DMRCC: Loading Station

As I go through the shots from the DMRRC, I'm finding that four photos that are going to make the cut for extra work and display.  The Hollywoods Station was a real sleeper until I started playing with it.  The Zehaufer Mill was certainly fun to play with and did turn out better than I thought it would.  The fourth shot is the only shot from a tripod, looking up the side of a mountain straight into some florescent lights.  Yep - that needs a lot of work.  I need a crappy Saturday for that one.
Which leaves the third shot - the Loading Station.  From the time I first went on the scouting mission to the DMRRC, I had visions of this one and doing something really good with it.  
This started as a nine photo stack.  I did the fake HDR trick, using five images one stop apart.  This is what I came up with:

That is some piece of work.
Before I can even get to the effects, there is so much to do.  There is a level issue that needs to be corrected.  The unfinished structure needs to be covered.  I thought about trying to make it look like a bridge, but if you're going to alter it, just do it.  And the lights.
All that stuff is doable.  And done.

When I'm editing, I usually keep all the edit changes in case I want to work a tweak at a later time.  Like the Egyptians killing the slaves when the pyramids were completed - I killed the files.  There will be no tweaks.

DMRRC: Zehaufer Milling

The finished photo turned out a bit darker than I originally thought it would.  And I'm not sure why - but that is where I wound up.  Sort of went a bit Charles Addams.  (Google it.)  This is my first attempt to combine focus stacking and HDR.
The initial issue when trying to combine the two styles is how can this be pulled off?  In a perfect world, you could take three sets of stacked images and try to combine them.  Let's see, 5 shot stack for each three or five set HDRs.  Quick!  I need a non-Common Core math expert.  Will the HDRs be sharp enough to line up?  Will HDR negate the photo stacking effect?
The primary goal here is a sharp image.  The focus, pun intended, here should be the focus stacking.  My light contrast just isn't all that wide so any HDR is really for effect only.  The image pixel information will be there - no blown channels.
So the plan is to focus stack to one .tiff image, then using ACR increase or decrease the image two stops to blend.
The image information:  6 shot focus stack.  f/stop 8; 1.3 seconds; ISO 100; 18 mm; Manual.  Camera was ground level on the tracks, using a bean bag for support.
Last is I know there will have to be a background 'sky' inserted.  I'll deal with that later in the process, I need to concentrate (couldn't use focus again.) on the scene. 
Step One:  The plan.  Completed.

Step two:  Focus stack the image:  This is the merged image from the six shots.  The 'extra' in the background couldn't stand still for all the shots.  Anyway - the primary purpose of the stack is for the subject to be in focus all the way through the depth of the photo - and it is.

Step two:  Completed

Step three:  Remove the background.  (And I hit it with a bit of sharpening and contrast effect.).

In trying to keep the DMRRC theme, the sky is from the mural with can be seen in the Hollywoods Station photo.  As it is just the top of the mural, tough to tell, but it is the mural.  I did the layer work in On One.  For me right now, On One seems to be much easier and quicker than Photoshop.  On One has a feature called 'smart brush' that allows painting out around objects fairly easily.  In Photoshop, the 'smart' brush' function starts with defining the object, then removing layers of pixels for sharpness.  Anyway - with the On One I have some decent definition with the trees.

Step three:  Completed.

Step four:  HDR it.
OK - lets dispense for now the argument that what I'm about to do really isn't HDR.  If it makes you happy to say that I'm doing a process that generates an HDR like image, go with it.
Since I'm working with .tiff files, all the pixel data is there.  There is plenty of room to move the light around

I decided to go with a total of five stops.  Two Up, two down and a 'normal'.
To do this, I use the ACR 'Exposure' sliding bar.

I'll move the slider to a value of -2, -1, 0, +1, +2 taking an image at each stop.  I'll then put the images through Photomatix using the Default setting to help set the colors.

Step four completed.

Step five:  Finish it off.

