From The Tell-Tale Brain: A Neuroscientist’s Quest for What Makes Us Human by V. S. Ramachandran:

“[If] art is about realism, why even create the images? Why not just walk around looking at things around you? Most people recognize that the purpose of art is not to create a realistic replica of something but the exact opposite: It is to deliberately distort, exaggerate — even transcend — realism in order to achieve certain pleasing effects in the viewer. And the more effectively you do this, the bigger the aesthetic jolt.”

From Photographically Speaking: A Deeper Look at Creating Stronger Images by David duChemin:

“Stories move forward through conflict, but photographs — limited to one frame, one moment in time, and no possibility of a character arc — move forward and imply story through contrast. Contrast in photographs occurs in two significantly different ways. The first is visual contrast. A high-contrast black and white image is one in which the extremes — the blacks and whites — are strong and prominent, and what lies in between — the midtones — are fewer. With color images, that contrast occurs between colors at opposite ends of the color wheel — blue and yellow, for example. Similarly, conceptual contrast is about the extremes of ideas, and the point at which they clash. Both can be called contrast, but to distinguish them I will call the difference in tones and colors contrast and the difference in concepts juxtaposition.

“Contrast, a strong difference in tones or colors, is what pulls the eye. Our eyes function on contrast and look for areas where those contrasts are the strongest. Even perceived sharpness in images is a function of stronger contrast. Where there is a slower gradation of contrast, i.e., blacks slowly turn to gray and then white, the eye sees it, in a photograph, as less sharp. In color, as in black and white, contrast pulls the eye, and that pull will be read as intentional…. Awareness of the visual pull of contrast allows us to orchestrate the image in the most intentional way possible, pulling the eye to key areas with greater contrast and pushing the eye away from areas with lower contrast….

Juxtaposition also draws the eye, but it has more to do with engaging the mind as it’s less a contrast of visual elements and more a contrast of concepts. Where tonal contrast is about the difference between blacks and white, juxtaposition — or conceptual contrast — is about the differences between ideas…. Why this matters is the same reason tonal contrast matters: we pay attention to it…. The contrast draws our attention.”

A couple of nights ago I had a dream that Wordless Wednesday was a real thing in the real world, not just a blogging meme on the internet. On Wordless Wednesday in the real world, people stopped talking for twenty-four hours once a week. Interactions among humans were done without spoken words: everything from going to the bank to meetings at work to running errands took place with hand signals, writing notes, and showing each other pictures. Phone calls were out; text messages with emojis were in, bigly. Wordless Wednesday had evolved into a cultural practice that — in the backstory of a dream — was simply accepted, like so many norms, as the way things were done.

You never really know what precipitates certain dreams, but they often seem to arise from intense mental experiences. Maybe I’ve spent too much time on the blog lately, which could be true since over the past couple of weeks, I put in quite a few long hours prepping this site before migrating followers from Or it may be from a subconscious current that started flowing as I was reading the Chaos Walking Trilogy by Patrick Ness — which I loved and tore through all 1,300 pages earlier this month — where the characters (humans and animals) can hear each others thoughts, communicating words, images, and events without speaking aloud. The capability is called Noise — a term that in itself creates an interesting juxtaposition (opposites and contrasts!) since it occurs in the mind and not in the auditory physical world. As the novels progress, and the characters develop their Noise capabilities, they shift more and more from using words in their thoughts to communicating in images … so just imagine the Wordless Wednesday possibilities….

The images I posted on Wednesday were taken some time ago at the Atlanta Botanical Garden, where a series of large leaves crafted out of steel are attached to the wall of the visitor’s entrance. These photos are among many still lurking in my archives that I’ve not previously done any work on, potential candidates for deletion that I come back to now and then to see what I can create. The original images always bugged me because they were under-exposed and certain background elements seemed intrusive or badly colored and once upon a time I didn’t know what to do about that.

Here are the original images (click one to see larger versions in a slideshow):

Other than the generally mushy backgrounds, the upper left corners of the images in the second column needed attention; but I couldn’t crop those elements and shadows out of the picture without clipping too much from the main subjects. So as a first step I used spot-removal in Lightroom with some carefully-adjusted feathering to blend the colors and shadows in those corners out of existence. I also spot-removed out the bolts used to attach the leaves to the wall, since I knew from experience that they’d get emphasized when I added saturation to the images in the Nik Collection.

For most of the images I’ve posted here on my blog, I’ve typically used a Darken-Lighten Center filter in the Nik Collection to shift emphasis to a focal point and draw your eye to that point by — as the filter’s name suggests — darkening the background and lightening the center. After applying contrast and color adjustments, I tried the same approach with these four images, but the results weren’t good: the shadows cast by the leaves looked raggedy and grainy, creating inconsistent vignetting around the edges of each image and splashing too much reflected color from the leaves onto the backgrounds. No matter how much I fiddled with the Darken-Lighten filter’s adjustments, I couldn’t get to a result that I liked.

So … what do you do when the way you always do things just doesn’t work? Try doing the opposite.

Instead of darkening the backgrounds and lightening the centers, I switched to lightening the backgrounds and darkening the centers — which removed much of the color cast from the backgrounds and eliminated most of the vignetting, leaving only some subtle shadows behind each leaf. As a last step, I applied Classical Soft Focus, which does just what the name implies: it softens the appearance of primary image elements, which, in this case (with backgrounds now largely a single color) softened and brightened each of the steel leaves while leaving the backgrounds unaffected. The result, I hope, was to “achieve a certain pleasing effect” for you, the viewer.

Select the first image to page through a slideshow and examine the before-and-after versions. You won’t regret it! 🙂

Thanks for reading and taking a look! Bye for now….

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