Transforming Reality: Mastering the Miniature Effect with Tilt-Shift Photography and Drones

by DRONELIFE Contributing Editor Paul Rossi

Don’t miss Paul with co-pilots Terry and Samuel on the new Weekly Wings podcast! Drone news from the pilot perspective.

Tilt-shift photography is a technique that can transform real-world scenes into miniature-like models. The technique traditionally involves using a specialized tilt-shift lens that can change the orientation and position of the lens in relation to the image sensor. However, with advancements in technology, drones such as the Sony Airpeak have enabled photographers to simulate this effect from a unique aerial perspective, and software like Adobe Photoshop allows for the post-processing miniaturization effect without the need for specialized hardware.

The History of Tilt-Shift Photography

Tilt-shift photography has its roots in the early days of photography where movements in large format cameras were used to control the orientation of the plane of focus (tilt) and the position of the subject in the image area (shift). The movements were initially designed to correct perspective distortions or to extend the depth of field in landscape and architectural photography.

The rise of small format cameras led to the development of special lenses that could mimic these movements, known as tilt-shift lenses. It wasn’t until much later that photographers began to use these lenses creatively to produce the ‘miniature effect’ that is often associated with tilt-shift photography today.

The advent of digital photography and sophisticated software such as Photoshop allowed this effect to be replicated digitally by selectively blurring parts of the image. This made the technique more accessible to photographers who did not have tilt-shift lenses.

Tilt-Shift Photography in the Drone Era

With drones, tilt-shift photography entered a new era. Drones like the DJI Mini series and Skydio S2+ allow photographers to capture images from elevated perspectives that were once only possible with the use of aircraft or tall structures. The bird’s-eye view naturally lends itself to the tilt-shift effect, which is why drone photography has become a popular medium for this style.

In 2019, I used the DJI Phantom 4 Pro to capture aerial shots of a baseball stadium being built, then crafted tilt-shift miniatures in Photoshop. Below are the photos I created along with information and tips to help you get out and create your own ‘miniature effect’ photos.

Capturing the Image with DJI Phantom 4 Pro

The DJI Phantom 4 Pro is an advanced drone equipped with a 1-inch 20MP camera capable of capturing high-quality images. Its gimbal stabilization ensures sharp photos, crucial for the tilt-shift effect. To capture images suitable for tilt-shift photography, follow these steps:

• Plan Your Shot: Tilt-shift works best from a high angle looking down at your subject. Scout your location, in this case, the construction of a baseball stadium in North Carolina, and plan to shoot during times when shadows are present to enhance the three-dimensional feel.
• Positioning the Drone: Position the drone between 100 to 300 feet above the ground to capture a broad view of the subject while maintaining sufficient detail.
• Camera Settings: Set the camera to manual mode to control the exposure settings, ensuring the entire scene is in focus. A smaller aperture (high f-number) helps achieve a greater depth of field.
• Capturing Multiple Images: Capture multiple images to have options during the post-processing phase. Different angles can offer unique perspectives for the tilt-shift effect.

Post-Processing in Adobe Photoshop

Once you have your images, the next step is to process them in Adobe Photoshop to create the tilt-shift miniature effect:

• Selection of Focus Area: Open your image in Photoshop. The first step is to select the area that will remain in focus. This is typically a horizontal strip across the image that simulates the shallow depth of field of a macro shot.
• Creating a Tilt-Shift Blur: Go to Filter > Blur Gallery > Tilt-Shift. Adjust the blur handles to set the area of the image that will be blurred, creating the illusion of a narrow depth of field.
• Adjusting the Blur: Fine-tune the amount of blur to enhance the miniature effect. Be careful not to overdo it; subtlety is key.
• Enhancing Colors and Contrast: Miniature models often have saturated colors and high contrast. Adjust the vibrancy and contrast sliders to mimic this look.
• Final Touches: Add sharpening to the focused area if necessary and consider cropping the image for the best composition.

Tips for Success

• The angle of the shot is crucial; the more top-down the angle, the more convincing the miniature effect will be.
• Morning or late afternoon when shadows are longer can add to the miniature effect, providing more depth and contrast.
• When applying the tilt-shift effect in Photoshop, make sure the transition between the in-focus and out-of-focus areas is smooth and gradual.
• Experiment with different levels of saturation and contrast to see what gives the most realistic ‘miniature’ look.

