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Archive 2023 · White Pocket Lake

  
 
Dutchphotog
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p.3 #1 · p.3 #1 · White Pocket Lake


Amazing, looks like another planet…


Apr 28, 2023 at 02:30 PM
40Driggs
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p.3 #2 · p.3 #2 · White Pocket Lake


The colors completely pop on this and you can't look away. Great shot!


May 07, 2023 at 03:52 PM
Mark Metternich
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p.3 #3 · p.3 #3 · White Pocket Lake


The worse, the storm, the easier the road. As long as you go out south.

Thank you very much for the compliment.

Jim Dockery wrote:
Great shot. How was the road getting back out?




May 08, 2023 at 10:20 PM
DivineFocus
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p.3 #4 · p.3 #4 · White Pocket Lake


That's a lovely image.


May 08, 2023 at 10:28 PM
Mark Metternich
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p.3 #5 · p.3 #5 · White Pocket Lake


Well, if you really want to know, you can check out my new (5 years in the making) tutorial that is out now. I can not find anyone in the industry that is teaching this. I know many people who know the benefits (they knew far before I did) very well. They are, arguably, some of the top gurus in the photo industry for quality file handling.

If you (or anyone) watch it, I back EVERYTHING up. I even show people how they can test and verify themselves.

It’s actually a no-brainer.

There is nothing greater than being able to take an original raw photo file, and start at true linear raw capture and then create a very custom gamma curve for the conversion into the gamma encoded space that we work in (just that one fundamental adjustment done custom has TREMENDOUS benefits!) and create a custom end points curve, a custom mid-tones adjustment curve, a custom global contrast tone mapping curve, and a custom local contrast tone mapping curve(s) all based specifically on the extremely unique and very individual needs of an individual image, thus creating a true hyper custom raw profile (and avoiding any potential adulterated Adobe profile “baked in” adjustments). Just these basics alone can double, triple, quadruple… the quality of a raw file even BEFORE a single slider has been slid in Lightroom or Camera Raw! It’s very easy now, and it also drastically reduces the labor involved in processing an image. Sometimes an image is done, or almost done before a single slider has even been slid (with the exception of maybe the micro fine-tuning).

But then, to add to that a totally and completely true lossless, pure raw, on pure raw layer workflow in Photoshop without a single lossy adjustment (to completion) is unprecedented in the history of photography!

A rare and unique breed of mad scientist types who have been pushing the boundaries of quality have known this for decades. But it used to be very difficult. Now it has become amazingly EASY to accomplish! Adobe has made it very easy since last October’s Camera Raw updates, and especially now with the more recent profound update for Lightroom with individual point curve masks. It’s a dream come true for many photographers.

If you have questions about this, just go to my website and you can find my contact information and you can call and talk to me! There’s nothing controversial about it.

What is surprising is how few photographers have known about it because of Adobe’s lack of marketing to us quality oriented folks (low on their demographics). It is pioneering at the cutting edge of what is possible.

Every single thing taught in “The Ultimate Quality, Lossless Adobe Raw Layer Workflow” (full course workflow, from A-to-Z, over 8 hours) has been most painstakingly worked for over five years (and decades of intensive research and testing). When one sees how it works (and how amazingly easily Adobe has now made it for us) if they know how data works, and they know how to do accurate testing, it is very clear.

Robert Park, owner of the top boutique fine art print lab Nevada Art Printers, who is considered by plenty of astute people, to be one of the very top print gurus of print gurus, said: “this is the absolute gold standard workflow available today.” Direct quote.

When asked how big the quality difference was in the files that people send to him for top quality print enlargement (processed this way) his answer was “HUGE”! Countless clients and others have also seen it. In front of a large group I asked him “who are the people who are sending the files in this way”? He said “usually, they are your clients.” 😁

When we did “The Ultimate Mastering Fine Art Printmaking Workshop” together (5 years in a row - guaranteed the most complete, comprehensive and cutting edge fine art printmaking workshop in the industry - which I still teach) among others high in this field, we even had an Adobe employee attend and say “no one is doing what you guys are doing”! That was amazing, because this was an expert who studies processing technologies.

