Tablet vs. Mouse

Does anyone have experience with a tablet (for example, the Wacom Intuos Pro) for editing images? I've been considering buying one; not sure if it's something that I would enjoy/use? Or if it's better to stick with a mouse (which seems to be meeting my needs)? Thoughts?   Posted: 10/24/2023 10:48:43

Should I Use Focus Stacking?
How do we actually see in reality vs Artistic Vision

In a general sense, I suggest we never choose between using focus stacking vs aperture choice, because one has nothing to do with the other: Why?

Using different lens apertures affects the degree of Depth of field (Dof) and this actually translates back how we actually see in reality. That is, when you are speaking in front of someone in the street (or home) everything else behind the person is out of focus. Humans are unable to maintain infinite focus from front to back.

When using a camera with lenses that provide a wide range of aperture settings, we have the ability to increase and decrease this effect in our images; this is, every composition will have “point-of-focus� sharpness and everything else (in front and behind) this ‘point’ can have varying degrees of sharpness within a region we describe as Bokeh – or the areas that are blurred. In many cases, Bokeh is used as an artistic tool or device and often renders beautiful circular bokeh around the subject (around the “point-of-focus�).

Alternatively, those who choose to incorporate Focus Stacking completely eliminate any consequence associated with lens Bokeh: this almost always includes a loss of depth, as the entire image is seen as a whole – an effect from eliminating Bokeh – and thus artificially making everything in focus.

This option is surely the option of the visual artist, but by no means has any place in a conversation that includes ... ‘use focus stacking in place of choosing a specific lens aperture’ ... this parity is misleading, and I have seen most often, photographers foregoing (and then insisting) focus stacking is the ultimate means in photographing a subject.

Instead, the question should be .... “what type of visual narrative is one trying to achieve through the use of using either focus stacking or the varying options in choice of aperture settings?� Each offer a unique visual experience: i. focus stacking offers an immediate, less depth and complexity in the overall presentation, and ii. using various aperture settings to create a wide scope of visual depth and thus often, more depth and overall complexity.*

*(So, I am clear, "complexity" is not about the details within the subject, but instead, how much artistic punch or variety one composition has vs the other).

If I am still not clear, as this is surely a very concentrated discourse, by all means, ask me to articulate further.

Lance A. Lewin
PSA Global B&W Photography Mentorship Program
  Posted: 09/21/2023 17:07:06

Hello, everyone! After reading Nadia’s entry in the PSA supplemental Travel Journal, I thought it was important enough to repost in the Digital Dialogue group pages. Here, we are reminded that “changing reality� is not allowed in PSA Travel Photography competition. In addition, I also want to stress the need to appropriately categorize one’s work if using “composite� techniques (including sky replacement) by tagging the work as a Hybrid Image, primarily when competing outside the Travel Photography category.

Below is a shortened version of Nadia Filiaggi’s original post in this months Travel Photography Journal:

Photography Travel is a documentary medium, and our images must reflect what was seen when we pressed the shutter. Removing, adding to, moving, or changing any part of an image except for cropping and straightening is not allowed. This goes for adding a different sky even if you are the author of the sky that is being replaced.

(Please see the images below for reference).

(Note that using an element on an image that is not your own work cannot be entered into any section of a PSA recognised Exhibitions and is in violation of the PSA Ethics Policy).

Here are some examples showing the sky replacements selected from the Photoshop sky replacement facility: Here, it is evident how each Sky Replacement selection changes the mood and overall aesthetic of the original registered event below. Nonetheless, both examples are not authentic and thus ineligible to be used in PSA image competition.

The ‘2023 Photo Travel Guide for Judges and Chairs’ is available for download on the Photo Travel’s webpage: https://psa-photo.org/page/photo-travel

The Photo Travel Division has also set up a Gallery of staged/set-up images which our members can peruse: https://psa-photo.org/page/mo-ptd-staged-images

We have also produced new educational material that relates to the 2023 Guide: https://psa-photo.org/page/mo-ptd-resources

If you are uncertain if your image adheres to the Photo Travel Definition, please make use of the free Photo Travel Evaluation Service which members can access after login: https://psa-photo.org/page/mo-individual-image-evaluation

We look forward to hearing from you and directing your questions to the appropriate PSA administrator.

Originally posted by:
Nadia Filiaggi MPSA EFIAP
Email: ptd-esd@psa-photo.org

Best regards,
Lance A. Lewin (DD83 and DD87 Admin)
PSA B&W Photography Mentor
PSA South Atlantic Area Membership Director
Email: lance.visualizingart@gmail.com
  Posted: 03/28/2023 22:31:37

This particular "practice" is something I often speak about, and there are many who still do not use it or completely understand what it is when I mention it, and this is common, as it is often mistaken for a technique born from 21st century Photography ... but it is not.