By combining the aerial capabilities of the drones available today and the powerful editing tools in Adobe Photoshop, photographers can create stunning, miniaturized representations of real-world scenes, such as a baseball stadium under construction. With practice, this technique can yield captivating images that offer a fresh perspective on everyday scenes.

Conclusion

The history of tilt-shift photography is a testament to the evolution of photographic techniques and the ingenuity of photographers in exploiting technological advances. Drone photographers continue to push the boundaries of this technique, using platforms like the Autel Robotics EVO series to capture the world in miniature and share a fresh perspective on our everyday environments.

Paul Rossi, US Army Veteran, is the President at Nine Ten Drones, a N. C.-based drone services company, training center, and reseller. A graduate of Embry Riddle Aeronautical University (ERAU) and the U.S. Army Aviation Logistics School, Rossi is passionate about the aviation industry.  He holds both a Private Pilot’s License w/ Instrument Rating for manned aircraft and a Part 107 Remote Pilot’s Certificate.  Rossi is currently studying for his MS Space Operations from ERAU, energized to expand his reach beyond Earth’s atmosphere. You can see more videos and product information on the Nine Ten Drones YouTube channel and connect with Paul on LinkedIn.com

Miriam McNabb is the Editor-in-Chief of DRONELIFE and CEO of JobForDrones, a professional drone services marketplace, and a fascinated observer of the emerging drone industry and the regulatory environment for drones. Miriam has penned over 3,000 articles focused on the commercial drone space and is an international speaker and recognized figure in the industry.  Miriam has a degree from the University of Chicago and over 20 years of experience in high tech sales and marketing for new technologies.
For drone industry consulting or writing, Email Miriam.

TWITTER:@spaldingbarker

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Sepia Bride TikTok Drama Leads To Wedding Photography Debate – Betches

Image Credit: TikTok @alexandrajaye5

Brides get a lot of flak for being bridezillas when it comes to their wedding day. And while some of these judgements are totally justifiable (I’m looking at any bride that makes their bridesmaids drop their life savings on their big-day events), sometimes they have a bit of a point. Weddings are fucking expensive okay, even when you’re not getting Rihanna to perform at a marriage ceremony. And when you drop literally thousands of dollars for a wedding service, I understand wanting to be 100% happy with what you get. And that’s exactly what Alexandra Conder wanted from her wedding photographer. And because she decided to take to TikTok to air her grievances, she’s now being called the “Sepia bride.”

Who Is The Sepia Bride On TikTok?

@alexandrajaye5 Wedding photographer horror experience. Story time. #legal #weddinghorrorstory #weddingstories #weddingphotography #weddingphotos #weddingphotographer #greenscreen #storytime ♬ original sound – Alexandra Jaye Conder

Alexandra, or @alexandrajaye5 on TikTok, is the cosmetic artist turned TikTok sensation who’s shaking things up with her wedding photo drama. This queen did her own makeup for her big day (because, of course she did) and at first, she was over the moon about her $8,000 Instagram-discovered photographer’s work. But after 30 days of staring at her photos (we’ve all been there), Alexandra realized something was way off. Her radiant bride glow was MIA, replaced by a ghostly pale, sepia-toned version of herself. Even the ocean behind her in the pictures had been so filtered it looked like it was raining out. And she wasn’t having it. She reached out to the photographer and they had a quick back-and-forth and decided that they wouldn’t come to an agreement so the photographer decided to send her the RAW photos (aka before edits). That’s when Alexandra realized it looked like she threw the same sepia-preset filter on every single photos, basically drowning out the real radiance of her wedding photos.

Who Is The Sepia Bride Photographer?

@alexandrajaye5 Replying to @Sinke Floral #greenscreen needed to get these off my chest #weddingtiktok #weddingphotos #photographer #bride #bridal #destinationwedding #weddingdrama ♬ original sound – Alexandra Jaye Conder

Now, let’s talk about the mystery photographer who delivered these questionable edits. Well, not-so-mysterious anymore I guess — you know the power of the internet.

Alexandra found this photographer on Instagram, dropping a cool eight grand for their services. Initially, the shots were everything she dreamed of — until the honeymoon phase ended and reality set in. Her teeth, usually pearly white, looked yellow, and her makeup was a dull shadow of its former self. The photographer who is now being dubbed the “Sepia Bride Photographer” is allegedly photographer Hannah Ellis.

