Showing posts with label experiment. Show all posts
Showing posts with label experiment. Show all posts

Saturday, March 31, 2018

Playing with color and texture . . .


I'm constantly shaking things up a bit, experimenting with techniques and concepts, and right now it's primarily about adding more color, more depth, and more texture to my images.

I make a LOT of gelatin prints, eventually cutting them up to make envelopes, cards, collages, etc. In this case, I added two cherry tree leaves I'd pressed flat in Oregon. They fell out of a book last month and inspired me to work with them. The result is certainly colorful, kind of busy, but kind of fun.

And then yesterday I opened a photo I'd taken in Portland's industrial district, a photo of three bolts and their shadows. It was a cool shot to begin with, with a bright yellow strip at the very top, but I wanted more.

I added a hand-painted number 4 (see it there on the right?), a photo of some dumpster grunge (that's where the blue is coming from), and more of my hand-painted papers to create smudges, lines, and texture elsewhere.

All text, photographs, and other media are ©Copyright Carol Leigh (or others when indicated) and are not in the public domain and may not be used on websites, blogs, or in other media without advance permission from Carol Leigh. Thank you for your understanding and kindness.

Saturday, July 8, 2017

Experimenting


This picture was taken years ago in Tillamook, Oregon. It's the headlamp on a very old water truck from the Corvallis fire department.

I like the repeating vertical lines on the left, the diagonal line on the right, and how the round shape of the headlamp softens the strong, straight lines in the rest of the image.

The bright orange color is a bonus. Or is it?

If what I like is the DESIGN of the photo, the color overpowers the design, making ORANGE the first thing you notice. How can I change that?

Would a black and white treatment emphasize the lines, the circular element, and make the photograph more about composition rather than color?

So yeah, that's what I did. I turned the image into a strong black and white, but then allowed just a hint of color to come through here and there to add interest.

What do you think?

©Carol Leigh
All text, photographs, and other media are ©Copyright Carol Leigh (or others when indicated) and are not in the public domain and may not be used on websites, blogs, or in other media without advance permission from Carol Leigh.

Friday, March 24, 2017

Experiment #0753

©Carol Leigh
All text, photographs, and other media are ©Copyright Carol Leigh (or others when indicated) and are not in the public domain and may not be used on websites, blogs, or in other media without advance permission from Carol Leigh.

Friday, December 16, 2016

Experiment #9269

©Carol Leigh
All text, photographs, and other media are ©Copyright Carol Leigh (or others when indicated) and are not in the public domain and may not be used on websites, blogs, or in other media without advance permission from Carol Leigh.


Thursday, December 8, 2016

Experiment #9924

©Carol Leigh
All text, photographs, and other media are ©Copyright Carol Leigh (or others when indicated) and are not in the public domain and may not be used on websites, blogs, or in other media without advance permission from Carol Leigh.

Tuesday, December 6, 2016

Experiment #9375

I am loving these weird creations I'm making.

But there's a problem, and you may know the answer.

I have a lot of images in my iPhone 6+ that I want to download into my Mac Mini. I usually do this via a WiFi connection and software called, I believe, Photo Transfer.

This requires a fair amount of data being transferred out of my phone and then into my computer. I'm sensitive to data these days (ad nauseum), and to send and then receive more than a gigabyte of data impacts my limited data plan.

Is there a way to physically download/upload my cellphone photos without using WiFi? Maybe even from the cellphone to a flash drive, and then from the flash drive into the desktop computer? That way I could use the WiFi at the library or a local restaurant, then bring the flash drive home to do the rest.

Any suggestions would be most welcome!

NOTE: I figured it out (thanks to Chris). Adobe Bridge has an import feature. All I do is plug my camera's USB into the Mac Mini. Open Bridge. Import photos from my phone. Easy. It was Chris who suggested using the USB cable. I found the rest (after struggling with iPhoto for way too long -- do NOT like that application and just wanted to get my photos OUT of there). I don't use iPhoto at all, considering it a snare and a delusion. End of min-rant. All is well photo-wise. And it's 31 degrees at the moment. Winter has arrived.

©Carol Leigh
All text, photographs, and other media are ©Copyright Carol Leigh (or others when indicated) and are not in the public domain and may not be used on websites, blogs, or in other media without advance permission from Carol Leigh.