“Bracketing�, is an important tool (technique) I feel photographers do not use often enough and is critical in having a successful Photo-Shoot for almost every type of photography. It is capturing 2, 3, or 4 images of the same composition (the camera position, and thus the composition is not altered in any way) but instead, it is the process of using different camera settings between each click of the shutter release button, thus revealing different exposures and depth of field, to name two camera dynamics which can dramatically alter the overall interpretation of the composition.

This practice is equally effective for both hand-held and tripod use. Next, after you decide to do a test shot (and look at your review screen with digital cameras) to be sure the image is not over or horribly underexposed, do not look at the review screen again. 1. It waste time and will likely disrupt your visualization and composition skills (even if you are using a tripod). 2. The review screen resolution (and size) cannot match the clarity of your laptop or desk top monitors, as such, you may think a particular shot is not good and shot another or worse, delete it off the camera, when in fact, the frame in question may have been OK. Conversely, the review screen may appear to show a really good exposure and overall composition, thus deciding to leave the subject to find another ... when later in post-production review, you see this is not the case, and realize you may own more than one unusable image. A crummy day, for sure.

When everyone used film-based camera systems, it is easy to see how critical "bracketing exposures" was for a successful photo shoot. With absolutely no option to review each frame being exposed, bracketing was the most important tool in a serious (film) photographer’s bag. In my opinion, today we take too much time trying to correct the exposure or composition between every shot: I feel this is taking away from learning to “see� and becoming one with the subject and immediate environment, while also, can routinely interrupt the artist-photographers creative workflow.

This all said, every photographic situation involves many environmental and technical dynamics that in combination, must be considered when capturing a photograph: nothing is set in stone, and bracketing is highly recommended to ensure you capture the desired effect in a composition.

By all means reach out to if you have questions or want practical examples.
lewin.author@gmail.com

Lance A. Lewin
PSA B&W Photography Mentor
PSA South Atlantic Area Membership Director   Posted: 10/09/2022 21:40:01

Decisions, Decisions: the DSLR vs Cellphone Dilemma – by Lance A. Lewin

Two related questions were brought up by participants in the Digital Dialogue 87 General group, 1. carrying a cellphone for hikes, as apposed to larger (and heavier) DSLR or other full-size camera bodies and lenses, and 2. if in fact, current iPhone technology is making DSLR less prominent (or we can say, not the only pony trick in town) for capturing quality photographs. A surely unique question within 21st century practitioners of photography.

I can almost end this conversation before it actually gets started: most cellphones do not enjoy the benefits attributed to DSLR’s (and film based SLR’s) for being able to change out different lenses for capturing and creating artistic compositions. But we need to discuss all the other variables between the two photographic technologies: is cellphone photography results on par with the seemingly more complete and powerful, creative, dare I suggest, “serious� cameras?

Resolution: the latest/greatest cellphone resolution, for many, not most image captures, are well suited for beautiful online illuminated presentations, and from these examples, smaller prints seem to deny the fact they are products from a “photographic event� originally registered through cellphone technology. (footnote 1)

Presenting work online is one thing, deciding to print an 8x12 or maybe a 16x20 of the same image, is another matter. It all comes down to the quality (and size) of the sensor and size of the individual pixels: The larger the pixel, will allow more photons of light that can be placed into it; more photons of light, equals, for all practical purposes, better resolution. The newest and best cellphone (or Smartphone) camera sensors are achieving pixel size at around 2.4 microns (e.g. Panasonic Lumix CM1). While the vast majority of cell phones average around 1.5 microns.

Compare this to the average DSLR camera where pixel size are 4.0 to 5.6 microns (the size varies greatly, but these values come close to an average) and it is easy to see these larger pixels (or buckets) hold more photons of light, thus, all things being equal, will produce a higher resolution image file that can be successfully printed to very large dimensions.

(At the time of this writing new cell phone technology is coming that allows extremely high-resolution images, but we will have to find reviews on how these images stack up to actual printing, when compared to their DSLR cousins). In the meantime, let’s move onto software that can “Up-sample� small image files to larger ones, much larger ones!

So we do not make this discussion very long, I will make this section brief. Photoshop has the latest/greatest technology they call Super Resolution. Simply, it takes a smaller image file and using Artificial Intelligence (AI), can make larger (or up-sample) to a larger file. Some examples show 24mb image file being up-sampled to 50mb or 100mb!! However, the technique is still questionable as to how well it will up-sample an image file from a cell phone. In any case, my research indicated that moving from these small files (produced from small pixels of 1.0 to 2.0 on average) will be OK, but do not expect the same photograph (or print) be anything like using a better DSLR camera.

Interchangeable Lenses: we are back to discussing this most important factor between most cell phone, DSLR’s (and film based SLR’s) cameras. Simply, the user does not have this single and very powerful function with cell phones: the ability to change perspectives from behind the camera, outside of changing one’s position, which can become limited in a variety of situations and locations, indeed. It is loss of the majority of the user’s creativity, in my opinion.

