Exploring with a Camera: Found Texture

Yay! It's Exploring with a Camera day! After a week off exploring in Chicago I'm ready to explore with you all here on the blog. Today we'll be diving into Found Texture in our images. At the end of the post you will find a link up to share your explorations of the topic over the next two weeks. There is a giveaway going along with this too! Keep reading to find out more.

It is no secret that I love texture in my images. I remember when I first started capturing images of texture for texture's sake in Italy. I didn't know what was going on, why I was drawn to capture images of peeling paint. It made no sense to me at the time! Now I know... it's all about the texture.

In this exploration, we will be focusing on Found Texture, texture that is already existing and captured with your camera, not added texture in post-processing. Adding texture layers in post-processing is a popular and very fun way of changing your image, but that's not the focus of this topic.

Let's learn more about Found Texture...

What is Texture?


By my definition, a texture is found on the surface of a form. (Form is the representation of a three-dimensional object. If you're not sure what I'm talking about, visit the past Exploring with a Camera: Finding Form post.) Here's an example to help: Consider an object in the shape of a sphere. The sphere is the form, but the surface of the sphere may be smooth, like the tomato shown below, or rough, like the orange. If you are struggling with the concept of texture vs. form, think of this way: If you can imagine an object to have a different surface texture, but the underlying form of the object stays the same, you are distinguishing texture and form.

The surface holds the texture, and the texture gives an additional dimension to our photographs, making us want to reach out and touch. Even though we can't physically touch the objects in an image, in our imagination we can. Texture adds a tactile nature to our experience of a photograph. We know what smooth feels like in real life, so the sensory experience of smooth is added to our experience of a photograph. The texture can draw us in as a participant in the image.

Texture is not only on the surface of forms in our images. Something large and flat serving as the background of the image, such as the wall in the lead-in photo, is also a surface that can have texture. In the case of the photo above, from Chicago, you see the texture of the brick.

How many types of texture are there? Let's see if we can make a list... smooth, rough, gritty, sticky, crumbly, bumpy, velvety, leathery, prickly... add yours to the list in the comments below. We can capture all of this texture and heighten the sensory experience in our images.

Sources of Found Texture


When you start to notice it, texture is everywhere! Nature is a great source for random texture. Since my subjects tend to be in urban environments, I looked for natural texture while camping at the beach a couple of weeks ago. I found everything from the glass-smooth texture of the receding waves, to the rough-yet-soft texture on the trunk of a tree.

Humans have learned from nature, and covered our man-made world with texture. Some of it is purposeful and functional, to hide flaws in a wall joint or increase traction in a floor. Some of the texture comes as part of the process, such as in bricks. Some of the man-made texture in our world is purely for artistic beauty. The texture in the floor tiles below was created to be both artistic and functional.

The one thing I've noticed, however, is that man-made texture doesn't have the same randomness as nature. Humans like patterns and processes, and our created textures usually have some sort of repeating pattern. Sometimes it is obvious, as in the floor image above, and sometimes not so obvious. Consider the texture that may be applied to a wall, there is a limit to the size and depth of the bumps you find. There is some randomness within the texture, but the overall texture is controlled.  

When you add nature, in the form of time and weather, acting on the mad-made texture you get more natural randomness. I think that's why I, along with so many other photographers, like to photograph "urban decay." The added elements of time, weather and neglect increase the random texture in the images of everyday objects. It adds dimension and interest.

Capturing Texture

Now that you're seeing texture everywhere, what is the best way to capture it? As in capturing form, texture will appear differently in different light. Bright sunlight will create stronger shadows and light/dark highlight of texture, while shady or diffused light will create more subtle highlights of the texture. This wall below, found in Chicago, is an interesting study of light and texture since it's both in sun and shade. You can see how the sunlight enhances the texture. 

You can see a similar effect in this image from Greece as well, as part of the wall is in sun and part is in shade. There are multiple textures in this image from more than just the light, however, with the texture of the wall, rope and door adding to the tactile nature of the image.

Along with light, color has a great impact on how we perceive texture in an image. Texture can be enhanced or overwhelmed by color. Color is useful to highlight texture when the light is non-directional or the texture is very subtle compared to the overall subject being photographed. In the case of the staircase in Portugal, the light is very diffuse so the texture of the wall is communicated by the color gradation. You can still "see" the texture, through the color variations.

Color can also dominate to the point that texture recedes in terms of visual information. Consider the image of the oranges shown earlier in this post. What do you notice first? Likely, the complementary color is the first thing you notice. The texture of the oranges, basket, vase and table are noticed second. To highlight or study texture, working with monochromatic images can help. The image of the driftwood below, converted to black and white, further enhances the texture of the splintery wood. The range of tones from light to dark are what provide the texture information, since the light is fairly even.

