The Hat

The Hat, or rather, this hat isn’t really a hat. It’s a prop. A prop to be used in various photos.

Last summer my wife and I were perusing the Central California coast taking in some sun, surf and the occasional winery for some tasting. We stopped at a gas n go in Cambria and I cam across this hat among all the other stuff you find in such places. We both looked at the hat and simultaneously expressed how we absolutely needed to buy it. Not to actually wear, mind you. But as a photo prop. So I coughed up the $10.99 for the hat and away we went. As you can see, The Hat is truly awesome in the kitschy way that is unique to road side gas n go’s throughout various slices of Americana.

ISO 100, 50mm, f9.0, 1/200

The photo above was done using a Yongnuo YN560-III Speedlite with an ExpoImaging Rogue 3-in-1 Flash Grid camera right. Yeah, yeah it’s a hat; The Hat, but I really dig this hat. I like the photo too. The Rogue Grid is one of those modifiers that aren’t really very versatile, but it’s way cool when you want that look; that hard light, heavy contrast look.

Anyway, after we bought The Hat we continued south with the hopes of finding some seaside location in which to shoot some pics with our newly acquired prop. We finally found a place just north of Cayucos. It required a short hike through a grassy area down to a small rocky beach. I took one of the Yongnuos and a stand with me. The mid-day, bright harsh sun–which a lot of photographers hate–was perfect for what I had in mind. Trust me, don’t be afraid of harsh mid-day sun.

As it turned out I couldn’t use my stand because of how windy it was, plus our location had some serious surf rolling in. So I had my son hold the light. I also used a 3 stop ND filter. Even then I still closed down the lens to f10 in order to push the background down to what I was wanting to do. My wife, being the trouper she is held on to The Hat and stood in the water and dealt with the stiff wind. Did I mention that the wind was pretty cold?

Yeah, there’s that.

We fired off a bunch of different shots; enough to where I had to let the little Yongnuo cool down for a bit. At first I was trying to get some full body shots, but the bare speedlight just wasn’t the right tool for that job, so I opted to get in close and use the light to fill in the shadows under the hat yet still retain the heavily contrasty hard light.

This is my favorite shot of the bunch:

ISO 100, 50mm, f10, 1/200

This shot is almost exactly what I was trying for.

Of course I also took some shots without the hat during the same session. With this one I took some post processing funkiness liberties:

ISO 100, 50mm, f10, 1/200

I was trying to catch a shot with some flying birds in the background and had my son running around with the light while I was positioning myself. If I remember correctly my wife wasn’t really in take a photo mode. She was just hanging out. The lighting is definitely wacky, but I like it OK. More importantly, I got my flying birds.

We’ve since employed The Hat in other shoots. This shot is in Idaho at a place called Crystal Mountain just outside of McCall. It’s much along the lines of the seaside hat pic above. This, too, was using the little speedlight camera right, but through a shoot through umbrella:

 

ISO 100, 50mm, f2.5, 1/200

This one was shot with the D750 and I used a 3 stop ND filter so that I could open up to f2.5 for background separation. I particularly like this shot.

After this pic we headed down the mountain and ended up on the Salmon River. This one I did not use the ND filter. The canyon was socked in with smoke cutting a lot of the sun out. I did use the speedlight, though. Again it was shot through a white umbrella:

ISO 100, 50mm, f4.0, 1/200

I think that The Hat works great here with the rustic nature of the surroundings.

This last pic is another hard light pic, shooting into a sunset. You guessed it, I used the speedlight again, but this time it was bare thus the hard light and contrasts:

ISO 100, 50mm, f3.2, 1/100

I really like this shot. A lot of people wouldn’t, but I do this for myself. It looks like a country singer’s album. I will say that in hindsight I think that using a shoot through umbrella would have been better.

Side note, this pic was taken near the Snake River and it was a muggy buggy bastard. Mosquitos were so thick that I thought we would be carried away by the hungry little monsters. Trying to catch a shot between swatting them was a challenge.

Anyway, from the Central California coast to the Idaho wilderness to my basement studio, The Hat served me well last summer. This upcoming summer we have some more road trips on the docket and I have big plans for The Hat.

100 Strangers 5 of 100 Ambyr

100 Strangers 5 of 100 is Ambyr. She’s an avid pro Second Amendment advocate. She was with an organization that was counter protesting the anti-gun marches.