I didn't see anything in Photomatix that got me.  I saw some interesting effects, but nothing that was the end.  So I put it through Nik's HDR Efx pro 2.  OK - there's some stuff.  That will put some edge to it.

And the final image is:

As I mentioned in the beginning, it is a bit dark.  I could lighten it up a bit but this works for me.

As I go through these, I keep thinking that this probably isn't what the DMRRC was thinking when they offered my club access to the layout.  But that's OK, there were 12 other photographers there who probably came up with some real nice shots they'll like.  I sleep OK.

DMRRC - Hollywoods Station

Thank goodness it was and still is a crappy weekend, relating to the weather.  I had a lot to do with the photos from the DMRRC shoot on Thursday night.
First I had to go through all the photos, 180 of them.  I needed to separate the photos into groups for stacking.  In the end, I wound up with 23 groups - which means a total of 23 possible finished products.  I found two sets that were technically OK, but not as interesting as I thought they'd be.  I will have 21 good photos to play with and I think that's OK for first effort with stacking and miniature subjects.
My workflow is also changing.  I made the official move to using Photoshop, upgrading from Elements.  There's a bit of a learning curve there - but lots of YouTube videos.  (How did the caveman ever get along with out the 'net?)  Once I got that installed on the PC and laptop, I need to re-install On One and Photomatix to get all the plug-ins connected.  Did I mention it was crappy outside and that's a good thing today?
As to Hollywoods Station....
This photo is from the front of the railroad display.  In the background is a very cool mural, which is where the Hollywoods name comes from.  There are some very interesting colors here, so I'm wondering anyway why is this shot in B&W?  As i went through proofing these photos the monochrome really works for me with the railroads.  It is just me.

For this and most of my other shots, I put the camera right on the ground, with a bean bag supporting the lens.  I set the camera at F8 for the entire shoot.  I also set the ISO at 100.  I was going to be using some form of support all shoot, so a high speed wasn't necessary.

Detroit Model Railroad Club

Had a wonderful evening last night with the photo club at the Detroit Model Railroad Club in Holly, MI. ( Website)
The DMRRC rolled out the red carpet for us.  Lots of people wanting to make sure we had all the shots we needed.
Although I find the trains and the support interesting, the detail in the scenery and the thought that went into the planning of the rails is just fascinating to me.
I focused on stacking photos.  I'll have 24 images to work.  t least one or two should be good, right?
This is the first time I shot in MANUAL mode.  Also the first time I used a bean bag.  And the wi-fi.
I hope these turn out good!

Focus Stack Depth

This is probably the last post on Focus Stacking with the sole purpose of getting to understand the process and what it will do.  I had this little test set up in my light-box.  This is a rubber pad with some plastic cap rings.  The total distance is roughly 15 inches.  The calculated DOF is roughly 5 inches.
This is the best of the combined images with the DOF entirely in the center of the shot.

As expected, the fore and background are out of focus.

I processed the 9 images using both Helicon Focus and Photoshop.  To be fair, I'm not real sure why I'm posting bot, because I really can't tell the difference between products.  What I can say is both are much more pleasing than the shot above.

From Helicon Focus:

From Photoshop:

Photoshop has an extra step or two in the workflow - and I'm guessing HF does the same in the background.

So it looks like in the decision on which program to go with will not have to do with the final product.  Both work well.

Crappy Weekend (Weather-wise)

