I've not been making any weird postcards lately, but this one's been waiting in the wings since last April, so it's time to get it off the table and show it here.
I created a "faux poste" collage using a photo of a fish I took in South Carolina, a piece of paper money from Indonesia, a postage stamp with a contrived cancellation stamp, and a scrap of paper from an antique Japanese book.
This was fun to create -- inspires me to get back into making more of these.
©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.
Showing posts with label fish. Show all posts
Showing posts with label fish. Show all posts
Friday, February 10, 2017
Monday, August 8, 2016
Latest work: "Book of Fish"
I found the most discolored, water-stained, moldy book in an antique
store for $1, brought it home and pulled it apart. The cover was the
best part, and I really liked the colors. To that I added a vintage
picture of a trout, mixed everything together, tweaked it a bit in the
computer, and came up with this image. Weird, but cool!
©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.
©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.
Labels:
"Book of Fish",
Carol Leigh,
fish,
latest work,
photomontage
Thursday, June 19, 2014
Latest works: "Seaworthy" and "Piscatorial Perambulations"
I use all sorts of backgrounds in my photomontages, and here you see one that's compliments of National Geographic Magazine.
About four years ago I was playing around with a technique wherein you spray pages of National Geographic with an organic cleaner called Citra-Solv. The pages of the magazine stick together and after about 30 minutes or so you pull the pages apart to reveal how the ink has smooshed and moved and created interesting patterns. (I may be wrong about the waiting time, so don't rely on me for accuracy, but there are lots of tutorials online that show you how to do this.)
Anyway, I was on a binge! Magazine pages were drying all over my kitchen and the scent of Citra-Solv, which smells pleasantly like oranges, became really annoying by the end of the project! Once the papers were dry, I stashed them away to be used in collages.
Which brings me to this guy.
I pulled out the Citra-Solv papers the other day and noticed how this pattern reminded me of bubbles in water. Which made me think of fish. Which reminded me I'd cut out an illustration of a fish from a vintage fish identification book. I photographed the fish cut-out. Photographed the magazine page. And then I blended the two together.
Want to see another version of this same fish?
This time I used a different background, but one that was also created using the Citra-Solv/National Geographic technique. I liked the overall texture. I also liked how the fish (same fish as above) reacted with that texture. I then added a couple of fishy stamps from Iceland, another from San Marino, and made a postcard. (Yes, you and I see the fish stamps and think "island," as in "Catalina Island." But nope, it's pronounced "Iceland." Which actually makes perfect sense.)
So there you have it. Same fish. Different day. And if you ever see postage stamps that simply say "island" on them, you'll know they're actually from Iceland. Amazing what you learn here, isn't it?
©Carol Leigh
About four years ago I was playing around with a technique wherein you spray pages of National Geographic with an organic cleaner called Citra-Solv. The pages of the magazine stick together and after about 30 minutes or so you pull the pages apart to reveal how the ink has smooshed and moved and created interesting patterns. (I may be wrong about the waiting time, so don't rely on me for accuracy, but there are lots of tutorials online that show you how to do this.)
Anyway, I was on a binge! Magazine pages were drying all over my kitchen and the scent of Citra-Solv, which smells pleasantly like oranges, became really annoying by the end of the project! Once the papers were dry, I stashed them away to be used in collages.
Which brings me to this guy.
I pulled out the Citra-Solv papers the other day and noticed how this pattern reminded me of bubbles in water. Which made me think of fish. Which reminded me I'd cut out an illustration of a fish from a vintage fish identification book. I photographed the fish cut-out. Photographed the magazine page. And then I blended the two together.
Want to see another version of this same fish?
This time I used a different background, but one that was also created using the Citra-Solv/National Geographic technique. I liked the overall texture. I also liked how the fish (same fish as above) reacted with that texture. I then added a couple of fishy stamps from Iceland, another from San Marino, and made a postcard. (Yes, you and I see the fish stamps and think "island," as in "Catalina Island." But nope, it's pronounced "Iceland." Which actually makes perfect sense.)
So there you have it. Same fish. Different day. And if you ever see postage stamps that simply say "island" on them, you'll know they're actually from Iceland. Amazing what you learn here, isn't it?
©Carol Leigh
Friday, November 8, 2013
Latest work: "Counting Fish"
I created this picture (which is, I know, very weird) using my photos of cement walls and a fish from a sign on the east coast. Each fish is numbered, in line with our predilection these days of counting and tagging everything.
©Carol Leigh
©Carol Leigh
Monday, April 1, 2013
Kohaku chameleonii
I was lucky to photograph this rare form of koi, which changes color to blend in with its background. This red and white koi, known as "kohaku," has almost finished its transformation. Without the last remaining spot of red, you'd never know the koi was there. ©Carol Leigh
Friday, March 29, 2013
Latest work: "Upstream"
What I like about this picture is the way I created an aged, weathered,
almost Japanese-looking blockprint image. As usual, I've incorporated a
lot of my own photos, including photos of string, aged papers,
calligraphy, numbers, torn and burned papers, and more. Love the colors!