ISO 200, 50mm, f3.5, 1/250

I spotted her while she was busily organizing people for their march; talking with other organizers, overseeing the distribution of signs and shirts, and going over maps of the intended route which would lead to the State Capitol where both sides of the issue would gather.

I was a bit hesitant to approach her because she looked so busy. I could hardly imagine getting her to stand still for even a moment, but nothing ventured, nothing gained. With my card in hand I walked up to her and handed it to her and simply asked is I could take her photo and explained why. She smiled and said, “Sure, but it’s gotta be quick.”

The environment was completely chaotic and a little crazy with hundreds of people milling about. My choices for a background were pretty limited so I asked her to stand in front of a large truck that the organization she represented owned. Definitely not the best, but I think it was probably the best that the situation offered.

I took a few pics and asked her just a few questions; name etc.

After just a few moments I could see her eyes shifting around; she really wanted to get back to work, but she didn’t want to be rude. That was my impression. I thanked her with a handshake and she smiled and went back to work.

Technical stuff: ISO 200, 50mm, f3.5, 1/250 shutter speed, Nikon D750.

Like I said, for me, this was a really difficult situation and it really exemplified just why the 100 Strangers is such a good exercise for photographers. Though I’m mostly happy with how this turned out I definitely regretted not having my 85mm lens. I needed to get in close because of all that was going on and there is some perspective distortion. Another thing that I would like to mention is that it’s pretty obvious that Ambyr has experience in front of a camera. I would be willing to be good money on that. She absolutely knew how to engage the lens and she fell right in when I gave her some subtle direction; breath out of your mouth, please. Can you move your shoulder this way? Awesome. Now, can you push your face towards me just a bit? Bam. What normally would have taken several moments to explain she just jumped on and did it exactly how I needed it. Yeah, she has definitely done some modeling.

100 Strangers 4 of 100 Linda

100 Strangers 4 of 100 is Linda. She’s an avid anti Second Amendment, anti gun rights advocate.

I could tell that in her mind she was treading into the belly of the beast and was a bit nervous, thus perhaps a bit overly defensive. After all, she had taken it upon herself to walk among a couple of thousand pro-gun activists with her sign declaring that NRA members are “murderers.” Hundreds of the pro-gun activists were openly carrying firearms.

The event was taking place at the State Capitol; a counter protest to the anti-gun protests taking place on the other side of the building.

After a while it appeared as though Linda realized that the belly of the beast was not so beastly after all. Many of the pro-gunners walked up to her and engaged in civil conversations.

I interrupted one of the conversations to ask her if I could take her pic. She looked a bit surprised, but I quickly explained the 100 Strangers concept and she happily agreed.

After I took this shot she went back to engaging with a particular man carrying an AR-15 over his shoulder. I listened in:

Linda: “We need to outlaw those kinds of guns to save lives. You don’t need it.”

Man: “So no one should own one of these”?

Linda: “Just government. To save lives.”

Man: “Do you know who the biggest mass murderer in history using firearms is?”

Linda: “No, but I’m sure you’re going to bring up some obscure serial killer or something from a hundred years ago. But humor me, who?”

Man: “Government.”

Linda was taken aback by the statement and had no retort.

She looked around, “Is there a water fountain around here? I’m thirsty” The man pulled out a bottle of water from his backpack and offered it to her, but Linda said she doesn’t drink water from plastic bottles.

Linda, I really appreciate you letting me take your photo as you engaged those with whom you disagree. You are an amazing person.

Technical stuff: As you can imagine this was a pretty chaotic environment and nearly impossible to find a background that didn’t contain people. Luckily, Linda was standing close to a wall and I used that to my advantage. Because I used my 50mm I needed to back up a ways to avoid perspective distortion. So I took the photos from 8 feet or so away and cropped in. Since it was overcast, the lighting conditions were nearly perfect.

ISO 100, 50mm, 1/400 second. Nikon D750

Technical asides: As you can imagine this was a pretty chaotic environment and nearly impossible to find a background that didn’t contain people. Luckily, Linda was standing close to a wall and I used that to my advantage. Because I used my 50mm I needed to back up a ways to avoid perspective distortion. So I took the photos from 8 feet or so away and cropped in. Since it was overcast, the lighting conditions were nearly perfect.

100 Strangers 3 of 100 Mariah

100 strangers 3 of 100 is Mariah who works at a local coffee shop slinging lattes. My wife and I go into this shop most every weekend because we like their lattes and because the people that own it and those whom they hire are just awesome people. A few weeks ago when we were having some coffees my wife pointed out Mariah and mentioned that I should ask her for a stranger photo. Agreed; Mariah is not only beautiful, but she also has a distinctly unique look about her.

