Group 32 Bulletin Board

7 threads - 23 total comments

This page is dedicated to discussions about our theme (Monochrome) that are outside the scope of our monthly images.
You can use it to ask for additional help, especially if that might be a long answer or a pointer to a site which could help.

Thread Title: How to twirl and then create bubbles

Diana Magor   Diana Magor
How to twirl
1. Open photo-anything will do
2. Copy (Ctrl J) . Rename as twirl 1
3. Filter/pixelate/mezzotint. Select medium lines. OK
4. Filter/Blur/radial blur. Increase amount to 100. Select Zoom blur /best quality. You can do this more than once.
5. Duplicate twirl layer. Rename as twirl2
6. Click on twirl 1 layer. Filter /distort/twirl. Enter positive amount over 80 for angle .OK
7. Click on twirl 2 layer. Filter/distort/twirl. Enter the same amount but Negative.
8. Change blend mode of tw2. They all give different effects. Save each separately.
9. Click on top layer and create new fill or adjustment layer. Use levels etc to alter as desired. You can also create a clipping mask and alter each layer separately.

How to make bubbles
1. Open flattened twirled image -Copy Ctrl J
2. Use elliptical marquee tool starting at top left of what you want to include-this might be just a part of the photo. Creates a circle or an oval and you can move it if it isn’t quite in right place.
3. Filter/distort/polar coordinates using rectangular to polar
4. Edit /Copy/edit/paste -you can’t see it at first because it is on top of the background. Select move tool and drag to where you want it. Edit paste as many times as you want. They are all on separate layers so each can be selected later and altered. They could all be connected and changed together.
5 They will be far too big so Ctrl T to find the corners/edges and drag to smaller size.
6. Adjust bubbles by using curves or levels etc. The nasty vertical joint will still be there -use a layer mask or an eraser and a broad brush. I found cloning worked best in a sort of random pattern -you need to hide the line somehow. You can make the whole bubble look a bit transparent-experiment!
7. Save the whole picture as a psd with its layers and then Final step is to flatten image. This means you can go back and change any element at a later date.
Any other changes can then be made to the whole image. I added a water layer at the bottom and fudged the horizon. I also converted to mono and cropped in tightly. I save as I’m going along so I can revert to a previous version if I don’t like how it turns out!
  Posted: 02/14/2022 11:46:41

Thread Title: "....more classic....introduce the purity....."

Wes Odell   Wes Odell
In regards to your comment and goals/(objective), quoted below:

"My goals are to make Digital Dialogue on B&W photography more classic in nature in an attempt to introduce the purity within this classic sub-genre of photography: in this way the user learns to see in a different plane."

You might consider a couple opinions: Not everybody necessarily agrees with your "goals," and to promote them as the "guru" is IMO inappropriate to many. A "suggestion type of approach" might be better that a statement from on high.

Many photographers wish to be creative in their own manner and technique, not to be the Best Imitators in the World.
  Posted: 02/06/2022 08:08:42
Diana Magor   Diana Magor
I agree with you Wes. I don't feel the need to be a purist ever! I love monochrome and always have done, probably because that's how I started. It took many years before I started taking colour -first in slides and later in colour negative. i enjoyed producing all three styles of photography and I still think I am good at seeing where a scene will be better in colour or better in mono. However, after viewing my images, I can then sometimes envisage what will 'work' in mono from something which didn't initially suggest it might. Mono is usually all about light and shade and tonal variations. Colour is about colour!   Posted: 02/06/2022 08:19:16
Wes Odell   Wes Odell
thanks for the endorsement.
  Posted: 02/06/2022 08:35:45
Lance Lewin   Lance Lewin
Dear, all: Sorry for using the term.."my goals", as this was suppose to be understood as a general sway to "introduce": so, my goals are to "introduce" the user to (include) "classic" workflows or methods that helped pre-digital era photography-artists develop a more purer (less bias) interpretation when studying B&W photography.

But after my original post (and the quote Stephen shared) I was under the impression this was all very obvious.

If you do not want to adopt or practice this concept that is your prerogative, indeed.