The image below from Burano has color, but it still monochromatic. This allows the form and texture in the image to be the subject. While diffuse, the light is still directional and highlights the texture and form.

Using Texture in Images


Now that you are thinking of what texture is, where to find it and how to capture it, let's look at a few different ways of using texture in images.  One way of using texture is to capture it as the subject. This wall in Bologna was so interesting, I captured it just for the texture. Layers upon layers of different textures are visible.

The same with this wall in Greece, texture is the main subject. In both cases, I've included an architectural element to help ground the image in reality, but that is not necessary if you are capturing texture for texture's sake. Textures create great abstract images.

Often, I find that I use texture as the "backdrop" in the image. The lead-in photo is one example. In the case of this scene in Burano, the texture of the wall is a backdrop for the scene with the chair and pot.

This textured wall in Torcello is the backdrop against which the tree, window and architectural fragment are arranged. The wall is not the subject, but the texture enhances the interest in the image and ties the elements together.

Creating contrast with texture is a great way to increase the interest in a photo. In the image below of the sea weed at the beach, the gritty sand contrasts with the smooth, rubbery surface of the sea weed.

The worn walls and steps contrast with the smooth, round pots, both in color and texture, in the image below from Varenna. The color and texture contrast, along with the lines of the steps, draw your eye directly to the pots of pretty flowers.

Summary

It's time to start exploring Found Texture on your own! Here's a quick review of the topics covered:

• What: Texture is found on the surface of form, and gives a tactile dimension to images. 
• Sources: Nature, man-made and aged-man-made objects and surfaces are all possible sources of texture.
• How: Light along with color (presence or absence) and tone can be used to convey the texture.
• Ways to use: Texture can be the subject, a backdrop or used for contrast in an image. 

There is so much more to texture, I look forward to learning from you as you share your images! You can link in below, the link up will be open through 3-November. As an added bonus, I am giving away a set of my "Texture" postcards! When you link in your texture image, you will be entered in the drawing to win.

FYI - Links will be moderated. Please use a permalink, ensure that your linked image is on topic, and include a link back to this site in your post through the Exploring with a Camera button (available here) or a text link. Thanks!

Heading Out

I'm heading out for a few days, and my presence here will be a bit sporadic while I'm gone. Unfortunately, not to the Greek Isles this time (isn't this place dreamy?) but I'll find some equally interesting things to show you while I'm gone.

I hope you all have a wonderful weekend, see you soon!

I've Found my Eye, how about you?

Here it is, a quintessentially Kat image. It's got color, texture and is a scene that shares the spirit of place. It's the beauty that exists in the everyday world around us with no intervention. This image is from the port of Fira, on Santorini island in Greece. It's at the bottom of the long path that the donkeys and their handlers take, carrying people up and down the steep hillside between the town and the port. It's where the handlers sit and chat, but they were elsewhere at this moment. Perfect for me.

So many good things have come out of my time in Italy, and one of the absolute best has been finding my "eye" or photographic style. I was never so empowered as when I finally cried, "Yes, this is me!" I realized I am an artist, I have a voice and a vision to share with the world through my photographs.

I believe we all have a voice and unique vision to share with the world in our photography, and I want to help you find yours. I've developed the Find Your Eye class series to do just that! Registration for the next class series will start in early July and the first course will start late July. Today I'm giving you the details on the first two classes below, and the same information is available here. If you want to be notified when registration opens, I'll announce it here on the blog or you can sign up for my newsletter to have it direct to your inbox. I hope you'll join me in taking the next step in your photography, to Find Your Eye. (And if you're not interested, no worries! My blog, Exploring with a Camera and all of my normal stuff will continue on as usual. The Kat Eye View of the World will not become a forum for incessant advertising for my classes. I have too much other good stuff to share!)

The Journey to Find Your Eye

Maybe you've been photographing for a while and you love it, but you wonder if you have a "style" to your photography. Maybe you see glimpses of your "eye" in your images, but find it elusive. You read interviews with photographers saying you have to find your own style. But how? The Find Your Eye: Journey is here to help! Instead of teaching you the technical basics of your camera or photo processing, this course series enhances the personal expression and creative connection you find in your artistic practice with photography.

We start the series off with the two week Starting the Journey foundation class where I'll introduce you to the basic tools and exercises used throughout the course series. You'll set up the tools of photojournal and inspiration file, then use them for the photojournal prompts and eye development exercises which help you look within as well as explore the world around you. By the end of this short course, you'll have a good start on recognizing your eye and you'll have the foundation you need to take any of the other courses in the series. Starting the Journey is a low time and money commitment, why not try it out and see if you want to continue the journey to Find Your Eye?