Tuesday, November 22, 2016

Experiment #9132

©Carol Leigh
All text, photographs, and other media are ©Copyright Carol Leigh (or others when indicated) and are not in the public domain and may not be used on websites, blogs, or in other media without advance permission from Carol Leigh.

Saturday, November 19, 2016

Experiment #9405

I'm not quite ready to talk about all the strange images I've been creating lately. I'm finding it so very exciting, but by talking about it, I fear I'll dilute the experience.

©Carol Leigh
All text, photographs, and other media are ©Copyright Carol Leigh (or others when indicated) and are not in the public domain and may not be used on websites, blogs, or in other media without advance permission from Carol Leigh.

Wednesday, November 16, 2016

Experiment #9039

©Carol Leigh
All text, photographs, and other media are ©Copyright Carol Leigh (or others when indicated) and are not in the public domain and may not be used on websites, blogs, or in other media without advance permission from Carol Leigh.

Tuesday, November 15, 2016

Experiment #9068

©Carol Leigh
All text, photographs, and other media are ©Copyright Carol Leigh (or others when indicated) and are not in the public domain and may not be used on websites, blogs, or in other media without advance permission from Carol Leigh.

Tuesday, September 8, 2015

Experimenting . . .

Altered vintage photographs where I played around with painterly effects as well as toning. Fun stuff!
©Carol Leigh
All text, photographs, and other media are ©Copyright Carol Leigh (or others when indicated) and are not in the public domain and may not be used on websites, blogs, or in other media without advance permission from Carol Leigh. Thank you!

Sunday, October 26, 2014

Just for the heck of it . . .









I'm on the last leg of an online class I'm teaching and something came up during one of my critiques that I wanted to elaborate on and so I thought I would post it here instead of only in the class. It's a fun exercise and it always encourages me to play around with my pictures (in Photoshop) and to have no expectations.

I call it "Flip/Flop/Blend."

The first photo you see is of a building I shot in Salem, Oregon. I love buildings like this. But then I thought, what would happen if . . .

What if I took that original photo, made a duplicate layer in Photoshop, flipped the photo vertically, then ran through the blending modes? The square photo (the second photo in this series) shows you what it looked like (and no, I don't remember which blending mode gave me this look and it doesn't matter -- every photograph is going to be different).

What I like about this second (flipped) photo is the lovely warm blue and pinkish cream colors that show up beautifully. I also like all those rectangles. I like the feeling of mystery, because at first glance, the building looks normal. But then you look and wonder, what the . . . ? In addition, I think the square format is perfect for emphasizing all those square and rectangular forms.

But there's more. Photo three in the series shows you what the image looked like before I cropped it to a square format. I like how the street appears in the top of the frame as well as at the bottom.

Then look at the next shot for an even different look. And finally, just because I could, I made it into an orb.

This is fun stuff! Is it fine art? Well, yeah, kinda, maybe. It's different. It's interesting. And it all started with just my "Flip/Flop/Blend" playtime.

Let's go on to the next image, which is much brighter (not much sun in Salem, Oregon that day, but there was lots of sun the Boston morning I photographed the second building).

I liked the blue sky and the bold forms of the building, but didn't really like it as it was. So, once again, I duplicated the image in Photoshop, flipped it, flopped it, or rotated it, then ran through all the blending modes each time just to see what I'd get.

The three images you see below the original one are the best of the bunch I created.

What's my point in all this? Well, for me, I like to be surprised by my work. A lot of the time I come home with decent photos, but they're pretty much what I saw at the time. And I tend to ask myself, what can I do now?

So, just for the heck of it, I'll bring one of my pictures into Photoshop, make a duplicate layer, rotate or flip the layer, then run through the blending modes. A good percentage of the time nothing wonderful happens. But every so often I'm shocked and surprised and delighted.

Shocked, surprised and delighted, for me, is a wonderful way to begin my day. How about you? Have you surprised yourself with your work lately? If so, let me know -- I'd love to see what you did. ©Carol Leigh

All text, photographs, and other media are ©Copyright Carol Leigh (or others when indicated) and are not in the public domain and may not be used on websites, blogs, or in other media without advance permission from Carol Leigh. Thank you!


Wednesday, March 12, 2014

List five childhood accomplishments . . .