  Posted: 02/07/2022 08:17:27

Thread Title: black and white concepts

Diana Magor   Diana Magor
I may have started as a b&w photographer in the days of film, but once I cracked the digital divide and the way to get colour, I never thought of taking in b&w again. It is easier to take in colour and then convert to mono if the image looks like it would be better like that. I know some people definitely think about the mono image when they are taking the shot -and I do sometimes-but very often, the idea takes shape when I am processing-or even hits me when I realise I am going to need a mono for DD! This may be all the wrong way to do it for the purist, but it works for me. I hunt for something which strikes me as suitable and then I go about producing what my head says will work. So I don't agree that anyone should always take in mono because they know it is going to be good because of the light etc. I accept that we ask members which is better -colour or mono version- but surely there can be images which work in both? It might be that we have not produced the best version we could in mono so the colour looks better by comparison, but another member might be able to tweak the mono to achieve the effect the author wanted. That simply tells us that we are not all expert practitioners of the software we use or we didn't spend long enough trying.   Posted: 01/28/2022 04:15:02
Wes Odell   Wes Odell
Even as an old-time wet darkroom guy, I agree with Diana.   Posted: 01/28/2022 07:23:29
Lance Lewin   Lance Lewin
Diana, the very points you speak of here, are the very points, that in themselves, are valid and viable discussion points within the current context of PSA and local club B&W photography groups, but they are indeed a step backward in training students of photography towards a purer workflow system. We all (including myself) have become immersed into a digital context which sometimes makes it hard for the student or seasoned photographer (user) to separate into the many different sub-genres of photography and concepts that drive creativity, many born in the classic era of photography.

My goals are to make Digital Dialogue on B&W photography more classic in nature in an attempt to introduce the purity within this classic sub-genre of photography: in this way the user learns to see in a different plane. Please, see my comment after Tom's remarks below (kind of awkward two Discussions on the same subject was started, so I have to keep going back and forth). Thank you, guys!

Lance A. Lewin
PSA B&W Photography Mentor
PSA South Atlantic Area Membership Director

  Posted: 02/06/2022 07:15:46

Wes Odell   Wes Odell
Another approach:

When you get a version of software that works, just never update it (aka upgrade, which sometimes is not an UP grade). Comment not limited to PS.
(As a software company executive in an early era software company, the accepted wisdom was that "there is no such thing as a fully (100%) bug-free program." So when you get a new version, you also get a new set of bugs.)
  Posted: 01/27/2022 22:37:06

Thread Title: Black and White Concepts

Stephen Levitas   Stephen Levitas
I have been reading Lance Lewin's remarks in the bulletin board in Group 83. I am quoting him here in the next two paragraphs.

Nowadays, (as a consequence of the Digital Photography revolution) everything captured is rendered first as a color image - this initial color rendering is unique in its influential slant: we are dictated to interpret the color image first - even edit the color image in post-production before converting it to a black and white photograph. This process is much different from shooting a roll of BW film where the photographer is never introduced to color, as such, their interpretation is purer, (or unbiased) towards the BW print upon development. (We see this conflict in every PSA Mono critique group: …" does everyone like the color or my BW version better?").

Alternatively, the (Film) photographer who chooses and wants to capture subjects as a black and white rendering does so without questioning or engaging the scene in color: their choosing a color version over capturing a BW one is not part of the equation or conversation. In my opinion, today's digital photographer needs to disconnect from the color original as soon as the BW version has been created, in an attempt to practice a purer engagement with the BW rendering. Thank you, everyone!

Photographer Lance A. Lewin

Lance's thoughts are provoking. My camera has a b/w setting, as I assume all of you have also. We might consider trying out shooting b/w in the camera as an exercise, so that we would not have an interest in asking whether the color or b/w is better. What are your thoughts about this, and Lance's comments in general?   Posted: 01/27/2022 22:10:16
Tom McCreary   Tom McCreary
As an older photographer I started out with B&W in the darkroom. I think the magic of seeing a print come up really got me hooked. I did take some color slides, also. I often used a filter for B&W, such as a yellow, orange or red to darken the sky, or a green for skin tones. After I had a bit more money than a college student, I got a second camera body, so that I could take B&W or color at the same time. If I wanted prints I used B&W, and if I wanted slides then I used color. Then color for the dark room came out, and I started using color negative film. Images that had interesting color, I used color film and if they did not have the color, then I used B&W. Of course sometimes I shot both because it was hard to print a B&W image from a color negative. Now with digital, I shoot everything in color and then convert to monochrome the images that I think will work well for monochrome. It is easy to convert, as we all know. At one time I had an infrared converted camera, used especially for dark skies with good clouds. The only reason that I would take in camera B&W would be with a red filter for the sky effect. I have heard that Ansel Adams used a red filter for most of his landscapes.   Posted: 01/28/2022 07:54:32
Lance Lewin   Lance Lewin
Good day, Tom. Yes, for many of Adams work he used a red filter, one of my favorites, like you said, for darkening the sky. Within the digital context we are lucky to have a similar system to the wet darkroom, if used properly, makes outstanding results.

