Probably no one noticed that I'd been away though! In any case I hope to be a little more active on this blog.
Spring, as usual, completely took me over and, at the end of the season, that is usually it for my photographing flowers. However, with my new style of photographing against a white background I have become interested in prolonging the flower season by photographing flowers around our yard. This picture is from a little earlier in the summer.
I love the control that I have with digital processing. The two leaves in the upper part of the frame were a bit overexposed compared with the rest of the picture. As a result they were washed out and uninteresting. In Adobe Lightroom I was able to mask the two leaves and bring down the exposure and highlights and add a bit of saturation to bring the picture back in line with what I had seen.
Unrelated to digital processing the woods are still pretty quiet flower wise, hence this picture of a vernal pool.
I have been thinking a lot about context lately since my new approach completely eliminates it or reimagines it. I was completely into context last spring when I was photographing wildflowers. I was shooting as much for the out-of-focus background color and texture as I was for the flower itself. Here is a link to some selections from last years spring wildflower series.
The picture above though is an example of a reimagined context. The moon background, to which I added some texture and color enhancement, was photographed a year ago, almost to the date, and the hemlock needles were photographed just last Sunday. The hemlock needles were shot against a solid white, rear illumined background. I was trying out the new technique that I want to employ this spring photographing wildflowers, but I didn't care for the results. I think the lack of color and subtle differences of form, such as in the tulip photograph below, rendered it unsatisfying. So, creating this composite image (can I call it a photograph?) gave me a picture that I liked. One friend commented on the photograph and suggested that I had "captured the essence of the evening's moon." That was my intention and I was lucky to have stumbled across the moon background to add to the hemlock needles to make this image.
When I was developing this picture last night I was very unconsciously thinking of Childe Hassam's "Boston Common at Twilight" painting. I have seen the painting many times at the Museum of Fine Arts in Boston, but it's been a very long time since I last saw it. I was stunned though when I Googled the painting today and saw that what I had developed in my photograph was almost exactly the same quality that was in Hassam's painting. It could have almost been a detail or a different view. I was obviously very influenced by "Boston Common at Twilight" and am amazed that, after it having laid dormant in my mind for so long, it finally reappeared in such a specific way.