Sunday, March 26, 2017

Collecting Photographic Reference Material

Most artist have their very own way of collecting reference material for a later studio painting. Some might just take one snapshot style photo (or perhaps a few) the essentially copy that.


I must be from a more plein-air background, I much prefer to do a sketch or two (or three) on location. There is more time to breath in the atmosphere, listen to the sounds and get a real sense of the place, than just pressing a shutter button and moving on. More significant you still general have limited time so you have to gloss over the less important details, ones you might be tempted to copy from a photo and concentrate on what will be your subject/centre of interest, getting the relative tonality right and pulling together the colour palette. This requires keen direct observation, but with a little practise it come easy. In my initial pencil sketches I could see I needed to include the distant people to consolidate the vastness of the beach (Seven Mile Beach near Gerroa, South Coast of NSW )_IGP5449-2

Where a photograph will just reproduce the colours (and detail in a scene) within the technical limits of a camera, an artist will usually refine the colour palette to enhance or subdue the atmospherics. Possibly tweak the relative tonality to emphasize the subject. I always feel even rough sketches capture the essence of a place and are fresher than just a photo.


Take 5

However it doesn’t hurt to have some extra detail and this is where photography can be a great assets for any artist. My advice is always Take 5 

  1. The snapshot (first impression of the scene)
  2. Wider perspective (wide angle, panorama, or just adjacent overlapping shoots)
  3. zoom in on you subject
  4. take some atmosphere (eg the sky, the surf)
  5. look behind you (ok not literally but do look around and get a context photo or two of the place.


You may as well get the obvious snapshot out of the way. However next spend a bit of time looking for a wider view. Camera phones are already slightly wide angle but unlike a DLSR you can’t change lenses but there are lots of panorama apps that will allow to get a wider view. Alternatively you can several overlapping photos and use a stitching program. The next option is to zoom in close (most phones can do digital zooming) and a DSLR with a good zoom lens will save you leg work. Otherwise just walk in to get a closer view. It is also wise to take a couple of atmospheric photos, if it is a cloudy sky, take a photo just of some of the clouds. If the light is intense take some photos showing deep shadows, A blue sky is a lot of blue but it will give you a good reference for tonal changes, particularly towards the horizon, Make sure you can record the direction of light (shadows in photos will help here). Don’t forget to look around, sometimes what's behind you can make a stronger picture.

Make that 10

That set of five type of references should give you a big start back in the studio, but why stop there here are a further set of optional photos you should consider as well

  1. Take a photo of the sketch in place
  2. Try a range of different framing option
  3. Try a range of exposure options (eg EV bracketing)
  4. Look for Abstract shapes (or lines) and focus on them
  5. get in really close, record interesting texture (this could be very close up or plants, rocks, ripples in the sand or a stream)

The photo of your sketch in position will give a great reference of understand any difference in the colours captured by your camera versus what your sketch recorded. If nothing else any white background of your sketch book will be perfect to do a white balance on the photo later (which decent software should let you can carry to your other reference photos). Next is the idea of trying different framing options (its a little like steps 2 & 3 but instead of focusing on the subject you should move the frame around shifting the subject up and down or to right and left)  you might like to change your position so you are looking up or looking down (eg standing or sitting on a beach makes a big difference to perspective). Perhaps you can find a track, fence line that leads you nicely to the subject, walk around. Perhaps a portrait orientation(vertical) may be better than a landscape (horizontal) orientation. Your camera viewfinder  or phone screen are fixed aspects but you might like an image with a slightly different aspect. For example I am finding may sunny vista lend themselves to a super wide format and I even sketch across two pages (3:1 aspect), so why not take two or more photos and join then later. image

A lot of folk don’t like the default HDR style of photos (chunky detail and over vivid colours) but taking a set of images at different exposures can give you details in the shadows right through to delicate highlights, that a single photo even when perfectly exposed can not provide. learning you use HDR methods/software in a constrained manner can deliver photos that are much closer to what you remembered of the light & colour.Most DSLR have bracketing options and now many phone camera apps do as well or can do HDR multi-exposures directly on the phone. You don’t have to put up with bleach out skies and blown out highlights anymore.image

