Posts tagged “Flora

Flower (Two Photographs)

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I might spend more time than I should reading about photography and sometimes it gives me ideas. I read a number of articles on photographing flowers and the widely differing approaches to the subject. One of the themes that ran through them all was the creative use of depth of field. This may be an extreme example but it makes the point about what is possible.


Water Lily

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This is the last of my water lilies for 2018. It’s a bit odd in colour, the green was simply awful. So I decided on Black and White and emphasizing the lily, a bit overdone but then a little drama never hurts.


Pink Flamingo (Three Photographs)

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You don’t see many pink flamingos anymore. I had one for years in my apartment. I saw a sea of them in Tanzania. So I was delighted to see this one in a garden in Ottawa. There should be more to bring a smile to most dour of faces.

 


Lily Pad (Two Photographs)

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I have some lily pad photographs from last summer to work on. This photo and others may be helped by ISO invariance. ISO invariance is a function of sensors in some of the latest cameras allowing dark photos to be lightened significantly with little harm to image quality. In other words I’m resurrecting shots that were under-exposed (in this case by at least three stops), and having an easier time of it. It is something I wanted to experiment with and here is one result.


Fall (Two Photographs)

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I did not get much of an opportunity to shoot fall colours this year. This is one shot I liked. But then the question in my mind was whether colour or black and white was the best approach (knowing full well that fall is usually all about colour). I am increasingly interested in black and white photography and there are enough differences between the two treatments that I will probably print both for my collection.


Yellow in Black and White (Three Photographs)

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From my perspective, these photographs depend highly on their backgrounds and the careful toning down of highlights to get the best detail possible in the flower itself. They are the kind of black and white images that I have grown to enjoy making as they require some thought and time to get right in post processing.


Grasping (Two Photographs)

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There is significant talk in photography about pre-visualization. Obviously it is key when you’re working in a studio, slightly more difficult to explain in nature. It’s a mixture of that “gotcha moment” when you have that one shot you want and seeing in your mind how the photograph will look after processing. The latter has always been my objective. I took this photograph some time ago, and yet seeing it again a few months later I could recall just what I was after (see the title).


Late Buds (Two Photographs)

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When the cold days of early spring give way to warmer weather, we again begin to see new buds appear. My effort here was to keep the impression of the cool weather. I did this by ensuring that the colours remained cool (blueish) and not get saturated by the processing software. In the black and white I tried to retain this feeling by how I managed the shadows.


Early November (Two Photographs)

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From that time in early November when the light is harsh, the breezes stiffer, and the flowers barely hanging on. I find the colours more subtle and the highlights often more prominent in the out-of-camera photographs, the latter needs to be played down a bit.


Tulips and Impact (Three Photographs)

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Everyone wants their photographs to have impact on their audience; to stand out, speak up, impress, and be remarkable in some way. One of the ways is isolating the subject from its peers. And a useful technique is the vignette, or as I have used here, the radial dial in Lightroom to darken virtually all but the main subject. Either subtle or more heavy-handed, the objective is the same; to put your subject clearly in front of your audience.


Tulips 2 (Two Photographs)

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The second two photographs in the series I first posted two days ago. I said then they are a remedy for November. I took these at the Tulip Festival last September. I usually take one day at the festival and manage to fill a card with interesting shots that I work on over the year.


Tulips (Two Photographs)

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These are the first of a set of four photographs (the second set will be posted the day after tomorrow). I intend to print them. I think they would make nice framed prints to brighten up November in the Northern Hemisphere.


Easy Came The Fall (Two Photographs)

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By late summer we begin to see the leaves change colour, it’s always discouraging even if the colour is spectacular. The muted changes, almost discolouring, make for interesting still photos. Unfortunately this year I was unable to get as many opportunities as I would have liked. So I will do more next fall to make up for it 🙂.


A Tulip

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The colour version of this shot overwhelmed the central flower, and in black and white reminded me of the darker colder days of spring. It did not take much to isolate the central flower and darken the background to obtain the effect you see here. Were it blown up to wall size you would undoubtedly see the bleed in colour along the edges of the leaves, almost but not quite chromatic aberration. 


Bokeh (Two Photographs)

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Who says you can’t get bokeh with an APC sensor. Taken with a Fuji-XT-2 at f8 (16-55mm lens). There are more myths about cropped sensors than there should be (hinta 90 mm lens is 90mm, the sensor does not make it magnify, it only resembles a 180mm in terms of the angle of view).


Three (Two Photographs)

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I was reading an article about landscape photography and making use of the foreground, specifically about anchoring your photo with three things. I thought it might be fun to take a series of photographs of three things. The next day in the park I saw what became this photographtwo lilies, the island bush and the reflections. It’s a start on the project.


Chaos (Two Photographs)

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I saw this clump of chaotic flora and immediately imagined an idea for a black and white photo. The color version needed work as it was over saturated and needed more contrast. Working on the color helped the black and white.


Roadside Flowers (Two Photographs)

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What caught my eye was how the flowers hung over the road, making the concrete the background. Like any street, the concrete had faults and that abstract element helps the photograph. Technical background: five shot bracket in B&W, converted to Adobe standard colour space, developed in Photoshop HDRPro, Photolemur, Noiseless CK, Intensity CK and Tonality CK plus much fiddling with contrast.


Sunflowers (Two Photographs)

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I have been using exposure bracketing for most of my Fuji shots and then using HDR pro to process them. They look natural and I have greater latitude to work with shadows and highlights plus I get more details. In this case I finished up with a preset from Luminar called Ominous Black and White and afterwards it looked more like the Orton effect than anything ominous. I like the bracketing idea and the choices I have in post-production to get realistic results.


Rules (Three Photographs)

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I am by no means a rebel when it comes to photography. My editing is bare bones. However, I often break rules of composition, allow some part of photos to go soft, and in some cases lose parts of subject off-screen. All in an effort to make my photos more interesting. I suspect few of these “errors” are immediately noticeable. I like to experiment.


Curb-Side Flowers (Three Photographs)

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These are HDR photos done with HDR Pro in Photoshop, from a bracket of five shots taken with my Fuji camera. The result is a little soft. Taken out of context these might be anywhere but just off a sidewalk.


Floral Composition (Three Photographs)

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Taken in a city garden with my Fuji XT-2, 18-55 mm, 2.8. These illustrate something that I learned early on and which I think is an important part of my kind of photography. In composing in the camera, there are two factors: imagining the final crop, usually smaller than the screen as you see it in camera (e.g. 8×10) and taking multiple photographs of the same thing from different angles. Different angles give me a chance to pick the most dramatic or interesting composition.


Forest Light (Two Photographs)

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The lighting in forests is extraordinary. Because there is a canopy that only lets in some light there are various effects that mimic studio lighting. For example, rays of light that break through the canopy and act as spotlights which is the case here. Photography is all about light and we have several options in naturetime of day, shadows, spotlights, overcast soft lighting. All worth exploring. One trick is to bring down the highlights and exposure in processing to emphasize the lighting, a better solution than a vignette in my view.


Almost Abstract (Three Photographs)

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I was not sure how to title this, but the results are almost abstract.  These photos illustrate an issue in photographic composition and the engagement of the audience’s eye. Simply put we are attracted to the brightest spot in a photo. Which is unfortunate if it’s not your subject. In these photographs my technique, besides knowing I could crop some of the brighter spots out, was to make sure my subject was front and centre. Sometimes you have to use more complex techniques in Photoshop, but the approach I have used worked well for me here.