Category Archives: Abstractions

More abstractions!

Related stories: The Making of the Abstractions; Abstracts and a Photographic Mystery.

Abstract 4 © Harold Davis

Abstract 5 © Harold Davis

Abstract 6 © Harold Davis

Abstract 7 © Harold Davis

The Making of the Abstractions

Abstract 3 © Harold Davis

This image and the two other abstracts shown in a previous story were constructed by allowing strong sunlight to pass through bottles filled with fluid (dark brown maple syrup and red wine). In the foreground I placed glassware (a wine cup stem in this image, flower vases in the previous two). A water glass made of blue glass added some reflected color to the images.

I photographing the setup extremely close with a very low depth-of-field, hand holding a Lensbaby Sweet 85 wide open (at f/1.8) with an extension tube, and using short duration shutter speeds (e.g., 1/2000 of a second). The result was extremely shallow focus and a painterly effect for everything out of focus, and clearly the precise point of focus was a crucial issue. I do think this would have been hard to pull off without an optical viewfinder.

Thanks to everyone who hypothesized in comments on my blog and on my IG feed!

Also posted in Photography

Time Machine

I asked one of the participants in this year’s Malta workshop what he wanted to get out of the workshop, and after a thoughtful response he turned it around on me, and asked what I wanted to get. I mentally sat on this question a while, and then this morning realized that I wanted to make some interpretive images of the Maltese architecture. Last year, when I was here at the invitation of the Malta Photographic Society, I did fairly literal imagery of Valletta—and now it was time to make some images that used (and implied) the mood and history, past, present and future. So I went out with my camera and tripod to capture some off-beat Valletta moodiness.

Time Machine © Harold Davis

Both these images are single, in-camera long exposures, with both focus and focal-length (zoom) manipulated during exposure. The camera was, of course, on a tripod. Exposure duration was twenty seconds. To accomplish this during daylight hours, I used a #4 neutral density filter.

Deconstructing Valletta © Harold Davis

Also posted in Malta, Photography

Abstractions

One of the best purposes of photography is to create order in an inherently disorderly world and universe. This is achieved through a variety of mechanisms. As photographers, we recognize patterns. We know when to step back and capture something from an unforeseen angle (as in the boat hull from a Maine shipyard viewed from underneath in the image immediately below). We see with mild amusement the corporate logos of yesteryear (like the Citroen symbol on an antique permanently parked in my neighborhood, and shown at the bottom). When sufficient time has elapsed so mostly no one remembers the original meaning, then even a corporate logo becomes an abstraction too.

Hull © Harold Davis

Citroen © Harold Davis

Also posted in iPhone, Photography

Through a Window with Selective Focus

With this rainy day abstraction, I focused carefully on a window wet with the incoming rain, and not on the colorful town beyond. I used a moderate telephoto setting (112mm) and a fairly wide aperture (f/5.6) to further visually separate the window from the scenery behind. I was standing close to the window, and focusing almost as close as the lens could go (about 30cm).

The point was to create a painterly abstract, which comes through when the image is seen in a large size. However, to get a sense of the actual, literal vista and the colorful houses and vegetation in the out-of-focus areas it is best to view the image on a postage stamp scale from a distance, and to squint!

if you are interested in using your camera to create abstract or semi-abstract images, there are many interesting techniques that should be in your toolkit. This example demonstrates the power of selective focus. Besides throwing an image out of focus (entirely, or selectively, or focusing on the “wrong” thing) some of the other most useful camera abstraction techniques are intentional camera motion, long exposure capture of moving subjects, and in-camera multiple exposing.

This image was photographed from a hallway in my hotel in Cat Ba, Vietnam, during a brief but heavy tropical downpour.

Rainy Day Abstraction, Vietnam © Harold Davis

Digital Doodle

Not a Rose Garden © Harold Davis

Not a Rose Garden © Harold Davis

The Digital Doodle shown above comes from the black and white Embarcadero Center (shown below) via I never wanted a cubicle (monochrome) (bottom). To get from Embarcadero Center to I Never Wanted a Cubicle (Mono), I mirrored it and pasted it over itself several times. To get from I never wanted a cubicle (monochrome)  to Not a Rose Garden (my Digital Doodle) I flipped it horizontally, and primarily used Photoshop blending modes to add the colors and patterns. Are we having fun yet???

