"Pay attention to the world." -- Susan Sontag
 

Tag: summer 2021

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

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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!

White Lilies (2 of 2)

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From “Some Beautiful Ways of Growing Lilies” in Lilies for English Gardens by Gertrude Jekyll:

“The greater number of the Lilies look their best when seen among shrubs and green growths of handsome foliage. Their forms are so distinct as well as beautiful that they are much best in separate groups among quiet greenery — not combined with other flowers. This general rule is offered for consideration as applicable to Lilies of white, pink, lemon-yellow, or other tender colourings…. The White Lily, also, which loves sunlight, is so old a garden flower, and seems so naturally to accompany the Cabbage Roses and late Dutch Honeysuckle and other old garden flowers of the early days of July, that one must allow that its place in our gardens is in combination with the other old favourites.”

Hello!

This is the second of two posts featuring white lilies only, from Oakland Cemetery’s gardens. I took most of these photos from behind each lily or from a side view, to intentionally emphasize each bloom’s emergence from its long, curved stem. Quite elegant, no? 🙂

The first post is White Lilies (1 of 2).

Thanks for taking a look!

White Lilies (1 of 2)

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From Lilies for English Gardens by Gertrude Jekyll:

“If one might have only one Lily in the garden, it would have to be the beautiful old White Lily that has been with us since the end of the sixteenth century. Although we may take it to be the oldest of its kind in cultivation, we do not by any means know all about its wants and ways. For of all Lilies known in gardens it is what is called the most capricious. When we say a plant is capricious, it is, of course, a veiled confession of ignorance, for whereas we may well believe that the laws that govern the well-being of any plant are more or less fixed, and with most plants we can make sure of the right way of culture; in the case of this Lily we cannot find out what those laws are; and though it has been more than three hundred years in our gardens, we can only give general advice as to where and how it will do well.

“A plant so lovely should be tried in every garden.”

From a multi-day lily hunting expedition at Oakland Cemetery’s gardens, I separated out photos of white lilies and “painted” their backgrounds black. Below is the first to two batches.

Thanks for taking a look!

Seven Magnolia Blooms

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From Garden Flora: The Natural and Cultural History of the Plants In Your Garden by Noel Kingsbury:

“Named for French botanist Pierre Magnol (1638–1715), Magnolia is a famously old genus. It is also hard to define; current thinking suggests 200-plus species. Some botanists favour splitting it, others dumping the entire Magnoliaceae into it. The fossil record is rich, with family members dating back 98 million years, and Magnolia itself being of Cretaceous origin, i.e., contemporary with the dinosaurs but before bees: it is thought the first magnolias were pollinated by beetles.

“Magnolia flower buds are used for treating sinus problems in Chinese herbalism, and the bark… is prescribed for a wide range of conditions, although it does contains high levels of alkaloids and concerns have been raised over its safety. Flowers are used for flavouring, or at least ornamenting, certain Chinese teas, while buds are deep fried and eaten as a spring delicacy; they are somewhat tasteless, but the petals make an attractive addition to a salad….

“Wreaths of M. grandiflora foliage are traditional in the American South (they dry slowly and can be kept for months), and the flower, an emblem of the Confederate army in the U.S. Civil War, remains a potent symbol of the white American South…The 1989 film Steel Magnolias conjures up an image of something beautiful but also very tough; the tree symbolised the character of the women in the film….”

Despite making over sixty trips to Oakland Cemetery’s gardens over the past year, I hadn’t previously turned my camera toward any of the large magnolia trees growing on the property, some originally planted in the late 1800s and still thriving. They tower in height second only to the gigantic oak trees for which the property was originally named (see Early Landscapes: The Trees of Oakland), produce an enormous volume of blooms, and shed leaves as large as footballs that drop in a circle surrounding each tree’s trunk. The circles are as wide in diameter as the trees are tall, and as thick and bouncy as the beds of discarded pine needles you might find in any ancient forest.

Magnolia tree branches are some of the densest and most twisty-looking structures in the plant kingdom, I swear, making it a challenge to find a focal point for composing a photo. It’s also true that very few of their flowers are at a height I can get too without a ladder, which of course doesn’t fit in my photo bag. Nevertheless, with a zoom lens and the luck of finding a few branches hanging low to the ground (like the fourth photo below) I took a few dozen photos of the blooms that I could zoom in close enough to “fill the frame” — expecting I could figure out how to isolate the blooms from the entangled branches once I got at them in Lightroom.

Here are the first three, where I kept most of the leaves directly attached to the bloom stems in the frame, while blacking out all the rest.

Here’s one of the few flowers I found close enough to the ground (about five feet up) that I could get a shot that included the Internal structure of the flower, conveniently framed by an old and highly photogenic stone wall. If you’d like to get a closer look, click here.

Here are the last three, where I isolated just the flower — or, in the last photo, isolated the flower with a few of the leaves that (for reasons only the tree understands) were all reversed, showing the yellow-gold backs of the leaves instead of their dark green fronts.

Here are before-and-after versions of the seven photos, with most of the adjustments complete in both versions, but where I turned off the black background mask to show the blossoms in their original context: a mass of leaves and lots of blown-out highlights from sunlight filtering through the branches. It was a fun experiment to see if I could get results I wanted from the originals: creating the illusion that I’d taken macro photos of the magnolia blooms when, in reality, I used a zoom lens and stood about twenty feet from the trees to get these photos. It was also a lot of work — about two days of brushing black over the backgrounds and fine-tuning the mask — but I’m glad I gave it a shot.

Select any image in the gallery if you would like to compare the before and after versions in a slideshow.

Thanks for reading and taking a look!