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If a Tree Falls in the Forest of Non-Photorealism...

September 10, 2017

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[Write-up Pending]

in-progress Photos

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The Banks of Autumn

Classic 3-Exposure HDR, plus 4 exposures at different focal depths and a laser rangefinder to reconstruct the depthmap (below). This allowed for an artificial depth of field application to hide a number of man-made artifacts across the river, whilst retaining the aesthetics of a vivid, if somewhat surrealist, nature shot. Pseudo-depthmap, with 16 laser-rangefinder taps in a 4x4 grid. Turns out lasers and reflective materials don't get along all that well, but it served just as well to capture the trailers across the river (or, rather, it *didn't*- wish is exactly what we wanted). Magic Behind the Curtains Post-processed frames used in the above composite (including artificial gradients and rangefinder data)

Photos from a different point of view; or, at least, a different frequency

Photographers have always sought the capture sights foreign and unique in the eyes of their audience- a pursuit which oft leads them across the globe to places beyond the imagination of others. Technology has lent its ever-present hand to the effort, offering massive improvements in lenses, imaging technology, and means of (safe) transportation. In order to achieve increasingly fantastic images, a number of researchers have begun the development of entirely new imaging technologies, hoping to allow a glimpse at that rarely seen short of a million-dollar budget: light spectra drastically exceeding that of human vision. Newer fields of science- such as the revered yet misunderstood aspects of quantum mechanics- have recently been applied to specialized optics (such as Raman spectrometry, astrophysics, and femto-scale imaging), but remain largely outside the consumer's grasp. However, the the advent of lower-cost "meta-materials" capable of exhibiting effects like the St

A River Runs Through It

One of my less breathtaking shots, I took the the opportunity to capture the movement of the water and the light reflected thereof. Fore/Mid used 1/320' exposures at ISO 200, with HDR ISO400 over 1"; in contrast, the water was shot with six different exposure over four seconds each, each with 16xND and ISO 200 (this kept the fine detail of the flowing water, even as it blurred over a longer time span). The composition frames - note the highlights and bloom across the moving river, which represents temporal variance (ie, movement) as brightness.

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If a Tree Falls in the Forest of Non-Photorealism...

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