Download Art Beyond the Lens. Working with Digital Textures by Sarah Gardner PDF
By Sarah Gardner
Vintage-looking, dream-like textures can open up an entire new global on your images. despite the fact that, there's a lot, even more to operating with textures than just merging them with a picture through Photoshop. during this lovely new advisor from texture guru Sarah Gardner, youll study every thing there's to grasp approximately find out how to maximize the possibility of those interesting instruments. as well as enormous quantities of lovely instance pictures, this publication can be jam-packed with functional suggestion on what makes a great texture, and the way and whilst to take advantage of them. How a picture is in the beginning captured and processed has an important impression at the impact a texture can have, so youll additionally study what to think about while composing and taking pictures (rather than just hoping on post-processing) and the way to exploit lighting fixtures and heritage concerns successfully for later paintings with textures. Workshop notes and a supplemental web site may help you place Sarahs strategies into perform instantly. appealing sufficient to take a seat in your espresso desk but sensible adequate to shop close to your machine, this e-book will convey you every thing you want to comprehend to get that coveted vintage-feel on your photographs, no matter if youre an off-the-cuff relatives snapper or a professional specialist.
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Additional info for Art Beyond the Lens. Working with Digital Textures
The best midtones are those grays that sit right in the middle of the grayscale. I often opt for a cream, soft pink, gray, or aqua-colored background for still life work. 42 Art Beyond the Lens From plain to textured When photographing still life setups, finding great backgrounds can be hard work. However, because I process with textures I can rely on them to take the hard work out of it! Plain backgrounds can be fused with textures to create genuine areas of interest. Textures can give plain backgrounds a new lease on life and create a somewhat romantic, shabby chic, or vintage ambiance.
Published by Elsevier, Inc. All rights reserved. 28 Art Beyond the Lens Throughout this chapter, I’ll explain and offer valuable insight as to the advantages “shooting with textures in mind” can provide. You’ll learn why obtaining the right image capture is essential. Negative space and the right composition Negative space is the term that photographers use to describe an area of composition that isn’t occupied by anything specific. It’s a void or a space with no real defining quality; it’s the counterbalance for the subject, the space left over.
I prefer to work with cooler daylight than bright sunshine. When working indoors, I’ll set up by a full-length window and position my subject either directly to the side or at 45 degrees to my light source. When shooting on location, I’ll avoid shadows and strong contrasts, opting to set up somewhere with a little shade. If that’s not possible, I’ll create my own with my reflector or a defusing canopy. The reason I aim to shoot with a lower contrast is twofold. First, I can be sure to capture the finer delicate details (especially when working with floral setups), and second, when it comes to processing I have the flexibility to introduce additional contrast from my textures without overdoing it.