As such, I strongly urge practitioners of photography, that plan on capturing engaging, even, thought-provoking compositions, to leave the cell phone in the back pocket, and instead carry (or lug) your DSLR, SLR or one of the newer mirrorless camera designs to ensure you do not miss out on capturing “The Shot!� during your casual hikes, and bring along the tripod on those other, more serious photography outings.

Let me stop here. I have left a lot open for further investigation and comments, suggestions and alternative views: add comments and questions so we can continue this conversation.

I look forward to hearing from everyone! Thank you.
(Footnote 1: The phrases “photographic event� which creates a “register� of photons onto a sensor or film negative, was from an essay by philosopher Dawn M. Phillip: Invisible Images and Indeterminacy: Why We Need a Multi-stage Account of Photography – 2021)

Lance A. Lewin
PSA Black & White Photography Mentor
PSA South Atlantic Area Membership Director
visualizingart.com
lance.visualizingart@gmail.com


  Posted: 11/09/2021 01:20:11

Jumping right into this discussion, we must point to French photographer Henri Cartier-Bresson (1908-2004). In most of Cartier-Bresson’s work, viewers’ experience many different emotions: here we enter the psyche of the individual where certain visual cues inspire particular interpretations, not just what appears in front of our eyes, but more deeply, what can be extracted beyond the obvious.

For example, in Cartier-Bresson’s photograph, Island of Siphnos. Cyclades, Greece 1961, the lone running person has the ability to invite emotions of tension, mystery, and perhaps anticipation: where is this person running to, or more ominous, from who or what? Alternatively, a younger, more modern fan base may see this scene as less ominous, and instead, see a woman working out by running up the stairs.

In Seville. Andalucia, Spain. 1933 the unique use of space, light and shadow bring similar deep contemplation. In both photographs we see “two subjects�, 1. the what the space is showing in terms of location, and 2. a subject, one that is clearly contrasted against the larger more robust surrounding within the frame as composed from behind the viewfinder.

We will stop here for now to digest and contemplate these ideas. I look forward to everyone’s feelings on the subject. I want to thank Stephen Levitas (DD-32) for his inquiry based on my featured work for November in DD-83 mono.

Lance A. Lewin
PSA Black & White Photography Mentor
PSA South Atlantic Area Membership Director
visualizingart.com
  Posted: 11/05/2021 12:14:55

Hello, everyone! We often speak of "Dodge and Burning" as part of our post-production routine (a term from the the most important wet darkroom practice of modifying exposure). Japanese photographer Nobuyuki Kobayashi made this video of fellow photographer-artist Masato Okazaki explaining film type and darkroom dodge & Burning methods. The most relevant part of the video is within the darkroom demonstration and I urge you to watch (at least) that section to the end where he shows examples of finished work. It will illuminate your further understanding of the skill sets and artistic training for this to be done properly. Hope you enjoy.

https://www.facebook.com/watch/?ref=saved&v=365381198253460   Posted: 07/08/2021 12:55:32

An interesting (June) comment from Jennifer regarding how in the past, critique of photographs revealing an exaggerated field of view (or otherwise lens distortion) was directed in correcting this visual effect: where advice was to correct the distortion, and then proceed with other post-production manipulation if applicable.

Alternatively, I suggested to Jennifer (and others in the past) in many cases (but not all) these lens distorted photographs can offer more for the viewer on how the user (the photographer) felt or experienced the particular location when captured.

One of the hardest (and frankly, within Landscape photography, key for creating successful engaging images) the photographer-artist must somehow try to reveal the scene (the space) in which they stood and enjoyed at the time the shutter release was triggered.

Methods: 1. is to reveal more space around the subject and also place important and supporting artifacts off-center within the frame; something we have discussed several times in this group these past couple of years…2. shooting from an engaging perspective…3. lens choice! (Of course, there are other techniques, including shooting medium-format cameras, however today’s high resolution DSLR’s are doing a remarkable job in revealing as much as some larger format cameras).

Number 3. lens choice is a key component in any type of photography, but here I am discussing using wide angle glass on purpose to “Exaggerate the Field of View� in prompting more response from viewers’: using lens distortion to reveal more or “narrate� or delineate the scene in helping the viewer fall into the space and feel the “grandeur� or sense a Steep Slope, like in Jennifer’s June original photograph, for example. (My backup external hard-drive has photos I can use for examples...see attached with this article).

So, in the future, before you go and immediately correct lens distortion, take a second look and perhaps the shot really tells viewers’ more about the location/subject you captured through the lens of your cameras. Better, yet, on purpose, choose a wide-angle lens next time you are in the field, try a few frames, and a few frames from glass that would normally provide little or no distortion: compare and contemplate. Enjoy!

