Monday, 30 September 2013

High Dynamic Range in Photoshop with just one image.

What is HDR??

HDR stands for High Dynamic Range. Dynamic range is the difference between the highest and lowest light you can capture in camera.
An HDR photo is really just two or three (somethime up to 9!) photos taken at different exposure levels and then squished together with software to create a better picture.Thats the simplest way i can describe it. Ideally, the photographer takes a series of bracketed photos – that is, photos of the same subject taken with varying shutter speed/aperture combinations in order to produce a set of images with varying luminosity and depth of field. Then, with the help of advanced post-processing software, the photographer is able to blend the photos together and create a single image comprised of the most focused, well-lit, and colorful parts of the scene. Check out the images below to see how it looks:


I would like to explain several different techniques on how to achieve HDR style imagery using digital methods.


The first one I would like to show you is HDR in photoshop with just a single image:

1. Open a RAW file in Camera Raw



2. Underexpose the image by sliding the exposure button to the left.

3. Slide the recovery button all the way to the right (or fairly close to it).

4. Move the fill light slider across to the right.

5. Move the blacks slider to the right to add depth to the shadows and
increase contrast.

6. Add further contrast by moving the contrast slider to the right.

7. Moving the clarity slider across to the right will add contrast and an effect
of sharpness.

8. Once this work has been done in Camera Raw, open the image in Photoshop.

10. Go to Image > Adjustments > Shadows/Highlights

11. Increase the amounts by moving the sliders to the right.  This will lighten 
the shadows and enhance your highlights.  Areas of contrast will also get a glow effect.

12. Use the High Pass Filter to add sharpness and bring out the detail even more. Go to Filter > Other > High Pass. Move the radius slider to the right until you see the detail coming through and click ok.


13. Next select a blend mode: Overlay, vivid light and linear light will all create a strong effect (Overlay is the most subtle of the blending modes, Linear giving the strongest affect).  You may need to reduce the opacity of the high pass layer, I reduced the opacity to 75% as I chose to use the vivid blend.


13. Flatten your image at this point.  Layer > Flatten Image.



14.   A final sharpen can be carried out using smart sharpen to create the HDR 
look sharpness.  Go to Filter > Sharpen > Smart sharpen.  Use the Amount and Radius sliders to increase the sharpness.  Use this and the High Pass Filter carefully, you can very easily overdo the effect.

There you have it, a HDR styled image without having to do it with the traditional bracketing method!





Thursday, 26 September 2013

Loretta Lux portraits and how to:

Whilst researching artists who experiment digitally with their photography I was introduced to an artist by the name of Loretta Lux. Loretta who was born and raised in Germany and was originally a painter before becoming a fine art photographer renowned for her surreal portraiture of children.

Study of a Boy 2002

The Drummer

Girl with Marbles 2005


“Photographers can’t help but wonders, when they look at Loretta Lux’s portraits of children, what digital legerdemain she uses to create them. One member of a popular online photography forum has even deconstructed Lux’s presumed Photoshop technique on his own computer, determining it to be a judiciously applied combination of Gaussian Blur, unsharp masking, and use of the Levels control to give the children and their settings a distinctive pallor.” (Russell Hart for American Photo) (Also, see Time Magazine article, Loretta Lux)

You may have guessed that digital editing plays a large roll in Lux’s art-making process. Lux was formally trained as a painter, and her work reminds me a little bit of Brooke Shaden in that way. It feels a little bit like digital printmaking or digital painting or a mixture of the two. Lux doesn't want to reveal her digital process to the public, in order to ‘protect her work’. Yet, viewers and critics appear to be a bit obsessed with figuring out just how she does it, so maybe that is why she will not reveal her process?? 
Lux had admitted that some of her images took over a year to produce from start to finish but thats as detailed as it got.

I, along with many other critics assume that the model (child in this case) is removed and placed onto a background image that had been prepared earlier, whether that be an original landscaped photo manipulated digitally via Photoshop etc to create a flat matt surreal affect or they may even be paintings by herself scanned. The child itself seems to have a large head and eyes, which seem to be out of proportion to the rest of her body. Their extremities all seem to be smaller than their torsos too, there skin pale and de-saturated and there closed blurred up to the edge to create a flat matt texture.




