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Hello from Mid-Am

Hello from Middle America,

I hope tol be posting images showing geometric cropping and printing on canvas.

A sample is posted on this thread: http://forums.dpreview.com/forums/read.asp?forum=1003&message=42260696

I use unusual lighting methods also. Canon camera most often but I have discovered my methods do work with a digital snap-shot camera also.

Hi Frank,
Welcome to OPF. I think you'll find some very interesting discussions here.

I went to visit your link. As I can see, you basically shoot in a dark studio, then do some light painting with a candle to illuminate your objects. I've done a little of this a few years ago. It is a cool method. I'm curious why you decided to put these on round-ish canvas? It is pretty but isn't there a trade-off of losing a portion of your image?
 

Frank Schmidt

New member
Thanks for taking the time to respond Maggie. The links that I posted are kind of an introduction to the ideas that I’m putting forward regarding lighting , cropping and printing. Yes, it is evident that I did lose some of the elements in the scene when I chose to crop the “Old Wine” image as I did. But that is due to the crop’s size not the geometric shape chosen.

This is a key point of my proposition and you’re sharp eyed to pick up on it. The camera sensor is a rectangle and to that extent it crops our image for us in the beginning but that is where ” outside” control ends and artist control begins. If we allow the printer guy (in my case printer gal) to control the canvas wrap on the picture’s edges then that is where the photographer’s control ends and outside control of the art takes over again. She tells me: “Don’t ever crop your image, I’ll do that before printing it to get the correct wrap.” I say: “No.” , “ I’ll do the wrap and you print the whole image as I give it to you.”

Now back to your question: At the “select polygon” –>“size” step in GIMP (because that’s what I use) I choose the crop size and then scale it from there. I chose to scale it as you see it. Could have included more or less of the picture but that was not determined by polygon shape but scaled size of crop. As you may have seen, following the links, many of my prints on canvas are hexagons, octagons and recently pentagons. These I try to crop to size without losing any elements of the still-life. But that would apply to rectangles also. The 12 sided one you refer to was intended to be small (12 inches across) so I cropped it tight and lost the old cork screw.

Having applied some thought to this geometric cropping idea you will have realized that this now frees us up, those who do camera work , to quite easily make framed fine art that the painters don’t often do. Your beautiful pictures, which I’ve looked at, can now be designed to compliment the architectural features of the rooms in which they will be displayed. A vaulted ceilinged living room may need a pentagon shaped fine art piece with the point of the shield up to mimic the wall shape on which it is hung. I’ll soon post a picture of an octagon print on canvas with wine bottle and wine glass etc. hung in a winery room which has an octagon recess and fan in the ceiling. The art speaks to the architecture as has not perhaps been done before and it is not difficult to accomplish now that printers can print our work on canvas and we can design and build the piece ourselves. (In my experience some printers would rather print a square over-sized image and let the artist build a geometric frame to fit. Don’t fall for this, the frame size will be very difficult to determine as it is now the crop mechanism and will be an unsatisfactory one for sure.) Geometric images printed with flip tabs are easy to measure for correct side length.

http://digital-photography-school.com/forum/how-i-took/196000-printing-framing-canvas.html


As to lighting my work , it’s another story and raises a fair amount of objection from photographers so I don’t get into it much anymore except to say it’s unconventional.

I hope I haven’t tired you out with too much detail.
Cordially,
Frank
 

Asher Kelman

OPF Owner/Editor-in-Chief
Frank,

I've seen all sorts of framing shapes in galleries in Europe especially at the Venice Biennale. The idea of having a novel window through which to look at your word is a good one. If it works for sales, then go for it.

You are literally building the image you want. Masterful!

Welcome to OPF!

Asher
 
no, no, never too much detail! :)

I've actually never even considered making a photograph other than in a rectangular format. I've composed very wide images, and square ones knowing beforehand that is the shape I wanted the final image but have never considered any other shapes. It is a whole different ballgame as I would have to compose with the final shape in mind, hoping to include everything I wanted without having to crop any items out.

I also have never thought to create an image for a specific space and always with the final image first. I imagine though, that certain effects could be achieved with specific shapes in mind, a bit like church windows. I do congratulate you for taking an out-of-the-box approach.
 