Best regards,
Lance

visualizingart.com

Black & White Photography Mentor
Georgia Membership Director
Admin DD-87 and DD83-Mono


  Posted: 06/10/2021 20:40:28

I thought this was interesting . . . Most images on my hard drive will never get printed/shared/submitted/sold - and yet they give me pleasure. Like playing guitar when nobody is home . . .


https://mattk.com/the-why-nobody-talks-about/?utm_source=Matt+K+Subscriber+List&utm_campaign=c0583c249e-EMAIL_CAMPAIGN_2019_05_17_01_33_COPY_02&utm_medium=email&utm_term=0_3ac5889bd7-c0583c249e-441497865&mc_cid=c0583c249e&mc_eid=2ca02fc4b0   Posted: 05/23/2021 20:12:45

Illuminating Shadows for Creative Photography
“were it not for shadows, there would be no beauty�. (Tanizaki's Essay "In Praise of Shadows")

In my recent interview with Swiss Philosopher, Tea Lobo, we talked a lot about photographing urban landscapes and she asked me this question: “Photography literally means “light writing or drawing� (grafein can mean both in Greek). But for you I think it also means drawing with shadows, right�?

Drawing with Shadows:
Until Tea Lobo spoke of shadows in this way, I had only looked at shadows as just a component, but here, I am visualizing with the emphasis on shadows, rather than what we usually (and more comfortably) visualize with the prominence of light. The prominence of shadows is what we speak of today.

And allow me to paraphrase from the podcast….’I see as much (and perhaps even more) in the shadows as I do in the areas filled with light’. Shadows are, for the visual artist, a creative resource. Looking and finding shadows is something that is obviously not common or natural in our everyday lives, as artists, however, I suggest occasionally refocusing our gaze away from the light, as the focal point, and instead illuminate the shadows for photographic interest. In this way, indeed, the photographer-artist paints with shadows.

And when I say, illuminate the shadows, of course I am signifying my desire to make shadows the prominent (or anchor) component in the visualizing process.

Through my interest in the Japanese aesthetic, Wabi-Sabi, I see shadows more as a persuasive element or catalyst offering (more often than not) softer tones, I especially like in my own nature photography. And this leads into a few final words on the different levels (or degree) of contrast and toning in Black & White compositions.

So often we make comments in critique groups that embrace high contrast levels (e.g. many of the well-viewed landscape photographs by Ansel Adams, for example). More than once I heard PSA participant’s state...’dark contrast is the only way’…but I remind you, softer levels or relaxed grey-scales offer a softer, more intimate aesthetic: often the viewer elicits a more calming or relaxed narrative, especially in landscapes, but also within the scope of urban landscapes, too. This is compared to the very dramatic aesthetic created mostly by deep rich blacks and brightest of whites, offering powerful, robust and maybe even, intimidating narratives. Practicing these two BW photography looks (or finishes) gives artists’ a rich palette of aesthetics and narratives to work with.

Another area we sometimes see a heavy hand, Toning. Here, I suggest sometimes a very light touch, as it were, in the use of different color tones (e.g. sepia, copper, blue) are often added to the finished work without overpowering it. This said, the use of powerful prominent toning can often make an otherwise OK composition into something that “pricks� the viewer.

In summary, this short talk was designed to stimulate ideas and further conversations, together we can delve deeper into these special and important and powerful dynamics that help to achieve creative photography.

The sample photographs were captured via cell phone and then lightly processed including cropping as tests for a new architectural short series of work.

As always, your feedback and like experiences are welcomed here or email me at: lance.visualizingart.com

Best regards,
Lance A. Lewin
PSA Black and White Photography Mentor & Georgia Director of Membership   Posted: 04/27/2021 22:39:33

https://www.facebook.com/groups/7399905817 (Facebook Page Link)

Look forward to your feedback and common experiences!

Kind regards,
Lance   Posted: 04/08/2021 16:18:49

As a child between the ages of 10 through 13, I moved from Brooklyn NY to the forest covered landscape of Springfield, PA, where I immediately found hiking to be an experience that opened all his senses: the aroma’s from a variety of plants, flowers and especially the strong Earthy scents from fallen and dried leaves of fall, opened my eyes - I learned to become one with my immediate environment. I still fall into this trance each time I hikes or rides my mountain bike, regardless if I am local or enjoying a sojourn to landscapes far away.

Through the process of “Visualization�, we learn to see what others often miss in their hurried pace: creeping along the forest floor or climbing tree limbs to explore often hidden spaces. Peering through bushes, thick grass and exploring behind rocks, or the crevasse of tree-bark and moss to examine the intricacies and interactions between light, shadow and texture. Alternatively, take a step back to encompass a wider view to capture a grand-scape perspective: together these different views bring to print, a swatch of the normally hidden beauty, mystery and foremost, reality, that surround our space. I look forward to your feedback and common experiences.