The traditional Sabatier effect

The Sabatier effect which is also referred to as soloarisation , is a traditional process of exposing a print to white light for a secong time during its development. This in turn reverses the tonal curve on certain parts of the image. The result; an image that is part positive and part negative. 
It was somewhat perfected by Armand Sabatier but the the phenomenon was first documented by a H. de la Blanchere in 1859 in L’Art du Photographe. Having said this, solarisation was already known by Daguerre and is known to be one of the earliest effects in photography.

Throughout the years, this technique has been perfected by a number of well known traditional photographers such as Hershel and more recently by Man Rays assistant Lee Miller where she accidentally discovered this technique. There are many who claim to have 'discovered' this technique throughout the years.

Solarised Portrait of Meret Oppenheim, Paris, 1930

Solarisation is most effective when it is used on a photograph that has a high contrast, lines can appear between the light and dark areas which is a phenomenon known as a Mackie Line. A very interesting blog post debating the origin of the Mackie Line can be found here

I have witnessed several methods/processes to master this technique but I think a lot of it is trial and error.
I will be heading into the darkroom next week to trial the below method.

  1. Print a test strip with the enlarger set to f11, 170M and expose the strip 4 seconds at a time
  2. Develop the test strip as normal.
  3. Expose a whole piece of 10×8 paper for the time that worked best for the image and half develop the image until it is light grey.
  4. Place half developed print in water quickly.
  5. Remove excess water with a squeegee and place in the dryer (in darkroom).
  6. Once the image is dry, re-expose the image on an empty enlarger with the settings f5.6 and 1/2 at 2 second intervals.
  7. Develop this print as normal and evaluate outside – this is the solarised test strip.
  8. Repeat the above process using the exposure times that have worked best.
I will add my experience and images next week also....

Tuesday, 24 September 2013

Artists specialising in traditional photography techniques

For my assignment I have to produce at least two images made digitally and traditionally. 

As part of my research I have been looking at artists who specialise and are known in particular for their work completed with traditional methods.

There are so many artists to research but I have selected just a small number of them to feature in this post as I feel their work will influence me the most on my final images.

Jerry Uelsmann

Jerry Uelsmann is a photographer who introduced the art darkroom montage years ahead of anyone else. He uses only his own negatives from photographs hes captured, and he says that he does this often without a specific idea in mind. 
Jerry is famous for his work of skillfully layering black and white images without the use of Photoshop. His photographs usually combine several negatives to create his landscapes that mix images of trees, rocks, water and human figures in new and sometimes unexpected ways.
He built his home in Gainesville, which included a darkroom where he experimented and refined his techniques. he refined and perfected his techniques in his purpose built darkroom at home.


Inspiration

Uelsmann has no motive or vision of his final piece when he starts work, he simply just enters the darkroom and experiments. The only preparation he does is with his photographs, he visualises what he would like to achieve before he take shis photographs. Uelsmann is inspired by other area of art from around the world.


The image on a whole is highly contrasted, this helps the composition of the image by leading the viewers eye to where he wants it to lead. Your eye starts off at the silhouetted figure of the boy/young man who appears to be looking back to you for reassurance, your eye then moves to the heavily contrasted doorway of the house. The house is the main focal point of the image, the windows and door way are very dark, creating an unknown void inside, the trees adding to that atmosphere that surround the house. You then bounce back to the boy as he is looking back to you almost asking you is it OK to go in as its the unknown, the clouds on the floor also add to the surreal unknown atmosphere. The hands that hold the whole image I think are a symbol of security, the way they are cupped together protectively holding the boy and the situation he is in.
Uelsmann’s image could easily be interpreted as insecurity and security all in one. I think the boy is scared and insecure, fear of the unknown lying ahead of him, the hands I think represent security. The way they are positioned could mean they are even meant to be the viewers, the way the boy is looking back in your direction. Maybe because I am a parent I instinctively behave in this manner, assuming the figure is a boy needing reassurance looking back at me, the hands are mine, holding him, guiding him through the scary situation he/she is in.
In my opinion, the image as a whole is composed very well. Each single part of the image shines in it’s own right without distracting you from another, and I believe this to be one of Uelsmann’s key intentions and thoughts when first creating this photograph.
I think Uelsmann wanted to display an alternate world when he created this image. The composite appears to be a like a dream state of something that you would expect to see in your last moments, like a scenario similar to seeing the light. Uelsmann has managed to create an element of fantasy, and ultimately, something quite strange and beautiful.



