Using the Reveal ~ Mono Monday!

"Catalina And The Bomber"

I'm an avid reader. But you probably knew that. I spent much of this weekend, when not editing or enjoying the great weather, catching up on some much anticipated photog related literature. And I was so excited to learn a new approach, and a new phrase, crucial for having the viewer intensely engaged when they see your work and discover it's story.

It's called the "reveal"... and it can be powerful.

Although I didn't know it had a name, I'd been using it already. The image above is a good example. When I composed the shot, I knew I wanted to convey how large and powerful and shapely the Catalina was when you're standing under it at the Warplane Heritage Museum. The plane is the primary subject, very obviously, with the enormous hanger space accentuating it with great lines. But the viewer, after taking in the major part of the image, finally sees one last striking detail... the regal Lancaster Bomber in the background but not as the backdrop. It's positioned relationally to the Catalina Canso PBY-5A, so that at the last minute the viewer spies one more important detail, and is delighted by the discovery. In some instances, the rest of the comp can build towards that last remote but surprising detail. Used by cinematographers and master photographers alike, "the reveal" is a tool that can take everything to a new level.

Here's what is required though. More direct intent from the photographer, less "fly by the seat of your pants" thinking. More substance, less "found art" technique. Not that those can't be exciting for both shooter and viewer, but this adds a new dimension that conveys a certain care and intentional process that the audience responds too because instead of everything being laid out for them to take in at once and be done with it, they are asked to contribute to the piece. They are forced to work for the story's completion. This, I learned, is called "The Beholder's Share"... a phrase coined by art historian Ernst Gombrich, (and was quoted in the book I read all weekend). And this excites me, this learning that the viewer doesn't just want to be engaged in the viewing, but wants to work and contribute to what they finally arrive at visually.

I contribute this exciting discovery of how to better my craft to the current book I'm studying right now. It's authored by the talented and exceptional Michael Freeman, who's books are fantastic in both practical and artistic ways, and this great read is called "The Photographer's Mind"... if you haven't picked up any one of his many wonderful books, I urge you to do so soon. They're the meat and potatoes of all that's amazing about photography, period. This post was just one way I learned more about my craft, thanks to Freeman's book, and is where I found the Gombrich quote that in my opinion, changes how I see the purposes of visual art.

Something I'll be pursuing more of... the reveal, the beholder's share. Hope it inspires some of you as well. Thanks for the ramble folks, have a good one.

The Role of Color ~ Floral Friday!

"Soaking Up The Sun"

I can't remember when I last looked to make color my main subject in a photo. Just looking at this image makes me feel awake, energized, and in a positive frame of mind. Color is a powerful element for the photographer. And yet I just read an article on color, and in it they state it's one of the least utilized or understood tools of photography for most people.

Huh.

Color IS a powerful element for story telling to be sure. I think we assume that as long as the image is in color at some point, it's doing it's job. What we forget is that it can control the response the viewer will give, the impression it will leave, and the emotions within their response. When I think about it that way, I want to make sure I don't just shoot in color, I want to make sure I shoot for the precise role color will play. Huge difference I'd say.

It'll also dictate the way I process an image. Because I can control how much of it is shown, the intensity, where it is in my composition and framing, and whether it should be warm or cool depending on the mood I hoped to convey when I first took the photo to begin with, this means color becomes a mega tool to apply to every photo you intend to display.

Here in Ontario, our Autumns are renowned for amazing color. I won't be able to help but make it my subject and my muse for the next couple of months...

and I look forward to sharing them with all of you.

If you've been blogging or posting images about color, especially fall color, send me the links... we'll share them here on the blog!

Have a super Friday, and thanks for the ramble!

Nautical Cyanotype ~ Exploration Thursday!

"Onward To Distant Shores"

The Pride of Baltimore II, Maryland Tall Ship Replica @ Hamilton Harbour

Well, I did say today would be one of the images similar to yesterday's post but after having experimented with Corel's Cyanotype conversion from the Time Machine Fx filters. Voila! Anything of a nautical theme looks well in this old 1800's processing look. I think I associate it with many of the old dutch paintings on pottery and dishes that I used to see in everyone's homes when I was growing up... it was trendy at the time. Trust me.

