Yet another week over and we are rapidly approaching Christmas. Then it’s soon going to be New Year and I will be beating myself up that I haven’t achieved half of the things that I wanted to with this blog and my website (Lenscraft). When I select the image above to share I thought that I had shot it recently. Now that I look back I realise it was from the 5th November. It seems like yesterday but it’s a month and a half ago.
The image was captured using a Fuji XT2 and the excellent Fuji 16-55 lens. The camera was tripod mounted as the lens, despite being excellent lacks any stabilisation. Despite shooting at ISO 200 I used f/10 to ensure full depth of field. I probably didn’t need to use such a small aperture but I’m really feeling my way with the APSC sized sensor at present. Had I been shooting with the Olympus EM5 I would have been using f/7.1 and been confident of front to back sharpness. The EM5’s smaller Micro 43 sensor makes the increased depth of field at wider apertures possible.
In addition to the above equipment I was also using a Lee 0.3 (one stop) ND Graduated filter to hold the exposure in the clouds. The other filter used was a 105mm polarising filter which screws to the front of the Lee 100mm filter system.
When it comes to post processing, I have recorded the entire thing and posted it as a video on YouTube. Here is the link in case your reading this as an email.
If you’re on the lightweightphotographer website, you will see the video embedded below. I hope you enjoy this and have a great weekend.
I have now been shooting with the Fuji X-T2 for a couple of months. Whilst I have only had a few outings, I’m very pleased with the results. I like the handling of the camera and also the lens quality despite a couple of problems. In fact, the 10-24 and 16-55 lenses are nothing short of exceptional.
There is though one problem that has niggled me for a while and this is the “Wiggly Worm” pattern. You tend to find this in areas of fine detail when converting RAW files using Lightroom or Adobe Camera RAW. This is a real shame, especially as I use Lightroom for much of my cataloguing and image management.
To illustrate the problem, a look at the image below which has been magnified at 2:1 in Lightroom; you may need to double click the image to open it at full resolution (I was also running my Mac at 2048 x 1152 when I took the screen shots so this will magnify the image further).
I can easily avoid the problem by switching to Iridient Developer or RAW Therapee but I like working in Lightroom. I have therefore been looking at how to reduce the “Wiggly Worm” effect and I think I have hit on something.
I had originally put the effect down to the demosaic routine that converts the RAW file. But I have changed my mind and now think it’s the sharpening routine that creating much of the problem. The example I showed above was created using the default Lightroom Radius setting of 1, an Amount setting of 45, a Detail setting of 75 and Threshold of 10. The culprits that seem to exaggerate the problem are the Amount and Masking sliders.
Masking causes the sharpening effect to be concentrated onto the edges in the image. Only when the Masking is set to 0 is the entire image sharpened. The “Wiggly Worm” effect seems to be created when the edges in areas of fine detail become exaggerated. Effectively the edges are becoming over sharpened, which is why the Amount slider has such an impact on the result. You only need to increase it slightly and the effect is emphasised. The Detail slider has less of an effect because it sharpens only very high frequency details.
So, what does this mean and how can you use it?
Limit the sharpening applied in Lightroom. Here is the same example but sharpened using much less aggressive settings.
This used the settings or Radius = 0.8, Amount = 30, Detail = 30 and Masking = 0. The image is a little softer but much more natural.
Following this approach, I have found I can minimise the “Wiggle Worm” effect whilst producing images with greater detail. Although the images coming from Lightroom are slightly softer, they respond so much better to additional capture sharpening using Nik RAW Sharpener or Photoshop Smart Sharpen. You can see a further example here viewed at 100% magnification.
You may now be wondering why bother with Lightroom capture sharpening at all and simply apply Capture Sharpening in another tool. Well, I tried this and to my eyes at least, a small amount of Capture Sharpening in Lightroom seems to produce better results when sharpened a second time outside Lightroom.
But does all this pixel peeping matter? My answer to this question is yes and no.
If you are going to be displaying your image on the internet, then you will most likely be down sampling them. The act of down sampling will remove some of the “Wiggly Worm” effect and can even remove it completely depending on how much you reduce the image size. If you are going to be printing the image, the softening effect of printing will also remove the pattern. For these reasons, I say that it doesn’t matter.
Where this effect does cause a problem, is if you are submitting your images to others for inspection. A typical example might be when you submit images to a stock library for sale. Here they probably will pick up on the pattern and might well reject the images.
I have seen many articles and videos over the years suggesting ways to create infrared simulations using regular colour photographs. Most of these fall short, possibly because the authors don’t appreciate the true characteristics of infrared. One example I read simply suggested using the channel mixer in Photoshop and using it to turn a blue sky black.
The best tool I have seen for simulating the effects of Infrared film a standard colour image is Alien Skin Exposure. This is also one of the tools I turn to when converting my digital infrared images as it allows me to simulate the halation effect often seen with Kodak HIE film. Unfortunately, as great a tool as Exposure is, it’s costly.
So how can we create a simulation using Nik plug-ins? Well, there is an Infrared film simulation in Nik Color Efex Pro but it’s not very convincing and doesn’t produce the halation effect. Nik Silver Efex Pro did once have an optional preset you could download from the Nik website but this has been removed. In any case, the preset wasn’t very believable.
This video features my simple solution based on combining a couple of filters in Nik Color Efex with a monochrome conversion in Silver Efex Pro. It’s quick to do and is quite effective.
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I have posted a follow up on You Tube to my “In the field” video. This time I’m shooting Clappersgate Bridge in the Lake District. This is a classic view and especially so in the Autumn when the trees are golden as you can see above. I then go on to show the processing you can use to enhance similar autumnal scenes.
I hope you enjoy the video and find it helpful.
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In case you haven’t yet seen, I have uploaded my latest video to You Tube. This shows an element of the location where I was shooting, including the location details (I am listening). This is then followed by how I processed the image using Lightroom and Viveza.
The feedback on You Tube seems quite positive so far. Do let me know if you like this style as I will create a few more.
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Have you ever wanted to tweak the camera profiles in Lightroom? Or perhaps you have wondered how Camera Profiles are created? Perhaps you don’t like the profiles that ship with your camera and want to create something better.
This short video introduces you to a great free tool from Adobe that allows you to generate new, bespoke camera profiles and install these to Lightroom. I demonstrate the process using RAW files from a Fuji X-T2 but you can apply this to any camera which shoots RAW. Just watch the video, download the software and in 5 minutes you will have created your own profile.
If I had to take a guess, I suspect 98% of you reading this will never have seen this technique before. Don’t miss out.
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My latest video is now live on You Tube. You can subscribe to my channel using the link below
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If you’re a Lightroom user and aren’t familiar with changing your Camera Profile, be sure to watch this. There is a second part to this video which is coming soon and I doubt many people will have seen anything like it before.
The image you see above is the RAW file used in the video once it’s been fully processed.