Art Beyond the Lens. Working with Digital Textures by Sarah Gardner

By Sarah Gardner

Vintage-looking, dream-like textures can open up a complete new global on your images. besides the fact that, there's a lot, even more to operating with textures than just merging them with a picture through Photoshop. during this lovely new advisor from texture guru Sarah Gardner, youll research every little thing there's to grasp approximately how one can maximize the possibility of those fascinating instruments. as well as hundreds of thousands of lovely instance photographs, this booklet can also be full of sensible suggestion on what makes a great texture, and the way and while to take advantage of them. How a picture is at the start captured and processed has an important effect at the impression a texture can have, so youll additionally study what to think about while composing and taking pictures (rather than just hoping on post-processing) and the way to take advantage of lighting fixtures and history issues successfully for later paintings with textures. Workshop notes and a supplemental site may help you set Sarahs ideas into perform instantly. attractive adequate to take a seat in your espresso desk but useful adequate to shop close to your laptop, this ebook will express you every thing you must recognize to get that coveted vintage-feel on your photographs, no matter if youre an informal kin snapper or a pro specialist.

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Personally, I believe the initial source of a texture is quite ­important. I use textures within the processing of my digital photography for a handful of reasons: from heightening the emotional connection to suggesting old charm or whimsical sophistication. It’s therefore required that the textures I use support this ­application. As I mentioned previously, different textures are suited to different jobs because different textures behave differently depending on the way they are blended. Today my texture portfolio has a varied range, from delicate to really intense and grungy textures.

33 34 Art Beyond the Lens {tip} Most landscapes are photographed or painted on a “landscape” orientation but the images in the ­Shirelands collection were all photographed on a “portrait” ­orientation. The skies provided the negative space, covering 75% of the composition. I wanted to create the illusion of large vaulted skies in which my textures could be most visible and effective. Each image still works to the rule of thirds with the subject seated at the bottom of the composition. Negative space and the right composition Shirelands is perhaps the most nostalgic collection of work I’ve produced to date.

I have shared this frustration, and even today other photographers will contact me feeling puzzled that they can’t produce good results with the textures they’re working with. More than often, this is because different textures work differently with differing compositions, and when incorrectly matched they fail to yield workable results. Throughout this chapter I want to explain why that is, and how textures can be manipulated and applied to give you the results you seek within your own work, just as I do.

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