Vivid yet muted somewhat. ©Carol Leigh
Wednesday, November 28, 2012
Empty calories

Within and without Photoshop, there are a lot of ways to tweak one's photos. And a lot of photographers are doing it, including me. By simply adding a texture, pressing a button, selecting a filter, we can change the look of our images instantaneously, easily, and (often) mindlessly.
Here you see two different versions of the same photo. The first one, the red one, is the original. It's a photo of a sign on a red door at the Waldport Marina. I was drawn to the red color and the rustic look of the fish and the lettering. I photographed it a year ago — November 24, 2011.
This morning, I wondered what I could do with it. I wanted to make the fish a bit grungier, so that its texture would be lighter and brighter and would stand out more against the dark red background. But I got distracted. I instead went into Topaz Adjust to see what different overall looks I could give the photo. I selected an effect I never use, which was one of the "solarized dreams" effects.
I liked the way the color turned turquoise at the bottom, how the texture on the door really stood out, how the texture on the fish came forward, and how the letters turned from white to black. All I did was click the button for the effect. I played with the sliders a bit to see what else I could do, but ended up doing nothing more.
In my eyes, the resulting image is fine. It's fun. It's colorful. But it's not very rewarding to me. And I began wondering why. I think it's because my tweaking the photo was really a mindless act. All I did was wonder what would happen if I clicked a certain effect. Yup, that's cool. Now what? There's nothing of me in this photo. There's no real artistry here.
Quite often, when I create a photomontage, there's this solid "knowing," a knowing that something is unique, different, composed well, and makes me feel proud. Do you feel the same way about your work? Do you solidly know when you've done something beyond the ordinary? And you solidly know that it was your talent, your knowledge, your hard work spent learning your camera, your software, that led you to a fantastic result?
Marianne takes a glorious photo of a butterfly and she knows it's the result of years of daily practice, constant research, as well as a highly developed eye that led her to be in the right place at the right time in the right light with the right skills to create that photograph. Jim climbs a hillside to be in the right place at twilight to fill his frame with the city lights below. He knows his camera, knows how he can enhance that glorious cobalt color, and knows he's created something more than terrific. And I photograph a piece of metal embedded in a sidewalk, knowing that later on that bit of metal will become a headland in a final image that may look like a stormy seascape.
We all are trying to set ourselves apart as photographers, artists, painters, whatever. Unfortunately, I believe a lot of us are turning to "instant art," thinking that by pressing a button, clicking on an aging effect, or turning something that was red into something that's turquoise, yellow and orange (as I did above) we have instantly set ourselves apart from everyone else.
Speaking for myself, I just don't feel like an artist when I do that. So I don't consider my fish photo an artistic one. I clicked on an effect, framed the image, and hung it here in this blog. There was none of that "knowing" that I've gone beyond myself. There was no solid sense of having used an artistic eye. No solid sense that I've used my past learning and creativity to come up with this picture.
What's my point? As usual, I'm not sure. In my own work, I'm aware of empty calories. Effects that are fun at the time, but that in the long run just don't feed my artistic soul. So what about you and your own work? Do you get that solid "knowing" feeling when you've really worked to create something unique, something that shows how much you have practiced, learned, and experimented? Or is a lot of what you (and I) create simply empty calories? Fun, filling, but not very satisfactory in the long run?
©Carol Leigh, who now has a slight craving for a cookie...
Monday, July 9, 2012
Summertime blues
A rooster weathervane in a blue sky at Spanish Village in San Diego's Balboa Park. A fish on a mural here in Waldport, Oregon. And, of course, a pear (one of my favorite subjects) that I combined with a photo of an adobe wall. Three more "blues" to follow tomorrow. Wishing you all cool breezes, smooth sailing. ©Carol Leigh
Saturday, July 7, 2012
Fresh Fish
I'm getting a lot of mileage out of this one matchbox label. Here's its most recent incarnation. Gotta love the "bubbles!" ©Carol Leigh
Tuesday, June 26, 2012
Fish
This turned out nothing like I originally intended. There are so many layers underneath what you're seeing here, ranging from torn bits of paper, Japanese calligraphy, handpainted papers, etc. The fish is an altered version of a Czechoslovakian matchbox label (#12 out of 15,000 — don't ask). Anyway, I've been in an artistic quandary of late, trying all sorts of things, and I kind of like how this looks. Of course, it's past my bedtime, I can't focus real well, so it may look horrid in the cold, clear light of day tomorrow. If you don't see this post, you'll know that I came to my senses and removed it. (Now that was mildly funny.) ©Carol Leigh
Subscribe to:
Posts (Atom)