Lance A. Lewin
PSA BW Photography Mentor
visualizingart.com
  Posted: 04/03/2021 18:57:48

Dale and I exchanged some messages on his recent image of the Mustang - regarding protecting privacy. I'm interested in opinions from the broader group and also if PSA has Guidance on the topic.

My understanding is that items out in public (including people's faces) are OK to photograph, submit the resulting images to camera club/PSA competitions and post on social media. Taking images where there is a reasonable expectation of privacy (for example - using a long lens to look into someone's home or flying a drone over a fenced in backyard) is not appropriate. Making money/commercializing images of other people is not appropriate without their consent. Taking pictures of children and other vulnerable individuals (homeless, handicapped, etc.) seem to fall into a gray area (I don't think the rules are different).

Of course none of this is worth getting into an argument over . . . I will always respect anyone's wishes not to be photographed. I've been asked few times by a passerby why I was photographing them. I've always answered that the images are for a Photography Class I'm taking . . . nobody has gotten angry - they uniformly chuckle and say ok.

What do others think?

  Posted: 03/12/2021 18:24:50

Jennifer asked me some time ago to discuss this method of manual focusing and never got to it: I am writing another article for the NANPA and the following section was pulled from it: I am still finishing the actual paper. Now, Steven has brought it up again, so a perfect opportunity to discuss it.

Hyperfocal Distance Focusing Technique

One the best manual focusing techniques for landscape compositions is utilizing hyperfocal distance principals. Hyperfocal focusing allows for the greatest depth of field (in front and behind the point of focus). That is, to keep part of the foreground in focus, while achieving similar in-focus parameters in the back ground.

This discussion is based on a traditional photographic technique, opposed to a relatively recent challenge from a technique known as "Focus Stacking" (a product of 21st Century digital photography). Each technique enjoys great results, the former is started and completed in the field, and the digital approach is started in the field and later completed using post-production digital software. In addition, each technique will ultimately exhibit a different visual interpretation or aesthetic. Some compositions that used focus stacking can lead to a surreal aesthetic or a presentation that borders on what was experienced at the time of capture and a visual presentation that leans more towards an idealistic approach to realism. Results are of course subjective to each artist, and patrons of the arts viewing the work. (My father always said, 'that's why they make chocolate and vanilla'). Today we are discussing only one of the two flavors, as it were, the fast and easy Hyperfocal Distance focusing technique.

Now we can get pretty technical with this discussion, but I will try to present hyperfocal distance principles that are easy to understand and use. Our goal is to get into the field with a fast and reliable means to achieve maximum Dof in every composition. However, I must state, in my opinion, the Hyperfocal Distance principle is most applicable when shooting Landscape compositions. As such, my text and examples will refer to landscape photography. Hyperfocal Distance principles can be achieved using a wide variety of lenses. Some examples include, 16mm, 24mm and 50mm, for prime landscape lenses, and 150mm, 250mm and some longer telephoto lens, too. Pretty much any lens can be used when employing hyperfocal distance focusing principles. However, as I will be referring to landscape compositions, normal to wide angle lenses will be used in this discussion. An important consideration is the wider the lens used the deeper/wider the resulting Dof that can be achieved. As such, normal to wide angle lenses are most popular with landscape photographers. My favorite lens is the 24mm Rokkor-X prime lens for film and the 24mm setting on the Canon EF 16-35mm F/2.8L II USM lens.

With a simple Google search online, you can easily find several different types of Hyperfocal Distance charts and though they work satisfactory, I will suggest they often interrupt the photographic processes of visualization and composition, thus interfering with the creative process. In circumstances where quick decisions in the field need to be made to capture a specific type, and often fast moving atmospheric condition, it is necessary to be able to move quickly and decisively in capturing the scene or subject matter successfully: the sun begins to rise above the horizon, the rapid change in colors is amazing and quick decisions need to be made to capture this beautiful time of day. Similar opportunities involving rolling fog or a fast moving thunder storm offer their own special atmospheric aesthetics in helping to create engaging compositions. In these cases, let me offer a quicker solution that is also quite accurate, indeed.

The Composition: We have arrived at our cabin situated some 50 or more yards from the shore line of Lake Jackson in the Tetons " a lovely sunset has offered beautiful light and we quickly set up our tripod just outside looking west towards the Tetons mountain range, Jackson Lake and an area of pretty low cut flowers covering the foreground nearest to the camera: we decide to use a 24mm prime lens or the equivalent setting on a zoom lens. Composing through the viewfinder we decide much of the foreground flowers, the Lake and background mountain range must all be in focus for our composition: 1. If we manually focus on the distant mountains (even with the aperture set at F/11 for example) we will most likely not achieve near-field focus of the flowers. 2. Alternatively focusing on the flowers spread in front of the camera (again, even if using aperture F/11) will likely result in beautifully clear flowers and even the lake, but may render the mountain range less than perfectly clear.

