I'm going to take you behind the scenes of what has been one of my most popular posts on social media recently and let you in on how it came about... I know it has been puzzling some folks...
It was a typical Sunday morning, mid-winter at Zealandia, on our regular photowalk and we had just reached the pontoon to spend some time with the kāruhiruhi families as they went through their morning rituals. The low sun was just starting to break around the corner, back-lighting the birds and sparkling the dew still hanging on the leaves. Then the rays hit the chilly lake and ethereal mist began rising. For once I was delighted to have lost the battle as to who had the 24-70mm and who had the 100-400mm lens!
The magical misty light hung around for only a few minutes; just enough time to take a bunch of photos with the wrong settings and then to figure out something that might work better and to hopefully get a nice shot. And the photos were indeed "nice," but not much more and I put them aside. On returning to them some months later, I realized that there was no one shot that had everything, but with some judicious compositing I could create a scene with a story.
I know some people have assumed that this image is a single photograph and have puzzled over how I got the shot, so I'd like to set the record straight, so to speak. And in one sense it is "just a photograph," far less messed about with than some of my images. But I believe that adding artistic licence and liberating oneself from pure photography, it's possible to more accurately capture a moment experienced and to share that emotion.
So what did I do? Four very similar photos went into this image - each was selected for what the birds were doing over the course of just 5 minutes. One was swimming making a spiral of ripples, two youngsters were looking excitedly into the water, another was "hanging out the washing to dry", and others were looking with anticipation into the new day. No one photo showed all that happening and there was no time to wait until they simultaneously did something - the mist was fading too fast. Choosing one photo as the main image, I did a first pass through camera raw to make basic adjustments to the exposure and lighting. I then carefully masked, adjusted with camera raw, and composited in the alternative birds to create a more interesting version of the scene. Then came a little bit of secret sauce; using Topaz Impression to add in a silky, painterly feel at a lowered opacity over the image, and then layering painted textures using soft-light blend modes to subtly change the lighting. When viewed at full size, the more painterly feel is much more apparent. A couple of passes through adjusting highlights and shadows and spot-healing distractions completed the image.
Do you like this image more or less now that you know how it came to be? Do you feel cheated and that it somehow isn't real? Does it take away the magic knowing what was added and how it was made? Or do you feel like you've seen through my eyes and into my soul? Have we shared a moment?
Aside from a good dose of curiousity and willingness to explore and try things out, I can recommend the following courses, software, and hardware to anyone keen on getting into photo-artistry.
Anything and everything by Adobe Evangelist Julienne Kost (check whether your local library provides free access to her Lynda courses - Wellington Library does.)
Photoshop Artistry: Fine-art Grunge Composition with Sebastian Michaels
Teaching the fundamentals of photo-artistry with Photoshop and PS Elements
AWAKE - Living the (Photo)-Artistic Life with Sebastian Michaels
A year-long training program for photo artists - life-changing!
Enrollments open twice a year for students of his Fine-art Grunge Composition class.
Fine Art Photography with Brooke Shaden
Everything you need to know about creating fine art photos from the shoot, compositing, making prints, to running a fine-art business.
SOFTWARE & HARDWARE
Ask in the comments below if you have any questions about any of the above...
It's taken me this long to complete the second quarter of the Dogwood 2017 weekly photography challenge because I struggled to get Week 14 Panning completed. Panning is hard! So without further ado, here are the results....
Week 14 - Panning (Technical)
This challenge has been "dogging" me for weeks, so what better subject to choose than a doggo. Must be the slowest pan ever done, but it's done!
After a week of weathering everything mother nature could throw at us (earthquakes, tsunamis, floods, gales, and storms), and which are likely not all over yet, I felt the need to work on this series of images from our recent trip to the Marlborough Sounds. These ethereal, languid landscapes belie the awesome forces that created them.
Most of the photos worked into these images were taken on Simon Woolf's Natural Environment Photography Retreat at the Bay of Many Coves Resort. A long weekend filled with fun, photography, and quite a bit of rain! The images themselves were inspired, in part, by Julieanne Kost's course "The Art of Photoshop Compositing", which LinkedIn kindly offered for free recently (probably the only time LinkedIn has ever been useful). If you're interested in photoartistry, Photoshop or Lightroom, she has many tutorials and courses, many of them free, and all highly worthwhile.
Have you ever noticed that it's the black and white packages that have all the cool edges and photo frames? But what if you want to apply a frame on a colour image? As in all things Photoshop, there are multiple ways to do this, but I like this quick trick.
"Winter at the Cape"
Images from Cape Cod and the Galapagos. Additional content used under licence from FoxeySquirrel and Ninka Studio.
Judi Lapsley Miller
Fine art inspired by the stories of birds and the natural world. Starting with photographs, I let my imagination take me on flights of fancy. What is real and what is imagined is blurred. What is physical and what is virtual is disrupted. Bursting with colour and life.
Art, birds, photography, wildlife - be the first to find out what's happening...