PHOTO BLOG

February 5, 2012

It’s true that things are not always as they seem, and this is particularly relevant with digital photography. But like other art forms, what something is, verses what it appears to be, can also be irrelevant. The digital medium as much as any other is about expressing an idea, and how you get there is much less important than why. But with this said, digital photography enthusiasts need to know the how in order to bring the why to fruition. With this post I’m going to show you how I use Photoshop to execute my transformative interpretation of an idea.

The image above represents the original capture from my Canon 5D Mark II. In the simplest terms, it’s a picture of a window to a Buddhist temple in Chiang Mai, Thailand. But what I wanted to express with this image was the beautiful ornate design surrounding the window.

The first step is to correct for perspective distortion. This image shows the classic keystoning effect caused from tilting my camera up toward the subject, and for my purpose it’s undesirable. Fortunately Photoshop has an excellent tool to correct this. Before I began my edits, however, I dragged the background layer to the new layer icon at the bottom of the layer palette to create a duplicate layer. This is the layer from which all further edits occurred. Along the top menu bar I selected the filter pull down menu, and then chose distort, then lens correction. In the resulting dialogue box I pulled the vertical perspective slider to the left until the desired result was achieved.

A downside to this approach however, is while you correct for the keystoning at the top of the image, a keystoning crop is created at the bottom. Unfortunately this leaves you with is a six sided geometric shape that must be transformed into a rectangle. For a visual aid, I deselected the original background layer to clearly reveal the cropped area. In step two I’ll explain the how and why behind my method of transforming the image back into a rectangle.

There are several methods to bring this image back to a rectangle. But because my original desire was to highlight the intricacies in the window’s ornate lintels and cornice, I chose a means which suits this purpose; the free transform command. To access this tool I used the Photoshop shortcut Ctrl+T (Win) Command+T (Mac). Next I grabbed the center left handle then while holding the Alt (Win) Option (Mac) key I dragged the handle until the image filled the canvas on the left and right sides. Then I grabbed the center bottom handle and pulled the image down to fill the remaining canvas. Lastly I pressed the return key to commit the transform.

You’ll notice this transformation reduces the image area to the left and right of the window. Additionally it changes its proportions thereby increasing the prominence of its detailed trimmings; and that was exactly my intention. The final step will go even further toward emphasizing the window relative to its background.

Now that I’m satisfied with the window’s proportion relative to the rest of the image, my next goal is to distinguish the window from its surrounding wall. I’ll do this by framing the subject. There are three techniques I employed to create the framing; colorization via the photo filter adjustment, density curves, and vignette masking. Each of these steps involves details beyond the scope of this tutorial and for the sake of brevity I’ll refer to these steps in general terms.

As with any art frame that complements rather than competes with its subject, I chose a wall color which showcases the window without overpowering it. While I could have chosen any color, finding one that appears naturally within the context of the subject requires a bit more thought. Fortunately I had a source that worked out fine.

Using the eye dropper tool from the tool palette I sampled some windblown dust found along the window sill. I saved this color as a swatch then chose it when I opened the photo filter dialog box found in the adjustments palette. Next I used the paint brush tool to mask out the window and its trimmings leaving only the surrounding wall with the new color. Creating the contrast between the wall and the window allowed me to highlight my subject by framing it with this new color.

After finishing the wall I turned my attention to the window sill. Continuing with my desire to emphasize the window I accessed the curves dialogue box from the adjustment palette. There I created a density curve to darken the sill, then used the paint brush tool to mask out everything else. Darkening the bottom of this image had the effect of both anchoring the picture while further framing the subject.

The final step was to add a simple vignette to the entire image. The careful application of a vignette is an excellent way to subtly focus the viewer’s attention to the intended subject. There are several ways to create a vignette but the simplest way is found within the lens correction dialogue box.

Before I proceeded further however, I copied and merged the image layers into a new layer to be placed at the top of the layer stack. This allows me to apply the effect on the entire image without losing the ability to access the original layers. I did this by holding down the Alt (Win) Option (Mac) then selected the layers pull down menu and chose merge visible. With the layers preserved for possible future editing, I then chose the filter pull down menu from the menu bar, and then selected distort, then lens correction. Within the lens correction dialogue box there’s a vignette tool with slider options. I moved the amount slider to the left until I found the desired result. And now with the application of the vignette my subject framing is complete.

From examining the before and after images you can see from start to finish the image has gone through quite a transformation. But every step along the way was chosen for the specific purpose of highlighting my subject—the beautiful detail of the window’s trimmings. With the original image the subject is less clear; with the final image it’s properly defined. You may or may not agree with the process, but it’s hard to disagree that the end results reveal a more clearly articulated message. And that’s what effective art is—communicating a message.

