that little without filter. So another little job done and we will have turned this of so we can start getting a bit messy in the ones underneath. So let those off like so. And then what we can do probably next is just o start to trim this down so we can to see better the rest of the retouching we’re going to do. I think that the most a bit distracting so let’s get the crop tool and we’ll going to grab and run it along there for starters. Put it down as far as we can like that.
So there we go this is the image crop just look and agree looks much prettier now. We got rid of all those nasty jagged edges and I just want to talk about the image size on this picture. As m I mentioned earlier this is a good way of increasing image resolution without going out and buying 5,000 pounds pro camera. Now my kind of miss-match is a 16.7 mega pixel camera and is quite expensive kit but the mid resolution from a far from hat camera is nearly quite bit fit a thousand pixel wide. By about 3,330 high now this particular image been stitch together has output about 7,456 pixels wide by 3,986 high. , so we gain about not far off two and 1000 pixels on the width and an extra 658 on the height. So that’s when the resolution comes from and elasticity is good if you look and choose big prints and you’ll camera resolution isn’t really as high as you’d like. This is a good way of getting around that particular problem.
So if it wasn’t edited version of this figure that is where we’re going to leave it and we’ll be going to carry on with this. I want to show you what we will do in a full HD extended version in two seconds, so just to give you a quick overview of what is in the extended the full version of this video the HD extended version. This is the image of as you’d seen it in the edit version. We’ve done a lot more in the image in the final version we’ve actually sort up this up patch here where the paint work on the building is a quite a big difference on this side. So this side is a lot bluer and darker and we fix that and balance it better and here’s the finished image. We’ve, I was pretty new in to the sky shots and mask that up and bring the sky in. and we’ve also turned done the lens distortion to fix the few perspective problems that we have problems on this picture. I’ll just see that a little bit and a quite and lot few pieces