Lots of people love to debate online. If you really want to get down to business about what this is all about, again, go to my website, find my information and give me a call! I’ll talk to any human being about this. People who have been pushing the boundaries of what is possible in quality, when they see how it works, they know full well that there’s nothing like this in the industry at the moment. And I’m going to keep preaching it from the mountain tops.

I’m not going to name the person here, because I don’t have permission (might not matter to you anyway) but I recently talked to what some people consider, arguably, the highest quality print maker in the world (gallery photographer) and when I shared some of this information with them, surprising to me, they were already applying it. And for quite some time.

If you’re trolling to get a response, this is the only one you’ll get from me. If you really want to know, then just contact me. I don’t just show workflow, I also explain how people can test it, and why it is a leap ahead in photo quality. They can easily verify all of the quality benefits.



hasenbein wrote:
Hello again, I have done some research on the net regarding that "lossless RAW processing" thing.

The image (and many of Mark's other images) is really great. There is no doubt.

His theories regarding optimal processing are very much to be doubted, though.
One question only: If his allegedly new or optimal way of processing a RAW file is so good and if it is "lossless" as opposed to all the other "lossy" ways - why is he apparently the ONLY one who has discovered this, and NO ONE else talks or writes about it?

I find that fishy, sorry.




May 08, 2023 at 11:04 PM
Mark Metternich
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p.3 #6 · p.3 #6 · White Pocket Lake


Sorry for the late reply. Thank you for such a encouraging comment. All the best to you and your work.

Danpbphoto wrote:
It is that "WoW" type of image as soon as you see it!
So creative and unique. Not to mention the photographer!

One of "the" best I have seen from your arsenal Mark!
Dan




Jul 20, 2023 at 12:21 PM
butlerkid
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p.3 #7 · p.3 #7 · White Pocket Lake


Stunning beyond words!


Jul 20, 2023 at 01:53 PM
mike reid
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p.3 #8 · p.3 #8 · White Pocket Lake


Nothing fishy...just amazing. I think I’ve worked out the process.

Also love your a7r2/canon 11-24 combo

Edited on Jul 20, 2023 at 08:27 PM · View previous versions



Jul 20, 2023 at 04:27 PM
halfawake01
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p.3 #9 · p.3 #9 · White Pocket Lake


Wow. It's unreal!


Jul 20, 2023 at 06:52 PM
Mark Metternich
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p.3 #10 · p.3 #10 · White Pocket Lake


That’s awesome! Thank you!

Before long I’m going to include a very short addendum to my new full course ”The Ultimate Quality Workflow - Lossless Adobe Raw Layer Workflow” that is going to have a really great tip about that very first gama curve adjustment. This is that most critical re-distribution adjustment #1 of the linear data. I have been testing this rigorously for about a year or more now (and I have friends that have been testing this for over 20 years ) and I see profoundly better results using a much more aggressive gamma curve than 2.2.

In fact, I’ll just let you know now that I think one of the best tricks to getting the data to look it’s very best is to push that very first gamma curve to the point where your Blackpoint is about 1/3 of the way to the right, of the left side of the histogram! Yes this far.

This critically re-distributes much more of the robust upper data down into the shadows, darks, dark middle tones, and middle tones… of the image which results in much higher quality (less noise, much better detail and color fidelity - essentially driving more bits of information into the areas of the image were our eyes are the most sensitive) shadows all the way up through the image.

Then, 2. when I go to the end points as the second adjustment, I just set the white point close to the right side of the histogram but not clipping, and I usually pull up the black end point lighter by just five more points.

