About a month ago I wrote a post about shooting baby closeups. Just a quick reminder – my friend asked me to shoot his baby boy, and I used natural window light to shoot mainly closeups because I had problems with background.

This time it so happened that I visited my friend again, and I happened to have my camera with me. His baby boy was in a playful mood and since he liked my previous photos he (not baby, my friend of course!) asked me to take a few more. This time I decided to solve all my background problems and shoot something more than closeups.  In addition, it was late in the afternoon, and the sun light was almost gone, so In all photographs that you’ll see here, I used flash, and only in the first one, in addition to flash from the right, there is window light from the left.

In order to get good shots I had to solve several problems – to figure out lighting would be the most important one, and background would be the second important. Since me and my friend’s family are good friends I had no problems communicating with them and their baby boy Eric was in a perfect mood for taking photographs – he was smiling and playful.

In the photo below the main lighting was sunlight from the window on the left, but if I didn’t use flash from the right side, then the shadows on the faces would be too deep. So I used a flash and set it to 1/8th of it’s full power to fill in the shadows.

Click on the photo to enlarge.

For lighting I only had one flash (Canon 430EX) but I also had remote trigger making it possible to have lighting off-camera. In the photo below Eric was sitting on the couch, and I placed a flash with 1/4 CTO gel on it facing away from him straight into the pillows of the couch so that Eric would be lit not with direct but with reflected light (this made the light source bigger and shadows smoother). In addition I asked his father to hold a white bed sheet close to Eric’s right (camera left) side. This made the shadows on his face lighter, because light from the flash reflected from the pillows hit the white sheet, and reflected from it to the shadowed part of Eric’s face.

The background in this photo is almost black because I used flash and the ambient lighting didn’t affect the shot at all.

Click on the photo to enlarge.

For the next photo I wanted to do something different, something bright and happy. They had these pieces of soft foam that they used to place on the floor for Eric, and they made an interesting background. In addition I asked Eric’s mother to blow some bubbles for him to play with, and started shooting. I caught a few nice frames and this one I liked the most. In this shot there is still only one flash placed on the right side and reflected form the pillows.

Click on the photo to enlarge.

Now we went from the living room to Eric’s room, and here I encountered another problem. The walls of Eric’s room were green, and this is bad for your white balance. I know, I know – you say “shoot in raw, and then correct in post”, but I wanted to fix this in-camera making post processing time shorter. So here is what I did – I placed my flash facing the opposite wall so that the light would reflect off of it (because this is how I wanted my lighting to be) and then I took a shot of a green wall (the opposite wall from the flash). Then I changed to manual white balance and chose that shot of a wall as a reference. This made wonders for my white balance, and photos started to look so much better!

Click on the photo to enlarge.

In this photo Eric’s father is holding the flash facing the wall and reflecting from the wall to Eric’s and his mother’s faces. Yes, it is still only one light

Click on the photo to enlarge.

And finally I wanted to play around and take some unusual shots. So I changed to a wide angle lens (with UV protector on it, in a sec you’ll understand why) and started shooting Eric from various angles from a very close distance. Eric got very interested in me and my camera and started touching the lens (you see, the UV protector was a good idea ), and I made some very nice shots even though they were distorted due to the wide angle.

Click on the photo to enlarge.

In this post I talked about lighting and background, which are all technical details, but it is not enough to make a good shot of a baby and his parents. My advantage here was that I knew them so they were comfortable around me, and I was comfortable around them – this is very important. The more relaxed your subjects are, the better your pictures will be. It is also important to know what do you want to show in your photos (the love of parents for their child, happiness, thoughtfulness) and then try to find situations and angles to show it. And of course – experiment, experiment, and experiment!

Till the next time,

Take care!

Greg.

Popularity: 2% [?]

For those of you who don’t know what the hell I am talking about, I’ll briefly explain the issue.

When you buy an expensive lens, you want to protect it’s front glass element from scratches or other accidents. So most likely the photo dealer will suggest you to buy a UV (ultraviolet) protection filter to screw on your lens. But the question is – will shooting with UV filter degrade the image quality?

Lately I found myself bothered with this question a lot. It started when I bought my Canon 24-70mm f2.8 L lens. I bought it second hand, and the guy who I bought if from told me that it was with the UV filter all the time since the day he bought it, so it is completely scratches free. Way back I took an advanced course in optics in university, and I know that adding additional optical element to optical system changes system’s overall performance. This is exactly what you are doing to your optical system, i.e. your lens, by adding additional optical element, i.e. UV filter.

