Motivated with new tools

A mantra I’ve often said is “I Love Digital I Hate Digital!” It’s as true today as when the phrase first entered my mind. (Click on any image to see full screen.)

One street lamp 40,000 ISO

If I capture something with my camera like my eyes saw I’m quite happy. Noise/grain that accompanies low light is a side effect of the digital settings necessary to capturing dark environments. Although I accept noise as part of the feel of that environment it’s a distraction I’d be glad to eliminate.  

Nicole Ivan REALLY?! Bodiography Contemporary Ballet Choreography Maria Caruso

Images from a production of the Bodiography Contemporary Ballet motivated me to do a test drive of noise reducing software. I was very happy with how the blacks surrounding Nicole’s form became transparent. The software did indeed reduce grain but added what I describe as a “painterly look.” I kinda liked it! Since I also like what 40,000 ISO can do, I recognized this software would allow me to experiment more in low light situations.

A preset “look” look dramatically improved the spectrum of blue.

After exploring the noise filter for a trial period. I added the entire Topaz collection to my editing toolbox to see what else I might use. As learning by trial & error will do, I found interesting tools.

A light touch softened the harsh elements that had overpowered the main subject.

Finding the images that benefit most from my new digital tools is a learning curve. I realized some filters have the ability to take “so-so” shots & improve the basics of form, light, color or texture. The right tool for the right job is where decision-making is important in achieving an image that correlates with my vision when I snapped the shutter. In doing this, I contemplate the Ansel Adams quote “You don’t take a photograph, you make it.” I often wonder how he would embrace digital tools.

The result of digital manipulation added to my appreciation of the strength of the form.

This result, in my mind’s eye, crossed over into a different dimension. Not a photograph but not a painting. In some respects filters made elements more natural while making others bizarre. It seems like I found some handles on mood & emotion. I soon saw a use for these tools with some specific images in my archive.

My 1st reaction was a feeling of summer. (The sails are masked from the effect.)

In previous attempts at chasing sailboats with my camera I was less than thrilled with the results. I had a few not-to-bad images but weather had an impact, as did my learning curve on my overall satisfaction. I liked the form within many of the images but they just didn’t “pop.” Using Photoshop I removed some elements I wasn’t happy with but nothing reached a level of  “Nailed It!” These images became my guinea pigs for venturing into artificial intelligence in photo software.

My next step may be trying to remove all the sponsor text on the hull & sail.

As is often the case “Less is More.” A slight use of a “designed look” diminished the visual strength of the bridge in the background while giving energy to the boat. That is more like what I envisioned.

My”old school” roots make it easy to reject this & other effects.

As with any effect, it’s easy to get ridiculous. But I did find “looks” I thought added a layer of enrichment not just change.

The elements in this image never did balance to my liking.

From what I know about AI using that term seems to be more hype/marketing than actual operation. The “looks” I felt had the most impact on improving the images fell into one category…dead painters with names like Degas, Van Gogh, Monet & Renoir.  However, with some images no amount of important artists do more than make a mediocre image more mediocre.

Over saturation is a common technique to grab eyes. I prefer a powerful subject.

Not surprisingly adding a filter does not rescue a shot that really doesn’t have much going for it. An effect just for the sake of an effect is only a crutch supporting a problem.

In the “before” image on the left, Empire Sandy lacked wind in her sails making her look flat & lifeless. Running the image on the right thru a few “looks” gave me something a bit more interesting. In this case the software added a classical feeling to a subject with historic roots. This effect works with this image.

Re-cropping to 30% of image gave better balance to elements that caught my eye.

I’ve overcome my “journalistic” concerns about altering an image. Now, reducing/removing visual distractions or enhancing details are things I routinely do in Photoshop. I especially enjoy how a simply re-crop gives a shot more emphasis.

From a sophisticated perspective I would critique this as just yukky!

I find myself in digital conflict again. Some of these clicks in Topaz software take an image into an entirely different cosmos. These images are far from a painting & my eyes don’t see a photograph. Frequently, like the image above, results scream NO! It feels disconnected from what inspired me. Occasionally, I discover a layer of emotion or mood that’s in sync with my original motivation.

LOST POND by J

My visual perception has yet to fully integrate how all the aspects of digital editing can assist with realizing that vision. I am continuing to learn the appropriate situation of what & when to dig into my digital toolbox. To ensure I don’t go to far I went back to some of my favorite shots. LOST POND is one of my few landscape captures I really like.  Could I make it better? The results…different yes better no!

I’m sure Monet himself could do better.

I love much of Monet’s work & I thought simulating his style might take the image to a higher level. Nope! The good photo, with some enhancement in Photoshop, is much better than the “Monet look”. Learning what I don’t like is valuable to me. It gives me incentive to pursue the vision of my mind’s eye with new tools, new perspectives & new failures, at my fingertips.

A Seed of Motivation

I can remember specifically the image I saw in 1977 that made me look at sailboats in a completely different perspective. It was a crossing of two 12 meter sailboats during the Americas Cup. The shot captured the perfection of the wind pushing the most elegant design of sails & boat I had ever seen. I have looked at a lot of sailboats since then. I’ve see many I like. For racing, catamarans are faster & foils make them look slow. However, 12 meter sailboats dance with the water & wind with a harmony not seen in other class of boats.

With a camera in my hand, the element of water adds a tremendous amount of opportunity for an image. The texture and the color have many variables to work with. When a sailboat is put on water I look for that elusive background with nothing but water and sky.

The primary draw of my eye is to the form of this subject.  The wide shot with multiple boats shows both symmetry & distinction. I like the idea of no logos on the sails but black isn’t my favorite hue. I learned the reason is the material…carbon fiber. Old school sails are better for the eye. Speed isn’t everything.

The hard diagonal of the mast is relative to the soft curves of the sails. To my eye this juxtaposition of forms indicates power. The power is reinforced as the bow slices the waves.

Having spent brief moments on a sailboat provides a respect for the crews of these boats. The grinders to the navigator the bowman to the tailers the skipper to the pitman must work with harmony in moments of near chaos all while bouncing along the ocean. I love the no-slip material sewn onto the butt of the pants. Function not fashion!

I met the uncle of the Captain of Onawa who asked me to try and get some pics of his niece Barbara Krasinski at the helm of the oldest 12 meter in the fleet. What an honor. Built in 1928 and still competing in the Vintage Division. By sheer luck it is one of my select images was of Onawa. I did get a better image of her at the helm leaving the dock, which her uncle loved.

Although the weather was  much much better than last years trip to Newport, The haze was a disappointment. However, I found that exploring more with my B/W knowledge I found some solutions to the haze with results I’m getting more content with. Tell me if you like the image in BW above or in color below.

From the bow to the stern interesting angles can be found. It truly is a 360 degree subject with many opportunities. Relative to the sun, when you are in a powerboat positions go from heavy back light to flat and everything in between. A shot that was just OK 15 seconds ago is now spectacular with the shadows of the sails and clouds. For someone like me that loves being around boats chasing these opportunities is indeed a challenge I have always wanted to do with my camera. The workshop by Onne Van Der Wal was indeed one of the most worthwhile opportunities I experienced.

One of those boats in the picture that inspired me in 1977 was Courageous. Seeing her on the water gave me pause to reflect on the influence one particular image had on me.  My tastes and interests are still evolving but the long ago seed planted by this elegant floating sculpture has grown to  fruition.  This year Courageous took 3rd of 8 boats in the modern division. In 1977 Ted Turner skippered her to win the America’s Cup. Each of us has gotten a bit slower in the 40 plus years.