Now, 3. when I adjust the middle tones down to get the overall best look for the image, it is amazing how awesome it can be, without clipping on either side! With this third, middle tones adjustment, I still want just a little bit of room on both the black end and the white end. This helps leave just a little bit of room for the last tone shaping (contrast) curve adjustment.

Then lastly, 4. when I begin to add the global contrast curve (slight custom S-Curve) very carefully and subtly, the image has room to lighten the lights a bit, and maybe darken the darks a little bit. And, of course, if we have a more difficult image with a more wide dynamic range, like a really bright sky, and a darker land, I might apply another more local tonal curve targeting that area. More often than not, that would actually be my first contrast curve adjustment.

The main thing, though, is pushing that very first gamma curve adjustment further (brighter in the darks) than just a generic 2.2 that Adobe uses often (according to my research and testing, Adobe usually uses either a 2.2, 2.0, or a 1.8 gamma curve, which are really generic) Really filling up the data in the shadows, the darks, the dark middle tones, and middle tones.

This has been a secret weapon for a great many of years with some processing experts. As an example, with the older Canon files (that had really nasty blotchy noisy shadows) this was a secret weapon of some guru types to really boost the overall quality in those areas.

When those simple 4 adjustments are done with excellence, generally speaking, this only takes me about 2 to 5 minutes, so often the image is dang near DONE before even a single slider has been adjusted in Lightroom or Camera Raw! It just ends up being micro fine-tuning from there on out. This is UNPRECEDENTED quality power at our fingertips in Lightroom and Camera Raw now!

To me, nothing makes more sense than taking control of those 4 most important quality influencing adjustments that any raw file goes through (but now, in a totally custom manner) and not letting them be done wrong via generic adobe profiles.

Also, just hitting “auto” on a linear profile (which has been recommended by some people online) can never do this!

I also find that people who have not had great results with the linear raw profiles, now get spectacular results.

I hope the above makes sense. It might sound quite technical to some people, but for those reading along that are not very technical, it simply means applying 4 quick custom curve adjustments to the linear raw data to make our images look FAR better than they ever could, and this is just the starting point! 👍🏼

Next, when we do go to the Adobe Lightroom or Adobe Camera Raw sliders, they work so sensitively and wonderfully well it is a total paradigm shift for quality.

Cheers! 🥂

Oh wait, addressing your comment about the Sony A7R2 and the Canon 11-24… I bought two of those cameras at the same time that the Sony A7R3 came out. Only later to find out that the Sony A7R3 is a much better camera. In fact, when coupled with great glass, I believe it incontrovertibly beats the quality of the A7R4 and the A7R5. I process files from all of these cameras full time every day (in fact, that’s what I’m doing at this very moment) for top class, gigantic fine art gallery enlargements, and for me, it’s not even debatable.

I do not shoot Sony anymore. I shoot with the Panasonic Lumix S1R 👍🏼🙏🏼 (and still use the Canon 11-24 with an optical adapter) but if I had to shoot Sony, it would be the Sony A7R3 or the Alpha 1.

mike reid wrote:
Nothing fishy...just amazing. I think I’ve worked out the process.

Also love your a7r2/canon 11-24 combo




Jul 21, 2023 at 07:43 AM
fotografur
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p.3 #11 · p.3 #11 · White Pocket Lake


Congratulations Mark! Stunning image!


Jul 21, 2023 at 01:54 PM
peachtreepics
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p.3 #12 · p.3 #12 · White Pocket Lake


Gorgeous shot


Jul 23, 2023 at 03:21 PM
jm10
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p.3 #13 · p.3 #13 · White Pocket Lake


Pretty amazing shot Mark!

jacob



Jul 23, 2023 at 09:42 PM
wuyu91410
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p.3 #14 · p.3 #14 · White Pocket Lake


This is amazing!


Jul 26, 2023 at 10:02 AM
Abuttolph
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p.3 #15 · p.3 #15 · White Pocket Lake


Fabulous image, Mark!


Jul 26, 2023 at 11:05 AM
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