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Something different for a change

Antonio Correia

Well-known member
i-gnbZxrd-X4.jpg
 

Antonio Correia

Well-known member
Thank you Maggie for your flattering comment ! 🙏
I have been paying a little bit with Photoshop .

I think there is a world trend to "invite" people to make sharp photos: new lenses, new cameras with more megapixels and so on, even if the images are to be kept in the wardrobe and just shared in Face or Insta.
I have myself fallen in such a trap buying one or two new lenses. Fortunately, I have not bought a new camera with more pixels which would easily induce a computer upgrade. A kind of endless spiral :ROFLMAO:

More to be produce. Now it is time to experiment, experiment, experiment... :)
 

Asher Kelman

OPF Owner/Editor-in-Chief
Antonio,

What a delight and, IMHO, a breakthrough!

To remind folks, already, by the early years of the 20th century, portraitists, rebelled against the precision and perfection of lenses that made perfect but clinical documentation of their human subjects.

So entered a myriad of designs to downgrade the evenness of light from the center outwards and the engineering clarity that removed heavenly thoughts from images.

Images were blurred by a spinning device in front of the lens and by having the edges of the lens diffuse on to the actual sharp focus plane, an angel dust glow. One such lens is the Pinkham & Smith “Visual Quality IV ” lens or its fabulous modern reincarnation by Cooke Optics the PS 945 from the U.K.

882E0595-216D-47CD-89F1-835F5526648E.jpeg


You arrived at this deconstruction plane of Art on your own and it’s fabulous!


Kudos!


I love it!


it seems decidedly French!


Asher
 

Asher Kelman

OPF Owner/Editor-in-Chief
Such deconstruction is far more important that one imagines at first thought!

We are allowing viewers to do much more “filling of gaps” when the story is incompletely told and mystery becomes a stimulus to day dream and muse!

That's the mechanism, I believe of the added beauty.

Asher
 

Asher Kelman

OPF Owner/Editor-in-Chief
Antonio,

I like the trees too and am drawn into the trees.

I am so impressed by the versatility of the processing you have invented.

What’s going on in your mind as to your motivation, how it alters your pictures and at what stage it alters your vision:

1. Before you shoot when you are planning

2. When you open your editing program with this picture for thr first time

3.As a creative revision?

Asher
 

Antonio Correia

Well-known member
Asher, these days I take few photographs. 😢
These are old ones i try to recreate and experiment with this.
Some final adjustments are made using Nik Collection, blending modes, curves...
Try yourself, my friend ! (y)
i-RLWdsPK-X3.jpg
 

Asher Kelman

OPF Owner/Editor-in-Chief
Asher, these days I take few photographs. 😢
These are old ones i try to recreate and experiment with this.
Some final adjustments are made using Nik Collection, blending modes, curves...
Try yourself, my friend ! (y)
Antonio,

I understand!

Ansel Adams would return to pictures of years ago and invest months on the darkroom on a new or more refined expression.

I really like that as it’s if one returns to that individual place but also we find possibilities with new styles we’d never have considered before.

Asher
 

Asher Kelman

OPF Owner/Editor-in-Chief
Right now, Antonio, I am both harvesting my existing pictures and also planning a new shoot this Wednesday with ideas from all I have done, the opportunities in my house & garden and the beauty of a new model!

Asher
 

Asher Kelman

OPF Owner/Editor-in-Chief
I wonder if...


[/QUOTE]
I do believe, Antonio that this is the direction photography should take artistically.

Of course I can only imagine the original. But I know your extensive portrait work. It seems that the effects you have created here strengthened and brought out the mood of your already excellent picture. For sure this wouldn’t work without existing interest.

5DDDE723-3006-4F75-A453-C1B1F0C3F854.jpeg

But here’s an idea how I have worked in photoshop, until now, with classic corrections and modifications.

I do my very best for an effect that leave the project for an hour and occupy myself with something else.

Now I return to the many components, each in their own layer, and try to withdraw a percentage as much as possible so I maintain the effect but use the minimum that allows it to work for my brain.

I this case, for example, I would ask, “Is 100% of the layer of dark spots on the skin, really needed to achieve this wonderful conversion or could it be even better with just 5% or so?”

I would even go further and limit the effect to the elements that must have it

So, this case, I would mask that layer to hide it and then paint in the areas that it is most required and effective.

Just a suggestion, and of course, you as the artist are always in the right as no one but you knows your experience of your variations in “vision”. But I do believe that my technique of doing one’s best and then returning to reconsider the changes for each picture element is a worthwhile exercise to protect your creation from the ease of non-intentional “over generosity”!

Asher
 
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