Archive for May, 2008

Converging Verticals – software fix

Wednesday, May 28th, 2008

Sloping Flats with converging verticals

If you have a picture you’ve already taken that has slight converging verticals the effects can often be corrected using the features contained in a number of popular software applications. The tool you should be looking for is usually called ‘Transform’, which will probably have sub sections that will be called something like ‘Perspective’ and ‘Distort’.

The idea is that the whole image is selected and then the top is stretched horizontally to counteract the inverted V shape of the building. This is a quick and effective solution to convergence in any direction, but users need to be Altering perspectiverealistic about what can be achieved before image quality suffers to badly. Obviously pixels are being stretched and made larger in one part of the image, and although the image will remain the same size detail resolution in the stretched part of the picture will suffer. If this area is mostly sky you don’t need to worry too much, but the stretch may be quite easily seen in areas of more fine detail. distorting the image

As this is the case only minor effects should be attempted, but the advantage of the method is that you will end up with a larger image than you would using the cropping method. In this example I have used a picture that is just too distorted to be able to correct easily, so you can see just where the limits are. The perspective is not only looking up, but also twisted. The correction is almost there, but the final image has a strange look to it. sloping flats with converging verticals corrected

Of course, the method relies on you having a software application that provides a ‘Transform’ tool. If yours doesn’t there is a free download application called GIMP that does – it is also a very good general purpose imaging application that offers an enormous amount of control.

Shot with Samsung GX10, with Rikenon 28mm f/2.8 lens. Exposure 1/4sec @ f/2.8 ISO 1600

To see more of my pictures visit my galleries at www.damiendemolder.com

To see more of my pictures
visit my photo galleries site
at www.damiendemolder.com

Sloping Flats with converging verticalsAltering perspectiveYou can find the ‘perspective’ tool in Photoshop by clicking on ‘Edit’ and then ‘Transform’. I have overlaid the image with a grid screen to help me to get things straight. This is hidden under the ‘View’ menu, after which you need to select ‘Show’ and then ‘Grid’. You can set the preferences for the grid – such as the spacing between the lines – in the main ‘Preferences’ menu. distorting the image‘Distort’ is also under the ‘Edit>Transform’ menu and can be applied without having to finish the ‘Perspective’ adjustments. I needed ‘Distort’ Here as the camera was not square-on to the subject, so we have a twist as well as converging verticals. I’ve pulled the top of the image out and pushed the bottom left in and the bottom centre to the right. It is almost a rotational movement. Obviously the adjusted image now has chunks missing from its corners – some cropping will be in order. sloping flats with converging verticals corrected

Converging verticals – what, how and fixes

Tuesday, May 27th, 2008

Converging Verticals Eiffel Tower with guide linesWhen we look up at a tall building its sides slope inwards to form an inverted V shape. We are so used to seeing in this way that we hardly notice the effect while we are enjoying the view. When we take in the same scene in 2 dimensions, as we do when looking at a photograph, the experience is quite different and we do notice the convergence of the vertical aspects of the building.

If the effect is exaggerated, or at least very obvious, it lends a sense of height and drama to the picture, and we can appreciate a a split second just how tall that building is. However, if the effect is only moderate the building might look as though it is tilting backwards and in danger of falling over.

As with many photographic visual effects moderate applications simply look like mistakes, so we should avoid them at the shooting stage, or learn to correct them afterwards.

The way to avoid the problem is to hold the camera completely level when taking the picture, as it is the looking up angle of the camera that creates the effect. Unfortunately, keeping the camera level usually means that the top of the subject will be cut off. You can move backwards to alter your perspective, but in the majority of cases this is not an option as space is usually limited in architectural locations. In any case you’d have to move a long way for even a moderately tall structure

To see more of my pictures visit my galleries at www.damiendemolder.com

To see more of my pictures
visit my photo galleries site
at www.damiendemolder.com


See a map of where this picture was taken

Converging Verticals Eiffel Tower

Real-life perspective – Squeeze box man

Tuesday, May 27th, 2008

realistic perspective street portraitsThe idea of street documentary is to show the viewer what it is like to be in the place you are shooting – and to experience the things you are experiencing. To do this I try to shoot with a perspective that delivers to the viewer a feeling of being in the place rather than simply observing it from afar.

The simplest way to begin this process is to use a lens that captures an angle similar to that which the human eyes can see. Although a 50mm lens is seen as ‘standard’ for the 135 film format and full frame sensors this is still slightly long for a realistic view. On these formats I try to use a focal length of between 30-40mm, which is the same as between 20-30mm for cameras with an APS-C type sensor, and between 15-20mm for FourThirds users.

When you use a lens like this for the type of portrait shown here you have to forget your inhibitions and move in close. This chap was more than happy for me to take his picture, but I still asked by showing the camera and expressing my intentions. This is done in a split second through facial expressions, but makes the difference between guarrenteed co-operation and comfort, and not quite knowing how the subject will react once you start shooting. Having permission also improves your chance of getting good eye contact.
The accordion player was sitting down so I crouched to get on the same level as his chest, and so I could make a major feature of the instrument. It looked almost as old as him, with just as many lines, contours and interesting features.

The day was very overcast, so I didn’t have any trouble with contrasty light and shadows blocking up his eyes or shading his face beneath his hat. It also meant that exposure was easy, and I could leave the camera’s evaluative/matrix system to do the work for me.

I shot in colour as usual, but knew this one would end up in black and white. The conversion was made using the green channel – a favourite with me for getting an aged classic look.

I cropped square as well to keep the composition tight, and because the format seems to suit the shot well.

The final image has good depth and possesses a three dimensional effect that I would not have achieved had I stood back and shot with a long lens. While long lenses allow you to keep a distance, they always show that you were a long way from the subject – which makes it difficult for the viewer to connect with the subject. Actually getting close yourself makes a massive difference, and can be the difference between getting an ordinary shot and one that has some impact.

Shot with Pentax K20D, with Sigma 10-20mm f/4-5.6.

To see more of my pictures visit my galleries at www.damiendemolder.com

To see more of my pictures
visit my photo galleries site
at www.damiendemolder.com

realistic perspective street portraits