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