I've had fun this weekend - and it's only Sunday morning.  Lots of time left.
Took a little shopping excursion Saturday morning.  I'm looking for anything I will need for this week's photo shoot at the DMRRC (Detroit Model Rail Road Club).  
I'm trying to get prepared so I don't freeze in the moment.  I think we'll have 2 hours there and while I think that is enough or more than enough I don't want to leave any shot there.
I am totally convinced that in many walks of life if you smell the roses and listen to the wind what you smell and hear will soon come into play.  And I think that is what has happened with this focus stacking I've been playing around with.
In other words, if I use the focus stacking that the DMRRC shoot - I'll have a much better experience.  So to do that, I need to practice, practice, practice.
(I'll get around to the weekend, I promise.)
First, the new camera.  I've been spending a lot of time with the menu items.  I have it set up for an indoor shoot, with fairly stable objects.  There might be a few moving trains, but for the most part it is the scenery that will be the center of my attention.  Also new for me will be file organization on the camera.  I'm used to using one large folder.  And that works until post production.  Now, there is a way to create new folders on the fly so when I'm done with one object I can create a new folder easily and move on to the next object.  The number of shots gets to be exponential when you need a minimum of three shots for HDR and let's say seven shots for focus stacking.  Not counting the test shots for exposure, you're now 21 images to support one final product.  Organization.  Organization.
Next, I'm not planning on using a flash for fill lighting, but will be ready if necessary.  I know what needs to be set on the flash unit and on camera to get it to fire remotely.  I have some idea of the power settings to use.  (Some idea, right...)
With the new camera I can use remote functionality through a tablet, either wi-fi or tethered.  I like this.  I tried using a third party app to do this, but am really finding Nikon's simple wireless app to do all I need which is really focus and shoot.  The third party app could manipulate many other settings, but the main functionality it is missing is showing the correct exposure.
This week I started putting together a portable and CHEAP light-box.  After one day, I had some pretty good results.  
Working with a light-box or mini studio, I am missing a few support items.  I need a good tabletop tri-pod.  I also do not have a macro-lens.  So Saturday's shopping took care of a new tri-pod which will get pretty close to the ground.  I'm not going to buy a new lens just for macro photography until I know I need and will use one.  To get around the macro issue, I now have some close up filters.  
So Saturday afternoon, worked with the new toys in my home, mini-studio.

On to the software.
For the DMRRC photo shoot, I will incorporate focus stacking to my normal flow which is mostly HDR.  
My HDR software is Photomatix and I've very happy with them.  I'm not planning on any changes there.
For remote connectivity to my camera, I'm sticking with the Nikon utility app.  First it is free if you don't include the price of the camera.  Most importantly, it does what I need to do remotely.  I was looking at the Helicon Remote app.  That app is more robust and will change many more settings, but I had difficulty with the wi-fi connection and it is missing the critical function of displaying correct exposure.  And it does come with some cost.
For the focus stacking, I'm still in search mode.  I'm trying the Helicon Focus program, one of the two big boys on the block.  I like it and it works great, but is way too expensive.  There are multiple other options ranging from free open source - to the expensive.  I'm still looking, but I will try this option from out of left field.  I'm on the trial period for Adobe's Photoshop and Lightroom.  I'm not a big fan of LR, but that is because I don't use it much.  I have LR5, but never warmed to it.  I've been using Elements for years and do like it.  My only issue with Elements is Adobe had no upgrade plan, that is you are changed full retail for upgrading.  But Adobe's new marketing is a package of PS and LR for $10 a month.  That's a pretty good deal if you're going to use them.  PS is $600 by itself.  So i have 30 days to figure this one out.
So - while we're getting anywhere from 3 to 6 inches of snow by tomorrow morning, I'll be multi-tasking watching the Pirate's Opening day game and later on tonight the Pens and Flyers.  Going against that will be YouTube of PS tutorials.