The problem, though, is that this place is usually quite busy. However this past weekend we managed to come it at a time between rushes. I took advantage of the lull and asked Mariah if she would be willing to do a Stranger photo. She enthusiastically agreed.

100 strangers photo project 3 of 100 Mariah
Mariah ISO 100, 85mm, f2.0, 1/400 sec

Technical asides: I just recently purchased an 85mm lens and the shots I did with Mariah were the first people shots I’ve done with it. Thus far, I think I’m going to be quite happy with it.

Being midday the light was a bit problematic, so we found a shady spot on the side of the building in front of a wall covered with ivy. The ivy covered wall was fortuitous in that not only did it provide a serviceable  background, but the color of the ivy tied in nicely with the color of Mariah’s eyes.

I took a total of 49 shots in about 6 minutes. It seems like a lot, but in situations like this I typically fire off 3 or 4 shot bursts. The reason I do that is you give yourself an opportunity to capture subtle expressions that you would otherwise miss.

100 Strangers 2 of 100 Candice

I met Candice as I was walking out of my neighborhood grocery store. She’s astonishingly beautiful which caught my eye right away. She was canvassing for signatures for a local political cause and asked if I would be willing to sign the petition. I said I would be willing to give her my signature if she let me take her photo.

A short back story of Candice. She immigrated with her family a few years ago with her family from the Ivory Coast to the States.

Candice ISO 100, 50mm, f2.0, 1/160 sec

Technical asides: I’ve taken to always having my camera with me when I go to this particular place as the veranda out front is almost ideal lighting during most times of the day. My goal would be to position the subject so that the background would be the length of the veranda as it would provide interesting leading lines, but at this time it was later in the day and there just wasn’t enough light for what I wanted directly under the veranda. So I had Candice step out from under it and used a bricked pillar as a background.

Candice happened to have a clipboard with white paper in it. I asked her to hold it up and angle it just right to throw a little extra light onto her face. It worked out well.

She is naturally photogenic so she didn’t need much direction from me. The first couple of shots she looked directly at the camera and gave me a big smile. I then asked her if she could slightly turn her head to one side and cut her eyes to me and “burn right through the lens with her eyes.”

Excellent. I then asked her to do me a favor. As if reading my mind she said, “You want me to not smile, right?”

Exactly.

In total, I shot six photos; all of them quite nice, but this one, the very last one, was my favorite.

The total time from when I first saw her to when I shook her hand and thanked her was about 4 or 5 minutes.

100 Strangers

Over the years I’ve taken a lot of photos of strangers, but never anything like what is done in the 100 Strangers Project. In a nutshell, the idea behind 100 Strangers is to photograph 100 strangers. But it’s not as boring or as easy as it sounds. Like I said, I’ve taken quite a few photos of strangers but they consisted of mostly one-off types of shots in which I ask someone if I can take their pic, they say yes, and I pop off a few shots. I’ll mix these types of shots in with your run of the mill street photos because, as I’ve stated before, they result in different types of shots.

But with 100 Strangers it’s a bit of a different approach. The idea is to always get their permission, tell them that the photo is for a photo project called 100 Strangers and tell them what it’s about and then take the time and skill to take an actual, honest to God portrait. The hope is to better develop both technical and social skills. The social skills come in by the fact that you’re also required to get to know a little about each subject and then write about them when posting the photo.

I’ve only done one photo as of yet, and I can already tell that this project is going to greatly improve my skills; you start thinking about things like background and, of course, lighting along with composition; all while thinking on your feet and doing it rather quickly. I’m fairly adept at using flash, but based on what I’ve found on the 100 Strangers Flickr group I’m thinking that a reflector is probably going to be my go to lighting source. I purchased a Lastolite 30″ Sunfire/White reflector which I think will work out pretty good. It folds up quite small and will be easier to tote around than a speed light, stand and modifier.

Perusing through the 100 Strangers Flickr page you’ll see some pretty amazing work. Sure, there are some not so amazing photos, but man, there are a huge number of really great portraits.

