I have a treasured side gig taking pictures for a local magazine here in Santa Cruz. In November of 2014 I needed something for a gallery of photos. Usually that’s a collection of surf photos from some favorite spots. This particular day it was raining and there was nothing going on. I went downtown instead looking for anything interesting. I had a new lens that I was dying to put to use: a Canon 135mm f/2.0 L-series that I bought from Dan Mitchell. This thing is glorious and I rarely get to use it.
While I wandered around I spotted a beautiful young lady under an umbrella walking my direction. A quick decision on my part meant a ISO 800, f/2.0 for 1/500 second. I loved the result. The texture of the rain drops on her umbrella were what captivated me the most. The fact that I couldn’t see her face added to the story.
A nice lady who often commented on my posts on Google Plus (ahh remember Google Plus?) titled it “Bella And The Umbrella” and the name stuck.
I keep a version of this photograph as a wallpaper on my display at work (ahh that’s right, I don’t do photography full time. I know very few people who do or can). There’s a problem with that version that’s been bothering me since November of 2014. Wes Hardaker pointed out a severe problem with chromatic aberration throughout the photograph. I just had no idea how to fix it because it was so rampant.
I can’t unsee it
Once you see it you can’t unsee it. You start seeing it everywhere. Look at the high contrast areas. There is a green and purple fringe where light meets dark. And it’s everywhere in the picture.
Tonight I had some time and decided to tackle the chromatic aberration monster that tried eating my photograph. Lightroom alone is not enough in this instance. Helping this one meant opening the image in Photoshop.
Duplicate the layer
apply a Gaussian blur enough so that the edges are blurry but you can still identify the main subject
set that layer’s mode to “color”
The chromatic aberration mostly vanishes
Here’s where I get fiddly with it (that’s another term for “detail oriented” or some would say “anal retentive”… your call really). I don’t like how applying the color mode dulls the color throughout the image. I want this to be selective to the problem areas.
Create a black layer mask for the layer mentioned above
using a fairly small brush paint white on the outlines of the problem areas just in the black layer mask
“Laugh at perfection. It’s boring and keeps you from being done.”
The Cult Of Done Manifesto
That’s a pretty cool quote. In this case please ignore #3 just for me. Just this once. Please. This is photography; I edit everything. Even the line to the left about editing things. I edited that. Twice. No shit.
This photograph is available in different sizes and print methods on my sales site. Contact me if you’d like something customized.
Debbie and I visited June Lake at sunrise in October, 2015. This trip was so full of wonder and surprises. California was in the midst of a long drought and the water in the lake was low. We got here just before sunrise and it was cool but not freezing.
Thoughts about the process at the time
There are a lot of choices I made for this photograph, many that I “past me” and “present me” wouldn’t really agree on. For example the aperture I chose was f/20. I don’t think that was necessary and it had an undesirable result with focus. I was using my Canon 7D Mk II. It’s not a bad camera but today I understand how depth of field is different on a crop sensor than with a full frame sensor. The lens used was a Sigma 17-50mm. It’s not a bad lens, but it’s nowhere near the quality of a Sigma Art series or a Canon L series. I had my reasons for using the Sigma, mostly because I was looking for the highest quality I could get on a strict budget. The body/lens combination worked very well for me for a few years until the lens fell apart. No really, that lens fell apart. A screw came loose inside and it would no longer focus.
What would I do differently today?
I’d definitely use my 5d Mk III (a fairly new addition to my toolset and a L-Series lens). I might use an aperture more like f/16 and possibly stack exposures with different focus points. I’d also probably take it less seriously. I’d probably work less hard at it and enjoy the moment more.
Processing the photograph
I’ve been thinking about my next trip into the Sierra for the past couple of days. I went through my Lightroom library for photographs of June Lake that I could process differently. The color version has a slight glow to the mountains. The lake reflects the sky as a deep blue. That was nice but I really wanted a dramatic black and white. I fuss over my black and whites at length and I love doing it like that. No one-click filters, no one-size-fits-all approach. Each one is different. I dialed down the blues to a near black. I brought down the highlights to recover some details in the clouds. A slight s-curve was added to the midtones selectively to bring out some detail in the foreground rocks. A high pass filter and a layer mask helped with selective sharpening (note, different print processes will have very different results. I keep this as a layer so it can be disabled if it utterly doesn’t work in a print. Finally a vignette was added as an organic shape to draw the viewer’s eye around the photograph.
There are a lot more details to this longer story, but I’ll break that up into smaller posts. It’s only been 4 years, why not draw it out a little longer? Spoiler alert: this trip was legendary.