Find Your Eye: Starting the Journey

Duration: 2 weeks

Dates: July 24 - August 6, 2011

Lesson Frequency: 2 per week

Cost: $29

Registration will open in early July. See FAQ for logistics information.

Once you've started the journey, you are ready to explore new horizons and deepen the understanding of your style. The four week Find Your Eye: Journey of Recognition class continues with photojournal prompts and eye development exercises, all designed to help you dive more deeply into experiencing the environment around you as well as understanding what calls to you. By the end of the four weeks you will have developed a much greater sense of your own unique photographic style. Along the way you'll have a fun, nurturing community of classmates from around the world to help you learn, share and grow your creative expression. 

Find Your Eye: Journey of Recognition

Duration: 4 weeks

Dates: August 14 - September 10, 2011

Lesson Frequency: 2 per week

Prerequisite: Starting the Journey

Cost: $69

Registration will open in early July. See FAQ for logistics information.

You will be able to register for both Starting the Journey and Journey of Recognition together for $83. That's a 15% savings over registering for each course individually.

Your registration gives back! 10% of all registration fees will be donated to a great cause. I'm excited to once again support Nest, which has the wonderful mission of helping women in countries around the world make a living wage through traditional arts and crafts. Not only do you get to learn something new, you get to support others. How great is that!

Have questions? Drop me a note kat [at] kateyestudio.com and I'll answer them for you.

Here's what past students, just like you, have said about the Find Your Eye course:

I really enjoyed this course so much! There was a convivial, friendly tone that made it easy to feel a part of the group and to share photos, knowing there would be no negative judgment. Instead, there was such kind, positive support. In addition to your photographic expertise, […] what stands out for me in this course is your accessibility and personal interest in each of your students.-- Christianna Pierce

I felt like I was face-to-face even though we were all miles apart. Your course was of high quality and you engaged with your participants so we were encouraged to participate and could learn from each other. It was a like a real classroom not online material we had to muddle through on our own. -- Terrill Welch  

It’s a fantastic, amazing, beautiful, enlightening process… [The photojournal prompts] gave me a lot to think about in regards to my work. I loved the eye development exercises. They really broadened my view of what I see through the lens and life in general. -- Annie Kelleher

I loved the photojournal prompt section. It was enjoyable looking at everyone's different perspectives and styles and made me think more about why I take photos and what I look for when I aim my camera. The eye development exercises were a great opportunity to consider the way I see the world through my lens. I liked that I could work through exercises at my own pace and alter them however I want to.-- Stephanie Sadler

[The photojournal prompts are] not something I would have done on my own, but now it’s something I look forward to doing. I think journaling and writing is an important part of learning about ourselves as artists. I liked how [the eye development exercises] got us looking at different things and trying new subjects. I can tell a lot of effort went into this on your end. It was well thought out and well structured. -- Marji T.

My favorite thing about the course was seeing the photos and reading the words of teacher and participants. It was helpful to see different styles, interests, perspectives… and to know a bit about the photographer (at this time in her life/photo journey). I felt encouraged… never ignored… even though my experience was limited and my equipment less advanced than others. -- Sharon B.

See more student comments here.

Sign up for the blog newsletter (on the sidebar) to be the first notified when registration opens! 

Seeing Form Everywhere

Since starting the Exploring with a Camera: Finding Form prompt I've been seeing form everywhere. I've realized that much of the art I love outside of photography, both painting and drawing, relies heavily on form. I love the shading of light and dark, how something so simple creates dimension on a flat surface. You can see that in this photograph from Santorini - it's all about form. If you didn't have the light and dark, the various shades, what would you see? Just a blank white rectangle.

Since I'm off traveling this week, you have a bonus week with this exploration topic! Link in below or share your image in the Flickr pool, if you've found form in your photographs. I'll catch up with comments next week when I get back. In the meantime, you can fill my void and visit the links of your fellow participants, and see how they are Finding Form in the world around them.

See you next week!

Feeling the Fear

Sometimes, as we travel through life, it may seem that we are the only ones with problems. The only ones who feel fear. We may read the stories of these big successes, people we admire, and think, There's no way they feel like I do. We tend to look at the outward positive things and tell ourselves a story, when we can't see the fears that are inside of someone else.

I feel fear. As I start to dream big, after the creative retreat I attended a couple of weeks ago, my fears are growing to match. I recognize now that my fears have accompanied me on every step of this creative journey. Fear of sharing my work. Fear of putting my honest self out here on the blog. Fear of trying something new. The only way I've grown is to face the fear and move past it.