But within the digital context I suggest photographers (users) need to shoot for the sake of shooting B&W images: in this sense, the user begins to "see" in a Black and white plane, even though the reality of the scene may be intriguing, the user moves forward in visualizing the subject or event in terms on Monochrome. Until users begin to do this type of B&W visualization, their creativity will be compromised, well, at least to some extent.

Stephen suggested shooting using the BW setting on some digital cameras, but this may end up with less than exhibition quality BW renderings. I still suggest the color-to-BW conversion workflow is best. Just remember to disengage with the color at the time of conversion.

  Posted: 02/06/2022 06:59:12
Stephen Levitas   Stephen Levitas
Well, I looked into the b/w setting on my camera, Canon G10, and found that I can only activate it if I turn OFF the option to save both RAW and JPEG images, and only save a JPEG. So I don't think I am going to do that, but rather try to follow Lance's advice to think about lights and darks, shoot in color, and take the b/w path in post-processing.   Posted: 02/06/2022 16:53:58
Lance Lewin   Lance Lewin I tell everyone trying a new idea or workflow...try it and see if it "clicks". If not, go back and work as before. But I always emphasis in my workshops (or here on the PSA) to give it several weeks or months, and reach out for additional instruction or coaching if deemed necessary.

Thank you again for inviting me to this most constructive discussion, Stephen.   Posted: 02/07/2022 08:24:02
Stephen Levitas   Stephen Levitas
Thank you for joining in, Lance. "See" you around.   Posted: 02/07/2022 11:08:02

Thread Title: Blake Rudis on B&W Processing

Tom Pickering   Tom Pickering   Posted: 01/09/2021 16:36:10
Lynne Hollingsworth   Lynne Hollingsworth
Thanks for posting this link Tom. I found it very interesting.   Posted: 02/07/2022 13:12:08

Thread Title: Photoshop Freezing

Asbjørn M. Olsen   Asbjørn M. Olsen
Hi everyone - I am not sure if this subject is suitable for the Bulletin Board, but I have following question:
My Photoshop has started to crash/freeze, this happens in particular when I have finished editing a photo and want to save it. Then the screen freezes, and the only way out is to cancel PS via Task Manager. And then of course, you loose all your work. I have read a lot of help pages, and have increased the scratch disk capacity, and even introduced a second disk with a lot of available space. But the problem continues, latest when working on an image today.
Anyone who know how to fix it ?   Posted: 06/13/2020 09:56:25
Diana Magor   Diana Magor
I don't know whether this is related to Ps updates, which occur every month. Sometimes they are large changes and when this happens, then I lose all the plug ins and have to re install them. I haven't had any crash/freezes recently on the main PS though. You could try uninstalling and reinstalling Ps with the latest version.   Posted: 06/13/2020 10:56:14
Gloria Fine   Gloria Fine

Sorry I can't help you out. Even though I have Photoshop installed I haven't really used it in ages and am taking online courses starting on Tuesday. I have found it very difficult to ask Photoshop online but that is just my issue. You might want to ask them.

I see Diana's answer and it sounds reasonable.

Good luck,

Gloria   Posted: 06/13/2020 11:15:55
Stephen Levitas   Stephen Levitas
Diana has a good idea, to reinstall PS. At a basic level, restarting your computer is always a good idea. And perhaps you can experiment with saving frequently, rather than at the end of a lot of changes.   Posted: 06/13/2020 11:24:17
Diana Magor   Diana Magor
I always think of it as giving a non functioning machine a good hefty kick!   Posted: 06/13/2020 11:28:52
Asbjørn M. Olsen   Asbjørn M. Olsen
Thanks everyone. I don't know if any of you did some magic, but since my post, PS has not crashed...
But to Diana's idea; I thought PS is updated very frequently, almost invisible for the user (me). I use PS almost daily. But, I don't have any plug-ins. I used to have Nic collection when I still had the standalone PS. Now with the PSCC, I have not reinstalled any plug-ins.   Posted: 07/08/2020 14:20:01

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