June 15, 2011

Letting Go of the Camera by Brooks Jensen is a compilation of essays written while editor of LensWork magazine. Though targeted toward the serious photographer, his overall message applies equally as well for other creative disciplines. With a writing style that deftly balances tongue and cheek humor with straight forward frankness; he carefully delivers a narrative that at times is both thoughtful and instructive.

With that said, first and foremost this is not your typical “how to” book. Devoid of inspirational photographs, Photoshop screen captures, or tables explaining reciprocity failure; his emphasis lies squarely on the creative process. As the title implies, this book is not about the camera, rather the person behind it. In its essence, it is a book about artistic growth.

By thoroughly describing the necessities of dedication to craft, dedication to practice, and dedication to discovering your own voice; he presents two pervasive arguments. First, he espouses the virtues of a project based approach toward artistic development. By helping him stay focused, on point, and goal-oriented; projects provide the structural framework for achieving such growth. And second, he emphasizes how breaking habits and moving beyond clichés are the best way to develop personal vision.

“Repetition of what has already been done is a useful technical exercise but rarely produces artwork of merit.”

Overall the book excels at picking up where other photography books leave off. That is to say, most explain how to photograph a subject, this book explains the how and why of choosing a subject. But if there is one frustration I had, it is from minimizing the real world need of selling, for the higher pursuit of creating. Ultimately one is left pondering how to balance the two. While the author acknowledges the contradiction, he does so dismissively. Though in fairness, this book was never about achieving financial success, rather how to gain artistic success. It was not his intention to reconcile the two; that was left for the reader.

“By harboring expectations of consistency, the audience lures the creative artist to abandon the path of exploration and instead reproduce the formula that has finally secured bread for their table…”

Though Letting Go of the Camera leaves some questions unanswered, on balance it is an important book and a must read. My copy, with its dog-eared pages and highlighted passages has provided enormous guidance.

May 15, 2011

When I think of spring, I think of verdant landscapes covered with new growth. I think of mountain snowmelt and the waterfalls it creates. And I think of the Columbia River Gorge. On its relentless journey to the Pacific Ocean the Columbia River carves a canyon through the Cascade Range providing an endpoint for a myriad of waterfalls tumbling down the mountain slopes.

Skirting the Oregon side of the gorge is state route 30; a 70 mile stretch of road better known as the Historic Columbia River Gorge Highway. And for my money it is one of the most scenic drives is America. With numerous viewpoints, waterfalls spilling to the roadway, and trails leading to greater access; there’s an inexhaustible supply of photo opportunities.

My favorite section of the highway is from Crown Point Vista eastward to Ainsworth State Park. To get there take I-84 east from Portland for 20-25 minutes until the Corbett exit 22. Along the highway traveling east, one of the first waterfalls you’ll come to is Latourell Falls. Though not immediately adjacent to the road, at 249 feet tall it’s easily viewed from the parking lot; or even better, follow a short paved path for a more up close and personal vantage point.

Continuing eastward past Bridal Veil and Wahkeena Falls is Multnomah Falls. Towering a magnificent 620 feet, this is the most impressive falls in the gorge. But with a visitor center, gift shop and food, it’s also the most crowded area along the highway. My suggestion, arrive early.

Shortly after Multnomah Falls you’ll see a pullout for Oneonta Gorge. At first blush, the gorge may seem unassuming. But get out of your car, throw on a wetsuit, and hike up the canyon about a third of a mile and you’ll change your mind. Though just over a half mile round trip, you may never take a hike more splendid or adventurous. It’s one of my all time favorites.

At the end of the gorge of course, is Lower Oneonta Falls. At only 100 feet in height, it’s certainly not the most imposing waterfall in the area, but definitely the most rewarding.

The next major pullout will be for Horsetail Falls. You can’t miss it because you’ll likely drive right through its water spray. As lovely as it is, the reason I always stop is to take the quick hike up to Ponytail Falls (also known as Upper Horsetail Falls). A short but steep hike, round trip is just under a mile.

One of the prettiest waterfalls in the gorge, Ponytail is a favorite among many photographers. But perhaps its coolest feature is the trail which leads you behind the falls and out the other end. On a hot day this can be one of the most refreshing hikes you take.

This is just a small, though representative sample of what the Columbia River Gorge National Scenic Area has to offer. And while it’s beautiful year round, the spring is when it really shines. Allow yourself several days, drive safely, and hike responsibly.

Photo Tips:

Waterfalls within a forest should always be photographed under cloudy skies. If it’s sunny, keep your camera in your bag, take in the view and simply enjoy. Otherwise you’ll be disappointed with your results.

If you want your waterfalls to resemble the silky appearance in these photos, you’ll need to use a slow shutter speed. You can achieve a slow speed with either a low ISO setting, or by placing a polarizer or neutral density filter on your lens–or both. But regardless of your method, unless you want a fuzzy image, you’ll need to first invest in a tripod and trigger release.