The bigger the steps we take on our creative journey, the bigger our fears become. Last winter, as I was getting ready to start my first run of the Find Your Eye class, I was assailed with an attack of, "Who do you think you are?"  Who did I think I was, to create a class and put it out there to the general public. To think I had something to contribute to the conversation, since I don't have a photography degree or years of professional experience under my belt. Luckily, it was too late - the class was being advertised, people were registered - I was committed and couldn't quit. It didn't mean I felt those fears any less, however.

We all feel fear. Fear of rejection, ridicule, failure, hurt. Maybe even fear of success. Fear is there to protect us, to keep us from getting hurt. Everyone has doubts and insecurities. The face we put out to the world may be a brave one, but I guarantee there is some fear going on inside. We are not alone in this. While it may be a comfort to know others feel fear too, it doesn't make it easier to deal with our own fears.

The only way I personally know how to deal with fear is to acknowledge it. If I can define the fear, understand where it is coming from, I can make a plan to deal with it and move ahead anyway. If I can name it, I'm less likely to let it stop me. The fear doesn't actually go away, I just carry it along for the ride. I think of it as having a conversation with my fear, "Hello there Mr. Fear. I see you lurking there. I see what you are trying to do. Thanks for trying to protect me, but this time I'm not going to listen to you. We are moving ahead anyway. You can come along with me and see how this turns out." Somehow, that helps. But believe me, it's not comfortable, to carry this fear along. It would be easier to run away in the other direction.

Now, as I get ready to hit the submit button on this post, the little voice of fear is talking in my head. Should I admit my fears publicly? Won't this just look weak? Maybe it will to some of you, but to others, it might bring a sigh of relief. You aren't alone.

What do you do when faced with fear? How do you recognize and address it? Move past it? Please leave a comment, and today let's help each other deal with fear.

All Locked Up + Swap Update

I am in love with locks lately. I seem to have quite a few from our visit to Greece a few weeks ago. But, seriously, who could resist this color and shape? And those little embossed dots? The square bolts? Could you have resisted?

I'm considering this as one of the images in my next postcard order. We are so, so close to my goal -- 195 people are currently signed up for the Liberate Your Art postcard swap! Isn't that awesome? If we hit my goal 200, I promised that everyone signed up with get a postcard from me in addition to 5 postcards they will receive from other participants. I'm so excited to be this close to the goal, and it's time for me to think about my postcards too! Especially since I liberated most of my current stock at the Do What You Love retreat last week. Postcards were a great way to give people something a little bit "more" of my art than a business card. Everyone seemed to really like looking through them and choosing their favorite too.

There is still time to help me get the word out or to sign up for the swap yourself! I'm going to close sign up on Saturday, 4 June, so that I can be sure that everyone gets the final details I send to the list in June. Go here for the rest of the details, to get a button for your blog or to sign up.

I've added tons of new links to the participant link list this week. That means it's time to go visiting again. Can you find the artist who paints on rocks? How about an artist who lives in Australia? They are in there, and so, so many more amazing artists. Pick two or three links, go and visit, and leave a note letting them know you stopped by from the postcard swap!

Here are the new links added this week:


Nomadic NotebookWell of CreationsCindyLew's StudioOm2ArtHysong DesignsThe Weekend Photo WarriorTina's TreeThe Studio 56Kristen WalkernaperieRosie GreyThis Life through the LensNot Everyone Has FilmSloane Solanto: A Colorful LifeRavenous RaesassyangelacMy Midlife CreativitiesMakieDollTracy Swartz, Whimsical Gourd ArtOne Thousand PaintingsOne Little PromiseAmber Leigh JacobsMarie Z. JohansonThe Queen of CreativityExpressive WorldRandom Thoughts Do or "Di"Lyrical JourneyKaren Koch, Life Needs ArtMy Sweet Prairiedye~ing to be yoursKnottyneedlemy heart artODDImaginationCrafty CreativityJenna Kannas InspirationsGoing a Little CoastalStarry Blue SkyQuilting, Calle and other thingsMatthew and LarissasightspecificStudio MailboxArtimagicaPoetic MappingSimple MansionBy JenPaper BirdMusings of a HennaphileShe Dreams of the SeaThe Little Things...Tangerine Megamaze, surprise & delightlove PEASStraightlinezKristen Laudick Photography
And of course all of the ones from before:How to Feather an Empty NestLearning as I GoPaloma ChaffinchFiberworksAshley Sisk's Ramblings and PhotosJenny ShihLife @ RuffHavenkharliebugHere and NowLiving in a Still LifeBastelmaniaDonna Did ItLeft in Front of RightThe Red TinAltered Muse ArtDreams and WhispersMaddy's Stitching CornerSimply Life PhotographsPointy PixNatasha MayThe Vintage ArtistDigital Experiments by CarolynWJC's Digital DesignsCreating my Lifeicandyi wanna be me when i grow upGiddy-Up Let's RideThe Creative IdentityElizabeth GLZJofabi PhotoA New Day, A Different WayA Rural JournalAlchemy of ArteyechaiPicturing the YearSuperdewaHounds in HeavenBleuOiseau PhotographyAquarel RiversThe Wright StuffThe Mrs.Urban Muserdeustchemexicana{Furi Kuri}TravelsA Little Blue Skycarola bARTzSame Day: Thirty Years ApartCamperCottage 960

