The format for recording an image can be very variable when fusion imaging is involved. In the example below, the image on the left is taken with a Phase One IQ4. The sensor size is 44mm x 55mm. The X-ray image on the right was taken with a Hologic mammography system with a detector size of 24cm x 30cm. The aspect ratio of both images is 4:5. The pixel size of the IQ4 is 6.5µm, the pixel of the mammography is 70µm long. Nevertheless, the images can be fused well.
I added some texture to the fusion image because it made it more appealing. Due to the fusion of the image from „visible light“ and the image with „X-ray light“, the definition of whether it is a medium format image or a large format image is no longer meaningfully applicable. It is simply an image.
Rain and heavy winds
In the morning a short review of the Vestrahorn in the hotel at the computer. The warm light of the morning sun was reflected in the dune grass, which grew into the black sand in repeated small domes. And in the mountain range that gave the name to the place.
I liked the simplicity of the house forms in Iceland. I’d like to photograph them all. Remotely, they are reminiscent of the wooden shapes of the houses and hotels of a Monopoly game.
A road that didn’t seem to be difficult on the map should take us to the foothills of Eyafjallajökull. On the way there we met riders who used the same road with Icelandic horses. They were clearly faster and, as if by magic, always quite a bit of us. The road was interrupted by watercourses that our simple car could not pass through. We had to turn around.
After a visit to Seljalandsfoss and Gljúfrabúi we drove to the ferry port, which takes you to Vestmannaeyjar (Westman Islands). Hefty wind and thin rain awaited us. The lens could hardly be held straight with the hand. Some grains of sand from the black beach penetrated into my left eye and keep me busy for some time.
In the evening in Keitum we went after dinner in a pub a little walk. The light of the sunset was special and it changed continuously with the cloud train. After all, there was quite a bit of wind to be felt. Within less than 1 hour I took many pictures, leaning on fence posts to be less shaky.
Initially, there were phases with almost homogeneous cloud backgrounds.
The simple geometry of the lateral image of St. Severin calmed the increasingly wild sky.For a moment it looked like thunderstorms. A crack went through the clouds that reminded me of an old church song.
However, the threat of an approaching thunderstorm dissolved without a single drop of rain and the setting sun colored the clouds before we got back into the car for the drive home.
With daylight and a lightbox I took the cut off flower of an Alstromeria. With the lens I’m able to approach the bloom on approximately 20 cm. The blossom then fills almost the entire sensory. The ratio of the mapping is thus approximately 1:1.
The quality of the RAW images is convincing in itself. The creation of the finished HDR takes place in a combination of manual and automated steps.
RAW conversion is done using CaptureOne, HDR processing is done manually in Photoshop. Further, I generated two automated HDR developments using HDR Efex Pro 2 and Photomatix Pro 6 and layered them in. Some of the original color is transferred from the daylight image with the lightbox switched off.
Time fusion tulips
Longtime exposures hold a special appeal for me. Again and again I try do do it. I found the idea for this picture in a book about modern photography. The photographer took a picture of flowers in a vase with a specially built camera for many days until the first petals fell. The passing of time, which often cannot be experienced directly by us, can thus be illustrated by a photograph. Due to the new corona virus we had plenty of time at home to make flower photographs.
With my macro lens I can only realize the aperture value f/32, which means that even at ISO 50 the exposure time dose not rise above 15s possible when the lightbox is turned on. As an approximation to a true long-time exposure, I started a series of 23 HDR images at irregular intervals over the course of 4 days, just as it became apparent that my tulips would rise wide.
Each HDR image was created from6 shots at f/32 and ISO 50 with exposure times of 0.5s, 1s, 2s, 4s, 8s and 15s. The biggest difficulty was to block off a part of our living room before Christmas so that the exposures could always be done in the same way. Furthermore, the camera was not allowed to be changed by switching it on and off, changing the exposure times or removing the memory card.
I processed the layer stack of 23 TIF images in two ways. First straightforward as a smart object and then change the stacking mode in Photoshop as an average. Or fade out the layers after the start shot using black layer masks and gradually paint in interesting parts of the later images with a soft brush to create an overall impression. This approach was more promising to me than averaging the layer stack, which in my eyes expresses the flow of time too weakly.
Just to do the math: each image of my camera has 151 million pixels with a file size between 125 and 180 MByte in RAW format and 866 MByte after a RAW conversion to a TIF file. The total size of the project is something above 300 GB. 138 RAW files sum up to nearly 21 Billion Pixels. The final image has 159 million pixels due to some added background at the top of the result.
