The hosta babies are growing up so fast that the resident photographer can’t keep up! This lovely plant is a Fire Island Hosta — I have one in a medium-size pot but would like about a dozen more. As you can see from the photos, the leaves have a softly detailed texture emphasized by their luminous yellow-green color, supported by burgundy stems. This one might be large enough to split into separate clumps and relocate this year … though I’m often hesitant to do that because of the risk of losing the plant. It still has room for root growth in the pot, so I may look for some new ones instead.
One can never have too many plants!
Thanks for looking!
This absolutely gorgeous barred owl has been a regular visitor to my back yard for nearly a decade, making its debut in the summer of 2008 as a youngster. The first time I saw it, it was perched on my Japanese Maple but quickly moved to the fence separating my property from my neighbor’s after getting flashed by the camera. For the first few years, it came back often, but these were the only photos I got until it was large enough and steadfast enough to remain mostly indifferent to my presence in its adopted garden.
Fast forward a few years and here’s what the owl looked like last summer. In all but two of these photos, it’s sitting on what’s become its favorite branch on the cypress trees behind my pond. Its downcast eyes — in the first two photos — are trained on the carp in the pond, and it will watch them for hours until I either shoo it away, or it manages (though it rarely does) to snag one of the fish (which are not intended as owl-snacks!) and fly off.
I haven’t seen it yet this year, but early in the evenings for the past couple of weeks, I’ve heard it — not too far away — as its very distinctive call is unmistakeable. Hearing the call again reminded me of these photos — a couple of which appeared here in 2018 when I first started blogging again and was re-learning how to use WordPress. I went through my archives and reprocessed these thirteen photos to share with this post. I think the last one’s my favorite, and, while I did use a zoom lens to get so close in, the owl was only about ten feet away: we’ve gotten used to each other, and it no longer soars off when I walk toward it with the camera. I expect I’ll get a chance to pose it in a new photo-shoot within the next few weeks.
Thanks for looking!
From Black & White Photography: The Timeless Art of Monochrome by Michael Freeman:
At the risk of oversimplifying, subtracting colour from imagery allows the other graphic elements and dynamics to increase in importance….
Colour is so integral to our experience of the world, and of imagery, that most people (and most photographers) do not separate it in their mind’s eye from everything else that is going on. In order to understand what happens when we take it away and work in monochrome, we need to know how it fits in to the total range of image qualities; also, how it differs from the other elements in its effect. [Colour] elicits subjective and emotional responses in a way that other image qualities do not…. The subjective response to colour is powerful and pervasive, and as a result, takes over viewer response to many photographs. If the colour component in an image is strong, rich, unusual, or simply noticeable, there is a good chance that it will swamp the attention….
And because colour triggers emotional responses, there is also usually an unquestioned assumption that it works on a scale of beauty, or at least attractiveness. To say “what a spectacular sunset”, or “look at how blue the water is”, or “that gray really sets off the pink”, or any of the many other common value judgments on colour, is to acknowledge that the effect of colour can be likeable — and for most people should be likeable. This gut reaction to colour is by far the most common, and in this way it stands apart from the other formal graphic elements….
There are a number of ways of subdividing the graphic components of an image, but the most generally accepted are: point, line, shape, texture, and colour. In the way that these are used and interact, there is contrast, balance, and dynamics (or vectors). Subtracting colour enhances those remaining. In practice, this means that the components and qualities most affected are the graphic ones of shape, the graphic structure of the image, and the gradation along the gray tonal scale, as well as the three-dimensional ones of volume and texture.
One Wordless Wednesday back in January, I processed and posted a series of color photos of a vintage camera; then a couple of days later, converted the images to black and white and wrote about the workflow I used. That was my first attempt at color to black-and-white conversion with Lightroom or the Nik Collection, and it was fairly easy to get the results I wanted since the color images leaned toward monochrome and the primary subject was mostly black and silver.
After posting some photos of a Bradford Pear blooming in front of my house on last week’s Wordless Wednesday, I wondered how those multi-colored images would look if I turned them into black-and-white. The budding blooms are a key image element and they vary from light green to bright white, depending on how much the blooms had opened. I wanted to see if I could create black-and-white versions that emphasized the opening blossoms, reducing — but not eliminating — background elements that provided additional context (spring!) to the images. My goal was to elevate the quality of the photos by making the blooms, regardless of whether they were opened or not, “pop” out of the image in shiny bright white.
All of my adjustments to create these images were completed in Lightroom; this time, I didn’t use any Nik Collection filters at all. I’ve been trying to better understand where the two tools overlap, when to choose one over the other, and when to use both. For these images, I converted to black and white in Lightroom — which created the flat-looking versions you can see in the middle column of the second gallery below — then made basic image adjustments (to exposure, contrast, highlights, shadows, whites, and blacks) to emphasize the blossoms and fade the backgrounds. I then worked through the individual color channels in Lightroom’s Black and White Mix panel to balance the blacks, grays, and whites in each image, mostly by adjusting green, yellow, and red channels to create that balance.
I also applied quite a bit of sharpening to the images, which, surprisingly, didn’t create any apparent distortion but helped bring out the textures, patterns, and highlights of the individual blooms — probably because the sharpening tool mainly had whites and light grays to work with. As a final step I experimented with split-toning — a Lightroom tool I haven’t used very much but want to learn more about. For these photos, I used split-toning to shift gray in the shadows from a warm to slightly cooler color, which provided the silver-white brightness I was looking for when I started this workflow.
Select the first image to view larger versions; then, if you are interested, take a look at the second gallery showing the transitions.
Below are three steps in the transition of these photos from color to black and white. The first column shows the processed color image from my original blog post; the second column shows the color image after conversion to black and white but with no other adjustments; and the last column shows the final version, with adjustments to exposure, contrast, highlights, shadows, whites and blacks, the individual color channels, sharpening, and split-toning.
Thanks for reading and taking a look!