“Now that fall is at hand, it is time to think of replenishing the flower borders. I am told that no one has flower borders any more, because they are so much trouble to keep, but it seems to me that mine demand comparatively little attention in return for the blooms they provide from early spring until frost. I keep them as full as possible with perennials that take care of themselves: garden forms of phlox, boltonia, loosestrife, pale yellow daylilies in varieties that bloom from May to September, old unimproved shasta daisies, the kind that stays with you….”
I’ve been out hunting for some fall color here in my urban forest, but apparently it’s still a little early as our temperatures are just starting to drop out of the sixties and seventies… so now I’m expecting big things from nature’s leaf painters over the next couple of weeks.
Some leaves have started to fall, but only from those trees that shed their leaves early without even bothering to change their colors first — a seriously deranged behavior from those trees, if you ask me. But I did find these delightful batches of daisies that I had looked for earlier in the year, having forgotten that they make their appearance in October and November rather than spring or summer. I posted some similar pictures in November, 2019; if you would like to look at those see Autumn in Atlanta: Photo Mash-Up #2 and Autumn in Atlanta: Photo Mash-Up #4.
This is the first of three posts featuring photos where I tried to take advantage of a nice sunny day to get some fancy lighting on the individual flowers, and the last photo below shows where many of the white daisies spend their time. The second post will feature additional images with color backgrounds … and the third….
For the third post I’m working on black-background variations (of course!) — using a new Lightroom capability that Adobe just released today with version 11 of the software. Adobe has redesigned Lightroom’s masking capabilities, and the program now includes a “Select Subject” function that automatically creates a mask around the photograph’s main subject. Having practiced on some of these daisy photos, I can say that I’m jazzed about the new tool: it works better than I imagined it could and will virtually eliminate my time-consuming brushing around tiny edges of flower petals — reducing what sometimes took several hours to three seconds of clicking a couple of buttons. What will I do with all that saved time? Take more photos, of course!
“The culture of the florists’ lantana is relatively simple. It is grown under glass for bloom in cold weather and also in the open in summer. It has been improved in its usefulness as a bedding-plant of late years, largely through the efforts of French hybridists. The older varieties were mostly rather tall and lanky, later coming into bloom, and dropped their flowers badly after rain-storms, but were showy in warm and dry weather. The new varieties are dwarf, spreading and bushy in habit, early and free-flowering, and the heads or umbels of bloom average much larger, with florets in proportion; nor do they drop from the plants as did old varieties in bad weather….
“These newer kinds are not so well known as they should be. They are very desirable for any situation where sun-loving bedding plants are used, in groups or borders, window boxes, baskets and vases.”
Whenever I see the word “yore” (as in the second quotation above) — which is of course not often! — I can’t help but think about the Friends episode called The One with the Apothecary Table, where Rachel Green tries to convince Phoebe Buffay that the apothecary table she bought from Pottery Barn was anciently manufactured in historical White Plains and purchased from a flea market for the “old time pricing” of “one and fifty dollars”. There’s a short clip of the episode here, where the first three and a half minutes include two of the apothecary table scenes.
If there’s such a thing as post-consumerist humor, The One with the Apothecary Table is a great example, where the characters as a group simultaneously love and hate mass-produced products, yet respond to the subtle (or not so subtle) advertised messages by opening their wallets and stuffing their apartments with objects from a catalog-created theme.
The episode is a fun play on history also. Subsequently asked to identify an historical era other than “yore”, Rachel adds “yesteryear” — and “yesteryear and yore” briefly re-entered American vernacular as a way to describe ambiguous time periods in the past. I’ve used them myself sometimes, sometimes together and sometimes separately; and the cultural pervasiveness of a series like Friends is so strong that almost anyone who hears the terms knows they’re actually a reference to the comedy of the apothecary tables.
Yesteryear — for example, in 2018 or 2019 or 2020 — I wouldn’t have even tried to convert some of the lantana photos from the previous three posts to images with black backgrounds, because the tiny spaces embedded in the central portion of the blooms were too difficult to brush out without bleeding black onto the flowers themselves. Until I spent several weeks practicing — especially on the Lilies on Black Backgrounds series from this past summer (where I describe my black background technique) — I didn’t have enough experience with Lightroom’s brushes to fill these areas with black where the surrounding structure was as intricate as it is on these lantana flowers.
With macro photos like these, depth is largely a contrast and shadow illusion, an illusion that overlooks the fact that all photographs are two-dimensional renderings of what our eyes would perceive three-dimensionally. Bright-to-dark transitions typically register in our minds as front-to-back perspective, and shadows around edges (as muted as they might be) contribute to that recognition. In other words, if I didn’t leave some of the shadows around the edges of the pink flower buds, those image elements would look flat to the eye, and, as a result, the entire image would look unnatural and artificial.