So how significant this “change in performance” is? In other words will the final image suffer in quality because of that?

I felt incompetent to perform tests to find an answer myself so I did an extensive web research, and I found a lot of information on this subject. It seems that there is no single conclusion to this matter, but here is my summary on it, which in my opinion includes all the major points, fact,s and conclusions regarding using UV filter on your lens for protection.

• Putting UV filter on your lens will certainly degrade lens’s performance.
  • Explanation to this is pretty simple. When you screw on the UV filter on your lens, you basically add one more optic component, but not only that you also add a space filled with air between the filter and lens’s front optic element. So when ray of light hits your lens, instead of hitting the lens’s front element and passing to other optical elements inside the lens, it first hits the UV filter, refracts, passes to the space filled with air between the UV filter and the lens, and only then enters the lens. That ray of light can also be reflected several times between the lens and the UV filter (coating on the UV filters tries to prevent that).
• The extent of the image quality degradation may vary from invisible to the human eye to a severe degradation in contrast and sharpness (and other image qualities), and it depends on the following factors:
  • The quality of the UV filter
    • I found many photographers complaining about Tiffen UV filters (even about the expensive ones). I even saw a test one guy did showing that using a Tiffen UV filter significantly decreases sharpness and contrast. That guy didn’t write the exact model of that filter though.
    • There is general agreement among photographers that expensive UV filters with double coating are the best choice if you must put a UV filter on your lens. Many photographers recommend the high end UV filters from B&W, Nikon, Hoya (Super HMC), Singh-Ray.
  • The subject that you are shooting – or more important the direction of light. For example if you are shooting into the light, then with UV filter there are more chances to have lens flare (partial solution is to use lens hood).
  • The lens. If the lens that you use is not of high quality, it may already produce less than great images, and adding a UV filter won’t make them worse than they already are.
• There is everlasting debate whether one really needs the UV filter to protect the lens. Here are some pros and cons:
  • Pros:
    • UV filter gets dirty instead of the lens, so you don’t have to clean the lens that often (just clean the UV filter), thus protecting the lens’s coating.
    • When shooting on the beach, or during sand storms, or in any conditions where there are tiny particles in the air, which eventually land on your lens, you are risking scratching your lens when cleaning. Better scratch the UV filter.
      • Lens cleaning tip – when there are tiny particles on your lens don’t wipe them off because that can scratch the lens. Wash the front element first and then wipe it with micro fiber cloth.
    • If you accidentally drop your lens, or bump it into something, the UV filter will take the blow saving the lens.
      • Actually another opinion is that in such situations if UV filter breaks then its glass might easily scratch the lens.
    • The degradation of image quality resulted from UV filter is negligible in most cases.

• • Cons:
    • This one is somewhat philosophic – why put a 100 dollars piece of glass on a $1500 expensive lens? It means that it is very difficult to produce a high quality lens, and this is why it is so expensive, and by putting a relatively cheap (to the lens’s price) UV filter, you must degrade it’s quality.
    • Lens hood does great job protecting the lens so no UV filter is needed in most situations.
    • Don’t over protect your equipment risking loosing in image quality. Be reasonable, and predict when your lens might be in danger and when not.
    • The hard coating on most expensive lenses is very strong and can withstand numerous washes and cleanings (as long as you do it wisely).
    • Buy Lens Warranty instead of UV filter

Here is a great test of UV filters in action by Ken & Christine

In conclusion, there is no simple right or wrong here. Having all the information above you must decide for yourself whether to use UV filters or not. I decided to use them when shooting on the streets or in dusty conditions, but to remove them when shooting portraits, studio, or landscapes, in other words when there is little risk to damage the lens. I also use lens hoods almost all the time. If I was a millionaire and money wasn’t an issue , I probably wouldn’t use the UV filters at all just to be sure that I am getting the maximum quality that my lens can deliver.

If you have additional information regarding this issue, you are welcome to share it here, and

Remember, you only have to enter your name to leave a comment!

Have a great day,

Greg.

Popularity: 2% [?]

It is a very common issue among photographers, therefore many articles were written on this, and now it is my turn. In this post I will describe how I try to keep myself inspired and what helps me to come up with ideas for photographs hoping that you find my experience useful.