 

Embarcadero Center © Harold Davis

Embarcadero Center © Harold Davis

 

I never wanted a cubicle (monochrome) © Harold Davis

I never wanted a cubicle (monochrome) © Harold Davis

Hieroglyphic or La Dolce Vita

Sunbathing on the boat ramp in Riomaggiore harbor could be La Dolce Vita—the sweet life, and the name of a 1960 Fellini film. Except that the angle of repose causes most of these couples to anchor themselves using wood slots to stop from sliding into the water. Alternatively, as one commentator noted, photographed from above, La Dolce Vita looks for all the world like an abstraction, or a hieroglyphic.

Riomaggiore, 2015 © Harold Davis

Riomaggiore, 2015 © Harold Davis

Also posted in Italy, Monochrome

Digital Pop Art

It’s fun sometimes to make the colors really pop, as in this pair of images. The bottom floral, of Gerberas and Crysanthemums, was photographed on a light box. I then inverted the image in LAB to arrive at the upper version, Gerberas and Crysanthemums Inversion. This kind of work is probably better seen and evaluated as digital Pop Art than as photography.

Chrysanthemums and Gerberas Inversion © Harold Davis

Chrysanthemums and Gerberas Inversion © Harold Davis

Do you prefer more traditional looking work? Check out (for example) these iconic images of mine, or my Kumano Kodo portfolio. Digital photography as a medium is truly a big tent than enables many stylistic possibilities and artistic proclivities. It’s for this reason that I like to say I am a digital artist using photographs as my source material. This is a more complex and more accurate description than the anachronistic label “photographer.”

Chrysanthemums and Gerberas © Harold Davis

Chrysanthemums and Gerberas © Harold Davis

Some related stories: Low Geostationary and Decaying Orbits around the Clematis Inversion; Ringing Cedars Covers; Is It Photography?

Also posted in Photography

Face of the Deep

On a cloudy late afternoon I stood on the Great Beach of Point Reyes, California, watching the roiling surf that had made its way across the empty miles of the open Pacific Ocean. Sky, spray, and waves seemed to blend tumultuously as the light faded.

Waves Long Exposure 1 © Harold Davis

Waves Long Exposure 1 © Harold Davis

“Darkness was upon the face of the deep” goes the creation story in the Book of Genesis. From the oceans came life, and the first to come may be the last to go. In this teaming world there is still plenty of mystery in the deep—threatened by greed and rapacity like all environments, but still wild and wonderful.

Waves Long Exposure 2 © Harold Davis

Waves Long Exposure 2 © Harold Davis

I like to make images that use photography to reveal things that are not normally seen. The deep—the ocean—has so many faces. At a fast shutter speed, with the camera diaphragm open for a very short duration, the spray of water is crisply stopped in mid-air, down to the droplets, flicking off the wave (click here for two example photos at the bottom of the linked story).

Waves Long Exposure 3 © Harold Davis

Waves Long Exposure 3 © Harold Davis

Lengthening the duration of time the shutter is open smooths out the waves. Fast moving, crashing rollers become dreamlike when the camera helps you “see” their motion “graphed” over a second or two. You can check out this effect, also shot on Point Reyes, by clicking here.

Waves Long Exposure 5 © Harold Davis

Waves Long Exposure 5 © Harold Davis

Things are not always what they appear. What is the face of the deep? There is void, there is fullness, there is wonder: more facets visually and conceptually than we can truly encompass. The world is an amazing and wonderful place. The camera is but a paintbrush to help us know the face of the deep and does not always reflect the eye of the creator.

Waves Long Exposure 6 © Harold Davis

Waves Long Exposure 6 © Harold Davis

So musing on these things, I experimented with really long exposures. As the light faded, I dialed my ISO as low as it could go, to ISO 32, stopped the lens down to its smallest aperture, and exposed these images for several minutes each. The waves become abstracted layers.  We humans can look on the chaotic scene of breaking surf and spray and explore it as a serene manifestation of the rapture of the deep.