In Search of Focus - Focus Stacking

Like most photographers, when I have a shot that is in great focus, I have to wonder if I really had any part in the process.  Sure, most shots come out well.  But when one is right on the money, it does stand out.
Especially that pesky Depth of Field (DOF) thingie that can ruin a great shot.  
I started looking into photo (focus) stacking.
This is a process that starts at one focal point, takes a photo, then moves to another focal point and takes a picture and repeats the process as much as necessary.  It may be two shots.  It may be hundreds of shots.  The trick is to get some point of the shot in perfect focus.  And let the other shots do the same.
And then of course, some software package has to find all those points that are in perfect focus and blend them together.
Today's project is with Helicon's Focus and Remote.  (http://www.heliconsoft.com/)  I did some research on photo stacking software and stumbled on this package.  I'm also looking for a remote package I can run off of a tablet to run the camera and this suite had all the pieces.  So, I'm now on the 30 day trial.
I have a C5A/B model that will be the perfect subject for this test.  It is about 20 inches long and has some detailed markings.  It will do the trick.
The particulars are 48mm, f/11 and 1.6 seconds.  Put that in a DOF blender and you get a DOF of about 6 inches.  One other difference, the original shot is a RAW image, and the processed image is JPEG.  But the point of the exercise is the focus difference between the nose and the tail.
Conventionally I have lots of options.  One is go back to the DOF calculator and find a setting for 20 to 24 inches.  But I may not like what it tells me.  I know for this lens at 50mm, f/11 will get me better focus.   I could play with ISO and speeds.  Blah.
If I were to take a conventional shot, with the focus point on the nose this is what I get.
I've left the image snap shots at 1:1 - there are no reduction issues.
The unaltered image.

OK, looks OK?  Yea, but.
Here is the nose, a bit closer up.  (Remember, this is the start of the focus points.)

The nose is in focus.  There is some detail in the lines.  (Also look at the blue background, a towel.  Just a bit out of focus.  It is a total of 36 inches behind the nose.  Remember this.)

Here is the tail.

Enough said.

With the photo stacking:  This is a stack of 7 shots.  To be honest, the first two shots had absolutely nothing in focus.  But that's OK.  I'd rather have too many than not enough.

Here is the stacked picture:

Well, for me pretty much instantly I can see the background is all in focus.  yea, the model is in focus as well.  let's go to the close ups.

The nose:

The nose is pretty much the same, but wow, look at the blue towel.  It looks like there is a bit out of focus on the left.  There's a blending issue.

The Tail:

The tail has a lot more definition.  Looking at the flag painted on the tail, it has some definition.  And again, the blue background has much more definition.

Google focus stacked photos on the web.  There are some pretty interesting shots out there.  Most of the ones that catch my eye are done with macro lenses, something that is missing from my inventory of equipment.  

This was interesting project.  And for the next 29 days, it won't cost me a thing.

Church Cove in Winter

On my walk around Flint last week, I passed this interesting sight.  This is one of the entrances to the St. Paul's Episcopal Church on Saginaw St.
I know from past experiences that cut stone and wood will produce some wonderful effects with HDR processing.  I also know snow is a crap shoot with HDR.  I like darker looks with the way I'm going to go after this - but I know the snow will not play well.  It will be very noisy.  I don't want pure white snow as it will look out of place.  I'll think of something.

The basics of the shot are:  50mm  ISO 200  Manual Mode

The base shot:

Exposure :  1/80 at f/11

The under:

Exposure :  1/640 at f/11

The over:

Exposure :  1/10 at f/11

I processes these three photos through Photomatix.  The effect I came up with looked like this.

I really like the door and the stone - but as expected the snow doesn't favor me at all.  I'd like to keep some of the detail, but lighten it up significantly.  I tried to lighten the snow just by targeting the snow areas, but wasn't crazy about how that turned out.  My next trick was to make a print solely for the snow - and try to blend it in with the use of masking.  This is the photo effect that I chose - only for the snow.

I masked out everything but the snow and used an opacity setting of 50%.  That lightened up the snow - pretty much as I wanted.

And so here is the final product, with one other tweak.  I removed a small blue sign that was attached to the gate.

Walking around Flint - Bernie's HQ

The D7200 arrived last Saturday.  I've spent a lot of time in the last week going over the menu items and set up.  As with anything, over time functionality of new models either gets more complicated or more useful.  And this new camera is the same.  I needed a book to get thought it.

The basics are the same.  Nikon's use and names of internal camera functions are the same, but the numbers are very different.  For example, my D90 had 11 auto-focus points.  This one has 51.  How did I ever get by?  Both the D90 and D7200 have two auto-focus modes - but the new one is so fast.