I think this image consists of at least three images,
1. Seashore landscape with a group of silhouetted group of people
3. Large solarized image of a tree, which appears to have been used twice, flipped to create a symmetrical whole tree. 
This image interests me, not only had Jerry used his darkroom montage technique but he also incorporated another technique achieved in the darkroom called solarization. 
Jerrys work is quite hard to describe, they are often described by critics as surreal and dreamlike, I would agree. I think his work is like listening to music, like when listening to music, when viewing his work you are immersed with feelings. Trust your feelings and go with the flow!

People talk about how all of his work can be done in Photoshop, he admits that they can and can probably do it better than he can, but the computer cannot replace the 50 years of satisfaction that Jerry has seen watching a photograph come up in a developer. The computer is not unpredictable, it is technical, the darkroom gives you the more exciting unknown factor and magical feeling.



Magnum Photos, the 66-year-old photography organization and darkroom printer in New York, has handled more famous photos than you or I will ever get to even look at. Magnum's master printer, Pablo Inirio, was editing with tried and true darkroom chemicals long before Photoshop was a twinkle in Adobe's eye. And now, we can see his process.
See How Three Famous Photographs Were Edited Before Photoshop Existed
2
These before-and-after shots show Inirio carefully marks up each image before making a final print. You see, before Photoshop you had to patiently develop a print many times over; going back to dodge and burn specific areas based on what you didn't like. Massively time consuming, you'd have to be a master at the craft to do it in an efficient manner. The easiest way to keep track of these minute edits was to simply draw on top of the photo you spent so much time editing.
See How Three Famous Photographs Were Edited Before Photoshop ExistedSEXPAND
Seeing this workflow makes me feel so unsatisfied with Photoshop, which yields instant results. Then again, it is much easier to just put that "Inkwell" filter over everything I shoot to make it seem more dramatic. Different times. [The Literate Lens via Photographers on the Brain]

Ansel Adams

One of the masters of photography of all time, Ansel Adams is globally known for his stunning landscapes.  Adams is well-known as a master of the darkroom.  His black and white landscapes of Yosemite and Grand Teton are amazing. The captivating contrast that he achieved with extensive dodging and burning in the darkroom has inspired many.  Even later in his life, he continued to use large format cameras avoiding the digital side of editing.












Monday, 23 September 2013

Oh Comely Research

                                 
Oh Comely is a lifestyle magazine. Oh Comely is published six times a year, available in over a thousand places in the UK as well internationally.

As quoted by the founder Des Tan:

A magazine made with women in mind, but open and inclusive enough to appeal to men too, Oh Comely targets a reader who wants more than celebrity gossip and orgasm tips (or at least an alternative to them). Devoting itself to the artists, bands and outsiders that it thinks are worth talking about, the result is peaceful and disarming, a magazine that wants you to take your time with it.

Researching the magazine I breezed through a few issues supplied by my teacher Sharon. My first impression
  • Contemporary
  • Neutral
  • Clean
  • Simplicity 
  • IKEA
  • Uniformed

The image below is an article from oh comely, the majority of the articles featured are very similar. The layout is very clean and uniformed and there tends to be some sort of colour scheme throughout each article. A lot of the articles feature collages like the one on the right and the images seem to be in mid key and tend to have a matt finish too and quite flat and vintage. 


I LOVE this magazine and have subscribed. Its fresh and contemporary, easy on the eye, inspiring and pretty! I love the huge variety of subjects featured in this magazine from recipes for sweet potato muffins to family trees! The magazine is very creative and keeps your imagination alive!