Yesterday was a chance to buy flowers for my lightbox before a new virus induced „lockdown“ takes place. Flowers on a lightbox exhibit an illusion of transparency when photographed either as HighKey image or HDR bracket sequence.
I prefer to process my bracketed photographs manually, because there is no possibility to learn how automated HDR software really works. On top of my layer stack I put one up to three HDR software results to layer them in if appropriate.
Photographing flowers is a way to cope with the situation being locked in in a house instead of traveling or meeting friends. Our house looks like a flower store, every now and then we find new compositions. At the end, there is a print.
A composition of flowers often suggests something, not with the eye, but with the inner vision. That’s the fun of it. There are so many compositions yet undone.
My friend Harold is using petals for compositions. I often shy away from cutting off the flowers or tearing out the petals. I was happy to do it today with a fading dark red rose.
Christa, my wife, loves tulips. They may resemble a dream on a lightbox, like balloons taking off for flight. To catch the whole composition I’d either had to climb up a ladder with my 120mm macro lens or change the lens to a 80mm focal length (which I did).
This year there was a complete silence on the part of the equipment manufacturers. That’s too bad. Now the calendar sheets 2021 are finished in own production. This year at the suggestion of or daughter Marlies with the topic food.
Fusion imaging does not wirk int the same way with food as with transparent flowers. But the deep structure of the food nevertheless leads to interesting results. It worked surprisingly well to depict a smoked trout with its bones. And squashes exhibit nearly artistic features.
The calendar sheets are finished now in portrait format 60cm x 42.6cm and can be viewed here.
the Heidelberg Castle is world-famous and famous for the romantic feelings it triggers. Anyone who comes to the city in spring or early summer enjoys a mild warmth and a light wind that flows through the Neckar Valley.
In autumn, the winds that hits the photographer is icy cold and the facial masks that you have recently at hand are a welcome support in taking pictures. The warm colors of the following photographs deceive one of them.
The warmth of the Neckar gives rise to considerable early mist during a cold night, which stretches over the trees to the south and west. The mists also reach the Heidelberg Castle, which subsequently appears a little more romantic and ruined.
With flowers we create feelings and express feelings. With flowers we want to elicit feelings. If they aren’t just a comfortable souvenir, that is not suitable for the wall or the shelf.
Their color is not enough to stimulate our emotions. It’s also their shape and a composition. I took a friend to my favorite florist to design a bouquet from the available flowers end of September. The central component were two specimens of a cockscomb, one in red and one in purple.
A not insignificant part of the enjoyment is the creation of the composition, together with a sensitive florist. At home I photographed the bouquet with the horizontally aligned, rectangular Lightbox in the background. It’s, of course, an HDR image, combined of shots with the Lightbox switched on and off. A final greeting of the noticeably farewell summer.
Farewell has always been a theme of flowers. Without color, subject only to the effect of light, exposing a feeling for the original color, the black-and-white image of a flower becomes intensified. The same day at sunset, with an exposure speed of 6 minutes at ISO 50, I obtained the following picture, which made me immediately think of The Godfather: I’ll make him an offer he can’t refuse.
Melitta was looking for an image in her new kitchen. She felt a fusion image of a fruit basket to be too dark. The fusion image technique is not restricted to black and white or monochrome (FAQ: Fusion imaging). With only few structural content in the X-ray of the fruits I better inverted the background of the image and sponsored a golden backdrop like an ancient greek icon. You still can see some X-ray properties looking at the lychees or the bananas. As a print its appearance was best.
Also appropriate for a kitchen would also be an image of an artichoke. If I put it on a lightbox, there is always some resemblance to a copperplate print, which I like personally. This blooming artichoke is a type of a food image, if you spend some phantasy.
A little change of perspective gives more direct access to the blooms. Every image shown in this blog entry is a combination of manual HDR and software assisted HDR. That way I get best results. The background helps to create the look and feel of ageing and simulating a print.
The artichoke presented above has some resemblance to a thistle. By chance we have a place not far from home with lots of them. Old railroad tracks had been removed and converted into bike trails nearby our house. So we went this morning by bike to get a thistle of the former track bed for an image.
As there is so much structure in these images, I felt tempted to convert my artichoke and thistle images into monochrome. To some extent they resemble images of Karl Blossfeldt.