Inspiration and ideas go somewhat together – when you feel inspired, most of the chances that you’ll have ideas for photographs, and when you have an idea for photograph, it’ll probably inspire you to bring it to life. Therefore the following text will be a mix of tips for getting inspired and coming up with ideas for images.

• I have a notepad in which I write quotes from different sources, which inspire me. You know, you read something or watch TV and at some point you hear a sentence that makes you go ” That’s right! What a great thought!”. If you don’t write it down most of the chances that you’ll forget it. So I write down these quotes and go over them from time to time or when I feel uninspired. That helps a lot, because not only you will be reading inspirational quotes, but you will also remember the circumstances at which you wrote it down, and that in itself can bring back the inspiration.

• During your “good” periods, when you feel inspired think of the things, events, places, people, which inspire you and write all that in the same notepad. It’ll help you a lot to get some of the inspiration back during the “low” periods.

• Another thing that inspires me is listening to the music that I like. Listening to music while looking around for ideas for photographs can be a huge help. Think about it for a second – in the movies they always use various kinds of music to create different moods. Take action movies for example. A certain music can add tension to otherwise usual situation. So when you listen to certain music and look around you, you will see things differently depending on the music that you listen to and it just might inspire you to raise your camera.

• I have a separate folder on my computer with my best photographs. When I create an image that I like very much, I add it to that folder. When inspiration leaves me and I feel that I won’t ever be able to create one good image, I go over my best images to remind myself what I am capable of.

When I come across an image that captivates me, I try to find out who is the photographer and then visit his website. If I find his works exceptional I bookmark his website. Over the years I gathered list of photographers that inspire me, and I come back and go over their work when I need inspiration.

I bet it happened to many of you, you keen photographers! You walk around doing your daily routine, and then suddenly a picture or a scene pops into your mind. It might be due to something that you see in front of you (on the street, in public transport, etc.), or because of your thoughts at that moment. It doesn’t matter why. But when it happens – write it down in a few words so that you won’t forget it. I do it in my iPhone because it is always with me. I have this nice diary application called Momento, and I write down there in a few words these pictures of my imagination. It doesn’t mean that I implement them all, but when I am out of ideas, I take a look at my notes and it helps.

• In the Momento app that I mentioned above I can also add photos to text. So if I see certain situation and an idea pops to my mind based on that situation, I simply take a photo of it and add it to the diary entry.

Well that’s about it. All these things combined help me stay inspired and keep shooting during my lowest periods and I hope that you’ll find useful at least some of them.

If you have your own ways to get ideas for photographs and stay inspired, I sure would like to hear about them in the comment section below, and

Remember, you only need to enter your name to leave a comment!

Greg.

Popularity: 3% [?]

There is so much talk about post processing, and whether it is good or bad. There are people who never post process their photos, and there are also people who always process their photos, and also anything in between.

I do process my images in Lightroom or Photoshop, but not always. Sometimes the weather is perfect, and the air is so clear that nothing needs improvement. But in our busy world, we don’t always have the time to wait for the perfect conditions, and have to settle for whatever weather there is when we have the time for shooting. In such cases post processing can significantly improve the end result, and it is very important to shoot RAW in such cases because it gives you more flexibility in post processing.

In this post I will walk you through my Lightroom post processing steps, using one of the recent photos I took. Below on the left you can see the initial photo of an old fortress that I took on early morning. Unfortunately the sky was covered with clouds so that there was no contrast in the photograph.

Below on the right you can see the final image, after I finished working on it in Lightroom 3.

Click on the photo to enlarge.

So how I achieved this end result? Let me walk you step by step. All the steps below were performed in the Develop module.

First of all the sky bothered me the most in my initial image. It lacked contrast and was completely colorless. So I opened the adjustment brush, set it up and covered the sky area. Below you can see the screen shot of the settings that I used for the adjustment brush. Let’s go through some of them:

Contrast - though in most cases increasing contrast is more useful, in this case with clouds decreasing the contrast revealed more detail in the clouds.

Saturation – I increased the saturation of the adjustment brush because I also changed the Color to a shade of blue (as I’ll show in the next screen shot), and for this addition of color to be seen better I had to increase the saturation.

Clarity – Clarity is always good for clouds . Really, increasing clarity makes clouds pop.

Color – I decided to add a slight color tint to the clouds so that they won’t be boring gray, but still have a realistic color.