Also posted in Photography

Dance in the Rings

Dance in the Rings © Harold Davis

Dance in the Rings © Harold Davis

Please click here to see Dance in the Rings larger. Also see A Rorschach for MFAs and Multiple Exposures.

Also posted in Models, Multiple Exposures

A Rorschach for MFA’s

This image, with the working title Gates after Rodin, shows one model many times. The model, Jacs Fishburne, is a self-described “tornado disguised as a woman.” In the studio, Jacs was posing on a large metal hoop, sometimes called a Lyra. The Lyra was suspended by two ropes about six feet above the ground, with a black background. For some of the exposures Jacs was kneeling on the ground “holding up” the Lyra.

Gates after Rodin © Harold Davis

Gates after Rodin © Harold Davis

To make the image, I shot five in-camera multiple exposures, with Autogain turned on so that each multiple exposure was properly calibrated. Each of the multiple exposures consisted of five to eight individual shots, with Jacs changing her pose between each one. I used basic studio lighting for an even, consistent look and my D800 with the Zeiss Otus 55mm f/1.4.

I then combined the in-camera multiple exposures in Photoshop, using both stacking and selectively pasting bits from various versions in using layers and masking. By some ways of counting, this makes for a total of somewhere between 25 and 40 different captures of Jacs, when you multiply the number of files by the number of times she appears in each.

Before finishing the image by adding a texture, I retouched out the ropes from above holding the Lyra, leaving the circular Lyra mostly in place.

A friend writes: “It brings up associations with five or six classic paintings from earlier eras. I see the Winged Victory of Samothrace on the left, and the hand of the Sphinx on the center right. Cardinal Richelieu is in the center. The face in profile at the upper left comes from something I can’t quite place and the depictions of hell by the famous Dutch painter What’s-His-Name are at the bottom [Hieronymus Bosch]. And then there’s the hint of the sumi-e circle of light again [the Lyra]. It’s like a Rorschach for MFA’s! ”

My own association is with Rodin’s Gates of Hell. I saw a casting in the garden at the Rodin Museum in Paris this spring. Maybe the memory of the Gates was lurking in my subconscious, waiting for a chance to emerge!

Related story: Multiple Exposures.

Also posted in Models, Multiple Exposures, Photography, Photoshop Techniques

Being and Becoming

To make this image, I started by photographing the beautiful models Kira and Merrique together on a black seamless background with studio strobe lighting. The lighting was set up with a big, soft light on the left, and a smaller, less powerful light through an umbrella on the right.

Being and Becoming © Harold Davis

Being and Becoming © Harold Davis

I made ten in-camera multiple exposures. Each multiple exposure consisted of either five or eight individual exposures. I had auto-gain turned on in my camera, so each multiple exposure was automatically adjusted to compensate for the number of exposures in the sequence. I counted out each individual exposure, and the models paused on each shot.

In Photoshop, I stacked the ten multiple exposures (as if they were star trails!).  I tweaked the result a little to get rid of anomalies, like fingernails appearing in mid-air, but mostly this image comes from an “out of the box” in-camera multiple exposures followed by stacking in Photoshop to create a composite.

That makes Being and Becoming a combination of old and new techniques, one of my favorite themes in photography. In-camera multiple exposures are about as old as photography, but the ability to create stacked composites over time is an artifact of the Photoshop era.

Also posted in Models, Multiple Exposures, Photoshop Techniques

Rose after Delauney and O’Keeffe

At a recent lunch with my brother he reminded me how we both benefited from a classical education in the arts when we were young. I may not have got much of this stuff via formal education, but I sure was exposed to every layer of visual art history as a child thanks to my parents. Mostly, by seeing the stuff in person—from the paintings on the walls of the Caves of Lascaux to the museums with the “moderns” and everything in between.

To quote the dearly beloved and recently deceased Pete Seeger on the difference between education and experience, “Education is when you read the fine print; experience is what you get when you don’t.”

I’m not sure how this fits with being dragged through every museum imaginable as a wayward kid—probably more in the experience category—but even as a bored child it was hard not to fall hard for the impressionists at first encounter.

Rose after Delauney and O'Keeffe © Harold Davis

Rose after Delauney and O’Keeffe © Harold Davis

Anyhow, this wasn’t what I had in mind when I went to work on the photo of the pale rose (far below), but I do know enough to recognize the palette and patterns of the great geometric painter Sonia Delauney along with the sensuousness of a Georgia O’Keeffe floral—when they pop out at me in an image I’ve created.