So after a few days of shooting everything in the office - multiple times - it was time to take the D7200 on the road.  Today wasn't the best day, in fact it was cold and a bit of snow.  But I really needed to get out and do whatever I could to see the new one in action.

This past Saturday on my way to the Flint Farmer's Market, I passed the Bernie Sander's presidential HQ for Flint.  For all the wrong reasons, Flint is in the news and for a few days at least the center of the Democratic Party focus.  I've been told I don't have many pictures of Flint.  Well, this was too good to pass up.  I have more pictures from this morning's walk, but I'll start with this one.  I don't know of any in my circle of friends who are socialist - as they all have jobs.  So take this as it is, a subject photo.  Not a political endorsement.

1/250   f/11
EV 0.0
Manual Mode
ISO 200
Focal Length 55 mm

With this set of photos today, I completed my journey to the Dark Side as far as how much the camera helps me.  In the beginning as we all do I started with shooting with AUTO mode.  Let the camera do everything.  Until recently, I used APERTURE mode.  I wanted to keep the aperture consistent because most of my work finds its way to HDR merging.  Today, I cut all dependence on the modes and went MANUAL.  And somehow I got through it all.

Clearly not open for business on a Sunday morning.  To me, there is a lot going on here.  Lots and lots of lines.  Lines everywhere.  I like the blues, I like the oranges.  I like the bricks and other masonry.  

This is a single photo using Photomatix - and mostly the Surreal settings.  However in some spots, the processing left flat white areas that possibly caught your eye and that wasn't what I was going for.  So I did anther processing for the same shot except with a different setting that didn't have all the whites.  I used the second shot as my base and laid the Surreal settings on top with a 75% opacity setting.  It crushed the whites and brought out the definition in the bricks.  Worked for me.

I tried to do all the right things.  Use a tripod.  Get the right light.  Get the right focus point.  Not sure if all of that worked for me, plus the new camera, but today's shots were so sharp without any processing.  Think I'm going to like this.

Detroit Model Rail Road Club

One of the neat things about belonging to a club is the photo outings that can be planned.  We've had great luck with the Flint Farmer's market.  Now we have the oppertunigy to photo shoot the DMRRC.  Today I went out to scout the place and get some ideas to think about before the real shoot in April.
I did get a tour that most people don't get, that is I got to see a lot of the underbelly of the tracks and platforms.  Absolutely fascinating!  
These are some of the photos I took with my phone.

Our Snow Storm in less than 3 minutes.

Every time I get challenged to do something photography related by one of my well-meaning, but sadistic and psychotic friends, I feel bad because I'm not up to the challenge.  (Feel like I'm breaking a chain letter.) You know, the snap a photo a day of a smurf in warmer weather then where you are Kurt - and for sure pass along the challenge to someone else crowd.
Well - that's just not me.  (Sorry, don't unfriend me.)

Here's my answer to the challenges - by my rules.

I purchased a digital remote release, non-Nikon.  This thing can do time lapse.  And what a better time to try this out than during a snow storm.

My first attempt at time lapse.  There are some interesting things here, at least to me.  First, there is a brief section where the snow really builds up quickly.  Next, I really like the transition from daylight to night and back.  

Sure, it could be a little more exciting, but hey - it's my first try.  

This is a shot every 10 minutes for about 26 hours.  The original effort was a shot every 5 minutes, but that was really slow........  (And to my Canon friends, yes a Nikon has a big enough buffer to handle a JPG shot every 5 minutes.....)

I used Lightroom Slideshow to put this together.

And I promise not to challenge my friends to create a time lapse movie every day for the next six says!  (Although, I wonder what the Cape Lego crowd will do with this?)

The Peanut Principle......

