Before and After: Soft Steel

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 WordPress.com. 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….

Wordless Wednesday: Soft Steel

Before and After: Camera Studies Camera in Black and White

From Black & White Photography: The Timeless Art of Monochrome by Michael Freeman:

“Black-and-white film photography, its image qualities and processes, have a great deal to teach us…. What sets black and white apart from colour is that it is not the way we see the world, and it does not pretend to represent reality. It is a translation of a view into a special medium with very particular characteristics.”

On Wednesday, I posted a series of photos of a vintage camera, a No.1 Pocket Kodak. While working on the photos, I accidentally converted one to black and white in Lightroom, briefly thinking “Well, that’s kinda cool” but then flipped it back to color and continued processing the batch. I hardly ever work in black and white, you see, because I’m so colorful, but I still thought it might be fun to come back to this set of photos and give black and white a shot, especially since most of the color in the photos came from the background or from the slight blue cast emanating from the camera body. I also got a bit of inspiration from a Christmas gift a friend sent me…

… a series of books by photographer Michael Freeman — including the one I quoted above — that I’ve been reading from nearly every day since I got them.

I took the color photos with two of my favorite lenses: a Minolta 50mm f/1.7 lens that’s about 25 years old (that even has its own Wikipedia page) and a Sony 100mm f/2.8 Macro lens that I’ve had for a few years (that has no Wikipedia page but gets used for many of my closeups and macros). Both lenses do well in low light and even intentional under-exposure, so were ideal for the camera photos: taken on my dining room table lit by a single window, with supplemental lighting from a small LED flashlight (yes, you read that right) that I normally use for finding things in the depths of dark closets. I did use a high ISO when taking the photos — because I forgot to check my camera’s ISO setting before shooting (oops!) and it was set to 1600 — but Lightroom and the Nik Collection did a suitable job of ridding the photos of what little noise was captured.

So I made copies of the color images that I’d processed and posted — having done mostly saturation and contrast adjustments — and ran them through Nik’s Color Efex Pro, applying these filters:

  • Black and White Conversion, where I made brightness, shadow, highlight, and contrast adjustments;
  • Tonal Contrast, to soften the images slightly and create smoothness in the backgrounds;
  • Darken/Lighten Center, to accentuate lighting on the camera and shift the eye’s focus to the camera body;
  • Detail Extractor, to reveal the structure and texture of the camera’s bellows and leather case, recovering a bit of detail that was lost by the Tonal Contrast adjustment.

The first gallery below shows the black-and-white versions of Wednesday’s images. Personally I think they’re interesting, but what I really liked was experimenting with the same tools I’ve been using for color photos for a while now, in the world of black and white. I avoided special effects — like applying warming filters, converting them to sepia-tone, or adding grain for that aged look — and concentrated on how to make the primary subject appealing without color.

In the second gallery, I’ve set the black-and-white and color images side-by-side. You can select the first image and page through a slideshow to view them as before-and-after versions. Thanks for looking!




Wordless Wednesday: Camera Studies Camera

Winter Scenes: After the Storm (Set 3 of 3)

From the essay “House-Warming” in Walden and Other Writings by Henry David Thoreau:

“The snow had already covered the ground … and surrounded me suddenly with the scenery of winter. I withdrew yet farther into my shell, and endeavored to keep a bright fire both within my house and within my breast. My employment out of doors now was to collect the dead wood in the forest, bringing it in my hands or on my shoulders, or sometimes trailing a dead pine tree under each arm to my shed. An old forest fence which had seen its best days was a great haul for me….”

“At length the winter set in in good earnest … and the wind began to howl around the house as if it had not had permission to do so till then.”

The gallery below contains the last of three sets of photos I took in the days following a snowstorm in northern New York.

The previous sets in this series are here:

Winter Scenes: After the Storm (Set 2 of 3)

Winter Scenes: After the Storm (Set 1 of 3)

Enjoy the photos!

Bye for now……………….. 🙂

Winter Scenes: After the Storm (Set 2 of 3)

From The Old Straight Track: Its Mounds, Beacons, Moats, Sites and Mark Stones by Alfred Watkins:

“The winter, with its light of low elevation, and with an absence of leaves, is by far the best season, and the lovely December day … gave an opportunity long hoped for.”

“[The] absence of leaves on trees, winter is by far the best time of year for a certain type of exploration….  Sun shining on one side and very low down is an ideal condition.”

The gallery below contains the second of three sets of photos I took in the days following a snowstorm in northern New York.

The first set in this series is here: Winter Scenes: After the Storm (Set 1 of 3).

The irresistible Ford truck partly buried in the snow made an earlier appearance on this site, in a different season, here: Before and After: Swamp Things.

Thanks for taking a look!

Winter Scenes: After the Storm (Set 1 of 3)

From the short story “The Long Rain” in The Illustrated Man by Ray Bradbury:

“The rain continued. It was a hard rain, a perpetual rain, a sweating and steaming rain; it was a mizzle, a downpour, a fountain, a whipping at the eyes, an undertow at the ankles; it was a rain to drown all rains and the memory of rains. It came by the pound and the ton, it hacked at the jungle and cut the trees like scissors and shaved the grass and tunneled the soil and molted the bushes. It shrank men’s hands into the hands of wrinkled apes; it rained a solid glassy rain, and it never stopped.”

Part of Bradbury’s themed collection The Illustrated Man, this short story was subsequently adapted and included in the 1969 film by the same name, then later featured in the television anthology The Ray Bradbury Theater. The power of the short story, and the film adaptations, came from Bradbury’s ability to take something typically benign — rain! — and turn it into a malevolent force that pounds a group of space travelers marooned on a distant planet. Spoiler alert: the men go insane.

I’ve thought of the film often over the past couple of weeks, when Atlanta’s version of the long rain continued with barely a pause from a few days before Christmas before finally stopping just yesterday. You know that soothing feeling you get from listening to the rain when you’re just barely awake in the early morning? It turns into something else, much less pleasant, on the fourth or fifth day in a row that rain beating on the roof wakes you up at 4:00 AM! 🙂

I suppose it’s only marginally interesting to write about the weather in a blog post; but with above-average temperatures, the rain and clouds clearing away have revealed how nature’s reacting. Irises in my front garden are pushing out a few buds (stay tuned for macros!), normally dormant holly ferns have generated large new fronds, and even perennial lantana and hydrangea stems are dotted with the beginnings of new leaves. But of course it’s not spring yet and unless the temperatures remain above freezing for the next two months, most of this early growth could get crushed later in January or February.

The relentless rain, day after day, did give me a chance to pack up the holiday decorations and sweep out the Christmas glitter, jazz up the theme on my self-hosted blog, and work through the rest of the 200 archived winter photos that I started posting here. I often thought while working on the images that it would have been a hoot if, instead of two weeks or rain, we’d had two weeks of snow … so I guess I was treating myself to a vicarious experience of a snowstorm to blot out the sound of the pounding rain.

From the winter photos I processed, I’ve selected 51 to post here on my blog; below is the first of three sets that were taken in the days after a snowstorm some years ago when I traveled to northern New York around the holidays. Enjoy the photos; as always, thanks for reading and taking a look!

Wordless Wednesday: Snow Puffs???