Waterfall stacking: Can you leave your tripod and ND filter at home?

Started 4 months ago | Discussion thread
Anders W
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Re: Waterfall stacking: Can you leave your tripod and ND filter at home ?
In reply to Detail Man, 4 months ago

Detail Man wrote:

Anders W wrote:

Detail Man wrote:

Anders W wrote:

What can you do to give the illusion of flowing water (or other similar motion) if you encounter a waterfall in broad daylight but left your ND filter and tripod at home? Or what can you do if the scene calls out for a UWA like the 7-14 or the Samyang/Rokinon 7.5/3.5 fisheye, neither of which takes filters (without a special holder) in the first place?

Inspired by discussions in this thread about the pros and cons of MFT WAs and in this thread about stacking I proposed a solution where you shoot a burst at a shutter speed that you can manage without the help of an ND and tripod and then merge and align the images in PP.

Does it work? And if so how well? I had to find out so went out in the beautiful (but cold, brrr) winter weather we had today to find about the only place in town with freely running water: the mighty "Iceland Falls" (Islandsfallet) of Uppsala.

First, I mounted my 14-45 on the E-M5 and shot the scene at ordinary "freezing" speed (f/5.1, 1/640 s).

Next, I stopped down as much as I could without going beyond the point (f/8) where diffraction starts to become a problem, lowered the shutter speed to 1/250, AFd and then switched to MF, set the camera to high-speed burst mode (9 fps) and fired until the buffer was full. This yielded 16 shots that were subsequently merged and aligned, with the fringe benefit of increasing DR by two EV.

Finally, I mounted the camera on a tripod, put on my home-grown variable ND filter (a linear polarizer on top of a circular one) and adjusted it until I got the shutter speed down to one second (which was close to, but not beyond, the point at which it starts to generate an undesirable blueish tint). But you do see, as expected, the polarizer effect in the sky.

Well, what do you think? I have some ideas myself but I like to hear yours first.

I would sure like to see your images at (at least) 1200 pixel-height. The new viewing-interface would allow even larger pixel-heights to be viewable. Having viewed these images at "native" size as well as at odd-numbered enlargement multipliers, I think that the sampled one looks noisier (to my eyes) for more reasons than being the combination of exposures sampling only 0.4% of the total recording time.

I'll see what I can do about that DM. Still have to make up my mind about how to display images here. As you know, I have so far preferred to link them in rather than employ the DPR gallery. And the free solution I currently use limits me to 1024x768. Would some crops do for the time being? If so what parts of the water would you suggest.

A 1024x768 version of the (present) 512x384 section of the lower-right quadrant would be good.

OK. I'll try to upload that.

The concept of random noise cancellation depends on the scaling of the random noise being uniform within the averaged samples. Under that condition, reduction by the square-root of N is the best case (where a 2-stop factor of 4 SNR improvement would be the goal of averaging 16 exposures).

The dominant (image-sensor based) random noise present is Photon Shot Noise (as opposed to Read Noise) - which varies as a function of the illumination of the individual photo-sites. When sampling only 0.4% of the "action", the illumination of the individual photo-sites will be essentially random in nature - and with a magnitude that clearly exceeds the Photon Shot Noise itself.

Those two individual random components will combine vectorally (as the square-root of the sum of their squares), but the larger magnitude component will dominate (due to the effects of squaring). Thus, I don't think that this sampling concept is sound for subject-matter with non-stationary luminance (such as any moving subject-matter that varies in the scene lighting that it reflects).

Not sure I follow you here. For anything static, merging 16 images does yield a DR improvement of two EV. For anything dynamic, it yields the same improvement relative to the average true light level of the particular moments caught. In the stacked image, those moments are discrete over a two-second interval. In the low shutter-speed image, they are continuous over a one-second interval. That's why the former looks "foamy" and the latter "milky".

Here is the basis of my thinking - and reasons that I think that the samples resemble random noise.

You sampled sixteen 0.004 Second "windows" at a repetition-rate of 9 samples per second. Only 3.6% of what occured (within the duration of each 0.004 Second sampling "window") was averaged. The rest of what occured was entirely unkown to the camera system.

(Assuming absolute camera stability), each photo-site on your image-sensor was illuminated (during the 0.004 Second "windows") by a limited sampling of a complex reflectance waveform containing various frequency components with random phase relationships (relative to the phase of some fundamental frequency of analysis), the time-domain sum of which represented some average value of luminance - but (only) within each of the 0.004 Second sampling "windows".

Due to the varying and unpredicatble phase relationships (relative to the phase of some fundamental frequency of analysis) that exist between the various frequency components of the reflectance waveform, the instantaneous time-domain sum of the frequency components that (at any given time) exist in the frequency-domain (even at less than 1/2 the sampling frequency of 4.5 CPS) does not represent the simple case of an amplitude-stable complex periodic time-domain waveform that can be sampled to yield consistent inter-sample results - because the various frequency components are being phase-modulated in essentially random ways.

Frequency components existing at greater than 1/2 the sampling frequency - which are quite possible - are aliasing, "wrapping around", and showing up below (as opposed to above) 4.5 CPS.

Assuming some amount of angular motion in the X and Y axes of the camera orientation shifting, the situation described above is complicated further by any (non IS-cancelled) hand tremors.

If the sum of all of the above-described effects do (for the reasons described) resemble randomly sampled results - which in turn result in random average illumination levels of individual photo-sites during the sampling "windows" - then the recorded signals themselves (and not just the resulting Photon Shot Noise) are (at least partially, if not quite significantly) random in nature.

In the case of a single continuous exposure, all that occurs is included within the averaging process - so the sampling uncertainty introduced by the random phase relationships described does not exist.

Yes, the specific sampling uncertainty you are talking about doesn't exist in the single continuous exposure. On the other hand, the movement of water in a waterfall is chaotic (unpredictable and thus, within limits, essentially random; it's a standard example in chaos theory) and the one-second interval you choose for the continuous exposure essentially random (from a sample of such intervals) as well.

What matters here is that with the single long exposure, you have a perfectly continuous sample of the movement within the particular interval you happen to select. With the stacked burst, you don't. This is what explains why the first is smoother than the second.

On the other hand, if I had kept shooting and merged a sufficiently large number of shots, I would eventually have ended up with a rendering that would be as smooth as the one-second exposure. Probably it wouldn't be quite the same nevertheless, since with current camera technology, getting a sufficiently large sample requires significantly more time than one second. But if we were to compare a 10-second or 30-second continuous exposure with bursts containing hundreds of shots, I think they'd look very much alike.

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