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Epiphany, Lalibela, Ethiopia por domingo leiva Por Flickr: Elder woman praying in Saint George's church in Lalibela

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Epiphany, Lalibela, Ethiopia por domingo leiva Por Flickr: Man wating in Saint Georges church in Lalibela

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Tag Mahal, Agra, India por domingo leiva

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Qutab Minar at night, New Delhi, India por domingo leiva Por Flickr: In the absence of a tripod, it is not bad to have the help of Artificial Intelligence. The detail recovery capabilities of the new noise cleanup and detail recovery processing tools are amazing. Here I have worked with several of them. The blue hour came to me without having any decent support to stabilize the camera. Just a year ago I would have put my hands down and put the equipment in my backpack. But in Delhi he knew that he could count on several alternative assets. First, the sensor on my mirrorless camera is noticeably less noisy, at high ISO, than on the traditional full-frame SLRs I was shooting with until recently. And here I needed to take the photo at 10,000 ISO, if I wanted to have a speed that would freeze the image. Before starting the processing I have cleaned the noise from the negative and recovered information with PureRaw from DxO. At the end of the processing I have returned to enrich the image information using Topaz's Sharpen AI. Two wonders that tempt me to forget the tripod at home on my next trips (just kidding for now). The photo was taken with a 14mm lens, an aperture of f8 and a speed of 1/125 s. The recovery of the normal appearance of the perspective I worked with "adaptive width angle" of Photoshop and the light, contrast and everything else with Luminar AI (because Luminar Neo fails as a Photoshop plugin in its last update) and Camera Raw (which I more and more excited).

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Qutab Minar, New Delhi, India por domingo leiva Por Flickr: We arrived just at twilight at the Qutab Minar in Delhi. Without a tripod, I had to trust everything to my hand, the sensor of my Nikon Z6 and the miraculous noise cleaning and image reconstruction that the PureRaw software does. This was one of the first shots I did. I selected a 14mm objective, composing with the converging lines of the ruins and the flower bed, so that they directed the view to the minaret, placed on the line of the first vertical third. Aperture of F8, to have focus from the first term to infinity, and a speed of 1/125 to avoid trepidations. The sensation of depth was perfect, but the deformations caused by the extreme angle were inadmissible, especially at the edges of the image and in the tower itself. The processing, after cleaning the file with PureRaw, I have started by correcting the perspective and giving it back a natural look with Photoshop's Adaptive Wide Angle tool, in perspective mode. Then I have recovered light and contrast with some tools based on Artificial Intelligence from Luminar Neo, to continue with a contrasting by zones in Camera Raw and final touches helped by Nik's software and enhancing the point of the sun with Knol Light Factory. To top it off, painted high lights supported by luminosity masks.

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Old Delhi market, India por domingo leiva Por Flickr: In street photography, the secret lies in anticipating what is going to happen and preparing to freeze a unique moment, a frame capable of narrating an entire film. The difficulty is not to interrupt reality with the intrusion of the camera. At the moment in which the protagonists are aware that they are being photographed, everything falls apart and the life story vanishes. That is why it is so important that the photographer becomes part of the landscape, camouflage himself and go unnoticed. In this photo of the market in the old city of Delhi, I was riding in a richshaw with the camera resting on my lap, an extreme wide angle lens (16mm) and the camera in manual with a speed of 1/1000 s and an aperture of F8, leaving the ISO in automatic mode. I saw the scene 3 seconds before, I mentally composed knowing how the camera would react and I shot at the right moment, without looking at the scene or the camera.

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Rio Tormes con Salamanca al fondo, Castilla y León, España por domingo leiva Por Flickr: Ni dos ni cuatro, el tres es el número mágico que un elemento de interés debe repetir secuencialmente para que funcione a la perfección en la composición fotográfica. Pero no fue solo el trío de árboles lo que me llamó la atención en la distribución de los elementos en la escena. La catedral de Salamanca se ubicaba cerca de la intersección de los tercios, enmarcada dentro de un arco vegetal, que a su vez realzaba el carácter natural del primer plano, con esos colores semi otoñales, que dominaba el amanecer de aquel día a orillas del Tormes. Esta es una toma única con tres exposiciones combinadas en HDR. Para asegurar la máxima nitidez y una buena profundidad de campo, coloqué la cámara en un trípode, lo que me permitió trabajar con el objetivo moderadamente cerrado (F8), a velocidades lentas y un ISO de 100. Tomé tres exposiciones (una para las sombras, uno para los medios tonos y otro para las luces), porque quería conservar todos los detalles del cielo nublado sin perder la riqueza de matices y color en las sombras. Neither two nor four, three is the magic number that an element of interest must be repeated sequentially to work perfectly in the photographic composition. But it was not only the trio of trees that caught my attention in the distribution of the elements in the scene. The cathedral of Salamanca was located near the intersection of the thirds, framed within a vegetal arch, which in turn enhanced the natural character of the foreground, with those semi-autumnal colors, which dominated the sunrise that day on the banks of the Tormes . This is a single shot with three exposures merged in HDR. To ensure maximum sharpness, and a good depth of field, I placed the camera on a tripod, which allowed me to work with the lens moderately closed (F8), at slow speeds and an ISO of 100. I took three exposures (one for the shadows, one for the midtones and one for the highlights), because I wanted to preserve all the details of the cloudy sky without losing the richness of hues and color in the shadows.

