01

Constellation

02

Constellation

03

Constellation

04

Constellation

05

Constellation

06

Constellation

07 (1)

Antarctica

10

Land In Land LXXIX

09

Land In Land LXXXIX

08

Land In Land LXXVI

11

Land In Land LIII

12

Land In Land LXXVI

This is a selection of my top 12 images of 2018. This selection doesn’t reflect sales, publication, or activities on the web. It simply reflects my opinion. Click on the titles to find out more about each image.

Geography

The locations include Antarctica, Spain, Arches National Park, Scoresbysund Greenland, and Maine.

Process

Continuing the momentum from the previous year I completed my first seriesof finished works with my iPhone – Land In Land. Processing images on location, sometimes seconds after making exposures, is a gamechanger. Even more interesting is the sense of seeing the image better at arm’s length, allowing me to see the composition and the subject simultaneously.

I was pleasantly surprised when another experiment worked as I combined images in the public domain from the Hubble telescope with my own exposures, expanding the images in my series Constellation to add images of deep space to those of stars observed with the naked eye.

Concepts

I continue to explore presenting many moments in time simultaneously to see one aspect of land through another. In more recent work, the detail and the overview are united in a single integrated experience. As ever, what’s behind and beyond shows through.

My use of abstraction has expanded from minimalism to include more complex maximal patterns.

Magic Moment

Perhaps the most sublime moments were found in Greenland’s, Scoresbysund, as the weather shifted to winter conditions creating dramatic katabatic winds and unusual ice conditions found only at the beginning of the season. Being on the only boat (a three-masted schooner built in the early 1900s) in the fiord system heightened the sense of adventure.

It was a very productive year; more than 75 new works released; more than 150 new studies made.

It’s challenging to choose so few images from so many – but it’s insightful. Try selecting your own top 12 images. Try selecting the top 12 images of your favorite artist(s).

View more of my Annual Top 12 Selections here.

View more images in my ebooks here.

View my full Works here.

View my Series videos here.

View new images in my newsletter Collectors Alert.

Masking_MagicWandQuickSelection_425

 Get sophisticated selections quickly.

Photoshop offers two great selection tools that use pattern recognition to make the process easier and faster – the Magic Wand tool and the Quick Selection tool. They get complex jobs done quickly and the results they generate can be quite sophisticated. But which one do you choose?


Insights Members can login to read the full article.
Email:

Masking_Lasso

The Lasso tool is best for defining highly irregular selections manually.

Masking_PolygonalLasso

The Polygonal Lasso tool is best for defining rectilinear shapes.

Masking_MagneticLasso

The Magnetic Lasso tool uses pattern recognition to define existing contours.

Photoshop’s Lassos (Lasso, Polygonal Lasso, and Magnetic Lasso) are go to tools for drawing irregular selections.

Which Lasso tool you choose depends on the job you need to get done.

The Lasso tool is best for defining highly irregular selections manually.

Just click, hold and drag to define a selection. Draw selections in closed loops from beginning to end; if you let go of a selection half way through a shape you’re drawing a straight line will automatically be drawn from where you let go to where you started; on rare occasions this can be useful.

The Polygonal Lasso tool is best for defining rectilinear shapes.

The Polygonal lasso tool differs in that it only draws straight lines. Click, don’t hold, drag to the point you’d like to draw a straight line to and click again, then repeat until you define a closed shape. While drawing a selection, you can alternate between the Lasso and Polygonal Lasso tools by holding the Option key.

The Magnetic Lasso tool is best for taking advantage of pattern recognition to define existing contours.

The Magnetic Lasso tool is different; it uses edge detection to draw. You simply guide it roughly along a contour you’d like to define and if the contour has enough contrast the tool will find it. (Using an adjustment layer, you can temporarily boost the image’s contrast, while making a selection to help the Magnetic Lasso tool find edges more easily ... and then delete the adjustment layer after the selection is complete.) If you draw too quickly with the Magnetic Lasso tool it becomes less accurate. If you find you’d like to refine the line it defines you can press the Delete key to eliminate the anchor points it makes along the way, one at a time, in the order they were made.

Remember, if you plan to feather a selection substantially you don’t need to be precise; close enough will do, so don’t waste your time making perfect selections for very general applications.

Read more about masking here.

View more in my DVD Drawing With Light.

Learn more in my digital photography and digital printing workshops.


