Bow Bridge, Central Park (Composite)

Just for disclosure purposes, the original raw image is posted above.

Impressive. Great result!

Wow is all I have to say, well you know that I can't stop at that!!

 

I love what you have done with this image. I saw the thumbnail and immeadiatly I had to open it. I can't believe that those are the same images. The toning and contrast add so much more to the image. Choosing the sky really makes a difference to the whole thing too. It makes it like like it is a tall bridge.

 

The low perspective works well with this shot as it kind of makes the rails look like they are taller then they are. Replaceing the trees and people helps with the illusion as you don't have anything to compair height to. The blend of the sky is well done and helps to finish off the image. IMHO

 

Don

It is a stunning image, clearly far more interesting than the original shot. I guess it is a toned B&W and color composite for the bridge, skilled work, super contrast. For me as a sky lunatic, the cloudscape is very enjoyable - but with an uncomfortable feeling, I had to think a while about the reason. In the original shot, the sun is on the right side, lighting from right makes the shade with the sunlight pattern along the bridge. The bright sun area suggests a backlight situation, however, and it is too obvious sky surgery for my taste. Or did you compose this way intentionally ? I would try out a sky with side light, or perhaps sacrifice the bright patterns on the bridge (perhaps not a good idea).

 

Cheers

Carsten

Patricia, I like the raw file you upload , (as in the other one) which helps to see the difference( and your skilled work! ). The result accentuate the beauty and texture of the bridge itself, the low point of view, and the good perspective with the sky in the BG. Really appreciate the result.

Thanks you all for your comments!

 

I have a lot mixed feelings about using composites, at all. It is a slippery slope and appallingly easy to trick out images in PS. The flip side argument, which I made to myself here, is that some shots just cannot be done well without some help. I really loved the curvature of this bridge and sunlit railings but every shot I took (and there were a lot of them) was dominated by the clutter around it and no amount of waiting for the right moment or time of day was going to change that. So, I took it all out. Perhaps the real issue is that I choose a sky with equal billing to the bridge as far as visual interest goes, notwithstanding Carsten's correct observation that the light direction is off.

 

It really is a stunning image (printed). And it is a fraud of sorts. ARGGGHHHH.

 

There is no toning or B&W integration here, though. Both the bridge and sky images were straightforward color images. I used curves on both to match relative luminosity (the bridge's in multiply blend mode) and a lot of dodge and burn on the bridge. Other than sharpening, that's all.

 

Pnina, I've always appreciated it when others include a raw (or base) image as a way of disclosing what was done (or not done) in PS. So, I am just copying them. I agree that it is a nice way of keeping everything above board. I'd love it if the details section had a place for a raw thumbnail, as a matter of course.

This is really quite striking. I rather like the slight sense of unreality induced by the shininess of the bridge railing in the foreground. And the patterns formed by the railing, the wood, and the light on the bridge are lovely. I think the effect of the composite sky works well, though with the light coming from a different direction it doesn't quite look natural. I would have been tempted to keep the original, though -- indeed, Pat, what if you'd just waited a few seconds and captured that gentleman one-third of the way onto the bridge?

 

I wonder whether we should be concerned about Carsten. Previously he described himself as a sky "fanatic," but now his condition has progressed to being a sky "lunatic"! ;-)

 

Me, I am a B&W fanatic, though I still haven't mastered it.

Careful, Chris. I am just nuts on skyscapes :-)

Interesting discussion -- interesting image. Chris makes some valid points. The directional light here is definitely at odds with this sky. And this is apparent. However, the sky here really takes this images to a another place. It's like I'm finally on the road to my dreams. So Chris, even though you are right, you are wrong. Most of the time our deep truths are paradoxical.

 

But you are absolutely right about Carsten...

Here's one for you:

 

http://www.photo.net/photodb/photo?photo_id=3659227

 

P.S. Pat, coming back to view this again, I really like how the lines of the railing pull the eye in from the TR corner with irresistible gravitational force.

Wonderful abstract image. I love what you did with the sky. It allows the eye to come back in the photo, where the orginal did not. Regards Patricia.

Another show of your skills Pat!

Impressive and very informative that you added the original, what a difference PS and your skill can do.

 

Amazing pic, love the angle and that the eye moves to the end of the bridge.

 

Just one question, how did you fit the lines of the "real" photo against the sky, do you use the rubber or ereaser tool, or do you use dodge-spongue?

 

thanks!

 

 

Gus, you insert a new sky (or any composite element that you are adding) by pasting in the element as a new layer (in this case, the sky) and using a precise layer mask so that the pasted image shows only where you want it to. I've attached a grab of the layers palette for this image so that you can see the actual layer mask. You do not touch the original, just mask it out. Also on the grab is an alternate sky, dropped in the same way, just to demonstrate the flexibility of this approach.

 

Note that the sky layer image is unlinked from the mask. This is so to allow moving the sky image around to best advantage without also moving the mask (which must remain stationary). Also note the use of clipping masks above the sky insert. These allow you to specifically adjust only the linked layer without touching anything else. As used here, they adjust to match EV and color balance in the sky to the base image without touching the base.

 

The layer mask is just a saved selection. This one was drawn with the pen tool for precision reasons, resulting in a path that was then converted to a selection. It is irrelevant what's used to do the selection, though.

 

And thanks for stopping by!

I really like the result here...

Excellent work once again :)

Wow Pat, are you a teacher during the days?

You always explain things in a very didactical way.

 

I can not express enough how thankful I am for your efforts.

 

Thanks a lot!

Great lines and composition, I love the pattern!

Patricia, i like your work, especially this picture (your best). You have a good eye to arquitecture and i think you should to invest more in this kind of picture. In your picture of people, sorry to say, but i miss more integration between you and your personage. People are not so natural in the pictures. But this is not difficult to resolve, just pratice pratice and pratice.

Good luck

Patricia, you did a nice composition with the bridge and sky. When I saw your photo my first thinking was that the photo was B&W but when I saw the raw I realized the you did a nice job on PS. I am not expert in PS but I like this type of work, I will study a little to learn something. I agree that you are a good teacher and today I could learn a little about composite. It is a good idea to present the raw imagine and see the good result. Congratulations. 6/6

Thanks a lot for sharing your skils with us Pat, and for the lessons. When I was reading the comments and the information about makeing this wonderful image I just wonted to hear more and more. I have never been to photography school and thanks of this website I can learn a lot. Thanks for teaching us. You are doing very good job. Cheers

Patricia, interesting to read about your mixed feelings about composite photos. I've got the same inhibitions. I think I'm in the process of trying to get a better grasp on the ethics of editing - what is acceptable and what isn't. But despite all that, you've created something beautiful here that caught my eye when scanning through your portfolio. Keep living art.

I'm filled of admiration not only of your technical skill but especially of the aesthetic standards of this and several others of your photos.

The Sorceror's Apprentice reveals her secrets. Better not let the Sorceror catch you!