In her “story time,” Alexandra explained that as soon as she realized she didn’t like her photos, she got on the phone with her photographer and asked for all of the RAW photos she wanted so that she could edit them herself for a wedding album she wanted to put together for her family. Apparently the photographer refused, saying that Alexandra knew her style before booking her. When she became super frustrated, her new husband took the phone and tried to reason with the photographer, even offering another $1,000 for all the RAW images. The photographer then said it would be another four grand for all the photos.

Sepia Wedding Drama Explained

@alexandrajaye5 Replying to @Kacee Payne #greenscreen #weddingphotos #weddingphotography #storytime #bride ♬ original sound – Alexandra Jaye Conder

So here’s the big deal: Because Alexandra decided to spill the tea on Hannah on TikTok, it sparked a massive debate among brides and photographers alike. Some photogs jumped in, defending the edit as a matter of lighting and consistency, some even cited that RAW photos are usually very pricey. But others were quick to call out the need for stellar customer service — if your client’s not happy, you fix it, no questions asked… especially when that client dropped eight big ones. Brides from all corners shared their own tales of woe and redemption, proving that Alexandra wasn’t alone in her sepia struggle.

Including the original two videos explaining her issues with her wedding photos, Alexandra has made a total of 29 (!!!) TikTok videos that are related to the Sepia bride drama going on. She still clarified that she wasn’t trashing her photographer’s skills entirely. She said that the moments captured were beautiful — it was the post-production filter that turned her into a sepia stranger.

Everyone should speak up if they’re not happy about a service they paid for. Should they make 29 videos about said unhappiness? You be the judge of that, but one thing I do agree with: You paid for perfection and you deserve photos that reflect that — sans yellow teeth and sepia filters.

Syeda Khaula Saad

Syeda Khaula Saad is a sex & dating writer at Betches despite not remembering the last time she was in a relationship. Just take her word for it.

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It is a stereotype that artists and creatives believe themselves to be constantly hard–done by, however, in the face of modern technology, it would appear they’re right. 

Between the scandal at Adobe, for which they are now being sued, and Meta dubiously labelling photographers work as “made with AI,” it’s been a depressing glimpse into the future for many original creatives. 

Since April of this year, photographers have been on the warpath after Meta started forcefully labelling their Instagram photographs as “made with AI” for tiny edits, including minor Photoshop tweaks.

After allegedly “listening” to the feedback, Meta has now adapted their AI labelling technique, but is it any better? 

Meta has replaced the “made with AI” label with “AI Info” on images it detects to have come into contact with any AI tech. 

In an update to Meta’s webpage “Our Approach to Labelling AI–Generated Content and Manipulated Media,” originally created in April they have said:

“We’ve found that our labels based on [industry standard AI] indicators weren’t always aligned with people’s expectations and didn’t always provide enough context. For example, some content that included minor modifications using AI, such as retouching tools, included industry-standard indicators that were then labeled “Made with AI”.

“While we work with companies across the industry to improve the process so our labeling approach better matches our intent, we’re updating the “Made with AI” label to “AI Info” across our apps, which people can click for more information.”

So how does this help artists and photographers?

Not much when you learn that when users click on the new tags, it will still flash up with the same message “made with AI,” but will now come with a “detailed” explanation of the tags justification. The limited options include indicating that the image might be entirely AI–generated, or edited using AI tools. It is not clear yet whether the types and breadth of tools will be detailed. 

Users will first notice the change across mobile apps, with the main rollout happening gradually across other platforms. 

The vast majority of creatives I know have been calling for more transparency over AI generated images since their emergence, but what they are referring to is work that is almost entirely created using programs. 

Under these rules, even with the update, there is still not enough of a differentiation between a perfectly reasonable edit on a real, original photograph, such as removing a speck of dust, or significant edits that change the authenticity of the image.

We’re all still going to do it so here are the best photo editing software, and the best photo-editing laptops for photographers. 

Principal photography has commenced on Boomah (The Owl), an Arab underworld thriller written and directed by Zaid Abu Hamdan. This project marks Abu Hamdan’s second feature film, following his critically acclaimed Daughters of Abdul Rahman.

Rakeen Saad, announced in December, will portray the lead role of the female thug Boomah. Saad is renowned for her roles in The Giza Killer and Netflix’s Al Rawabi School for Girls. She is set to appear in the upcoming Netflix series Echoes of the Past and Terrence Malick’s biblical drama The Way of the Wind.

