Lilies on Black Backgrounds: A Photo Project (1 of 10)

From More Than a Rock: Essays on Art, Creativity, Photography, Nature, and Life by Guy Tal:

“I’m actively working on a number of themes these days. Some involve a specific subject matter, others result from a fascination with specific locations… and some that at this time can only be described as abstract or immature concepts….

“I realized that I need a new word to describe these ongoing efforts and decided on ‘explorations.’ An exploration is sparked by a desire to understand something, to learn about it, to spend time with it, to tell its story (or mine) without defining a specific outcome in advance. Like a project, I know it will often result in something useful (images, portfolios, books, ideas, personal satisfaction, etc.), but until I know what it is, I find ample and sustained reward in merely being engaged in something that interests and fascinates me: a journey that is more important than any preconceived destination.”

From Lilies by Naomi Slade:

“With legions of yellow and orange lilies available, the dedicated lily lover might consider themselves well served by both plant and colour.”


Hello!

If you’ve come around here now and then, you’ve seen that I often use Lightroom brushes on my photos to paint the backgrounds black as a way of accentuating each image’s main subject. I usually do that as an after-thought; that is, when I’m working through my images in post-processing, I decide that the background is a distraction and opt to get rid of it — sometimes partially, most of the time entirely. There are, of course, different ways to create dark backgrounds when shooting; but many of them aren’t really suitable for outdoor photography using natural light… especially for a shooter like me who likes to take only one lens on each shoot, and leave my flash gear or other supplemental lighting at home.

While working on the white lily photos I featured in two previous posts (see White Lilies (1 of 2) and White Lilies (2 of 2), though, I started wondering if I would have taken the photos differently if I was shooting them with the intention of removing the backgrounds afterward in Lightroom. Would I, for example, use different camera settings? think of lighting in a different way? compose the subjects differently?

To produce pitch-black backgrounds in Lightroom, I reuse a brush preset I created with these settings…

… which will change all brushed areas in the image to their darkest possible values, with saturation and noise set as shown to blur and soften any blips of light or color that still want to peek through the darkened background elements. After completing a “first draft” on a set of photos — adjusting exposure and colors, removing spots, and sometimes cropping — I use a Lightroom brush to outline around the edges of the subject like this:

The outline brush is feathered — as you can see above from the soft edges of the fluorescent green masking — since the shape of the subject varies throughout and its boundaries consist of curved lines and contours. Think of this like painting a wall where there is floor molding of a different color: one of the first things you might do is pick a small brush of suitable size (and bristle density) to paint a thin line of the wall color just above the molding. If you use a brush that’s too large, you’ll likely slop paint onto the molding you’re trying to protect, and have to remove it. If I zoom into a section of the photo I’m working on, you can see something similar near the top of the bloom…

… where the green mask covers part of the petal. I remove that with Lightroom’s Erase brush, and zoom in along all the edges of the flower to remove the mask from any other areas where it’s bled onto the subject.

I then use the same sized brush but without feathering to outline the subject one more time…

… and finally use a larger brush — also without feathering — to paint the rest of the background, effectively converting it to all-black. Turning off the feathering for these last two steps is like using a wider paintbrush in our wall-painting metaphor: you can cover a larger area quickly with more paint and fewer strokes (or mouse movements!).

Here’s the transition through the three steps, first with the mask showing and then with the mask turned off. Turning the mask off and on repeatedly as I apply it lets me see my progress and make sure that I’ve covered everything behind the flower.

The most time-consuming part of this workflow is the first step — outlining the subject with the feathered brush — so I tackle that right off the bat and then finish the rest of the background like a guy slinging finger-paint on poster paper. I’ve experimented a little with doing the same thing in Photoshop instead of Lightroom; and while it’s sometimes easier to mask the subject then flip the background black in Photoshop — the most detailed masking in Photoshop or Lightroom seem to require about the same amount of effort. So I stick with Lightroom, and don’t have to add Photoshop to my workflow to get these results.

With all this in mind, I altered how I took the photos for this series of posts to allow for what I’ve learned about making it easier and more accurate to convert their backgrounds to all-black. Selecting and masking around the subject works best when it’s as in-focus as possible, with good contrast and sharpness between the foreground and background. Since the amount of light and color that reaches the camera’s sensor is determined by a combination of aperture, shutter speed, and ISO settings — the exposure triangle — I wanted to figure out if different exposure settings would improve my ability to remove the backgrounds.

So I started with an assumption that a higher ISO setting would give me more flexibility in choosing shutter speed and aperture, and experimented with ISOs in the range of 800 to 3200 to see what worked best. ISO 3200 introduced a bit too much grain into the photos; and while I could remove a lot of it in Lightroom, the images ended out softer than I wanted with porous edges around the subject that were difficult to mask. ISO 800 or 1600 provided a good balance between sharpness and grain, so I took about half of the photos at ISO 800 and half at ISO 1600. Either setting gave me what I wanted: a few extra stops of available light with an aperture setting that increased depth of field so that the flower blossoms were well-focused from front to back. Shutter speed settings didn’t matter that much; I only needed a high enough shutter speed to eliminate camera shake and stop the flowers from dancing in a light summer breeze. Any shutter speed greater than 100 worked good enough.

I took all of the photos with the same lens — a Sony 18-250mm zoom lens — whose great advantage is that (though it’s not technically a macro lens) I can get as close as 18 inches from a subject, and get decent focus even when zoomed to 250 millimeters. This lens works well at Oakland cemetery’s gardens since many of the planted areas are set two or three feet above ground level, or the flowers are blooming where I can’t get close enough to use a macro lens. Finally, since I was going to remove the backgrounds anyway, I could take the photographs from different angles, and could disregard random plants, trees, sticks, or stones that might distract from the subject.