The second last task is slightly obscure but it relates to balancing the tonal areas in your final painting. You can use your camera to help find the dominant shapes of dark and light. It requires looking at the scene in a more abstract manner. Its a lot like the advice to half blur your eyes in order to better see tone. If you have a DSLR put it in manual focus mode and then blur the image until you just see abstract shapes. Strong diagonals, curved lines and edges or sharp shapes can lead the eyes of the viewer. Try framing those shapes such that the lightest light against the darkest tone become the centre of interest (such contrast is generally what involuntarily draws a viewer’s eye first). Then refocus the camera and take that view. Mobile photo cameras generally don’t have a manual focus but you can resort to any of those camera/filter apps that change what is display on the screen as you take your photo. Changing the camera display to black & white or using a posterizing filter with only a few steps will help make it easier to see the tonal shapes. If you don’t have a phone with such apps find a some software that can help you perform these steps (I have used on my computer and snapseed on my phone) This is much the same step as doing a small tonal composition/notan sketch. As with the framing step it pays to move your view around, even a little. It can also help you zero in on what contributes  to an interesting composition and what can become just a broad area of tone, and perhaps a little texture.image

Finally a few really close ups that record pattern & texture and/or some of the details you want include in your painting, a few quick detail sketches of such items might be useful as well. After realising I needed some people to give me scale I took a few difference photos of people both near and far walking on the beach.


Saturday, March 25, 2017

Refining the Travelling Kit

This is my third endless summer trip and I am starting to refine the gear I am carting around. I can almost carry everything at once but normally I don’t have too, The backpack in which I carry two computers, (why two computers? why not) is fine for travelling on an airline, where one of the camera also goes in the backpack and the second camera (normally the Pentax) imagebecomes my hand carried ba). The art gear travels in my luggage for flights.

In the field I leave the computer back in the room (or car) and just carry one of the cameras and the sketching gear, with papers (A4 or quarter watercolour sheet size) already taped to my A4 plus sized drawing board that fits inside the little red backpack.

For more established and longer sketching I have an A3 sized sketch board in the blue folio which takes half sized Watercolour paper, it also has a bolt on the underside that can screw into a tripod for a make shift portable easel. The blue folder also holds about half a dozen watercolor sheets and a couple of extra sketch book.

Thursday, March 02, 2017

HDR on the forest floor

HDR on the Forest floor

I visited the Tahune Air Walk and forest on a largely bright (summer) sunny day, but rainforests are typically dark (shaded) places on the forest floor. Shouldn’t a sunny day be a better time to photograph?

The answer is NO! The dynamic range of light (the range in strength of illumination, from darkest to brightest) on a sunny day is significantly higher on the sunny day, The bright splashes of foliage where shafts of full sun light is reflected many times brighter than the nearby glom of full shadow, yet there is detail there also. Whilst our eyes can handle this situation a camera and the dynamic range it can capture will probably be a lot less than required.  Typically you will your photo will have correctly exposed (or maybe slightly overexposed foliage behind dark silhouettes of tree truck of overhanging vegetation. On an over cast day this difference is much narrower, and you are much more likely to get a decent picture.

imageSo it seemed logical that this is a perfect opportunity for getting better images with a set of bracketed images (using EV steps, see screen capture on the right) and HDR post processing these images. Here I am using lightroom and the NIK software add in which has worked fine. The resulting HDR image does manage to get the shadow detail and preserve (not over expose) the colour of the foliage. I is much closer to what I remember seeing (and feeling). There is a lot that can be done at the post processing stage and this is usually referred to a tone mapping, how the extra illumination and colour detail is mapped back into the colour image and this is where HDR can get its bad name because you you can push the colour, local contrast and other aspects into very surreal and painterly abstractness. I am becoming a fan of NIK HDR Efex and their realistic presets (either balanced of deep) because they stay closed to my expectations.

I have returned to using lightroom to mamage photos on my HP Spectre and definite use two organization tools, Colour (eg. I flag bracketedimage sets with yellow) and then I stack the original images together. Thus reducing the clutter or many images that are the same.

I also have gone one step further in this image and used OnOne 10’s enhance and magic eraser to reduced the impact of a dead fern frond in the upper right and also detail filter to reduce overall digital noise, but keep as much detail as possible.

Tuesday, February 28, 2017

When more becomes too many

As I walked through the forest I just took almost exclusively bracketed sets of images. Not only for a single scene but also for every image in a panoramics series, the number of images quickly multiplies.

I already take Raw & Jpeg, then 3 brackets means 6 images when I press the shutter. Next I might  take 5 overlapping photos to cover the full range of the very tall trees. And I’m up to 30 images just to get. A single final photo.  I took around 20 such multi-image panoramas and wow over 600 photos on my hard drive. 30 images to make just 1 vertarama

Just looking through that number of images becomes a challenge. It makes a couple of minutes (mainly waiting) to create the HDR image (using default preset/setting). Longer if I want to tweak any settings.Intermediate step of producing individual HDR tonemapped imagesThis steps also creates another larger .Tiff file (I’m creating 16bit tiffs to get maximum dynamic range and colour info). Next the autostitch can be as fast as a few minutes for a small preview but that quickly becomes about 20minutes (again mostly waiting) if I want a large (almost full size, ie as large as assembling to component images). Even though my little HP spectre only has limited disc capacity and slightly lower speed (i5 versus i7 processor) than my desktop. memeory is the same and the HP has an SSD drive which makes everything, even lightroom, look snappier. Suddenly I realise I’m spending half and hour on each separate HDR/panorama. That’s going to be 10 hours if I want to process all images. Worst the photos and sub-stages would take up about 17 gigabytes! This is turning into a nightmare.

