flowers, photography · Techniques

Flower Time – textures

Late again!

Since I last posted, the season has slipped from Summer to Autumn, and with it came the colder weather. That being the case, it seemed wise to spend some time with my computer extending on what I had learned about applying textures to photographs to get a more arty and painterly look. I think that this kind of approach to photography is a bit like Marmite – you either love it or you hate it – but I am more than happy to accept it as another facet of the art. And it does seem well so suited to floral photography too.

If I am thinking in terms of a ‘fine art’ approach when I set out t take photographs, then I have that in mind when I am choosing a subject and making choices re composition that may be the opposite to what wold normally be acceptable choices. Textures work well with soft focus and lots of negative space whereas a ‘normal’ flower shot would benefit from sharp focus and a full frame. So here are a couple of ‘before’ and ‘after’ examples:

In both cases, I composed with the subject slightly to one side and with that negative space to show off the texture. I haven’t done very much to the original captures other than to add one or more textures to add to the background.

So, if you haven’t tried this approach, I can thoroughly recommend it. I cannot draw or paint – but adding textured to photographs I have taken allows me that extra layer of artistic choices and allows me to arrive at something that is very much my own creation.

This can be achieved quite easily in Photoshop or Photoshop Elements (PSE – I use PSE 14). I do some very basic editing – tone, crop, saturation etc – in Lightroom first and then right click to take it over to PSE. Once I’m over there with the picture opened up, I then open a texture from a folder on my computer. Textures are available in abundance all over the internet with a simple search. There are also endless sites that you can purchase textures from too: 2 Lil Owls French Kiss Flypaper and quite a few free ones here: Shadowhouse Creations

Now you have both your photo and a texture open, click on the texture and click A to select all and click C to copy it. Now move to your photo and click V to paste and T to take you to the transform mode so that you can alter the size of the texture to fit your photo. Once you have done that, look over to your layers panel and look at the blend modes. In particular, look at multiply, overlay, soft light and hard light. They are the four blend modes I use the most, along with leaving it ‘normal’. Once you have chosen the blend mode, you can play with opacity until it looks right to you. There are no rules – it’s all subjective! Once you have done that, you can go one step further and apply a layer mask to the texture and with a soft brush and low opacity, you can gently brush some of the texture back off the subject. Once you are happy with the look, you simply merge the layer (‘layers’ – ‘flatten image’) and you’re there. Save your creation and share it with the world. In this final pair of pictures, the dead flower was captured with a lensbaby lens so it looked pretty arty as it was, but I still felt that a touch of texture added to the overall look.

And that’s it for this week. I have deliberately kept the instructions simple because you will find your own way to do this if you choose to experiment. Look on youtube for a million and one videos on how to apply textures to a photograph. And if you find a trick I haven’t spotted yet, please leave a comment and let me know 🙂

A bientot . . .

flowers, photography · Techniques

Belated Flower of the Week – Lensbaby Dahlia

This week’s flower is a little late – a week and a bit late to be almost precise. I have no excuse other than that I have been busy by the seaside visiting relatives in West Wales which is a glorious place to visit. But better late than never and this week’s flower is a dahlia – again – but with a difference: this one is an ex-dahlia, a dahlia that is no more, a dahlia that has much in common with Monty Python’s famous Norwegian Blue parrot. I left this dahlia in its vase while we were away hoping that it would die in an artistic way so I could capture it once I got home and make something out of it – and here is the result. It played the part very well:

dahlia 1

In order to play up the fragile and beautiful nature of the almost extinct bloom, I used my Lensbaby lens and then added a lacy texture in post production. It seems a lot of work – but it’s really not.

The lensbaby lens is a crucial part of this process so I’ll just tell you a little bit more about it and how it works in case you’re not familiar with the company. I use a Lensbaby Composer Pro II with a Sweet 50 Optic . The Sweet 50 is a fabulously versatile optic. In essence, it is a 50mm lens but what is different about it is the way it handles focus. Locked and pointing straight forward (yes, it bends – more on that in a  minute), it will give a sweet spot of focus in the centre of the frame the size of which depends on the aperture you choose. At f2, the sweet spot is the smallest and at f16, it’s not a whole lot different from a normal 50mm lens although not as sharp. The point of this lens is the selective focus that you can use for creative purposes. As an example, here is a trio of photos to hopefully show the difference a Lensbaby lens makes:

lansbaby examples

Shot with an ‘ordinary lens’ at 85mm showing softness at the edges due to the wide aperture.

lansbaby examples-2

Shot with the same camera, same distance but focal length of 50mm, same flowers but now you can see a rapid fall off and distortion of the focus while the small centre area remains sharp.

lansbaby examples-4

Taken with the Lensbaby and an extension tube to allow me to get in closer so I can highlight the texture of the centre of the flower but allow the petals to fall away and out of focus. Most of my lensbaby shots are portraits of single flowers so I make regular use of a set of very cheap (about £20) extension tubes from that very famous interweb auction site. Extension tubes don’t have glass in them so cheap ones can be just as good as the more expensive ones – and I focus manually for this kind of shot so have no use for AF extension tubes which also keeps the cost very low.

What makes the Lensbaby even more useful as a creative tool is that you can bend the lens (imagine a concertina section halfway down the lens – a bit like a bendy bus) and move the ‘sweet spot’ of focus to wherever in the frame you want it to be. You’ll notice that in my dahlia picture, I have moved it towards the top of the shot to pick out those few remaining petals that haven’t withered. These lenses take some getting to know but once you’re there, you can start to abuse the possibilities. Flowers are my subject of choice but I have seen some very good street photography using Lensbaby lenses, and some fabulous, artistic silhouettes by Hengki Lee . Their use is limited only by your imagination.