Exploring with a Camera: Finding Form

Happy Exploring with a Camera Thursday! I'm so excited that for the next couple of weeks we will be Finding Form in our photographs. While I've been exploring form for a while, I didn't become quite so focused on it until our recent trip to Greece. Today I will explain the idea of form and show you how I use it in my photographs. At the end of the post you will find the link tool to share your own photographs of form, or you can add them to the Exploring with a Camera Flickr pool.

What is Form?


It helps to explain form by contrasting it with shape. Shape is two dimensional, flat. Form is three dimensional, it has volume. In our photographs we can often find elements of both shape and form. In some cases, the object we are photographing really is flat, and has only shape. In most cases, however, the object we are photographing is really three dimensional, it has volume. We communicate those 3D forms in our 2D photographs through the angle and lighting we choose to capture.

Before diving into examples of form, I'll show you an example photograph of shape, absent of form. A silhouette is a shape, it has no volume. In the photo below, you can tell that these are people, but you don't get much indication of the form by the silhouette, only the shape. Contrast that with the lead-in photo of the stairway on Santorini island, in Greece. In the stairway photo, there is dimension and movement. You move through the stairway and can see and feel its dimension - that's form.

The light you use in your photographs is what expresses form. Do you need direct light or indirect light? What's best? I found it interesting, as I consulted my photography reference books on this topic,  how discussion of form was either completely absent or contradictory. Only two books even mentioned shape and form as design elements in photography, and those two disagreed on what light best expresses form. 

So, in my explorations I looked at images where form was a dominant element and what type of light I was using, to share with you here. My conclusion: The light that best expresses form will depend both on what is available and on what you are trying to convey. Each type of light emphasizes different elements of form: Direct light seems to emphasize planes and edges while indrect light emphasizes curves.

Direct Light

Here is an example of direct afternoon sunlight, on the turret of this church on Santorini. The form is definitely expressed, you can see the dimension of the building through the different faces and the curve of the dome. The resulting form is very planar or angular, however, and the curves are minimized.

The volume of this carving, from a door found in Cefalu, Sicily, is clearly evident. There is a strong element of shape with the circles but the strong light and shadow gives the dimension of form. I almost want to reach out and touch it, run my fingers along the carved surfaces.

This image of footprints in the sand is all about form. There is really nothing "there" in this image. The photograph is of what is not there, the displaced sand, that the light and shadow highlight. Without the direct light, these footprints would not have the strong dimensional form you see here.

Indirect Light


Indirect light is softer, more gentle; It emphasizes the curves. I love indirect light for the gradations it provides, which serve to show volume. The indirect light on this Canova sculpture in the Louvre is marvelous for capturing the details of the form. Can you imagine this sculpture with a strong front or back light? The depth would be gone.

I have completely fallen in love with sculpture as an art, I think because it is pure form. Photography and sculpture have an amazing amount in common - both are about expressing light on a volume. The significant difference is that sculptors create the form from nothing while photographers capture the form that exists. Aren't we lucky that those of us who aren't going to carve marble have a way to communicate form?  I think so!

Here's another example of form, expressed through light on a sculpture. You saw this image of a Rodin sculpture several weeks ago when we explored rim light, but the form is definitely captured by the indirect lighting from both sides.

The attic of Gaudi's Casa Battlo in Barcelona is a heavenly place to capture form in indirect light. This stairway has indirect light from several directions, which serves to highlight the various forms that it is made up of. The gradation of light and shadow give the image a lot of depth and layers to move through. The curves are emphasized.

Here is a final example of lighting from Santorini, a combination of both direct and indirect light in this scene. How do you think they work together? What does each type of light emphasize?

Color

In looking at my photographs that have form as a primary design element, I've noticed that they are almost always monochromatic. Removing variation in color helps to focus on the form. This can either be done by converting to black and white, or capturing a mainly monochromatic scene. This street corner in Brescia, Italy is a good example. The form of the buildings is emphasized through the light on the different surfaces. Since both buildings were pink, the image retains a feeling of form as one of the main elements.