Feather and Flow of the brush are needed for creating smooth gradients between the adjusted and not adjusted areas. The values that you see here are not a must, and you’ll have to play with them to find what suits your taste.

Below you can see the color selection box and the values that I chose.

Now, I painted with the adjustment brush over the sky. There is a slight problem when you want to paint with adjustment brush over large areas, especially when the changes that brush does are subtle – you might miss a few spots in the middle and even more at the edges. I found a pretty easy solution for this: temporarily, in the adjustment brush settings decrease the exposure value to -4 so that in addition to all your essential adjustments, you’ll also significantly darken the image in the painted area. This will make the painted area perfectly visible. Then, after selecting everything that you want, slide the exposure slider back to it’s initial position.

In the image below you can see the clouds painted over with the adjustment brush with exposure set to -4.

Click on the photo to enlarge.

And here you can see the result of painting with the adjustment brush after I returned the exposure slider to zero:

Click on the photo to enlarge.

After adjusting the sky I examined the overall look and decided to make a few more adjustments to the whole image. In the screen shot below you can see the initial settings, with which I started.

Let me explain the adjustments that I did.

I decreased Exposure slider to -0.45 in order to reveal even more details in clouds, but this also darkened too much the lower part of the image. To compensate for that I increased the Fill Light slider to 20. After increasing the fill light, I felt lack of contrast in the fortress, so I increased the Contrast to +34. Next I increased the Clarity and Vibrance just a little for a finishing touch. In the screen shot below you can see the final settings.

And this is how the image looked like after performing those changes.

Click on the photo to enlarge.

We’re almost done, but not just yet.

I stared at the image for a few minutes, and it seemed to me that something was missing. Finally I understood what it was – subtle vignetting. Let me explain. The shape of the right column together with the clouds create a sense of movement from the outer frame towards the center of the image, and vignetting would emphasize this sense of movement.

And here is the final image (same one as in the beginning of this post).

Click on the photo to enlarge.

So this is how I do my post processing – by first analyzing the image, deciding what is missing or could be improved, and performing the adjustments. Of course this whole process is not “scientific” at all. It is very intuitive and imaginative, because in order to achieve an end result you have to visualize it first. Sometimes though it is more like “lets move this slider and see what it does to the image”.

Did you find this article helpful? How do you post process your images? Any examples of before and after will be much appreciated, and

Remember, you only have to enter your name to leave a comment!

Greg.

Popularity: 3% [?]

From time to time we all encounter black and white (B&W) images that look very dramatic.  Many times I’ve seen B&W images that simply took my breath away, but somehow most of the times when I tried to convert some of my most beautiful images to B&W (which I thought would look great in B&W), I was disappointed. I tried to increase contrast but it didn’t help a lot. And then I discovered (by myself! ) the way of manipulating B&W images in Lightroom to significantly improve their visual impact, and I want to share it with you here.

I mostly shoot RAW, so my images are always in color even if I shot them with BW intentions. In order to turn them into B&W in Lightroom I go to the develop module and choose B&W. But only converting to B&W most of the times doesn’t deliver good results, and image often looks dull and uninteresting. Even if you try to adjust the color version of the image (vibrance, contrast, etc.) before converting to B&W, still the B&W version lots of times won’t be satisfying.

Here’s what I do. In the develop module of Lightroom there is the following section:

When your image is in color then the “Color” is highlighted, and if you click on the “B&W” it is automatically converted to black and white, below it appears caption “Black & White Mix” and 8 sliders (from Red to Magenta).

Below you can see an example of colored photograph before I clicked on the B&W, and immediately after. As you can see the B&W image is not that good.

Click on the photo to enlarge.

Now I’ll show you how the black and white version of the above image can be improved.

After I converted the above image to black and white by clicking on “B&W” button,  here is what the Black and White Mix looked like:

Each slider in the mix is responsible for a different color, but since the image is in BW, when you drag the slider, what changes is the brightness of that color in the B&W image. So for example if I want to darken the sky, I drag the blue slider to the left side. In this manner I adjust all the sliders, so that my final image looks just as I envisioned it in the first place.

Back to my example. Here is the final image after adjusting the sliders:

Click on the photo to enlarge.

And here is how the sliders of the final image are positioned:

Blue slider is moved to the left in order to darken the sky and make the white clouds stand out.  Yellow slider is moved to the right to make the hills brighter. Some other sliders are also adjusted but not all of them. For example I didn’t change the position of the red slider, because there is almost no red tones in the image, so dragging it doesn’t change much.

