hhe book covers a whole year, so a total of 365 exercises......
I looked up the next day's number, 148, photograph texture, and took that suggestion with me through the whole day. what a great way to practice contemplation! i perceived textures everywhere i went.....
here is my favourite shot from that day, sooc
a week before i had taken some intriguing shots of statues, exhibited in the old town center
this one felt like it would blend well with the texture
here's the texture after a couple rounds through the Glaze app
and here's the final image, with one of my manikin's added
striking up a conversation
Fun, Helga. You must see a photo opportunity in everything you look at throughout the day. I like seeing and reading about your process and inspirations. The Fernando ebook exercises sound fun; it doesn't seem that you need those prompts. However, I know how prompts like that can remind you of what you've done before but have abandoned for one reason or another. Often, it seems that it isn't so much abandonment, but you - we - get caught up in all the new techniques and ideas tumbling around out and inside us.
ReplyDeleteYour manikin is the only completely opaque part of your photo with the wicker serving as the background texture, I am assuming also 100% opaque. How do you decide on the levels of opacity of your layers, which is, I'm guessing, just the photo of the sculpture in its context? When I use the opacity tool in PhotoShop Elements, I play with the slider until I get what 'feels' right in a layered image. I like how you gave your textural layer some depth and darkening on one side using the glazing app before you made it your ground. It nearly disappears behind the red brick structure on the left and the lighter white plays an important role in how we see the webbing of the sculptural figure.
You find an interesting title to all of your images, Helga, and often they make me laugh. Do you feel your photo titles give the viewer insight about the photo's meaning or about you as an artist? Do your titles come quickly before, during, or after your image process? When I was making paper encaustic assemblages, I found titles floated to the surface at any of those times in my art-making process. Sometimes a title never emerged, often that happened when I wasn't making a good connection with the piece. It is funny that titles aren't easily coming to me with my acrylic paintings. Maybe I am not making a good emotional connection with them. How much do you depend, consciously or subliminally, on an emotional connection with each one of your art projects?