Selected photosTravel and Family Photos
I also reconfigured for six images for a more concise narrative.
As with most assignments, I tried several approaches before settling on the final one. I was inspired by Duane Michels' planning a narrative and photographing the story.
Since we have preemptively self-quarantined in March Lynne has prepared every lunch and dinner. Except for special meals we have eaten on trays while watching streaming on our TV. On December 1 Lynne dry-fried naan from scratch and fixed shrimp curried with individual spices over rice with a cucumber/corn/tomato salad. We watched Expedition Happiness on Netflix. My narrative was to show the sequence of my tray as the meal progressed.
I photographed my tray with my smart phone at stages of the meal. I selected nine images and straightened them in Camera Raw. I imported the images as layers in Photoshop, converted the layers to Smart Objects, and rough-sized and placed them in a 3x3 grid. I picked a size for each image and margins all around the images and the grid. I resized the canvas to fit. I used Transform to tweak the size of each image and positioned it in the grid. I added a white background layer. I duplicated the file, flattened it, and saved as jpeg quality 12. I used Bridge and camera raw to adjust highlights and contrast and exported as jpeg 9 for submittal.
Set to 105 mm the sky was more uniform than 24 mm with the polarizer set to maximum effect. The sky has nice contrast and the colors of the trees pop compared to the previous image with minimum polarizer effect.
Set to 105 mm, this is with the polarizer set to minimum effect. I post-processed in Camera Raw to bring down highlights and brighten shadows. Compare the color of the leaves and the sky to the next image.
Next, I shot the sky with the polarizer. Set to 24 mm the angle was wide enough that the sky was uneven with maximum polarizer effect.
I adjusted the polarizer until I got maximum contrast, black background and pleasing colors in the plastic. The colors come from the stresses from when the French Curves were made by injection molding.
My monitor screen is displaying a white background, polarized. I turned it around and laid it down to serve as a table to a set of Plastic French Curves.
Inspired by Henri Cartier Bresson, The Decisive Moment, the decisive of 7 shots.
This is inspired by William Eggleston, banal, The Decisive Moment.
Minimal with only the peeler. In Bridge I compensated for camera distortion and vignette. In Photoshop I created a hue/saturation layer and selected for the knife, creating a mask on the adjustment layer. I adjusted hue 180 degrees so the knife is the complement of red, green.
The highlights are clipped at 118 by a curves adjustment layer.