Just recently I submitted my first Stranger, Pete:

Pete: 1 of 100 Strangers – ISO 100, 105mm, f4.0, 1/160 sec

I think it’s a good start. I didn’t use a reflector or any modifiers. The background was a bit of a challenge so I had to work around that a bit. I shot ETTR to give myself quite a bit of post production latitude. Still, the particular lens I used wasn’t ideal; Nikon 24-120 f4.0. For dedicated stranger shooting I’ll stick with my 50mm 1.8 as much as possible. But I am really wanting an 85mm prime as I think that would be just about ideal.

Anyway, I think this project is going to be fun and I’m really looking forward to continuing.

Staged Portrait Photography

Staged portrait photography is something that seems to cause a lot of confusion. What exactly is staged portrait photography? I suppose in reality any portrait is going to be staged in the technical sense. Someone gazing directly into the camera at the direction of the photographer is, I suppose, being staged.

But when I talk about staged portrait photography I’m talking about something a little more than simple direction for posture or gaze. I’m talking about either integrating some sort of prop and/or directing something to look like a single moment captured from a larger event even though the event being represented is not actually taking place.

I’m not necessarily talking about something as elaborate as Ryan Schude’s amazing Tableaux Vivants which are basically photos containing several portraits and stories sliced from a larger chunk of life and frozen at the moment. His amazing photos can contain a cast of dozens in a single location and tell several different stories in a single frame. His work displays a complexity way beyond anything that I would even think about attempting. Though not portraiture in the classic sense, they are portraits all the same.

What I’m talking about is pretty basic stuff that can add interest. For example, this shot:

Krav Maga fighting
ISO 800, 35mm, f5.6, 1/160 sec.

During a Krav Maga class in a public park I asked a couple of the instructors to ham it up a bit with something I had in mind. During the whole time, it was raining off and on with dark clouds rolling in and out. I thought that this would be a perfect time to do something to really accent the ominous clouds punctuated by the clear sky in the distance. Where we were standing was nearly dark as night, yet the the background was bright.

I had someone hold a single speed light camera left and asked these guys to pose for a shot; think kitschy surrealism. I was thinking it would be cool to try to make it look not quite real; maybe like something done in a studio or movie set so I popped off a few shots and liked this one the best. It really does look like something done on a set with a big background hanging on a wall.

No, it’s not overly elaborate by any means but it’s definitely staged, hence staged portrait photography.

Another staged photo. Again, I’m not talking way elaborate stuff here:

Shoot house training
ISO 100, 44mm, f4.0, 1/160 sec

I wanted this to replicate shoot house training. A little bit of a challenge since I was doing this in my little basement with tiled floors, white walls and a low ceiling. I leaned a 4 foot x 7 foot piece of faux brick wall paneling against the wall as a backdrop, hung a shemagh scarf from a C-stand with a couple of clamps and put a speed light behind it with some yellow gel. Camera left, I placed another speed light pointing at the wall for some bounce light to fill in the shadows a bit.

I then handed my wife my cleared and safety checked Sig P320 and we went to work.

Again, though not overly elaborate, this is definitely a staged portrait.

I suppose that I would go so far as to say that any photograph that has any input from the photographer regarding placement, behavior or posing of a subject is staged.

 

 

Travel Photography VS Photography While Traveling

Travel Photography vs Photography While Traveling. What is it that you do? Well, for me, it’s photography while traveling. I’m no “travel photographer.” I’m just a guy that likes to take photos and I especially love to do it while traveling with my family. I’m not talking about pulling out my phone and snapping off shots nearly indiscriminately. I like to put a little thought into it. I don’t mean creating some elaborate plan and setup, but just a little thought.

Travel photography is a discipline in and of itself and good travel photographers are an amazing lot; talented, observant and dedicated.

But you don’t have to adopt the approach of a dedicated travel photographer to make images while traveling that are taken to the next level beyond snapping pics of the family, Mt. Rushmore or whatever. Just put a little thought into it and, preferably, get those with whom you are traveling to get on board; especially if it’s family, and you can make pics that are a bit beyond “snapshots.”

In August of this summer we traveled to central Idaho where I was born and raised. We love going there to visit family and to take in the amazing scenery. One day we took one of our favorite drives going through the rugged wild country of the Salmon River. We drove through McCall, over the mountains and down onto the main Salmon River and finally to a little town called Riggins. Amazing, wild country. After driving over the mountains and landing on the river we wanted to find a spot on the river to soak our feet, eat a picnic and just hang out. Of course, me always traveling with a rudimentary lighting setup: a couple of speed lights, stand and umbrella, I set up a bare speed light on a stand got my wife to hold still for a bit.