Of course you can use this technique with any image and not only landscape shots.

Here is another example. I shot these green leaves with intention to later convert them to B&W for a more graphic representation.

Click on the photo to enlarge.

This is what the sliders looked like before I played with them:

And this is the final version of the image just the way I imagined it in the first place. Below it you can see the final positions of the sliders.

Click on the photo to enlarge.

Converting just to black and white is not the limit. In this final example you can see another shot of the same leaves, but with two versions of creative editing.

Click on the photo to enlarge.

The first is the black and white version, but then I tried to add a sepia tint and vignetting and ended up liking this second version even more than the B&W one, but it only became possible after creating the B&W version using technique that I showed.

Click on the photo to enlarge.

If you have your own techniques for converting to B&W you are most welcome to share them here, and
Remember, you only have to enter your name to leave a comment!

Here’s to your creativity!

Greg.

Popularity: 1% [?]

Recently my good friend asked me to photograph his baby son Eric. I gladly accepted because I don’t usually get to photograph babies and wanted to give it a try.  The only problem was that my friend’s house didn’t have any suitable place to make a little studio out of, every place I looked at was too cluttered with stuff, which could distract the viewer’s attention from Eric. Finally I found a few places but knew in advance that the resulting photographs won’t be the way I’d like them to be.

Still I wanted to make at least a few photographs that would stand out and satisfy my artistic demands The only solution I could come up with was to shoot close-up shots of Eric so that background wouldn’t matter much. Three of those shots I chose to present here.

The key aspect of the following photographs is the light. It is different in all three of them, but in each photo it plays very important role.

For the following photograph I used a 100mm Canon macro lens at f2.8. I had a flash with me and tried to use it, bouncing from the ceiling or walls and varying its power, but I didn’t like the results – the light was too harsh and too white for my taste. Yes I could use a 1/4 CTO gel to warm up the light a little bit, but I choose a different approach instead – I asked my friend to take Eric and come closer to the window.

It was about 5 o’clock in the afternoon and sun light was still pretty strong, but was already getting warmer as sun got lower and lower. After positioning the happy couple the way that there were no significant shadows on Eric’s face I started to shoot, and the photo below was the winner of that batch. I like it because of the intimacy it transmits to the viewer, the closeness between the child and his parent. Because the light coming from the window was much stronger than the light in the room I could set the exposure so that the background remained completely black.

Click on the photo to enlarge.

For the next two photos I used a 70-200mm f4 L Canon zoom lens at f4.

In the next photo I took Eric to another window in the house, with transparent white curtains to serve as background. I intentionally went for the high contrast in lighting in order to create a little drama. But nevertheless as you can see there are no harsh shadows on Eric’s face, that would be unaesthetic for my taste. I like the way his eyes are emphasized in this photograph as if they were eyes of an adult but on a cute baby face.

Click on the photo to enlarge.

I also included the photo below in this article to demonstrate use of reflected light. In this photograph my friend hold’s Eric close to his body, and the light from the window reflects from his body and lights Eric’s face with soft warm light. So in order to create warm light you don’t always need gels and flashes… sometimes human skin can do the job just fine!

Click on the photo to enlarge.

What additional tips can you share regarding photographing babies? Did you like the photographs presented here?

As always comments are highly appreciated, and

Remember, you only have to enter your name to leave a comment!

Till the next time,
Take care!
Greg.

Popularity: 2% [?]

One of the greatest powers of photography is the ability of expressing one’s emotions through it. The most powerful photographs out there are the ones that successfully convey a certain mood or emotion.

But to convey an emotion through photograph is not an easy task. Often times you photograph a scene and think that it is pretty powerful, and then the resulting image disappoints. In order to successfully achieve the desired result many things have to come in place.

Let’s see what are the tools that if used correctly will allow your photographs to be emotional.

Light. It is very important in any photograph, and it has to be just right when expressing emotions. For example when you express anger, you might want to keep the scene in dark colors, while photographs expressing joy and happiness are mostly bright and shiny.

Color. Another important component. The first example that comes to my mind is the Red color, which can represent danger (in various signs) but in other contexts can also represent romance (red roses, red lips). Another example would be Green color, which has calming effect, if you want to create sense of tranquility in your photo you might want to fill it with green color (trees, plants, jungle, sea). When you consider various combinations of colors – the possibilities are endless, and don’t forget the power of black and white photographs!