There will be about 100 photos in this project, which is why this post is “1 of 10”. Over the past few weeks, I’ve tried to take a few pictures of ever lily variety I could find at the gardens and ended out with photos of a couple dozen different kinds — colors ranging from yellow to orange, pink to red, and magenta to purple. As I overheard someone telling her friends as they passed me hunched over a batch of lilies: “There’s so many flowers here! It’s like going to the botanical garden, but it’s free!”

🙂

If you read this far: bless you! Below are the first ten photos; more soon!





Before and After: Fragments of Color and Light

On Wordless Wednesday a couple of weeks ago, I posted transformed versions of eleven images (see Wordless Wednesday: Fragments of Color and Light) that I had found in my archives — not a mysterious dusty place in the basement, but a folder of older photos on my computer. I selected and processed these as a group because I liked the way the subjects reflected light. I didn’t use any new techniques, but followed processing steps I previously described here:

Before and After: Yellow and Green (and Lightroom Radial Filters)

Select the first image to begin a slideshow and see the results of these transformations. Thanks for taking a look!

Late Summer Color: Mary Ann Lantana (Gallery 3 of 3)

This is probably true: gardeners obsess about the weather, even moreso when it doesn’t seem to behave positively for their gardens. I’d like to understand it better, especially when I find myself wondering if my experience with the same garden for fifteen years has any broader meaning in terms of changing weather patterns or climate change. I also often wonder about how my proximity to a large urban area — downtown Atlanta with all its glassy skyscrapers, concrete, and pavement is just a couple miles away — affects the development of storms in my area, since it seems I can often observe thunderstorms popping up in the distance that skirt the city center and the areas around it. I have a dim understanding of the impact of urban centers as heat islands — but I can’t really explain how those heat sinks are thought to impact weather. Still, a personal unscientific observation is that late summer weather has changed over the past decade and a half: this time of year used to be one of frequent intense thunderstorms late in the day several times a week, but for the last few years that same July-through-September time frame seems more like drought. Gardeners intuitively know that rain supports a garden in ways water from a hose can’t, and that with extended rainless periods — especially during late summer and early fall — watering becomes an exercise in hoping that it’s enough to support perennials as they transition to winter. So while the hot sun seems to be thinning out some plants and bleaching out some leaves, the lantana, hydrangeas, vines, ferns, and hostas should be hanging in there well enough for next year.

It’s late in the gardening season regardless, so I’ve about run out of back-yard flowers to photograph. I have a Rose of Sharon that looks like it might put out a few nice blooms (if it survives this heat), in the next week or so. I’ll be planning some expeditions to other kinds of gardens or some nearby woodlands … so it may be fun to see what I come up with. I also hope to educate myself more on climate change over the next few months — something of a challenge since it’s so difficult to get a handle on useful research versus excessive politicization — but I’ve decided to spend some time with Naomi Klein’s This Changes Everything and Tim Flannery’s The Weather Makers to get me started. Other suggestions are welcomed (please leave in the comments); book reports lateron!

Keeping with the theme of the past five posts…

Late Summer Color: Mary Ann Lantana (Gallery 2 of 3)

Late Summer Color: Mary Ann Lantana (Gallery 1 of 3)

Making Pictures: Landmark Citrus Lantana (Gallery 3 of 3)

Making Pictures: Landmark Citrus Lantana (Gallery 2 of 3)

Making Pictures: Landmark Citrus Lantana (Gallery 1 of 3)

… here are four before-and-after images from my third set of Mary Ann Lantana:

And here are the fifteen completed images that make up this third gallery.

Thanks for taking a look!

Late Summer Color: Mary Ann Lantana (Gallery 2 of 3)

Keeping with the theme of the past four posts…

Late Summer Color: Mary Ann Lantana (Gallery 1 of 3)

Making Pictures: Landmark Citrus Lantana (Gallery 3 of 3)

Making Pictures: Landmark Citrus Lantana (Gallery 2 of 3)

Making Pictures: Landmark Citrus Lantana (Gallery 1 of 3)

… here are four before-and-after images from my second set of Mary Ann Lantana:

And here are the fifteen completed images that make up this second gallery. Thanks for taking a look!

Late Summer Color: Mary Ann Lantana (Gallery 1 of 3)

It seems hard to believe, but here in the U.S. southeast the days are already shortening, as we move from summer toward a fall that’s not too far away. Of the four varieties of lantana on my property, Mary Ann Lantana is the most prolific bloomer; it continues to add new flowers through late August and well into September (sometimes even October!). After that, I cut it back — almost to the ground — to get it ready for cooler weather so it can rest over the winter.

For these photos, I used the same post-processing approach that I described for images of my Landmark Citrus Lantana (see Making Pictures: Landmark Citrus Lantana (Gallery 1 of 3), relying heavily on Lightroom’s radial filters and adjustment brushes to emphasize the blooms and, in some cases, darken or eliminate backgrounds. Here are before-and-after versions of four of the eleven photos, those that I transformed the most. The last one’s my favorite!

Funny thing happened as I was assembling this blog post: I realized that I had written several times about my “Miss Huff” Lantana — but as it turns out, I don’t have Miss Huff, I’ve got Mary Ann. They’re very different; see here versus here. Several blog posts, tags, and brain cells have been corrected…. 🙂

Below is the first set of Mary Ann Lantana images. Thanks for taking a look!