A part of our Tuesday rituals is to clean the bedroom linens.  What that happens, it is like a holiday for the kids.  Folded comforters and warm sheets are better than any new cat toy that comes down the road.  One has to be very careful when navigating the clean clothes that aren't folded - as there is a better than even chance there is a critter holed up in a nice warm environment.
And that is what I saw today.  This is the little Peanut - formal name of Emma.
One might confuse this tactic of curling up in a folded comforter as a sign of impending cold and wind and snow.  It is not - it is a sign today is Tuesday.

To be fair to Nikon, this was not totally an AUTO shot.  I'm not sure my AUTO setting works - it's been so long since it has been used.  But this is why I do what I do with photographs.  This was taken with ISO 200, F9 and a 15 second speed.  Not 1/15 - but 15 seconds.  The fact peanut didn't move (much) for 15 seconds while awake, is somewhat of an indoor record.  There is a lot of contrast here.  There is the sunlight in the upper right hand corner and the black color of her nose.  That's a lot for one camera to capture.  then there is the histogram.

What I do see here is Peanut's nose is not as dark as it is in real life, but the expected blown whites are there.  Simply - I need to move everything to the left.

Using HDR won't be enough for this project.  Getting the Peanut to sit still for 15 seconds twice in one day is too much to ask.  I don't like using a flash here.  I think it would ruin the ambient lighting and irritate the subject.  

The first thing to do is move the ISO to 800.  I should be able to get to 1-2 seconds.  I will risk the 'noise', but in previous tests my camera handles 800 very well.

I will still use f9 - as I want to capture a lot a area, almost two feet in focus.

Changing the ISO from 200 to 800 gives me these shots.

I turned out to be very lucky.  The longest shot was 1.6 seconds.  She stayed still for 15 seconds - but this time I could get the three shots.

And that made for a pretty good photo to start with.

There is a lot of sharpness - the fur and whiskers really stand out.  On the right side of her face, it is completely lit up and you can see what are very close to her real colors.

Clearly this needs some more work if I want it to go any further.  The top needs to be replaced.  This will be a nice print in the house.

Final Pig Entry

Well - the good story of the Pig had to end sometime.
The Pig is in his/her new home in the Flint Farmer's Market.  The good folks at Charlie's BBQ were happy to see the finished product.  The Pig has a place of honor over a decorative fire place.

It was a nice project to participate in with the Fling Lensmen Camera Club.

The Pig Story Continues.......

As the Pig story continues (just highlights where my life is...), it is really close to taking a life of its own.  
Last night the photo was put on canvas.  My friend and photo mentor was nice enough to entertain C and me for the evening while he worked on the final product.  In that time, I saw how to put together a very nice canvas print wrapped around a wood frame. The biggest clue of the evening was that my friend is self taught by YouTube - which just happens to be my favorite classroom.
Here is the Pig on canvas.

Hopefully the next story update is when the Pig is in the Market.

The Pig is Big! Charlie's BBQ Mascot

I had a wonderful time this morning at the Flint Farmer's Market.  The photo club to which I am a member spent some time this morning promoting our next photo class at the market.  We set up a table, displayed some interesting photo related items and would chat with the passers by.  Great way to spend part of a Saturday.
Last month when we did this same promotion we had a slide show on a monitor as a way to get people to come over and chat with us.  This month, to be different, I thought we could hook people to come over if we had a monitor displaying some of the post processing tricks we do.

The monitor was off to the left.  You get the idea.
We had a pretty good time.  We looked at creating custom camera profiles, HDR processing and tricks to remove objects.
For all the subjects, we used photos from the market taken that morning.
Close to us was Charlie's BBQ stand - which by the way did a huge business.  Well, Charlie has a small mascot.  I thought it would be neat do capture an image.  I had the camera set up for HDR - so I snapped up three shots.  This is the base photo.

Now that is a pig ready for some winter activities.
So I snapped off my three shots and processed the image.  I came up with an image I like and put it on the monitor for a while.  Well, the good folks at Charlies saw it, came over and wanted to buy the image.  Well, I certainly was not going to go for cash, but would trade for some cred.  So I told my fellow club members we had some Club Cred coming our way and well things got out of hand from there.  It wasn't enough that we would 'donate' a picture, but we now have the resources mobilized to get a canvas print going.  Fantastic!
So this week's project is to get the Pig on Canvas.  This is the image we will put on the canvas.