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Claustro de la Casa de Las Conchas, Salamanca, Spain por domingo leiva Por Flickr: Las torres de la Iglesia de la Clerecía, enmarcadas en el cielo sobre el claustro de la Casa de las Conchas, es una de las imágenes icónicas de Salamanca. El reto es encontrar una visión personal de esa instantánea tantas veces capturada. En la composición traté de jugar con la repetición en fuga de elementos y formas simétricas, característico de la arquitectura de los claustros. El propio formato de la imagen se acerca a un cuadrado para acentuar la simetría multidireccional, que es rota por las torres sobresaliendo sobre el cuarto superior de la escena. Para amplificar el espacio disponible, utilicé un objetivo de 14 mm sobre una cámara de formato completo, cosido en una panorámica de 4 tomas en vertical. Las líneas rectas se convirtieron en curvas vertiginosas en la imagen resultante. Pero gracias a un trabajo artesanal con la herramienta “angulo ancho adaptable” de Photoshop, he conseguido que la perspectiva recupere un aspecto hasta cierto punto “natural”. Esperé a la “hora mágica” para que las luces artificiales y naturales armonizasen su intensidad. Necesitaba cerrar el objetivo a F8 para conseguir una profundidad de campo óptima. No tenía trípode. Así que subí la velocidad de obturación a 125, y tuve que trabajar con el ISO a 800, lo que producía un visible ruido en las zonas menos iluminadas. Lo eliminé en el procesado utilizando un software que me tiene fascinado: PureRaw. The towers of the Clerecía Church, framed in the sky above the cloister of the Casa de las Conchas, is one of the iconic images of Salamanca. The challenge is to find a personal vision of that snapshot so many times captured. In the composition I tried to play with the fleeting repetition of elements and symmetrical forms, characteristic of the architecture of the cloisters. The image format itself is close to a square to accentuate the multidirectional symmetry, which is broken by the towers jutting out over the top quarter of the scene. To amplify the available space, I used a 14mm lens on a full frame camera, stitched into a 4 shot vertical panorama. Straight lines turned into dizzying curves in the resulting image. But thanks to some craftsmanship with Photoshop's "adaptive wide angle" tool, I managed to get the perspective back to a somewhat "natural" look. I waited for the "magic hour" for the artificial and natural lights to harmonize their intensity. I needed to close the lens down to F8 to get optimal depth of field. I had no tripod. So I increased the shutter speed to 125, and had to work with the ISO at 800, which produced visible noise in the dim areas. I removed it in processing using software that has fascinated me: PureRaw.

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Orbaneja del Castillo, Burgos, Spain por domingo leiva

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Plaza Mayor de Pedraza, Segovia, España por domingo leiva Por Flickr: Main Square of Pedraza, Segovia province, Spain

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Plaza Mayor de Pedraza, Segovia, España por domingo leiva Por Flickr: Main Square of Pedraza, Segovia province, Spain

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Romanesque church in Pedraza, Segovia, Spain por domingo leiva Por Flickr: Iglesia de Nuestra Señora de la Vega, Pedraza, Segovia

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Church of San Esteban, Burgos, Spain por domingo leiva Por Flickr: dleiva.com/

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Burgos cathedral at sunrise, Spain por domingo leiva Por Flickr: dleiva.com/

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Burgos cathedral at dawn, Spain por domingo leiva Por Flickr: dleiva.com/

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Vaticano basilica at dawn, Roma, Italy por domingo leiva Por Flickr: dleiva.com/

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Keizersgracht Chanel, Amsterdam, Holand por domingo leiva Por Flickr: dleiva.com/