What I love are how delicate lines pop within the prussian blue hues of a cyanotype printing. Very much like a blue print. I knew after editing my images that I had to use this filter in post processing. And not with a heavy hand mind you. But just enough that you stop and look carefully to notice the hint of color still lying underneath, (the original layer before converting) adding some depth and keeping it from being too stark which tends to be popular in the digital darkroom these days.

I don't see this effect being utilized like I did back in my darkroom days, and much earlier than that obviously... and it's a beautiful way to age an image without it looking hokey. It doesn't suit every subject matter so consider if it suits before you use it.

It's very nostalgic and fun to work with, adding something different to your scenes. Give it a try in whatever processing program you run. And thanks for the ramble.

Sailing Away ~ Wide Angle Wednesday!

"The Pride of Baltimore Embarks"

The fanfare was gone, the sky was hazy, and as the crew shouted orders to one another, she pulled away to begin the next leg of her voyage. The Pride of Baltimore II was leaving the harbour in Hamilton where she'd rested for two days. I'd had an hour to place myself in a good spot compositionally without any of the handful of people around getting into the shot. And as she began to sail away all I had to do was press the shutter.

Have you noticed that sometimes, there's no special approach or angle or lighting to be had with your targeted image, you just need to tell the story visually, and let the subject do the showing off?

"Bound for Montreal"

You can see the poor air quality that morning as she turned towards the sun to exit under the Lift Bridge. And they couldn't drop all the sails till they cleared the harbour, so that type of shot was out of the question. So, once again a lesson in making the most of what you have and knowing that it's enough. And I also know that the image above will make a nice cyanotype conversion for a coming Thursday's post... you'll see.

If you're in Montreal this weekend, she'll be docked there for two days before she's off again. And she's beautiful to see up close. Take your cameras! And make the most of whatever opportunity you've got.

Thanks for the ramble. Have a good one.

The Candy Store Effect ~ Telephoto Tuesday!

"Roped Against the Mast"

You must know the feeling. A delightful subject awaits and you have no idea what to photograph first. Nor do you know how much time you'll have to get everything you'd like in the lens. And there's so much subject matter that you immediately feel elated and stressed at the same time. Where to start? That tick in your right eye pulses slightly. What to do? You start to sweat. Wide angle lens? Telephoto? Go big? Go close? Include people or wait?

Or maybe it's just me.

It WAS me two days ago. We went down to the Hamilton Harbour to see the tall ship that docked for the weekend. It was beautiful. And I was struck with that "kid in a candy store" feeling. And I've been photographing for long enough to know to breath, assess the location and light, and decide what's a must-get shot and what's a "bonus if I can get around to it" shot. But I still felt giddy with such a lovely subject to feast on through the lens. Luckily my intuition finally kicked in. Whew.

This is when I love my telephoto lens. I got the big all-inclusive shots with the wide angle out of the way, trying to strategically compose around the masses of visitors on the pier, then I got serious. My telephoto got me past the people, into nooks and crannies, and up against details without even stepping foot on the ship. (Although we did climb aboard for a tour) And suddenly everything in the "candy store" was fully accessible.

Today's image stood out to me in editing as a definite post. The light is hard and bright but is perfect for the canvas folds in the sail. Slight sidelight as the sun was moving into the west gives highlights to the texture in the ropes. The wood gleams. It's nautical, and it's cliche and I still love every element used within the image.

This is preaching to myself as much as anyone, but you can't deny it. Know what your tools are instantly capable of, be aware of the light around you at all times, and be drawn in to the subject matter the way you hope your viewers will be drawn in. Oh yeah... and be aware of that candy store effect.

Thanks for the ramble... wide shots of The Pride of Baltimore herself coming up tomorrow! Have a good one till then folks!