Asher Kelman

OPF Owner/Editor-in-Chief
.......
It is a whole different ballgame as I would have to compose with the final shape in mind, hoping to include everything I wanted without having to crop any items out......

Maggie,

The solution is always to make a mask on the ground glass/viewfinder/LCD to be able to compose for whatever format one chooses.

Asher
 

Frank Schmidt

New member
As you may have read in one other post at DPS, I now use my laptop via wire to the camera on tripod. This allows me to see the image (and control exposure settings and shutter) on a 15 inch wide monitor rather than little LCD on camera.

Actually, with experience I've found that still-life compostion , if set up about square, elements as tall as wide, will give me an overall uncropped image that fits in all "regular polygons" with the possible exception of triangle. That is: polygons with all equal internal angles can be forced onto the scene in crop step. This is much easier also when cutting miter joints in the pine stretcher bars; all cuts are equal.

(Ask me later about unequal internal polygon angles, I haven't worked up the courage to try one yet)

Therefore, I now just compose the elements on table or shelf using a yard stick to get the height to width about equal before turning off the lights and shooting.
 

Asher Kelman

OPF Owner/Editor-in-Chief
As you may have read in one other post at DPS, I now use my laptop via wire to the camera on tripod. This allows me to see the image (and control exposure settings and shutter) on a 15 inch wide monitor rather than little LCD on camera...........

So Frank,

How does this work? Does the image build up during exposure, or you are looking at the end of exposure? Also, have you thought of taking successive images of different parts the scene so you can achieve the finest control of lighting?

Asher
 

Frank Schmidt

New member
I understand your question , Asher, to be: How does the image look on the lap top screen while exposing?
If so,

To be clear, I use a Canon DSLR on a tripod in a dark studio connected via USB to the laptop which is nearby on a solid shelf. EOS Utility came with the camera and is an app. that has the "Camera Settings and Remote Shooting" options. Clicking this when the camera is turned on brings up a window that allows settings alterations and has a shutter release "button". When set on "Bulb" the release will open the shutter indefinately and nothing shows on the computer screen during the exposure. The image file is saved to hard drive not SD card in camera.

The screen does give off some background light so I throw a towel over it if I want absolute dark but that is usually not necessary because at f/18 or f/20 and ISO 160, a little light won't damage the image.

I found out that luckily the system does allow the use at the same time of a wireless remote shutter release so I then use that to trip the shutter at the end of the exposure: 30 sec to 2 min after opening.
This works great because at that point I'm not near the laptop but somewhere else in the room lighting a candle or turning on a lamp and it is just easier and more accurate for timing if I punch the remote shutter closure after a second or two to get proper "secondary light" exposure from candle and such. Primary light was the LED or incandescent flashlight from a steep angle to the scene for shadowing and primary illumination. No flash used.
This is also helpful for UV blacklight use: turn lamp on and then close camera shutter at the end rather than turn the lamp on and turn it off during exposure.

The final image then shows up as a "real time stacked" image of many continuous "frames" in one exposure. It just looks like a picture on the laptop screen as if a snap-shot. Edit from there. You might think of it as a single framed video. I move around a lot in the dark and wear black.

Hope I understood your question. Happy to answer and will try to post pictures. After 30 years of owing a business I work 3 days a week and my weekend starts in about 3 hours from now and will have more time then.

ps I have total control of lighting. It's a dark room.
 

Asher Kelman

OPF Owner/Editor-in-Chief
So if in real time, you are only seeing what is lit at that moment and have only your memory to tell you what was illuminated previously. Why do it that was and why not simple take one frame for each light position and then stack in Photoshop afterwards? Then you can precisely control each light!

Asher
 

Frank Schmidt

New member
Because it takes me 75 seconds in real time to get it right in camera vs. 30 min in Photoshop and I don't pay the cost to buy Photoshop.

I don't have a lot of time left on this earth to learn Photoshop and I have a lot of work to do ahead of me.
 

Asher Kelman

OPF Owner/Editor-in-Chief
Because it takes me 75 seconds in real time to get it right in camera vs. 30 min in Photoshop and I don't pay the cost to buy Photoshop.

I don't have a lot of time left on this earth to learn Photoshop and I have a lot of work to do ahead of me.

Cool! If you get it right your way it's best!

Asher
 
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