239. Abstract - January 14-20, 2018
Kevin-
Well there are many kinds of “abstract” images. Some of them seem like each aspect of the image is carefully placed and constructed to reinforce the abstract nature. In other images the abstraction seems to be reinforce by the randomness of image elements, whether those elements are recognizable or not. This image is closer to the latter type.
I had done some experimentation last year photographing water drops in a pan. I wanted to try the something similar, but shooting the drops, and the resulting surface disruption, from below, which means I needed a clear glass bottom. There was about 3” of water in the tank, and my focus point was up on the water’s surface.
And there are actually only two elements at play here. One is water, and the other is light. The water was in the small tank. And the light came from three Nikon SB-900 series flash units, one with a red gel, one with a blue gel and one with a green gel, all “zoomed” to 200mm, set to 1/64th power, and placed to surround the tank.
Nikon D850, mounted on a Manfrotto Carbon One 440 tripod, 105mm f/2.8 Micro-Nikkor lens, set to f/11, ISO 200, 1/250th of a second (flash-sync). I captured about 250 frames, no two of which were alike. The camera was set to continuous mode and I would typically capture about a dozen frames each time (as I squirted more water from a hypo) before the flash batteries needed a couple of seconds to recycle.
Well there are many kinds of “abstract” images. Some of them seem like each aspect of the image is carefully placed and constructed to reinforce the abstract nature. In other images the abstraction seems to be reinforce by the randomness of image elements, whether those elements are recognizable or not. This image is closer to the latter type.
I had done some experimentation last year photographing water drops in a pan. I wanted to try the something similar, but shooting the drops, and the resulting surface disruption, from below, which means I needed a clear glass bottom. There was about 3” of water in the tank, and my focus point was up on the water’s surface.
And there are actually only two elements at play here. One is water, and the other is light. The water was in the small tank. And the light came from three Nikon SB-900 series flash units, one with a red gel, one with a blue gel and one with a green gel, all “zoomed” to 200mm, set to 1/64th power, and placed to surround the tank.
Nikon D850, mounted on a Manfrotto Carbon One 440 tripod, 105mm f/2.8 Micro-Nikkor lens, set to f/11, ISO 200, 1/250th of a second (flash-sync). I captured about 250 frames, no two of which were alike. The camera was set to continuous mode and I would typically capture about a dozen frames each time (as I squirted more water from a hypo) before the flash batteries needed a couple of seconds to recycle.
Paul-
I’m not sure if this qualifies as “Abstract.” Certainly Pollock and de Kooning wouldn’t think so. It’s closer to Warhol, and I'm fairly sure he wouldn't like it either. When I finished it, however, what I definitely knew I captured was a bit of an inside joke. People really don’t take pictures of kaleidoscopes that much. People take pictures through kaleidoscopes…of kaleidoscopic effects
So, always the alpha weird guy in the room, I decided I’d try to make an abstract picture of a kaleidoscope (in fact, two of them in this picture) rather than go the expected route. Kinda like taking a picture of the watch around your wrist while you’re visiting the majestic Grand Tetons. You know, purposely missing the point of the moment?
Well, something like that. Let’s move on
.
I have a small collection of kaleidoscopes (which is mostly a collection of small kaleidoscopes). The largest of them is my favorite, and I have it leaning against a smaller whose barrel is surround by inlaid wood. I shot them in a light tent with one light above and flash light shining directly at the kaleidoscope’s front chamber through an opening on one side. The background color is brought to you by a piece of Origami paper. In Lightroom I used the Adjustment Brush and Vibrance settings to further enhance the colors of some of the objects the artist placed in the chamber.
Then I found a fun site called Pho.to [http://funny.pho.to/creative-photo-effects/] that allowed me to create...well, whatever you want to call that effect. A final touch: A border to complement the picture.
“Uh, sir, I believe your museum has hung the artist’s work upside-down”: Nikon D5200; aperture priority; 18-55mm lens focused at 55mm; ISO 800; 1/13 sec. at f/14; pattern metering; Auto WB. The camera was hand-held.
I’m not sure if this qualifies as “Abstract.” Certainly Pollock and de Kooning wouldn’t think so. It’s closer to Warhol, and I'm fairly sure he wouldn't like it either. When I finished it, however, what I definitely knew I captured was a bit of an inside joke. People really don’t take pictures of kaleidoscopes that much. People take pictures through kaleidoscopes…of kaleidoscopic effects
So, always the alpha weird guy in the room, I decided I’d try to make an abstract picture of a kaleidoscope (in fact, two of them in this picture) rather than go the expected route. Kinda like taking a picture of the watch around your wrist while you’re visiting the majestic Grand Tetons. You know, purposely missing the point of the moment?
Well, something like that. Let’s move on
.