This group of images from Burano, Italy show variation in color when taken together. If you look at each one individually, you will see form as a dominant element in each photograph. These photos also serve as examples of how indirect light works differently than direct light to show form. The curves of the pipes and other elements are emphasized rather than the planes and edges. The indirect light gives a softness to the images, where direct light would give harder, distinct edges.

Images don't have to be completely monochromatic to highlight form, as this photo from Santorini shows. The form of the wall and steps is a strong element in this photo because the colors are softer and don't compete.

When there is strong color contrast, however, form can recede to a secondary element in the photograph. This image from Burano has a strong element of form, however the strongest design element of the image is color because of the contrast of the bright primary colors. Form takes a supporting role here.

I hope this has helped you to see what form is, and how you can use it in your photographs. Since photography is a two-dimensional expression of our three-dimensional world, finding and conveying form is a way to give our images depth. You may notice most photographs have an element of form in them, but it may not be the primary design element. 

Take some time over the next couple of weeks to find form. Natural or man-made, straight or curvy, every three-dimensional object has form. Go through your archives, or explore with your camera, and come back and share what you've found with everyone here. I say it every time, but I learn so much through the images you choose to share here! We grow our community knowledge that way. You can link your images in below or add them to the Flickr pool.  

Thanks so much for joining me here! Have fun exploring!

FYI - Links will be moderated. Please ensure that your linked image is on topic, and include a short explanation of how it relates to the current theme. Link back to this site through the Exploring with a Camera button (available here) or a text link. Thanks!

White and Blue

Remember my desire to photograph white, white houses and blue, blue sea? 'Nuff said.

I'll be back here tomorrow, full of all sorts of creative ideas from my retreat. See you then!

Share Your View: Visual Contrast

The Athens flea market is, for some reason, full of chairs. Lots and lots of shops selling piles of chairs. No tables, just chairs. I was drawn to this scene for the contrast of the nicely restored chairs against the graffiti. (Athens is also quite full of graffiti, more of that later.) I'm not sure how I would describe the contrast, but it makes a striking statement to me.

I'm off in England right now, so no sharing from the Flickr pool today, but let's check in on our Exploring with a Camera theme of Visual Contrast. Have you found contrasts in your archive? How about when you go out with your camera? I'm betting that you are finding more contrasts than you ever expected, so come and share. We already have a number of great images in the link up and Flick pool. Do some exploring of other's images and see what cool interpretations have been found.

Balancing Life's Contrasts

In the Athens flea market, I found this stall with a pile of junk. There were probably lots of treasures in this pile, but it was treated as junk. I photographed it for a while, until it seemed I annoyed the owners. They were trying to pack up and close for the night. It was a fascinating subject, because it was full of so many compositional opportunities. So many contrasts.

As I was looking for images with contrast for the Visual Contrast topic we are studying right now, this one popped out at me. There is a light/dark contrast of the image and the items around it, but there is another contrast that struck me at a deeper level. The religious icon dumped amongst everything else gave me a contrast of revered/abandoned. As if someone had lost their faith, and thrown it in with all of the other junk they were sending away. Kind of sad.

Amazing, isn't it, what you might take away from the contrasts in one image. As I've been studying contrasts, I've been seeing how they can show a deeper meaning or message in our photos. I've also discovered that I'm studying the balance of contrasts in other ways. Today I'm on Elizabeth Gonzalez's blog, with a guest post on balancing my artistic and technical pursuits. Elizabeth pointed out to me that the balance of contrasting forces I've found in my own life is just like the balance of contrasts we're studying with Visual Contrast. I didn't realize it until she pointed it out: You can have opposing forces work together in balance, whether it's in life or in art.

Please stop by Elizabeth's blog to read my thoughts on balance. Elizabeth is a talented ceramics and mixed media artist, along with being an engineer like me. When you visit, I hope you will stay around a while and look at the beautiful art she creates.

And oh my gosh - I published and then forgot - it's the giveaway day!  Here are the two winners:
The Favorite Flowers set goes to Wendy of not caught up.
The Superhero set goes to Patty of Nomadic Notebook.
Wendy and Patty, I'll be contacting you for your address, so we can get these in the mail. Thanks to everyone for particpating!

Learning Traditions of other Cultures

We were in Greece on Easter Sunday so we had the opportunity to learn some of the local traditions for celebrating Easter. A red egg, a symbol of renewal, is served to each person at breakfast. Isn't that a gorgeous red? I loved the primary color combination at our breakfast table that morning. Brandon loves the yolks of hard boiled eggs, so he ate all three of them.