If you look at one of the original images — say this one, of the first photo below — you will see green color from the plant’s stems and leaves surrounding most of the pink center buds. On my “first draft” of these photos, I kept that green intact, but since most of them had no other green, it seemed distracting so I decided to try and get rid of it.
To remove the green without brushing around each of the little pink pillows, I used a Lightroom feathered and circular brush the size of the pink section only and clicked on a bit of green color toward the center. The feathering setting for the brush kept the pink color intact, retained most of the shadows at the edges of each pink bud, and replaced the green with a black that matched the rest of the background with a single press of the mouse button. No more green — and Voila! — the blossoms themselves totally look like they’re suspended in mid-air!
“[Many] hydrangeas have a ‘preferred’ colour, and they will lean towards this, regardless. Simply, some would rather be … blue….”
I started out assembling photos for this post with this image of two very blue hydrangea blooms. At first I didn’t mind the green leaves behind the petals, but after a while they got on my nerves and the hydrangea bones in the background made me nauseous (exaggeration alert!) … so…
… I removed the background, ending up with two floating flowers…
… and then created five virtual copies in Lightroom so I could crop the blooms as four separate photos at different sizes, plus a fifth large crop (of the first, most symmetrical bloom). Notice that in the fifth image, it’s more apparent that these blue blooms have purple-brushed petals… which is almost always the case with blue flowers of any type.
Side-eye note: These five images demonstrate one of (to me) the best things about shooting raw files, that you can crop out large sections of an image with little or no loss of detail, which is well maintained even after exporting the photos for uploading to a blog or website. As you may know, WordPress blogs compress images and reduce quality slightly; but if you click here to view the last image at full size, you can see that despite selecting only about a third of the image during cropping, it’s full of sharp detail.
Such was my delight at these big blue blooms that I thought it might be fun to do something else to the images.
I passed them in and out of the Nik Collection a few times, and while they looked fine with filters that converted them to sepia tones, or an antique look, or to an old film style, none of those renditions appealed to me that much. Funny how that works: you have an idea you want to do something creative with an image (without necessarily knowing what), and certain things strike you but many do not.
I then took several different approaches to converting them to black and white in Lightroom; and again didn’t like the results at first as they just looked like black and white variations of blue flowers.
Tools like Lightroom and Nik Collection of course provide the potential for endless possibilities and results. Yet I always try to think of that differently, as a way of exploring how we create and how we sense that something we create has reached a satisfactory “end state” — “end state” in itself being an ambiguous condition, never quite answering the question: am I done yet?
Whenever I feel a little stuck, I try two different mental tricks to change the way I’m thinking. First, in Lightroom, I try extreme changes for various exposure and color settings — which basically means moving Lightroom sliders to the far left or far right in different combinations to see what happens. Second, I consider what I usually do to an image, what changes I typically make (we tend to follow similar patterns or processes when creating pretty much anything), and try to break out of that pattern. In my former tech life where part of my job consisted of software quality assurance, such an approach would have been considered exploratory testing of edge cases to try and break the software; in photography post-processing it translates (for me) to experimenting with methods I don’t usually use to see what new potential is exposed.
Black and white conversion in Lightroom is initially a button-push, which typically renders a fairly flat (as in dull) variation of the original image — but many of the same exposure and color options (color in this case meaning the red, orange, yellow, green, aqua, blue, purple, and magenta colors in the original image) are still available. Adjusting the black-and-white renderings of those color channels not only teaches you more about how color is represented in photos, but it can also produce surprising effects. For all five of these images, I discovered that the tiny pin-buttons at the center of each four-petal flower cluster — which initially appeared as dark black dots — actually contained red, orange, and yellow; and increasing those three colors to their highest value (an experiment with “extreming” the settings) changed the overly prominent black dots to white or light gray instead. Before adjusting the red, yellow, and orange, my eye kept getting drawn to the dots; afterward, the dots blended with the rest of the flower and weren’t such a distraction.
In addition to the Sharpening tool, Lightroom has two other tools for enhancing detail: Texture and Clarity. With a black and white image, a bit of extra sharpening (even though I had already applied sharpening to the original color image), adds a little sparkle to highlights around edges without creating jagged traces that you sometimes see in over-sharpened images.
While I use the Texture tool frequently, adding more than was in the color image didn’t have much of an effect. I hardly ever use Clarity to add detail (preferring Texture’s more subtle enhancements instead); but in this case, I broke from my typical approach and played around with Clarity to see what would happen. Lowering clarity reduced detail and produced a uniform softness in the flower petals, while also adding a bit of brightness — and the combination of softness and brightness appears as a bit of glow throughout the blooms. An illusion, perhaps; but your eyes will see what they want to see… or maybe what I, The Photographer, want them to see. Ha!
Finally, I used Color Grading to add a bit of blue color back into the shadows, highlights, and midtones; that produces a light silver effect on whites that I like and, to me, is more appealing than flat white.
If you read all that, bless you! Treat yourself to some ice cream!