I took a couple a snaps of some images used in the features of one of the editions I browsed through. The composition and pov was particularly appealing to me as I was different but drew the viewers eye easily to what the photographer wanted them to see. The article was a feature on stay at home mums and a day in their lives. I thought it was quite clever to take a photograph not of a subject in particular but more specific on what a mum may see, not an object she is looking at. For eg the orange peel image, there is a whole room and other furniture and objects what could have been photographed but the photographer wanted the viewers to see what mum saw....the orange peel left on the chair! The composition of this image works perfectly for that objective in mind, the DOF used almost removes any interruption from the background which is the rest of the room, the table provides just a stand for the peel to proudly sit and say look at me. This images follows suit with the rest of the style throughout the magazine, clean, unsaturated and minimilistic.

 








What is December?

Another task given to help towards the final assignment of producing images to feature in the December issue of the Oh Comely magazine was to research the month December. 

As a class we did a mind map and below is a list of events and such related to December:
  • Christmas
  • Snow
  • Mulled Wine
  • Red
  • Holly
  • Robin
  • Christmas Lights
  • Nobel Peace Prize
  • National Brownie Day (8th December)
  • Beethoven's birthday (16th December)
  • New Years Eve
  • Resolutions
  • Fireworks
  • Advent calender
  • Religion
  • Henri Matisse - Birthday
  • Winter Solstice
  • Friday 13th this year- Superstitions
  • Walt Disney's birthday (5th December)

The list was endless but I have added the ones that appealed to me. I particulary like the idea of using Henri Matisse as my magazine feature, maybe a selection of his work made into a montage or a collage similar to Jerry Ullsmann. I also think Friday the 13th would be a good theme for the feature, superstitions could easily be portrayed with digital manipulation and darkroom collages. 

I have been researching more into superstitions to contribute towards my Friday 13th theme, I have added a mind map below. This was completed with the help of google searching superstitions and friday 13th.


Saturday, 14 September 2013

Cyanotype processing

Cyanotype processing









Technically the cyanotype process falls in the photography category although I think it is on the verge of tipping over into printmaking.

Around 1841, Sir John Herschel disovered the sensitivity to light of a particular iron solution. When the chemical is dissolved in water, it can be applied to a surface like paper for example and an object is placed on top and during exposure to uv light, the background goes blue and a negative image of the object remains. Simple and cheap and still practised today by artists and school children.

Anna Atkins background knowledge was science and was a member of the Botanical Society of London. She developed the Herschel discovery to allow her to producemillustrations of the plants in which she was interested such as algae and ferns.

"The difficulty of making accurate drawings of objects as minute as many of the Algae and Con[i]fera, has induced me to avail myself of Sir John Herschel's beautiful process of Cyanotype, to obtain impressions of the plants themselves."
During the course of the 1840s Atkins produced more than 200 cyanotypes which were included in a 3 volume publication called Photographs of British Algae: Cyanotype Impressions. It stands as the first publication to include images made from a photographic technique and Atkins herself is distinguished as being the first ever female photographer. (The first photograph was produced by Joseph Nicephore NiĆ©pce in ~1827)

http://www.alternativephotography.com/wp/processes/cyanotype/cyanotype-classic-process


Monday, 9 September 2013

Split Toning

Researching experimental techniques I came across Split Toning. A great tutorial and simple to follow, click the link here http://photography.tutsplus.com/tutorials/quick-tip-2-split-toning-techniques-in-adobe-photoshop--photo-4425

Split Toning is an old film effect that is somewhere in between black and white and colour.
This can be achieved in the dark room or digitally in programs such as photoshop. Today I will be focusing on the digital split toning process.

Split toning originated from the technique called SEPIA TONING. When film photographers decided to use sepia toning, they found their image to have not completely bleached and this left a multi-toned style image which was given the name split toning, a happy accident!!

Split toning is used to accentuate a particular colour in the highlights and shadows of an image. Below is an example of one of the methods used to achieve a split toning effect.

If original is in colour please use adjustment layer to black and white.


Select Image > Adjustments > Colour Balance.

Then select shadows from the adjustment panel. First, we want to create the nice blue colour – I would advise copying my settings from below, as these have worked for me on a great number of occasions.

This time, select mid tones and then we almost need to switch the settings over completely.

Hue: +40
Saturation: 0
Lightness: -40
Last but not least, select the highlights and fill in the last of the settings.


Final Image!



Below are some additional examples of images where split toning has been used. As you can see it can be used in ALL genres from landscapes to portraits, to highlight and accentuate details within each individual image.



Landscape example


Portrait example