2021-01-19 Fine Art Photography SIG meeting notes

We met online using ZOOM 6:00pm-8:45pm

The goal of our Fine Art Photography SIG is to help each other to create fine art from our photography.

Attendees
Mike Barry
Mike Dunnets
Ken Eis
Rich Ernst
Dave Fahrney
Bob Gobeille
Michael Hohol
Jim Limburg
Paul Marcoux
Ed Ogle
Albert Wang
Ann Yang

We discussed creating composites
The goal of most composites is to combine multiple images in a "realistic" manner, so viewers aren't aware that the image is a composite. If you are interested in realistic composites, Jim suggested a very good free YouTube video by Jesús Ramirez, "How to Match a Subject Into Any Background". You can find links to this video and others on the club website's Resources page in the Composites section. We also discussed using composite techniques to change the relationship between foreground and background, IE blur the background, make it darker or less saturated, or even give it an artistic effect, to increase emphasis on the foreground. We also discussed a technique to create a more abstract composite using clipping masks. See the notes at the end of the meeting notes for details.*

We also discussed some videos by David duChemin about "Vision" and "Composition". The club Resources page has links to some of the videos, but some of them have to be purchased for individual use. David's "Vision" video is available on CreativeLive.com. It was on sale and I had a coupon so I bought it for $9. You might still be able to do the same. I haven't finished the class videos yet so I can't vouch for them, but what I have learned so far is worth more than the $9 cost of the class. CreativeLive.com has many good photography classes, and they often have sales and coupons.

We decided that the topic for the next meeting will be "Atmospheric Effects"
Atmospheric Effects include fog, smoke and dust and how they interact with light rays. They can affect the mood of a photograph or increase emphasis on the foreground of an image.

Research "Atmospheric Effects"
Everyone has the homework assignment to research "Atmospheric Effects", study it and bring back some information for the group to discuss at our next Fine Art Photography SIG meeting. Mike watched a class by Rikard Rodin on "Atmospherie Effects" and will present some of the information that he learned at the next meeting. If you find some good "Atmospherie Effects" information online, tell me where it is and I will put a link to the information on our website.

Resources page
Remember to check the Resources page of our club website for "Atmospheric Effects" information. https://fcdcc.com/resources.php

SIG Project - FINISH-IT-PHOTO
I already have pictures for the FINISH-IT-PHOTO from Mike Barry, Dave Fahrney, Ed Ogle, and Mike Dunetts. If you haven't already sent in a FINISH-IT-PHOTO, please do send Mike Barry an image in RAW format. Mike will choose one of the images, send it out to the SIG members, and everyone will create their own interpretation of the image to show at the February meeting. The idea is to show how all the members would process the same image in different styles.

Constructive Critique
We critiqued a few images from SIG members. I found the exercise quite helpful and we will continue the critiques at future meetings. I would like to see more members submit images for critique.

Agenda for our next Fine Art Photography SIG meeting Tue 2/16/2021 at 6:00pm
1. The main topic will be "Atmospheric Effects"
Please research on your own so we can all discuss it at the meeting (optional)
2. We will discuss our interpretations of the FINISH-IT-PHOTO
Please, everyone send Mike Barry a RAW image file that we can use for this Project.
3. We will hold constructive critiques (optional)
Pick as many as 3 images that you would like critiqued, and be prepared to show them by sharing your screen during the ZOOM meeting.
4. We will pick a topic for the next meeting

If you don't have time to research the topic, or you don't have any images that you want to have critiqued, that is OK, you can just attend the meeting and participate when you want.

I would like to see more pictures from our Fine Art SIG in the regular club meeting slideshows.

Jim Limburg will send out the Meeting ID, passcode, and meeting link when we have scheduled the meeting, which will be about a week before the meeting date.

*HOW I CREATE AN ABSTRACT COMPOSITE IN PHOTOSHOP by Mike Barry
1. Create a canvas, 8"x10" at 300ppi. This is small enough to not slow down may computer.
2. Add a foreground image, in my case this is usually a model. Just
- drag and drop the model image onto the canvas and it will create a smart layer that can be moved, sized, rotated and distorted non-destructively at any time.
- name the image layer FGND to reduce confusion
3. Create a background group by:
- drag and drop a paper texture to create a smart layer, then sized it to cover the canvas
- add interesting textures and shapes, by dragging and dropping to create new smart layers
- use multiply blend mode on all these new smart layers to apply the paper texture to them
- color grade the set of background layers to give them into a unified feel
- select all the background layers, and type CTL-G to collect them all into a group
- label the new group BGND to reduce confusion
- move the BGND group below the FGND layer
4. Create a clipping mask layer by:
- select the FGND layer, and type CTL-SHFT-ALT-E to combine all visible layers into one new layer, and name it COMBO
- add a blank layer above the COMBO layer
- select the blank layer and the COMBO layer, and type CTL-G to collect them into a new group
- name the new group MASK
5. Convert the MASK group to a smart object
6. Move the Mask smart object just below the FGND layer if it isn't already there
7. Clip the FGND layer to the MASK smart object by selecting the FGND layer and clicking on "Create clipping mask"
8. Double click on the MASK smart object to edit it in another window.
9. I like to arrange the MASK window and the FGND window side by side at the same scale so I can easily understand which parts of the MASK correspond to which parts of the FGND.
10. Edit the MASK smart object to allow parts of the FGND layer to show
- transparent portions of the MASK will hide the FGND layer and show the BGND group
- any color painted on the MASK will show the FGND layer
- different opacities painted on the MASK will show different opacities of the FGND layer
- I like to make the COMBO layer of the mask visible when I am editing the MASK so I can see what I am doing, and then I hide the COMBO layer before I save the MASK. If the COMBO layer is visible when the mask is saved, the entire FGND layer will show, because the entire MASK is painted.
- add brushes, or shapes with transparent and non-transparent regions to new layers in the MASK
- size, distort, rotate, and mask the mask that you just added to reveal parts of the FGND
- add and modify more brushes or shapes as needed
- keep each brush or shape on its own layer so you can change it later
- When done editing, hide the COMBO layer and save the MASK to apply it to the FGND
11. Mask the MASK smart object if needed
12. Add ephemera to the overall image to add interest
13. Color grade the BGND group, FGND layer and overall image as needed
14. Apply a Levels filter to adjust tone and contrast

Email Mike, info@fcdcc.com, when you find mistakes, missing information or if you have suggestions for the Fine Art Photography SIG and I will try to address the issues.