As you may have noticed I have a newfound passion for using texture layers, I have already shared my process a couple of times. Not long ago I realized that in some specific cases, there’s no need for the typical time consuming process that I have previously described . This post is about those occasions, perhaps too obvious to mention as it’s far from a groundbreaking discovery on my part. Continue reading
Since I wrote my original post on texture layers and ICM I have tried an alternate approach that I thought I’d share.
It’s not exactly a revolutionary discovery, it’s more of a shortcut when processing and use of several texture layers with different blend modes. Normally when I process in Photoshop I do a lot of fine tuning, global and local adjustments before I start experimenting with textures.
A FEW WORDS ABOUT MY “VISIONS” PORTFOLIO
Do You Ever Get The Feeling That You Got Something For Free?
Even though I had spent hours on each photo and put a lot of thought into every processing decision, this was the feeling I got when I started experimenting with textures on my ‘old’ ICM images, what was to become my “Visions” project. This was of course an illusion, after all I – as always – had but a lot of thought and effort into the original processing. Nevertheless, it was a good feeling that gave me energy when I chose the perfect texture and blend mode for my favourite images that I thought had potential for new life with the help of further processing by adding one or several texture layers. Continue reading
So….the day comes when you finally get your act together, you check your camera , filters and everything else you need and head out to do some long overdue shooting. You consult the weather forecast, it tells you things aren’t looking good but you go out anyway, sort of hoping for a miracle to happen while you are getting to your location.
At the location you quickly see that no miracle has happen, the light is indeed as dull and uninspiring as you feared to begin with. We are talking ’suicide grey skies’, light that renders the world two dimensional, almost without color. The light is so flat that you fear you have lost your depth perception.
You might find this question kind of odd and wonder how on earth I came up with it, I think it is a valid question though. Short answer to the question, yes to a much higher degree than most realize. Long answer…continue reading.
In this post I want to share with you the shooting technique, and thoughts about this photograph, shot with my Fujifilm X100T.
Short version, you need a shutter speed of around 0.5 second or slower, my latest shots are between 0.5 – 1.5 seconds. You don’t need a tripod to use this technique.
In this post I want to share with you how I approach the challenge of a new unfamiliar landscape, very different from what I am used to.
Short version, don’t get distracted by the new environment, take a deep breath, remind yourself that all the basics still apply, a weak composition is still a weak composition, clipped highlights are still clipped highlights.
Long version, keep on reading.
It is a product of one part pure chance, one part willingness to experiment without expectation of coming away with the perfect shot. In this post I want to take you through the story behind it, why I think it works and why it is one of my favourite projects.
The first two photos were shot a cold and windy winter day last March, I was at the stables with my wife trying to do a long overdue new portrait of our retired thoroughbred race horse, Zorran. Incidentally, if you have ever done portraits of animals, you know that it is not easy, lets just say that they have no sense of the importance of standing still, posing in a way that makes them look their best.
The photos in my new portfolio Divine Intervention were shot utilizing intentional camera movement in combination with a off camera speedlite.
The idea behind this technique is to combine the exposure from the speedlite and the ambient light.
The exposure from the flash creates definition, the intentional camera movement – left with the ambient light only – creates the softness and sense of movement.
I’ve added a new photo to my A Study In Colours project.
It was shoot with my X100T in October last year visiting a favourite location of mine nearby. The light came and went so I went back and forth between using my B+W CPL to slow the shutter and using the CPL with the X100T built in 3 stop ND. The built in ND is a feature that I really like, it comes in very handy, just activate it and it’s there.
WHO IS THIS SITE FOR ?
This site and blog is for intermediate to advanced photographers with a – as I prefer to call it – passion for impressionist photography utilizing intentional camera movement.