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.
Tonight at Shark Fin Cove. I have to admit that I have a mixed relationship with this place. An iconic Santa Cruz scene that’s been “loved to death”.
This scene is occasionally found on the cover of magazines like Outdoor Photographer. It’s a tricky location to shoot, and I’ll be honest there are a lot of times when this place doesn’t do a lot for me. There’s usually a lot of garbage from visitors who couldn’t be bothered to pick up after themselves, graffiti, or any number of people who want a selfie while I’m trying to compose a photograph here. Usually I patiently wait out that last one.
A fashion shoot was actually happening off to my right and we were all careful to work around each other. I’m grateful for that kind of awareness. The selfie variety… not so much.
This scene is shot from just about every angle; up high behind this perspective, up and to the right, and slightly less often up the cliff and to my left. I think that what really makes this scene work is an interesting foreground. The rock outcropping that I’m standing on here almost always has interesting reflections and leading lines. The algae on the rocks provides a little color contrast. Tonight the sun was setting to the southwest and provided a fun pop of lens flare.
Processing the Image
It’s a little more complicated than it seems; this is a blend of two photographs. It’s nearly impossible to get both the sunset and the foreground exposed the way I like in a single frame, so this is a blend of 2. I can see a good argument for using 3. Actually blending them together is a lot of work and met with varying success. This area is alive and not standing still at all. For example the cliff sides have tall grass swaying in the breeze. To blend the two images together means carefully painting in a mask along the grass.
There are dangers shooting here. A lot of folks along the cliff don’t realize that they’re standing on an overhang. If you’re visiting here please leave no trace, pick up some trash, and be very careful along those cliffs.
I had an idea for a scene on the west side of Santa Cruz. There are a few staircases that lead surfers into the ocean but one in particular just didn’t really do anything for me — until I had an idea. I had envisioned the staircase in sharp focus while the waves washed over it. Shortly after the idea formed the weather and tide cooperated perfectly. The tide was high and the sky overcast.
The great thing about the overcast sky was that just after sunrise a bright band would appear over the horizon between the ocean and the clouds. Some time with Photoshop created exactly the look I wanted.
Step Into My Office #3 is born
I had another idea involving elements that moved and elements that kept still. I was hoping for a surfer to come up the staircase. This involved a 3-stop neutral density filter. For shots like these I often manually focus on the part of the image that I want in sharpest focus. This may vary if I’m going for hyperfocal depth of field. Soon enough a surfer approached and started coming up the staircase.
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