Insights Members can login to read the full article.
Email:

Masking_Selection

A simple Rectangular Marquee selection.

Masking_Add

A second selection is added using the Shift key.

Masking_Subtract

A second selection is subtracted using the Option key.

Masking_Intersection

The intersection of two selections is created using both Option and Shift keys.

There are so many times when you make a selection in Photoshop and it’s not quite right. But if the selection just needs a little more here and/or a little less there, there’s an easy fix.

You can press the Shift key to add or the Option key to subtract a new selection to any existing selection, no matter how the existing selection was made or what tool you’re making the new selection with (Lasso, Marquee, Magic Wand, Quick Selection). Hold both the Shift and Option keys at the same time and you’ll get the intersection of the new and old selections. You can do this as many times as you like.

It’s that simple.

Sure, you can use the Add to selection, Subtract from selection, or Intersect with selection options in the top toolbar, but these key commands are easier.

Read more about masking here.

View more in my DVD Drawing With Light.

Learn more in my digital photography and digital printing workshops.


Insights Members can login to read the full article.
Email:

Masking_Marquees

Photoshop offers two Marquee tools (Rectangular or Elliptical) for making simple geometric selections. They’re easy to use.

Click hold and drag to define a selection.

Hold the Option key to draw from the center of the shape.

Hold the Shift key to constrain the shape to a perfect square or circle.

You might question how often you’ll use simple geometric selections, particularly in complex photographs, but you’ll be surprised. They’re excellent for quickly selecting large areas of a canvas, which can be further refined with any of the other selection tools. They’re extremely useful if you feather them heavily; targeting the center of an area then fading off gradually to create vignetting effects, either for the entire image frame or a small portion within it.

Read more about masking here.

View more in my DVD Drawing With Light.

Learn more in my digital photography and digital printing workshops.


Insights Members can login to read the full article.
Email:

20170206_ANT_yalourislands _190_B$_425

Image before selective adjustment.

20170206_ANT_yalourislands _190_425

Image after selective adjustment (dodging).

Mask

It takes fewer white strokes than black strokes to make this mask.

20170206_ANT_yalourislands _425 copy

So, instead of starting with a white mask, start with a black mask.

LayerStack_425

The layer stack.

When you’re making masks in Photoshop, you can get the job done more quickly and easily by starting with the right color mask. When you make a mask, you can start with one of two colors – white or black. What’s the difference? A white mask shows everything on a layer as if it were at 100% opacity. A black mask hides everything on a layer as if it were at 0% opacity.

So use this simple strategy when you’re brushing in image adjustments with masks.

If you want to affect most of the image, start with a white mask and add a few black brush strokes to reduce the effect in smaller areas.

If you want to affect just a few areas of an image, start with a black mask and add a few white brush strokes to show the effect in only the areas you paint on.

For even more control, you can vary the opacity of the brush strokes you make to reveal or reduce effects partially. (Keep the Opacity of the layer being masked at 100% and then you can make the opacity of different areas vary based on the brush strokes you make.)

How do you make choose the color of the mask when you make it?

You can get a white mask when you target a layer and go to the menu Layer > Layer Mask > Reveal All. Or, simply click the mask icon at the bottom of the layers palette.

Alternately, you can get a black mask when you target a layer and go to the menu Layer > Layer Mask > Hide All. Or, hold the option/alt key before you click the mask icon at the bottom of the layers palette.

A mask is automatically created when you make an adjustment layer. By default an adjustment layer mask is white. If you want to start with at black mask instead, hold the option/alt key before you make an adjustment layer.

To make masking even more efficient, you can start with a simple selection (made with any selection tool, including the Lasso, Marquee, Magic Wand, or Quick Selection tools) and then, while the selection is still active, make a mask. If you do this, the selected areas will appear in white and everything else will be blacked out on the mask. You can then brush the mask to refine it further.

But wait, there’s more! Remember, you can always invert a mask (making black white and vice versa) by going to the menu Image > Adjustments > Invert or pressing the keys Command I. So if you forget to start with the right color mask, just invert it.

These simple techniques will save you a great deal of time.

Read more about masking here.

View more in my DVD Drawing With Light.

Learn more in my digital photography and digital printing workshops.


Insights Members can login to read the full article.
Email:

keep looking »

Subscribe

Get the RSS Feed  

Subscribe by Email