The Solution: While standing behind or to the side of the camera, estimate how close from the camera we want the foreground to be in focus. If the nearest flowers are 10 feet from the camera, double this amount (in this case 20 feet) thus 20 feet is the Hyperfocal Distance and the point of focus. Again, we need to estimate how far 20 feet is from the camera " find some part of a flower, stem or other artifact within the 20 foot space to focus on. Continuing, we still need to decide on what aperture to use. As it pertains to this landscape example, and our desire to keep the foreground flowers (about 10 feet in front of the camera) in focus through infinity (which will include the lake and distant mountain range) a good starting point would be a relatively small aperture " say, F/8.

Now we will engage the practice of "Bracketing" discussed at the outset of this article. (I have omitted "Bracketing" from this post; contact me if you have questions) Maintaining the exact same composition as seen through the viewfinder, and keeping our 20 feet focus point, trigger the shutter release button at F/8, then F/11 and again at F/16 and F/18. (I urge photographers not to look at the review screen on digital cameras between shots " one, because of the reasons I pointed out earlier, and also viewing results on these small screens do little justice related to visual accuracy: we are far better off waiting to review work in post-production on a larger laptop or desk top monitor, and instead, while in the field, focus (yes, pun intended) on the work in front of us). In the end, bracketing the shots will provide a wide margin of error that likely yields excellent results. (Note looking through your viewfinder after focusing at 20 feet may show the nearest foreground, and at infinity, slightly blurred (out of focus) though be assured the final image will be reasonably in focus from about 10 feet through infinity for this example. However, cameras with a Dof button, once activated while looking through the viewfinder, will reveal a truer,focused, result of the focusing and aperture choices in this example).

As I mentioned above, these results (and also the results if using the values directed by a Hyperfocal Distance chart) only give reasonably good results for most popular print enlargements (i.e. 8x10, 11x14 for two examples). Meaning for larger, say, a full-frame 16x24 print some background details may be slightly blurred if closely viewed.

But I must comment that with today's higher resolution cameras and onboard digital processors, while bracketing a wide range of apertures, I am confident 16x24 and larger prints will reveal little to no actual visual discomfort to people viewing work in a gallery setting.

Which of course brings up an entirely different dynamic: the dynamics of resolution as it relates to the viewing distances of different sized prints. Something I will address in a future article. But for now, I am confident you will obtain fine results with the method I outlined above. By all means, if the in-the-field situation (i.e. weather, time of day, subject) allows for more time to develop the composition, using one of the many online Apps or a printed copy kept in your pocket of the many Hyperfocal Distance charts available will also provide more precise values for a given lens and aperture choice. However, I strongly suggest while using these alternative tools continue with "bracketing" your shots in a similar matter I described on these pages. Thank you, everyone!

  Posted: 12/04/2020 15:32:08

Outdoor Portraiture

In recent months while attending several online and in the classroom photography critique sessions, it occurred to me how many of the participants suggested "cropping photos" - moving in closer, as it were - as a fix for the photograph that was being presented to the group. More than half of the suggested cropping (to get closer to the actual subject) in my opinion, would redirect the composition towards a snap-shot like appearance. In other words, sometimes cropping (and regardless if you are cropping an image file or the scene through the viewfinder) can actually diminish an already well balanced thoughtful composition that includes more of the surrounding space.

As such, a solitary subject can lack the presence needed to throw forth the impact the artist intended when originally composing the shot. My lesson plans always include discussions on the use of "space", an essential component in creating dynamic compositions. Elaborating on the environment surrounding the subject can result in projecting more "emotional value" to a photographs meaning: viewing more of the space in which the subject resides, helps the viewer develop an interpretation or narrative. Sometimes what initially may be deemed as peripheral artifacts within a scene (objects we may even want to delete) can actually "support" the main subject, and this also includes "open space", "white", "dead" or "negative" space.

Klaus Berger (1901-2000) was a German Art historian: a paraphrase of his statement on using open space in both paintings and photography, 'unpeople negative space in fact plays an important part in a carefully planned, overall composition, which reflects a dynamic and rhythmic equilibrium of patterns'. Berger continued to cite this type of perspective are integral in Japanese prints.

Portraiture: The heart of a musician (See Fig1-3) Including the extra space in these photographs is not exactly a portrait in the usual sense, non the less, it will perhaps, allow viewers to gain a little more insight into her personality and mood - both that help the viewer form a narrative. These are photographs to accompany more traditional portrait aesthetics.