But back to the dahlia – – another wonderful thing about Lensbaby lenses is that there is often little to no post production needed (apart from converting the RAW file) which appeals to me enormously. Once the shot was in my computer, I took it through to PS Elements 14, added a ‘texture’ as a layer, sampled a colour from the texture and then used it as I brushed away some of the texture from the flower and vase without removing the overall colour, and that was about it.

Next week I’ll go through the process of adding a texture in a little more detail for anyone who is interested but, like me, is a reluctant I.T. user. I promise you it’s very easy – or I wouldn’t be doing it 😉

Until then . . .

flowers, photography · Techniques

White Balance – is auto good enough?

This week, I’ve been paying more attention to white balance.

Outdoors, I usually bow to auto white balance (wb) but indoors, I usually pay a little more attention to the colour of the lighting and adjust accordingly. However, I’ve been looking deeper into the white balance thing and with the help of a new acquisition, the Expodisc 2, I have concluded that yes, it matters very much. That said, my preferred subject matter is flowers and so it is vitally important to me that I reproduce the colour of the flower as it is, and as it attracted me, rather than accept my camera’s decision on what colour it was. I can see the same would be true of those who are dedicated people photographers to make sure skin tones etc are accurate.

It is said that the eye will compensate for an awful lot and that many shades of white can look pure white – if we have nothing to compare it to. If something is a little off-white, your eye will happily tweak it and make it white for you. And it works pretty well. However, the camera is not quite as accommodating as the eye and so, for this experiment, I chose a ‘white’ flower with a tinge of ‘lilac’. This first shot is using auto white balance. Note that these are raw files straight from the camera so you can see what the camera ‘saw’: (In each case, try to ensure you only have the current shot showing so you are not yet comparing it to the others. The three shots are in a row at the bottom of the post so you can compare them side by side.)

white balance group-6694

Okay – the petals look whiteish with a pinky lilac tinge and the grass looks green. That’s okay.

For the second shot, I used a ‘shade’ white balance since both myself and the flower were in the shade of a large shed:

white balance group-6695

Now – hang on a minute – that’s not white – and the grass is distinctly on the yellow side of green! So in choosing the ‘correct’ white balance for the surrounding light, my camera was way off.

Grand entrance by – ta da – the Expodisc:

The first point I should make about this Expodisc is that it is not cheap!! This cost me the better part of £25 – and that was second hand (in ‘open box’ condition) – a new one is around the £40 mark. But it is very easy to use to set a custom white balance according to the light. The first thing to do is to set your camera to record a custom white balance. Now this will be different on different camera brands, and probably on different models too but on mine (Nikon D750) you press the wb button, spin the dial until you find d-1, let go of the wb button and then press it again until the d-1 flashes and it’s ready to ‘record’. Now you hold the Expodisc over the lens and fire. No need to focus or anything like that – it’s not taking a picture, it’s just recording the light. Also noteworthy is that you need to point it at the light coming in rather than at your subject so you are recording the way the quality and value of the light as it falls on to your subject. If it recorded correctly, your camera will tell you ‘good’. And that’s it. Sounds fiddly but once you’ve done it a couple of times, you can set in up in 3 or 4 seconds. I suggest you consult your manual, or better still, look at one of the many youtube videos on setting white balance, and on the Expodisc and tailor it to your camera. I should add that you can also set the white balance in post-production by taking a shot of an 18% grey card before you take your pics and then once in Lightroom, you can use the eye dropper to set the wb on that shot, and then copy that setting to any shots you took in that same light. My issue with that is that once I am no longer near the plant, I cannot judge whether or not it has altered the wb correctly and achieved the accurate colour of that bloom so I need to be able to do this in the field’ as it were.

Now – after all of that – does it make a difference? Well, here’s the shot:

white balance group-6696

Hmmm – isn’t that the same as the first shot – or is my eye deceiving me and compensating? Let’s put the three shots side by side showing auto, shade and custom balance together:

There is definitely a difference and I can verify that the third shot does indeed reproduce the colour accurately. There’s not much in it but the white has gone from a cold (auto wb), bluish white to a very yellowy white (shade wb) and then to the correct soft white that the flower actually is (custom set with the Expodisc).

To be more sure, I’ll leave out the ‘yellow one and just put the two ‘whiter’ ones side by side:

So, £25 well spent as far as I am concerned. I can feel sure that the camera is capturing the colour of the bloom as it really is rather than the way my camera thinks it should be. By the way, you should notice that if you look at the second shot alone it definitely looks on the yellow side, but you don’t notice it as much until it’s placed in a row with the other two shots at which point it becomes glaringly obvious. Remember – the eye compensates unless it has something to compare with!

So, will I be using this Expodisc all of the time from now on? Well, if I am photographing anything for which the correct colour reproduction is vital then hell yes!! So that would, in my case, be flowers, product photography and people shots and I would imagine that it’s a must for wedding photographers. It may be that it doesn’t matter so much in landscape photography – but I’ll bet a landscape photographer can answer that one quicker than I can.

So – give it a try but I strongly suggest you look it up further than my waffled account and see if you think it’s something that matters to you. Remember that the setting is good until the light changes. You don’t have to reset it every time you take a shot, but you do need to reset it if the light changes, or if you move into a different kind of light. As with all of the various gadgets, techniques and tricks, it will work for some and not for others so have fun with it and see if it’s something you find useful, or not.

Until next time when I write of how I discovered that having a digital camera doesn’t render the light meter redundant. Seriously, this ‘hobby’ costs me a fortune!!!

As a final note, I am not in any way affiliated to the Expodisc brand and gain no advantage by writing positively about them – but if they happen to be reading this and want to bestow gifts upon me, who am I to argue!

#expodisc  😉