Boomah reunites Saad with her Al Rawabi School for Girls co-star Joanna Arida, who will play Boomah’s best friend and confidant, Anoud. Arida will also be seen in the Dutch TV series Laura H. The cast includes Majd Eid, Nabil Al Raee and Hanan Al Hilo, the latter reuniting with Abu Hamdan from Daughters of Abdul Rahman.

Boomah is described as an expansive crime thriller set against the backdrop of Jordan’s underworld. Protagonist Boomah is a notorious and knife-savvy female gang member who becomes embroiled in a power struggle between street thugs and religious extremists while battling the traumas of her harrowing orphaned past. The production aims to capture the epic scale of this underworld of violence juxtaposed against gender struggles and street gang hierarchies.

The film is produced by Front Row Productions and Bounce Productions, with Ahmad Abu Koush and Zaid Abu Hamdan at the helm. Bayt Al Shawareb, known for their work on the Oscar-nominated “Theeb” and the Cannes-selected Inshallah a Boy, is also involved.

Renowned editor Dina Farouk, who worked on Chaos Disorder, Moga Harra and Banat Wist El Balad, will collaborate with Abu Hamdan again. Samir Seif’s “His Excellency The Minister” joins as editor, and Samer Al Nimri, known for Our Males and Females, is the Director of Photography.

In a joint statement, Producers Gianluca Chakra and Mario Jr. Haddad said: “We’re proud to be a part of this project, supporting Jordanian and Levantine talent during this extremely difficult and trying period, with so much risk inherent in cinema and arts coming out of this region. Zaid is an outstanding young and ambitious director with a very bright future ahead, a true visionary and difference-maker. His understanding of the nuances of Jordanian street culture is exceptional. We are concentrating on a script and storytelling that transcends borders and nationality while looking to break the limits of background and identity to bring ‘Boomah‘ to a wide Arab audience and beyond. We see Boomah positioned as a film with Arab and international appeal, as a crime thriller reminiscent of great underworld juggernaut works like City of God, Gomorrah, La Haine and others.”

The production team includes Producer Sari Saad Silawi, line producer Dalia Al Nimr, and production designer Rand Abdel Noor. Noor’s previous work includes The Alleys, John Wick: Chapter 4, Dune and “Moon Knight.”

Co-producers for the film are Maia Malas, Carine Chaiban, Elie Touma, Nicolas Torloting, Sari Silawi and Dalia Al-Nimr.

A tribute to the late photographer Roger Richards, known for his iconic images in drag racing, highlights his impact and relationships within the community.

By the Numbers

• Roger Richards passed away on June 25, 2024.
• He began his photography career in drag racing around the turn of the century.

Yes, But

Roger Richards’ passing has left a void in the drag racing community, emphasizing the loss of a beloved figure and talented photographer.

State of Play

• Roger Richards’ legacy lives on through the memories and tributes shared by friends and colleagues in the drag racing world.
• His unique approach to photography and his infectious personality have left a lasting impact on the community.
• Colleagues and fans continue to cherish his work and the joy he brought to the sport.

What’s Next

The drag racing community will likely continue to honor Roger Richards’ memory through various tributes and events dedicated to his legacy.

Bottom Line

Roger Richards, with his passion for photography and drag racing, has left a significant mark on the sport, remembered not only for his images but also for his humor and camaraderie within the community.

While looking at the provenance documents for the 3,000-year-old Egyptian child’s coffin in their collection, staff at the Museum of Fine Arts in Boston began to realise things did not quite add up.

The paperwork contained a letter from a Swedish artist, who went into great detail about how he had excavated it in 1937, combined with apparent confirmation of its authenticity from a professor of Egyptology.

But an eagle-eyed curator at the museum had recently seen a photograph of a coffin that looked remarkably similar. That one was actually being dug out of the ground by a British archaeologist in 1920.

That clue set staff investigating the real background to the coffin.

The rare photograph was used for archaeological detective work that revealed the ancient artefact had been stolen from a museum in Sweden in 1970.

More than 100 years after the photograph was taken, the coffin has now been returned to the Gustavianum, the museum of the University of Uppsala.

Victoria Reed, who oversees provenance research at the MFA, explained to The National how her team uncovered the theft.

In the pre-internet era it was not unusual to ask sellers for signed statements and to provide recollections about how an object came into their possession.

But the long and extravagant back story about how the coffin made its way from Egypt to Sweden aroused suspicion, she said.

“We have had instances in the past where we have been given elaborate provenance stories for looted and stolen objects. I think we always have to be careful when we get these fantastic stories of objects coming from unusual locations.”