Composition. It is absolutely essential to have an appropriate composition for expressing any emotion through your photograph. Sometimes just a slight change of camera angle can make all the difference and emotionally faded image comes to life.

Focus. When you want to emphasize a certain part of your image you put it in sharp focus while making other parts more blurred, but this rule isn’t written in stone. Sometimes the blurred parts of an image create all the mood, and hint the viewer about the story of the photograph. So it is not about the image being sharp or not, but about using the focus in such ways that will contribute to your final result.

There can be endless combinations of these components, and it is photographer’s job to find and create the ones that work, the ones that convey emotions to the viewer in a powerful way.

I decided to try and convey the emotions of love and affection. There are million of different ways to do that – photograph a young couple in different settings,  a mother with child, etc. I decided to do that with still life.

When Ira and I were on vacation a few months ago, we bought this tiny figure of two hippos as a symbol of our feelings, and this figure immediately came to my mind as being perfect for the task. But just a figure wasn’t enough, so I thought what else can I add to the composition? I knew for sure that I wanted the image to be in bright and happy colors, so I was looking for something colorful. I ended up with these beautiful tiny blue flowers (forgive me for not knowing their name), and below the hippos and flowers I placed dry tree leaves, which were bright yellow.

Click on the photo to enlarge.

Now, when I had all the components, all that was left was to combine them together in one composition. I tried many different variations and the two that you see above I liked the most. In order to concentrate the viewer’s attention on the hippos I used wide aperture and focused on their eyes. This way most of the flowers were blurred creating a happy, bright, and colorful background for the “hippos in love”.

Photographing hippos, I noticed how tender these flowers were, and photographed them alone to try and show their tenderness. Two photos below is what I came up with.

Click on the photo to enlarge.

I can’t say to what extent I succeeded in conveying the emotions of love, affection, and tenderness through these images. It is for you to decide. Can you feel it through my images? How would you express your emotions through photography?

Remember, you only have to enter your name to leave a comment!

Till the next time,

Greg

Popularity: 2% [?]

This time I would like to talk about creating abstract photographs. There are many ways of doing it, and one of the simplest ones is to take a closeup shot of something with interesting texture making it unclear what it is from one side but creating an interesting combination of forms, colors etc. from the other side.

For example you can find an old wooden door with paint which partially came off and take a closeup of it, or take closeup shots of rusty metal. Another idea would be taking closeup shots of architectural creations including particular parts without revealing the form of the building. There are many more ways of course, and these are only a few examples.

For these series of abstract photographs I decided to photograph waves. I came to the seashore about an hour before the sunset, put down my tripod, mounted my Canon 40D and started shooting.

Photographs by Greg Brave. Click on the photo to enlarge.

As you can see these all tight crops (well all except one) of waves taken with long exposure. Using long exposure in this case is critical because if I would use normal exposure (1/50 sec and faster) then the waves would be easily recognizable even in tight crops.

Photographs by Greg Brave. Click on the photo to enlarge.

After the shoot I came home, opened the photos in Lightroom and started playing with them trying to get the best abstract results I can. And I found something really beautiful, which I would like to share with you.

Everybody plays with Vibrance and Saturation controls (in any photo processing application), but when you work on a “real world” images, not abstract, increasing saturation or vibrance too much makes the image look not real, over-saturated. But in this case my goal was to create a beautiful abstract image, and I saw that when I crank the saturation slider to the maximum, it gives me very nice result making the photos look more like paintings and also emphasizing the warm sunset colors.  But it wasn’t perfect, and I am sure that many of you encountered this – when you increase the saturation to a certain level you start having color artifacts in your image, and you are forced to decrease it to the level where there are no artifacts.

Here is what I found in Lightroom – in order to eliminate these color artifacts you have to increase the Luminance Noise Reduction slider (in the Develop module) until no color artifacts present in the image! I was stunned – because now I could increase saturation as much as I wanted. There is one downside to it though – the image looses some of its sharpness, which wasn’t a problem in my case.

Photograph by Greg Brave. Click on the photo to enlarge.

I would be happy to hear what you think of these images. How would you create an abstract photograph?

Remember, you only have to enter your name to leave a comment!

Have a Great and Creative day!

Greg.

Popularity: 3% [?]