Ok that’s just too much. So I’ve opted to do some preview stitching to a small image size (1400 pixels wide) from the EV=0 exposures to judge the desirability to go to more complete processing. Cutting the task down to just 4 big images at the moment. The first image below I spent over half an hour setting is not one of those I wanted to keep! Such is life.

Trial Vertarama using Autostitch with no straightening

Saturday, February 25, 2017

Sketching Kit Four :: Making a new drawing board

While I was in Tassy I found the blue folio containing my art gear was a bit awkward to always carry around. weight wise it was fine it just always required being held in one hand (eg I had o put it down to take a photo etc) and it was a little on the largish side anyway. So I started leaving it behind and only sketching with what was in my camera bag (which was probably fine). But leaving my better art gear unused seemed a waste, and while passing the Kathmandu Shop in Salamanca place I decide to ask what they had as a temporary backpack to carry the artgear. After being shown a few expensive unsuitables I was eventually shown the 15L pocket pack (it rolls up into it own little pocket, and is designed to take up little room or weight in your luggage but provide a suitable “day” pack if required) It looked sturdy enough and was about the right size and price, I immediately transferred all my gear, including my Derwent Inktense pencils & blocks (a new favourite). Well, except no drawing board or individual sheets of watercolour paper, which where too large to fit. Happy ending, I carried my art gear everywhere after that.

15L Pocket Pack & Contents

I really like the idea of a backpack, so I resolved to make a slightly smaller drawing board to fit in the pack. It was simple to make from particle board. The shape is a little tapered and rounded at the top so it is easy to slide into the pack. Unfortunately this means half sheets are too big and I will have to settle for quarter sheets of watercolour paper! The board is ample sized for A4 sheets or an A4 sketch book held down with clips or a couple of rubber bands. I have also painted one side white and the other a darker gray. I have also been recently experimenting with notan/tonal value cards, so I figured I’d add a simple 5 step gray scale tone checker. Getting the tonnes reasonably accurate with acrylic paint was a bit harder than I expected (since acrylic paints notoriously dry darker than it looks when first mixed) so a bit of trial and error was required. The greyscale is conveniently always at the on the top or right hand side of my drawing board, so it will be easy hold the board out and check tones. The final embellishment was to drill a small hole as a colour checker. By positioning the hole over an area of colour it is isolated from the surrounding colours, and tones, and easy to compare with your work on the drawing board.

Gray Side of new Drwaing BoardClose up of simple tonal & colour checker tools

I’m not certain who much use I’ll get out of these tone and colour checking tools, but they look neat and they will always be easy to access and ready to use

Saturday, February 18, 2017

More time doing, no time for blogging

Photo by my wifeMy endless summer project trip to Tassy was great, did lots, saw lots and got plenty of inspiration (not necessarily a lot of sunshine). C’est La vie.

My instagram @oz_endless_summer has just some of the of the stuff.

In the end it was better to do than blog about it, right?

Wednesday, February 08, 2017

Suddenly Instagram is beginning to look like my sketch books

I’m the first to admit I haven’t figured out the appeal of Instagram, other than its easy of use and a way fast disposal of images (short viewing life and soon forgotten). Then again I have had fun in the grid view with mosaicked images and I’m still posting in threes, BUT….

What the? I’m still posting to my art project specific account @oz_endless_summer and the posts are starting to go all over the place, a bit of that here and something 2017-02-07-14-36-46different there and then back to something else. This is starting to look like the contents of any of my sketchbooks. The worry is, the more I blunder around, the more likes pop up and the followers while going up and down are at least growing. Making all this harder to understand.

What is worse I do already have an on-line sketchbook which has gone from “My Daily Sketch” (it was last years commitment that didn’t last) to “My Occasional Sketches” (aka on tumblr. Yes I post much the same stuff there still as well. Tumblr being in my opinion a much better platform, specifically I can control the links and syndication. Importantly it is not a walled garden like instagram. However tumblr is quiet (not as dead quiet as Google+ has become) but not many see my stuff and few like or comment. I’d convinced myself no one was interested in my works in progress and idea development. I just didn’t know where and who. So it looks like it time to toast Sketchbook Instagram.

Such is life