I have a small collection of kaleidoscopes (which is mostly a collection of small kaleidoscopes). The largest of them is my favorite, and I have it leaning against a smaller whose barrel is surround by inlaid wood. I shot them in a light tent with one light above and flash light shining directly at the kaleidoscope’s front chamber through an opening on one side. The background color is brought to you by a piece of Origami paper. In Lightroom I used the Adjustment Brush and Vibrance settings to further enhance the colors of some of the objects the artist placed in the chamber.
Then I found a fun site called Pho.to [http://funny.pho.to/creative-photo-effects/] that allowed me to create...well, whatever you want to call that effect. A final touch: A border to complement the picture.
“Uh, sir, I believe your museum has hung the artist’s work upside-down”: Nikon D5200; aperture priority; 18-55mm lens focused at 55mm; ISO 800; 1/13 sec. at f/14; pattern metering; Auto WB. The camera was hand-held.
Jerry-
Howdy,
While enjoying a delicious big mac meal my curiosity was triggered by the seemingly abstract quality of the fries next to the burger. So here you go. No “real” camera with me but I managed with my phone to capture this. I had been taking photos at home of leftovers from Solo pizza, but I like this big mac photo the best.
Howdy,
While enjoying a delicious big mac meal my curiosity was triggered by the seemingly abstract quality of the fries next to the burger. So here you go. No “real” camera with me but I managed with my phone to capture this. I had been taking photos at home of leftovers from Solo pizza, but I like this big mac photo the best.
Don-
I created an abstract from a selfie I took Wednesday.
The selfie focal is with a 24 to 70 mm lens set to 70mm. Exposure
was 1/3200 sec; f/8; ISO100; camera on Manual and the SB900 flash fired.
I tell you now because you will likely not read the rest.
In Photoshop I then added a gradient layer behind the selfie, I needed color.
Merged the two layers and then made the layer a 'smart object.
I did 3 radial blurs. Then a 'mezzotint filter.' Finally a clockwise twirl with a
'darken' blend mode I think it was.
I duplicated the smart object into another layer. I opened the twirl and then
changed it to counter clockwise.
Now I grouped the two layers and then duplicated the group. I opened one
of the groups and then flipped the image on those layers. So now there are
4 smart objects and blended. I opened the 'brighten contrast' adjustment
layer and brightened the effect you see here. My abstract made from a
selfie. The abstract I created earlier in the week was a test run made from
a bouquet of roses.
My submission is Selfie Abstract.
I created an abstract from a selfie I took Wednesday.
The selfie focal is with a 24 to 70 mm lens set to 70mm. Exposure
was 1/3200 sec; f/8; ISO100; camera on Manual and the SB900 flash fired.
I tell you now because you will likely not read the rest.
In Photoshop I then added a gradient layer behind the selfie, I needed color.
Merged the two layers and then made the layer a 'smart object.
I did 3 radial blurs. Then a 'mezzotint filter.' Finally a clockwise twirl with a
'darken' blend mode I think it was.
I duplicated the smart object into another layer. I opened the twirl and then
changed it to counter clockwise.
Now I grouped the two layers and then duplicated the group. I opened one
of the groups and then flipped the image on those layers. So now there are
4 smart objects and blended. I opened the 'brighten contrast' adjustment
layer and brightened the effect you see here. My abstract made from a
selfie. The abstract I created earlier in the week was a test run made from
a bouquet of roses.
My submission is Selfie Abstract.
Byron-
Me, being a lazy fellow, prefers to let others do the hard work. In this case I let nature do the difficult job of converting a simple scene to an abstract one. I am laying on the bottom of the pool while Erl is serving as both bi-pod and shutter release. I chose this exposure because it made me smile for 2 reasons. It looks like I'm wearing goggles (I'm not) and there is a circular wave design thing above my lips. It looks like I'm spouting a thin stream of water. I used a polarizing filter to reduce reflections.
ISO 200, 18mm, f5.6, 1/500 sec
Me, being a lazy fellow, prefers to let others do the hard work. In this case I let nature do the difficult job of converting a simple scene to an abstract one. I am laying on the bottom of the pool while Erl is serving as both bi-pod and shutter release. I chose this exposure because it made me smile for 2 reasons. It looks like I'm wearing goggles (I'm not) and there is a circular wave design thing above my lips. It looks like I'm spouting a thin stream of water. I used a polarizing filter to reduce reflections.
ISO 200, 18mm, f5.6, 1/500 sec
Darin-
The Iron Kaleidoscope.
Did you know manhole covers are round, because, unlike any other shape, it is impossible for them to fall into the hole?
The Iron Kaleidoscope.
Did you know manhole covers are round, because, unlike any other shape, it is impossible for them to fall into the hole?