Anna On The River: ISO 100, 50mm, f2.8, 1/200 sec

I threw on a 3 stop neutral density filter so I could stop up to get some blurry background, popped off the flash to fill in the shadows a bit and got this. I love this shot because it really captures the whole day, the wild country and, well my wife. There’s always that.

A couple of weeks earlier we were in driving around on the central California coast; perusing the Pacific Coast Highway. We visited a wine tasting establishment in Cambria, California and met some amazing people and had a great visit. Think about it, driving around, hitting the wine tasting joints, meeting new and amazing people.

Because I almost always have my camera with me, I got this shot:

Wine People: ISO 800, 50mm, f1.8, 1/160 sec

No, this isn’t some awesome composition. It’s noisy and not technically perfect. So what. It tells a story and captures a really great memory for me. I like it because it shows my wife and son having a great time. But for someone looking at who wasn’t even there, it still shows story which takes it to a level beyond a snap shot.

This photo, from the same trip is from the Sand Dunes near Pismo Beach, California.

Travel Photography VS Photography While Traveling Beautiful woman standing in sand dunes
Dunes: ISO 640, 50mm, f3.5, 1/2500 sec

Again, this isn’t technically perfect as I forgot to check my camera and needlessly shot it at ISO 640. But I definitely feel that this is a far better shot than just taking pics of this awesome place. Keep in mind that I’m talking travel/vacation pics. A good landscape photographer would have a hay day at this place. But for family travel, this is the kind of shot I’m talking about. I just asked my wife to “stand there, look there,” snap a pic and call it good.

The point in all of this is that just the most minimal of effort and forethought can, I think, lead to travel/vacation photos that are a bit above and beyond.

Little Sahara And Family Time

This past weekend my wife and I took a drive out to the Little Sahara Recreation Area here in Utah. The purpose really was to scout out some locations for future photo shoots. We’d never been out there and I had been meaning to check it out for some time.

Man, what an amazing place for photography. Whether you’re looking for landscapes or portrait shots, it really is an amazing place.

Little Sahara is a Utah hot spot for dune buggies, motor bikes and other off road vehicles, so there are generally a lot of people flying around. However they have designated several hundred acres of area in which it’s foot traffic only. That’s where we stuck to.

My photo ventures are by and large excuses to get out and about as a family. I rope my wife into posing for pics and I rope my son into being my assistant. Either way we end up spending much of the day in various locations.

Above is a pic of “the crew.” Well, to be fair, it’s really my son and wife. But the point is that we get out, hang out, bond as a family, etc., and the whole time the “purpose” is to take pics. That’s the great part because taking pics really isn’t the purpose at all. It’s simply a pretext to getting out. That being said, my wife and son will tell you that I’m pretty adamant about having everything I need to take a ton of pics. Generally my son holds lights, moves lights or whatever I need him to do. On this day, however, he was simply the goat as exemplified by the backpack full of crap.

We wandered around a bit exploring and you can see why it’s called Little Sahara. It’s literally thousands of acres of sand dunes punctuated by some brush and juniper trees, but largely just a barren landscape. We only had to walk about 50 yards from the road we were parked to be in almost complete isolation. It was a bit chilly since it is November so we decided to get down to business and get the photo thing over with pretty quick. One thing to keep in mind if you make the trip is that it’s sandy. I mean REAL sandy. It’s windy so it’s blowing sand around a lot hence the dunes. I can’t say this strongly enough.

It’s SANDY. I’m still finding sand in places that I never even thought were exposed. Keep that in mind with regards to your camera gear.

Anyway, we fired off a few shots and this is the keeper that I’m happy with:

Little Sahara, Utah
Sahara: ISO 100, 50mm, f2.8, 1/2000 sec

Though I’m pretty happy with this pic, in hindsight I wish I’d shot this with a smaller aperture to make the background sharp. The blur is OK, but it should either be sharp or a lot more blurry. I even thought about doing it in post production. I still might.

We were in a bit of a hurry because it was too cold for summer attire, so we wrapped it up pretty quickly.

Anyway, for those of you in Utah, Little Sahara is an amazing place for photography. I highly recommend making the trip.

Reality May Not Be The Goal

That’s right. Reality may not be the goal when it comes to photos. Of course it depends on what you’re after, but for me I’m generally not interested in a photo being a completely accurate representation of what I photographed.