In an attempt to try and capture the unique individuality of this 15-year-old sitter (Fig.1) I suggested this young musician take her guitar to accompany the photo shoot. Easy to realize this established a strong sense of security between the wide open space of the location, our subject and the photographer. Regardless if you know the person you are photographing, there can sometimes be a great deal of apprehension which will ultimately be revealed by the lens. A relaxed and trusting relationship between the photographer and their sitter goes a long way in producing strong photographic compositions that feel less staged and more organic.
  Posted: 10/18/2020 16:21:03

"Points to Ponder"

What makes Photography a special, and actually hard genre of art to master, is the very fact the photographer can not "rearrange", as the painter can.

In fact, it is this very limitation that spawned Pictorialist to manipulate negatives and prints in "creating" like the painter. Almost every technique (in today's standards) was still made from physical labor both in the darkroom and out.

Art critic Irina Khrabroff makes an especially important distinction in 1927: “The moment they (the artist-photographer) adopt the principle of straight photography, their medium becomes an extremely difficult one to master�. She continues...“Because all he (the artist-photographer) can do is to select, his ability to select must be brought to a higher pitch than in any other form of art. His eye must become keener and quicker than the eyes of other artists�.

In the 21st Century - within the Digital Photography Revolution - the use of digital software has quickly crossed the line from traditional photographic technique to one that manifests itself more appropriately to Digital Art.

And is why more and more Galleries, Museums and online regional and national Photography Competitions are more aggressively re-categorizing and putting into place new rules to separate work created through more Traditional means vs their extreme Digital Art alternatives.

The creativity of work created by Traditional Art of Photography values & 21st Century digital pieces of art are both beautiful, creative and within the Digital oriented pieces, an incredible show of imagination, indeed. But the line is clear, and the two must be presented as separate works of art.

Tonight is the Gilmer Arts National Juried Photography Exhibition which I spearhead - including designing the Prospectus; we are enjoying our second year where two distinct categories of photography are accepted (and two sub-categories Landscape & wildlife).

The work was judged yesterday (Thursday 10th) where the work was separated into the two main categories for the Judge: 1. Traditional Compositional Fine Art Photography and 2. Illustrative and Conceptual Fine Art Photography.

The response from artists and patrons has been overwhelming positive!

  Posted: 09/11/2020 10:47:07

Lance/Chan: I read your posts with interest . . . my thinking on this has evolved over the last few years. I recall walking into my camera club with an altered image (I changed the location of the moon) - and felt a need to apologize or at least confess my sins. Leaders of the club told me that it was perfectly OK. I've also come to appreciate that EVERY image is processed (even if only by the camera manufacturer's software that converts sensor output to a file that be viewed or transfered). All images are altered and defining what is acceptable is personal/arbitrary.

I've landed on the following principles that guide my work:

1) Follow the rules and be transparent. If a club or competition/category has rules - follow them. Honesty is important. If asked, I always explain manipulations I did - and I don't hesitate to ask others what processing they did. The dialogue is educational and good photographers are not offended.
2) Don't import material into your image that was created by others. For me - that crosses a line and is dishonest. So changing the location of the moon is OK - but using a moon downloaded from the web is not.
3) Work hard to get the best images in-camera. It all start there. Post-processing can take a good image and make it better; it doesn't take a poor image and make it great.
4) We are producing art. Therefore we have a high degree of freedom to produce the most aesthetically appealing work.
5) Respect the freedom of others to adopt different views on what processing or manipulation is acceptable. Resist the temptation to judge one approach/style/genre as innately better.



  Posted: 09/10/2020 10:33:22

Creativity Through Techniques: all the topics in this space hopefully Spark ones interest in seeking further study to expand their creativity.

The talks on both "Wabi Sabi" (in DD-83 Mono), this discussion on "Pictorialism" and Steven's question and talk about Photography Genres, are meant to introduce artistic concepts (and philosophies) and in general, spark artistic thinking and creativity. My intentions are to also highlight the very foundations (virtues) that define the "Art of Photography" from a traditional posture.

Everyone's contribution/comments and/or visual examples are encouraged. Thank you, guys!   Posted: 09/10/2020 09:44:56

Pictorialism Continued....

As I already mentioned before, the great French Impressionist painter, Claude Monet wanted his canvas to reveal how we actually perceive reality: in this philosophy Monet would paint a series of work on the same exact subject (and usually the exact same perspective) at different times of the year. When studying his work we can easily feel (or react) to the Mood that Monet has captured with his brushes - and they often reveal a similar out-of-focus, unclear or weather-obstructed view of reality.

This very same process of capturing a subject at different times of the day or year are also familiar to many photographers, indeed: each offering sometimes a completely different emotion response from the viewer - an Aesthetic - born from capturing the subject through the viewfinder and often through different types of light & shadow, a consequence of the weather or time of day.