As I’ve mentioned here from time to time, I’m reading the book The Artist’s Way. It annoys me. I’m doing it very slowly. But I’m sticking with it.

One exercise lately was to list five childhood accomplishments. It was embarrassing for me to come up with only four. Four! How pathetic is that? How pathetic was I? That was on March 5th.

On March 9th, after thinking a lot about that exercise, I finally decided everything I learned as a child was an accomplishment. The first time I tied my own shoes? Ta da! Buttoning my own blouse? Graduating from training wheels to a real two-wheeler? Flying a kite for the first time? Diving head-first from the diving board? Hooray for me!

Looking back, they don’t seem all that list-worthy, but when marking a child’s life, they were big deals.

But how does that apply to art? (See, it always comes around to that.)

What’s an “accomplishment?” Well, it’s “something done admirably or creditably.” It’s “a deed or achievement.” It’s “any acquired ability or knowledge.”

So as we’re making, sewing, collaging, photographing, painting, building, etc., where do we spot our accomplishments?

Sometimes we notice them right away, those little “aha” moments when we finally learn that stitch that makes an embellished garment come alive. Or when we set up the lighting just right so the oil can looks like it’s sitting on an old workbench. Or when we finally learn how to delicately shade something using watercolors.

Sometimes it takes a bit of distance for us to realize that yes, when you first began creating photomontages and you were using the eraser tool, you'd get much better results if you'd use layer masks. And now you’re creating images unlike what others are making.

So what’s my point?

What’s considered an “accomplishment” varies from moment to moment. And “accomplishments” don’t have to be “I invented basketball” or “I discovered the cure for polio,” or “I invented the ice cream cone.”

Our lives are marked with accomplishments of all sorts. The trick is to be aware of them. To recognize them as you go along. And to celebrate yourself for accomplishing them.

The first time you had to drive on the “wrong” side of the road in another country — that’s big. (Especially if you’re driving a stick shift.) The first time you stood up in a karaoke bar and belted out “Tie a Yellow Ribbon ‘Round the Old Oak Tree.” Or created a wonderful meal for 19 people that seemed so effortless on your part. Or stuck some forsythia twigs in the ground last fall to see glorious sprays of yellow appear this spring. These are tiny, seemingly inconsequential accomplishments. But once you learn to recognize them, you will see your self-esteem and confidence building.

In art, you will see your leaded glass designs become more sophisticated. Your purse designs will become freer and more interesting. Your photographs will begin changing, showing more thought, more purpose, rather than looking like everybody else’s.

Accomplishment, no matter how small, builds confidence.
Confidence encourages experimentation.
Experimentation begets something new and different, no matter what your art.

Watch what you do today. And when you see yourself doing something cool, celebrate it! You never know where that will lead you.

©Carol Leigh

And the above photo? It all began with my simply making black marks on paper. (Thank you, Laura.) I then bent, folded, spindled and mutilated them until I came up with this. Not sure where I'm going yet, but it's fun, it's a small accomplishment, it's an experiment. And we never know where our experiments might take us, do we?

Wednesday, November 13, 2013

Let's just see what happens . . .

At the end of last night's twilight shoot (see previous post), I was facing sort of southwest looking down at the beach when I noticed a great blue heron-ish bird in the surf. The bird was quite far away and out of reach of my lens, but I zoomed in as closely as I could, figuring let's just see what happens. During my 8-second exposure, my blue friend s-l-o-w-l-y made his or her way forward, step by step, as is their wont. I knew this shot wouldn't be good, but I wanted to see what the bird would look like during an 8-second period of its life. I blew up the heron part of my picture and added a bit of contrast to show you more clearly the final result. It's kind of cool, isn't it?

But why do something like this? Why bother when we know the result's going to be less than stellar? What this tells me is that if I ever find myself in a similar situation, where maybe I'm closer to a great blue heron, close enough to fill my frame, that an 8-second exposure (or longer) might just be cool enough and big enough to make an interesting, decent-size print. And it also, the morning after, makes me feel more connected to this bird. That last night wasn't just a one-night stand, rather a fond memory that will linger long . . . (But I digress!)


It was quite dark when I shot this from the bluff, but just light enough that I could see there might be a blue heron down on the beach. I'm there. The bird's there. My camera's set up. I'd be foolish not to try the shot.What would you have done?


©Carol Leigh