You’ll note that the original image is rotated 90 degrees. The other effects come from a series of LAB adjustments—inversions and equalizations—applied using a variety of blending modes.

Within each rose © Harold Davis

Within each rose © Harold Davis

For a couple of other examples of this kind of thing, check out Mandalas from a Glass Bowl, Broken Arrow and Creating LAB Patterns, and also see my article on Photo.net, Using LAB Color Adjustments.

Meanwhile, I must report that there is a certain goodwill towards the world that comes about from consorting with one’s fraternal sibling when both brothers are “of a certain age” with receding hairlines and cares and children of their own, and fondly reminiscing about some of the unique aspects of our culturally rich—and radically eclectic (or maybe eclectically radical)—upbringing.

Also posted in Flowers, Photography, Photoshop Techniques

Metamorphosis

The assignment I gave out on the second day of the Achieving Your Potential as a Digital Photographer workshop was to make a photo of something so that it looks like something else. In other words, change something to something new. In other words, metamorphosis.

Bathtub Landscape via IPhone © Harold Davis

Bathtub Landscape via IPhone © Harold Davis

My response to my own challenge: this abstract image I think of as a landscape with a highway and a canal, shot using my iPhone facing a bathtub at Urban Ore, and processed on the spot on the iPhone using the Plastic Bullet app.

I think the workshop was a great success. There will be ongoing follow-up sessions using webinar technology to make sure that action plans actually get implemented! I am very hopeful that metamorphosis will apply in the most positive way possible to the wonderful participants in this workshop, as well as to the imagery we made.

Also posted in iPhone

Mandalas from a Crystal Bowl

Wandering the crowded aisles of Berkeley’s Urban Ore—a somewhat dodgy cross between an upscale junkyard and a down-at-the-heels flea market with an added smidgen of green ideology—with my camera and Otus, I came across a beautiful cut crystal bowl in a locked cabinet. It was love at first sight. Finding the person with the key to unlock the cabinet and negotiating the price took a bit of time, but soon enough Otus and I were making our way home to photograph our new treasure.

Crystal Mandala 1 © Harold Davis

Crystal Mandala 1 © Harold Davis

I photographed my crystal bowl straight down using a light box and a bracketed high-key sequence of exposures. This is the technique I developed to capture flowers for transparency (actually, for translucency), and as I note in my presentation on the subject the technique produces interesting results with many subjects in addition to flowers. In this case, the high key HDR approach emphasized the contrast between the edge lines of the bowl and the negative spaces created by the transparent glass.

Crystal Mandala 2 © Harold Davis

Crystal Mandala 2 © Harold Davis

My next step playing in Photoshop was to invert the essentially monochromatic image, transforming black lines on a white background to black lines on a white background. It’s hard to get me going on this kind of thing without wanting to play in Photoshop, so I started using LAB adjustmentsHow do you make a mandala from a crystal bowl?

Red Crystal Mandala © Harold Davis

Red Crystal Mandala © Harold Davis

In this case, in addition to LAB inversions and equalizations, I used Nik Color Efex filters, direct painting on layers, layers, layer masks, and repeated application of some of the oddball blending modes such as Difference. Play around long enough in Photoshop and you never know what you will find!

Holographic Mandala © Harold Davis

Holographic Mandala © Harold Davis

With this imagery it was visually important to me to “square the circle” with a square crop. With some of the Crystal Mandalas, like the Holographic Mandala, there is almost a three dimensional look—part of the image jumps off the plane. In contrast, with Mandala Inside, the effects create an outer translucent shell or layer, with an inner core that is much bolder and more defined.

Mandala Inside © Harold Davis

Mandala Inside © Harold Davis

These could be small virtual worlds, and have become something completely unrelated to the original sequence of photos. When I first looked in my crystal bowl, I did not know where it would take me!

Green Lantern Mandala © Harold Davis

Green Lantern Mandala © Harold Davis

 

Lantern Mandala © Harold Davis

Lantern Mandala © Harold Davis

Also posted in Photoshop Techniques