Spare me the criticism about the halo effect.  Sandra (Mrs. Charlie) liked it as is.  And that is enough for me.  The mascot has been with them for over 20 years.  It is a pleasure to give them the Winter 2016 version.

ISO and the HDR Photo

One of the final effects of ISO settings I need to see is how the 'noise' translates to my HDR workflow.  Usual HDR processing will create some noise - and the software will also remove noise as well.

For these comparisons, I'm using the full image.  Again I'm showing the close up subject and the distant subject.  I'm using Photomatix Pro 5.1.1 with the Painterly 3 preset.  In my opinion, that setting brings out a medium amount of noise.

Close up Subject:

ISO 200  f/Stop  22   1/60

ISO 800  f/Stop 22  1/320

In this shot - I really can't tell much of a difference between the two.  Experience tells me all the 'noise' can be cleaned up easily in both shots.

For the distance subject:

ISO 200  f/Stop 29  1/40

ISO 800  f/Stop 25  1/200

ISO 1600  f/Stop 29  1/320

As in the short distance subject, the 'noise' can be dealt with.  Another characteristic I'm looking for is the detail in the ice formations.  At ISO 1600, it is OK.  

So for HDR purposes, I wouldn't be afraid to push the ISO to 800 or 1600 if I needed the aperture settings or speed.

More ISO findings.........

To continue my ISO discovery....
I found on my D90 that for close ups, I could safely push to ISO 800 without any real issues.  When you think of it, going to 800 really isn't a stretch - there are some huge numbers coming out now.  (Previous ISO Post)

My next test was to go for an object much further away - maybe about 300 yards.  My central subject is the light on top of the rear navigation light.

For this test, I went with shots at ISO 200, 800 and 1600.  I did three shots with each ISO setting each with different f/stops.  Again, it was almost closed, almost open and one in the middle.  And again, these are 2x2 segments.

And again, it was cold and windy.  For the shots, I used an IR remote never touching the camera.  I also used manual focus.  Some of the shots did not come into focus real well - and it seemed to be a trend.  More on that later.

The ISO 200 shots.

ISO 200   f/stop 6.3    1/640

ISO 200   f/stop 13    1/200

ISO 200   f/stop 29   1/40

The ISO 200 shots show a nice red color and a nice even white color.

Now the ISO 800 shots.

ISO 800   f/stop 5.6    1/4000

ISO 800   f/stop 13   1/800

ISO 800   f/stop 25    1/200

At ISO 800 you can see a real difference between the ISO 200 shots.  The sky looks like it was printed on canvas.  There is definitely some off coloring noise on the whits.  Probably not enough to ruin the shot and maybe rescued in post processing.  Let's see what the ISO at 1600 does.

ISO 1600   f/stop 6.3    1/4000

ISO 1600   f/stop 10   1/2500

ISO 1600   f/stop 29    1/320

Clearly more noise on the close ups.  Let's see what the total photo looks like.  I'll use the smaller f/stops - as those photos appear to be 'better'.

ISO 200

ISO 800

ISO 1600

In the actual photos, for the ISO 1600 I notice a little noise in the building white colors - but that's only because I'm looking for it.  

This was a fun test, but it also demonstrated another aspect of photography I didn't know before.  In all cases, the more open f/stop the less in focus the shot was.  When I first looked at the photo array, I blamed the wind.  I also thought it was the slow shutter speeds.  Well - I was wrong.  Note to self:  Landscape, the aperture setting is more important than speed.  Sometimes when I'm shooting photos, I get more wrapped up in the 'artsy' part and don't think of the basics.  

The good news is I now know more about the limits of my D90.  (I expect the new setup will be much nicer with higher numbers.)  Did I mention, it was really cold out there?