The coffin had in fact been excavated by Sir Flinders Petrie, who has been referred to as the “father of Egyptian archaeology”. He was also a pioneer in the use of photography in the field.

During a dig in Egypt in 1920 he excavated the 110cm tall clay coffin of a boy named Paneferneb and photographed the artefact, which dates back to 1295BC, as it lay in the ground.

The artefact ended up in Sweden and stayed there for decades. But in 1985, an agent based in California, claiming to represent Swedish artist Eric Stahl, sold it to the MFA. How exactly the coffin made its way from Sweden to California is unclear.

It would have remained there had it not been for an eagle-eyed curator in Egyptian art, who realised that the coffin was in fact the one in the 1920 photograph he had previously seen in a specialist book. He brought this to Ms Reed’s attention in June 2023.

Ms Reed explained the rambling letter claiming to have been from Mr Stahl went into a “a lot of extraneous detail” about how he purportedly went to Egypt in 1937 on an expedition.

“The letter goes on and on and then all of a sudden on the last page he brings up the coffin, but he doesn’t really describe finding a coffin,” she said.

“He just talks about finding some shards and then at the very end he talks about ‘the little coffin that I found myself’.”

Also accompanying the coffin was a letter purporting to be from Per-Olow Anderson, who was a well-known photographer. On the document however, it was claimed he was a PhD in Egyptology and a Professor of Egyptology at Uppsala University, which was found to be untrue.

“He – or whoever signed his name – gives a statement attesting to the quality of the coffin and saying it had been found by Eric Stahl 30 years earlier,” said Ms Reed.

“It says ‘I’ve seen this object, it’s charming, it’s a nice object collection’ kind of thing.

“His name was put into the statement to provide expertise, authenticity and to give the appearance of legitimacy. It’s not clear to me whether he ever saw the coffin or whether he was involved in this to any extent whatsoever.”

Ms Reed said it was by now clear to staff that the story should not be believed.

While Eric Stahl was indeed an artist, it was established there’s no record of him ever taking part in an archaeological excavation in Egypt.

“We have the photographs, we have conflicting provenance, and we have the fact that all of our documentation came to us through a seller,” said Ms Reed.

“Then you have these funny kind of assertions that can’t be verified. So all of these things put together signalled likely problems.”

Ms Reed contacted the museum at the University of Uppsala and a curator there began digging into their files.

“She was able to confirm that the coffin had been shipped to them in 1922, they had an inventory card for it. And that it had been missing since at least 1970.”

Mikael Ahlund, director of Gustavianum, said it is “very gratifying” that artefact has been returned.

He said it “is an important item in our collections and it means a lot to the museum and the University that it has now been returned to us”.

But Monica Hanna, associate professor and dean of the College of Archaeology and Cultural Heritage at the Arab Academy for Science, Technology and Maritime Transport, told The National the coffin should be returned to Egypt.

“This is an international crime and should be recovered to the Egyptian authorities immediately,” Prof Hanna said

Photographing history

The photograph that shed light on the mystery is stored at the Petrie Museum, part of UCL university in London.

Anna Garnett, a curator at the museum and an archaeologist who works in Egypt and Sudan, said staff were “delighted” that the image was able to help in revealing the coffin had been stolen.

“I think this is such a fantastic example that shows the importance of archives, but also the importance of this kind of curatorial detective work,” Dr Garnett told The National.

“It really highlights the layers of complexity when it comes to the distribution of objects that came from Egypt through Petrie’s excavations.”

Dr Garnett explained that Flinders Petrie was a pioneer in archaeological photography but having an image of such quality was “rare”. The fact it has “survived until today is really incredible and a feat of determination by the UCL staff”, she said.

“I think of people behind it and how long it must have taken to set up in what was probably 40 degree heat in Egypt,” said Dr Garnett.

“It’s hard enough in the field today in Egypt to get a decent light for photography, but to do it when they were carrying around big heavy cameras and glass plates, is really, really, impressive.”

Museums have in recent years come under scrutiny, including from law enforcement and academics, over the extent to which their collections contain stolen artefacts.

For Ms Reed there was no question that the MFA would seek to hold on to an item that they found out was stolen, even if that was potentially embarrassing.

“I think museums certainly have a responsibility to address these historical losses,” she said.

“We are public educational institutions, we should not be holding on to stolen art, we should not be displaying stolen art.”

Updated: July 03, 2024, 2:02 PM