The other Easter tradition we learned about is the large gatherings of family and friends on Sunday afternoon, where a whole lamb is roasted over an open pit fire. It was an interesting sight, these whole lambs rotating over a bed of coals. Nothing I particularly cared to photograph though! Patrick loves lamb so he enjoyed having a platter of freshly roasted meat at both lunch and dinner. I'm not fond of lamb, so I stuck to other options like a yummy Greek Salad.

Learning about the traditions of other places is one of the fun things about traveling and living abroad. You learn that there are more ways of celebrating, believing or even day-to-day living than you could ever imagine from the point of view of your home culture. I don't think you ever stop being surprised, but you become more open and accepting of just about anything.

I think our world would be a more accepting and friendly place, if we all just travelled more. Do you agree?

For the Love of Blue + Postcard Giveaway and Swap Update

So, I go to Greece to take pictures of white houses and blue sea. Which I did, and I enjoyed. But as I shared in Monday's post, the things that inspired me the most continued to be the places with texture, the colors, and little details like this door handle and lock. I captured this in the small town Megalochori when we rented a car one day and visited some of the smaller towns around the island of Santorini. Once you got out of the tourist zones where everything was postcard-perfect, Santorini was texture heaven. Just goes to show, style will always come through. You've probably heard the saying: "No matter where you go, there you are." Even artistically, this is so true. (I'm linking this in to The Creative Exchange for that reason!)

Today I've also got a lot of little updates so hang on through the end if you are interested in a Liberate Your Art Postcard Swap update, my Paint Party Friday entry, entering a postcard giveaway and a quick newsletter tip.


Liberate Your Art Postcard Swap Update and Postcard Giveaway

I'm so excited with the response to the postcard swap. There are 87 people signed up for the swap so far. That's 435 pieces of art that will be winging their way around the world come late July. Isn't that awesome? And it's all because you are helping me get the word out!  Thank you so much!

If you're already signed up, you can expect an email this week with some more ideas and resources about making or printing your postcards. If you have some resources or tips you want to share with the group, send them to me and I'll add them to the update. If you haven't signed up yet, there's plenty of time. Go here to sign up and get the details.

To thank you for the great response to the swap and your help with growing it, I'm doing a postcard giveaway, to liberate more art into the world.  There will be two winners. I'll be giving away a set of my own "Favorite Flowers" postcards, as well as a set of "Superhero" postcards from my good friend Jenny Shih. Any one of these postcards is guaranteed to make the recipient smile.

 




Even better, you can have up to three entries into the pool. Here is what you need to do to enter:
1. Comment on this post for one entry. Just say hi and you are in!
2. If you are a signed up for the postcard swap, you get a second entry. Leave a second comment on this post that you are signed up, for your second entry. It's not too late - sign up here and then come back and use this entry!
3. If you have helped get the word out on the postcard swap (a blog post, a tweet, putting the button on your blog sidebar, etc.), you get a third entry. Leave a third comment on this post telling us what you did to help get the word out, and provide a link if you have one, for your third entry. It's not to late for this either - if you help get the word out between now and Monday, come back and comment again.

I will draw for the winners on Tuesday morning here in Italy, so you have until Monday night around midnight EST to leave your comments. Please make sure that there is a way for me to get at your email through your comment - either by a link back to your website where I can find it or commenting with a method that will allow me to reply. If you win and I can't find your email to contact you for the address, I'll re-draw for the prize.

Quick Newsletter Tip


My newsletter will be going out on Sunday, with the Visual Contrast printable file I told you about in yesterday's post. Be sure to add my email address to your address book so it doesn't end up in your spam folder. If you signed up but don't see it by Monday morning, or didn't see the first one I sent a couple of weeks ago, check your spam folder.

Paint Party Friday!


I had so much fun participating in Paint Party Friday the first time a couple of weeks ago. That, along the wonderful blues I experienced in Greece last week, have motivated me to start another painting. This is a small 20x20cm canvas, painted in acrylics. I haven't finished it yet, but thought I would share my progress.

Step One: I wanted to get a watery looking background so I used quite a bit of water with Cerulean blue paint to initially paint the background. Then I crumpled a paper towel and dabbed at the canvas to unevenly take paint away. It was an experiment, and I liked the results.

Step Two: I started painting a circle of Aquamarine, from the outside in. I still used quite a bit of water and overlapped as I went. Eventually I worked to the center and then spiraled out, darkening the places that seemed to be naturally dark. I had no intention with the subject, but the result at the end of this step look like a rose to me.

This is all I've done so far. Next I'm planning to go along with the emerging rose I see and add some highlights. We'll see where this goes in future updates. It's funny how both this painting and the last one I did have ended up looking like flowers, that was not intentional.