In this light (pun not intended) Stieglitz, for example, used these weather related devices, as it were, to manipulate an otherwise perfect "clear Blue" view of the world into something much more distracted, though hopefully, engaging - they very much mimicked Monet's Impressionistic canvases.

Attached Photograph: "Salvation" I captured this on film (grainy) and into the Sun to produce (Glare) the view & experience of squinting through the Glare: this Pictorial piece represents just one example of how Stieglitz, for one example, used environmental conditions that highlight a lot of his photography.   Posted: 09/08/2020 20:36:06

NEW TOPIC: "The Artistic Movement in Photography"

The topic is inspired after I received and read Chan's September description about his photograph and PSA classes.

“Photographers must learn not to be ashamed to have their photographs look like photographs.� - Alfred Stieglitz

Alfred Stieglitz, made the above statement when darkroom manipulation was being practiced as a way for photographic artists to show they were ‘creating art’. Though Stieglitz himself used some types of manipulation he was adamant about how this was achieved: 'Stieglitz advocated an emphasis on the craftsmanship involved in photography. Most members of the group made extensive use of elaborate, labor-intensive techniques that underscored the role of the photographer’s hand in making photographic prints.’

What is normally not understood is "Pictorialist" were very active about 20 years after the invention of Photography, though in many text they only talk about the later 1880's as the "Movement". In around 1860 Henry Peach Robinson wrote his widely popular book, "Pictorial Effect in Photography" where he even advocated the use of "composite" techniques!

But I want to discuss here the many different techniques that quantify categorizing a Pictorial Photograph.
1. The most obvious are photographs that have gone through a deliberate physical change during development and/or print: i.e. scratching the negatives and coloring the print for two examples.

2. The next option (most famously depicted in Ansel Adams Landscapes) is a heavy hand in using Dodge & Burn techniques. Here, Adams heavily contrasted finals added a great amount of drama or at least added the extra "interest" in his compositions, even though the actual scene in real-time could have been quite different, but only as it related to atmospheric conditions - as his work still revealed an authentic aesthetic.

3. Within 21st Century photography we have moved past all these actual physical techniques to easily manipulate our image files using software that are relatively easy: some of these actions include the very Dodge & Burn techniques used by Adams.

Let me conclude this short brief by going back to the 1st decade of the 20th century with Alfred Stieglitz: he eventually ended most of his "physical" manipulation in favor of using natural environmental elements to "paint" or otherwise Pictorialize his work in much the same manner as Monet saw his painting. (My own work can be categorized in this light as well).

There is a great deal of inspiration in learning (and more importantly, viewing) these early painters and photographers, indeed, but more to learn about their interpretations of light and shadow, then the actual techniques in manipulation. Thank you.

“I do not object to retouching, dodging or accentuation as long as they do not interfere with the natural qualities of photographic technique�. Sadakichi Hartmann.
  Posted: 09/03/2020 11:22:59

How important is a genre in photography?

I consider myself undifferentiated (enjoying cityscapes/landscapes/beaches, macro, water drops, insects/animals, flowers, tabletop, etc.). The breadth is fun - but I’m an expert in none and even equipment needed varies across genes.

Is it important is focus to improve?

How do others see this?
  Posted: 08/05/2020 08:30:42

Silver Efex Pro-2 Toning: NOTES

When creating a strong tones (i.e. heavy blue or copper) I either pass the BW image through a color filter before or after the Toning process - as it relates to the particular photo and subject.

In this flower example, the image was passed through the filter before Toning - then I chose the Cyanotype-12 and started adjusting from there....   Posted: 07/02/2020 19:30:27

CUSTOM TONING IN Silver Efex Pro-2

1. Original or Base Color: (Copper-16) Study settings in the screen shot provided.

2. See next Photo....   Posted: 07/02/2020 19:12:43

I thought it was interesting that 4 of the 6 posted June images (including both of Graham's) have prominent reflections. They're a great subject for photography. I took a class last year - and each of us had to pick a theme for the semester and bring images for that theme each week. One woman's theme was "reflections" - she took some amazing pictures - with reflections in lakes, rivers, puddles - and even reflections of her jewelry in a water filled black baking dish on her kitchen counter. Creative/well done. And the water could be perfectly still/mirror-like or rippled.   Posted: 06/02/2020 14:12:27

Good day, everyone! Hope you take time to copy and paste this link to a 3min read on my work and the other artist on the site, too. They recently highlighted my work. I also use this site to promote photography exhibitions scheduled at Gilmer Arts in Ellijay, Georgia. And please, leave a Comment after the article regardless if Pro or Con on what you read. Thank you.

https://theartguide.com/artalk   Posted: 05/20/2020 11:45:41

Hi everyone! Hope you like this added feature to our group. Again, this Space will be available regardless of the month we are reviewing: however, feel free to post specific questions on any photograph, from any month.   Posted: 05/19/2020 17:21:45