Opinions on this vary a lot; some people who call themselves “purists” or whatever else can be hardcore stuck on the notion that what landed on their camera sensor is what should be shown. There can be something said for that in some photographic disciplines for sure. I’m thinking photo journalists as an example. Or stock photos for reference manuals, etc. I mean there are people out there that if a single post production slider has been touched in any way they’ll cry foul.

Personally I don’t give that notion much stock; especially if you’re shooting RAW. If you’re not shooting raw and opting to shoot in JPEG, what comes out of camera isn’t untouched. You’ve simply opted to let your camera’s algorithm do it for you. Back in the day when you took your pics and sent them off to the photo lab to get them developed, the lab didn’t simply develop the images without any post processing work. There’s always some post processing work done to some degree or another. For those processing their own film, post production work was the norm. Even Ansel Adams was a master of post production work.

Then there is the other side of the spectrum in which people combine photography and “digital art” to create some pretty astounding works of art that make so called “purists” scream bloody murder. I’m talking artists like Erik Johansson. It’s pretty amazing stuff; absolutely surreal and obviously not straight out of camera. Though not my thing personally there is no denying that it’s truly amazing work which displays huge talent. I mean look at his work. Amazing.

I’m finding that I fall somewhere in between the two extremes with a huge lean to the so called purist approach. What I mean by that is that I’m not interested in creating stark surreal works of digital art with dolphins sporting wings and flying through vast landscapes, but I’m generally not interested in creating exact replicas of a scene or moment. I have the feeling that most photographers fall somewhere in the same place. And, to be honest, I’m all over the place. Sometimes I’ll take a photo with the goal of trying to get as much right in camera as possible with the goal of doing as little post production work as possible. Sometimes, even though I’ve nailed the exposure correctly for what I’m trying to shoot, the result I look at when I get it on my computer is not the same as what I photographed. I’ll make adjustments to bring it to where it more closely resembles what I shot.

Other times I’ll take a photo with the express intention of doing something to it in post production to achieve a specific goal or look.

Either way, it is generally never straight out of camera; whether it’s getting rid of mosquito bites, correcting skin tone, fiddling with contrast, cloning out a light stand or adding texture to clouds because they just look cool. Sometimes it’s just my mood.

And a little ADHD doesn’t help.

As I gain more experience with post production I find myself experimenting with different techniques along the way. For example I’ve really been dipping my feet into the whole concept of color grading. I find it amazing how color grading a photo can alter the mood and ambiance. I get the feeling that many photographers find their post production niche; a look or style that they really like and then they develop that style and learn how to use the tools to replicate it and pretty much stay right there. There’s nothing wrong with that; finding the “style” and then getting it down pat. To do a limited number of things or a single thing very well is not a bad thing.

I’m too damned scattered to do that. I like goofing around with different things at different times.

But, like I said, I’ve been on a color grading kick in an attempt to convey a preconceived idea of how I envision the end result. This led to some photos that I took recently this fall. I wanted to take the autumn palette and bump it up to 10 so to speak. Especially those warm tones that come with a long autumn and what we call an Indian Summer.

The straight out of camera pics look pretty good, but not what I had in mind. Here is an example of the original pic. It’s straight out of camera with the exception of white balance and enabling a camera profile in Lightroom:

Indian Summer before retouching
ISO 100, 66mm, f4.0, 1/800 sec

 

 

 

 

 

 

 

 

 

 

This isn’t bad; usual flatness of RAW, the face a little bright, the shirt a bit over saturated. And actually, it looks pretty close to when we were there. I could maybe bump up the clarity a little bit, drop the saturation in the shirt, bring up the vibrancy in the foliage and it would look almost exactly as it was.

But, like I said, I’m not interested in replicating it like it was. I want it to be how I envision it. So, I goofed off and came up with this:

Indian Summer

 

 

 

 

 

 

 

 

 

Vastly different. This image is a result of 19 layers in Photoshop. 17 of them are adjustment layers dealing with everything from curves on specific color channels to a color lookup. Two of the layers are specifically to address some skin blemishes and lint on the shirt.

I like how it turned out. It more conveys an emotion rather than simply what was. It’s not reality. No, it’s not so far out as to depict a blue planet with rings being orbited by dogs, or whatever. It conveys a completely different visceral response than the original. It’s not so far removed from reality that most people wouldn’t think it’s “as shot” for the most part, but I know it’s not as it was shot.

Well, so do you now.

At the end of the day, for me, reality is not the goal.