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| sent on September 26, 2016 (23:43)
Most lovely shot of the duck and also a very beautiful background!
Ann :)) |
| sent on September 27, 2016 (13:45) | This comment has been automatically translated (show/hide original)
Thank you all, so warm colors are only possible in a situation: the subject in the shade and hot hit from the first light background, the color of 'water is given by the reflection of background (it is crucial to have ripples).
Greetings to all ;-) Grazie a tutti, i colori così caldi sono possibili solo in una situazione: soggetto in ombra e sfondo caldo colpito dalle prime luci, il colore dell' acqua è dato dallo sfondo riflesso ( è determinante non avere increspature ).
Saluti a tutti |
| sent on September 27, 2016 (13:50)
Thanks very much for the added information on how you achieved it, Roberto!
Ann :)) |
| sent on September 28, 2016 (8:57) | This comment has been automatically translated (show/hide original)
Anything, they are available for each question ;-) Di nulla, sono a disposizione per ogni domanda |
| sent on September 28, 2016 (16:23) | This comment has been translated
Beautiful, congratulations! |
| sent on September 28, 2016 (18:17) | This comment has been translated
Really nice! |
| sent on September 28, 2016 (18:36) | This comment has been automatically translated (show/hide original)
Simply excellent.
Hello. Semplicemente ottima.
Ciao. |
| sent on September 28, 2016 (19:34) | This comment has been translated
Very nice shot |
| sent on September 28, 2016 (19:51) | This comment has been translated
Excellent! |
| sent on September 28, 2016 (21:26) | This comment has been automatically translated (show/hide original)
no words ......... six impressive skill, many many compliments. senza parole.........sei di una bravura impressionante, tanti tanti complimenti . |
| sent on September 28, 2016 (22:36) | This comment has been automatically translated (show/hide original)
"Your" water makes me mad, so much beautiful, congratulations "even" for the Ferruginous Duck wallowing on it. Beautiful: -o: -o La "tua" acqua mi fa impazzire, tanto è bella, complimenti "anche" per la Moretta tabaccata che ci sguazza sopra. Bellissima |
| sent on September 29, 2016 (8:05) | This comment has been automatically translated (show/hide original)
top rated pictures Foto top |
| sent on September 29, 2016 (8:16) | This comment has been automatically translated (show/hide original)
Unmistakable as a trademark and as always splendida.Bravissimo !!! Inconfondibile come un marchio di fabbrica e come sempre splendida.Bravissimo!!! |
| sent on September 29, 2016 (9:32) | This comment has been automatically translated (show/hide original)
Thanks guys, a greeting to all of you ;-) Grazie ragazzi, un saluto a tutti voi |
| sent on September 29, 2016 (12:34) | This comment has been automatically translated (show/hide original)
I must make you na technical question ..... if you described, namely the subject in the shade and the background and foreground in a good light, expose for the subject and thus resulting in "sparatura" the background and then recovered in pp or otherwise? I am photographing in a similar situation and I to make legible the subject I decided to expose for it, but the first floor is washed out of the pool with a few colors and very clear. They will retrieve the beautiful colors he had? Devo farti na domanda tecnica.....nel caso che hai descritto, cioè del soggetto in ombra e dello sfondo e del primo piano in buona luce, esponi per il soggetto e quindi con conseguente "sparatura" dello sfondo e poi recuperi in pp o il contrario? Sto fotografando in una simile situazione e io per rendere leggibile il soggetto ho preferito esporre per esso, ma il primo piano della pozza è slavata con pochi colori e molto chiara. Si recupereranno i bei colori che aveva? |
| sent on September 29, 2016 (12:44) | This comment has been automatically translated (show/hide original)
Marco :-) Here I am, it is crucial to grasp the very first light, so that the difference between light and shade is not dramatic in terms of stop. In this case I set out on the subject and attenuated the lights in the post (but if I had a d810 I did the opposite).
L 'warm effect of' water is nothing more than the bank behind reflected, in this case helps the PDR, most are low (here about 6-7 cm) less reflected the sky.
In case of no standing water or wrinkled're screwed: you will end the 'blue of the sky.
I hope to be helpful, for any doubt I'm here, I'd rather not talk about it in private so that maybe can help at all ;-) Eccomi Marco , è fondamentale cogliere le primissime luci, in modo che la differenza tra ombra e luce non sia drammatica in termini di stop. In questo caso ho esposto sul soggetto ed attenuato le luci in post ( ma se avessi avuto una d810 avrei fatto il contrario ).
L' effetto caldo dell' acqua altro non è che la sponda dietro riflessa, in questo caso aiuta il pdr, piu stai basso ( qui circa 6-7 cm ) meno si riflette il cielo.
In caso di acqua non stagnante o increspata sei fregato: ti ritroverai l' azzurro del cielo.
Per il trattamento del colore uso un metodo mio personale, ho preso spunti dal Margulis.
Spero di esserti stato utile, per qualsiasi altro dubbio sono qui, preferisco parlarne non in privato in modo che magari possa essere d'aiuto a tutti |
| sent on September 29, 2016 (22:26) | This comment has been automatically translated (show/hide original)
Thanks to the very comprehensive response and raw images that you posted to see the difference between the "before" and "then." I realized that I probably where shooting is too much difference between stop in the shade where the subject and the stagnant water reflecting the trees flooded by the sun, but on my mountains comes just after 8 am, so enough already high. Unfortunately I do not have a computer handy for making pp (I'm changing home and temporarily live in a house without my desktop computer) so I can not see the difference between photos with exposed subject well and with other entities under exposed and the light of the puddle well exposed (I tried both cases). I do not know the secrets of PP Margulis and then to try to make something good out expound with the canonical three shots with 2/3 stop differences. A greeting and thanks again, Marco Grazie dell'esauriente risposta e delle immagini raw che hai postato per vedere la differenza tra il "prima" ed il "poi". Ho capito che probabilmente dove scatto io c'è troppa differenza fra stop in ombra dove si trova il soggetto e l'acqua stagnante che riflette gli alberi inondati dal sole, che però sui miei monti arriva solo dopo le 8 del mattino, quindi già abbastanza alto. Purtroppo non dispongo di un computer utile per fare pp (sto cambiando casa e provvisoriamente vivo in una casa senza il mio computer fisso) e quindi non posso ancora vedere la differenza fra foto con soggetto esposto bene ed altre con soggetto sotto esposto e luce della pozza ben esposta (ho provato entrambi i casi). Non conosco i segreti di pp del Margulis e quindi per cercare di fare uscire qualcosa di buono espongo con i canonici tre scatti con differenze di 2/3 di stop. Un saluto ed ancora grazie, Marco |
| sent on September 29, 2016 (22:41) | This comment has been automatically translated (show/hide original)
“ on my mountains comes just after 8 am, so already quite high „
That's the problem, that type of light lasts a few minutes when there is a very small part of the sun peeps. If there are mountains behind checked already high and you can not do anything, it's the kind of problem that I also have the lake mail fibreno ... " sui miei monti arriva solo dopo le 8 del mattino, quindi già abbastanza alto "
È questo il problema, quel tipo di luce dura pochi minuti è c'è quando una piccolissima parte del sole fa capolino. Se ci sono montagne dietro spunta già alto e non ci puoi fare nulla, è il tipo di problema che ho anche io al lago di posta fibreno... |
| sent on September 30, 2016 (8:49) | This comment has been translated
Truly marvelous! |
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