Have a great weekend!!

Exploring with a Camera: Visual Contrast

One of the best tools a photographer has to create a powerful photograph is contrast. Today in Exploring with a Camera, I'm going to talk about the concept Visual Contrast and how it can help you create interesting images. At the end of the post, there is a link tool for you to link in your images on the theme, either new or archive. I hope you'll join in!

For this exploration, I'm going to define Visual Contrast as the inclusion of contrast in the elements of a photograph that leads to a higher impact. The first thing that comes to mind for me when I think "contrast" and "photograph" together is contrast in light/dark. Here's an example:

In our study of light and exposure as photographers, this is an obvious kind of contrast. Our camera, which has a limited dynamic range (range between light and dark) compared to our eyes, almost creates this type of contrast for us. For this theme, let's look beyond light/dark contrast into other types of contrast that are more subtle but just as powerful for creating images.

The idea for this theme comes from Michael Freeman's The Photographer's Eye. In this book, he refers to a list of contrasts created by Johannes Itten, a Swiss painter and teacher at the Bauhaus school in the early 1900's. Itten developed some revolutionary ways of looking at basic artistic concepts as part of his "preliminary course" on art. Using contrasts to create interesting compositions was one of his ideas. While these contrasts were original intended for painters and other fine arts of that time, they work just as well for photographers today.

Here is the list of contrasts that Freeman shares in his book and also in this post if you would like to read a bit more:
point / line
area / line
area / body
line / body
plane / volume
large / small
high / low
smooth / rough
long / short
hard / soft
broad / narrow
still / moving
thick / thin
light / heavy
light / dark
transparent / opaque
black / white
continuous / intermittent
much / little
liquid / solid
straight / curved
sweet / sour
pointed / blunt
strong / weak
horizontal / vertical
loud / soft
diagonal / circular
delicate / brash (added from Freeman's examples in the book)

After playing with this concept, I also added a few of my own:
old / new or young
bright / neutral
natural / man-made
What other contrasts can you think of? Leave a note in the comments if you have something to add to the list. I'll be sending a printable download of the list in my next newsletter this weekend, and will add any contrasts that you come up with here too. You'll be able to tuck this list into your bag and keep it with you for inspiration on the go. (If you aren't signed up for the newsletter yet, you can find the sign up form on the blog sidebar.)

Now that you have the list, let's look at some examples of contrast in my photographs...

Large / Small

This photo is one of my favorites of my son's early years. It's one of the few prints from my film days I actually have here in Italy, and I was happy I had it available to share with you for this theme.  I love the large/small contrast between the hands of my husband and son. There is also a parallel old/young contrast in this image.

Old / New

Our travels around Europe have provided us with plenty of examples of contrast between old and new. This image of a Roman theater at the foot of the Acropolis in Athens is an especially clear example of old/new. Millenia old ruins against the backdrop of a large, modern city. Quite a contrast.

Natural / Man-Made

Along with old/new, visits to ruins can give a great contrast between natural and man-made. I love showing decaying ruins along with thriving nature. It makes quite a commentary on the permanence of what we create in the larger scheme, doesn't it? The opening photograph of the poppies and the Greek ruins at the Acropolis, and this image of a blooming tree by the Roman ruins of Ostia Antica near Rome are good examples.

Hard / Soft

The hard, rocky pavement contrasts dramatically with the soft leaf in this image. The image also includes the contrasts of  many/few and bright/neutral color. 

Bright / Neutral

Just being back from Greece, you didn't think I could go a day without showing some white and blue, did you? The bright blue pot against the neutral white background is a strong contrast of color. The popular technique of a black and white image with selective color showing takes advantage of this type of color contrast. This image also includes contrasts in smooth and rough textures.

Curved / Straight

The straight, geometric lines of the floor contrast with the gentle curves in the walls in this image from Barcelona. The contrast is further enhanced by the softer, underfined edges on the curves versus the very hard and defined edges of the lines in the floor.

Smooth / Rough

The variation in textures is the main contrast in this photograph from Burano. The contrast created by light/dark also helps define the edges and separate the different textures.

That's enough examples to get you started! I'll share more over the next couple of weeks as we explore this topic. I was actually surprised at home many I came up with, once I started looking. 

Now it's your turn. Take a look through your archive or go out with your camera this next week or two and look for Visual Contrast. Then, come back and link in the images you found in this post and/or add them to the Flickr pool. How many contrasts do you think we can find as a group? I can't wait to see!

Don't forget to comment on this post, if you have ideas for other contrasts to include in the list. If you haven't already, sign up for the newsletter and you'll get a printable list of Visual Contrasts in your email this Sunday.