Ed Schlotzhauer

An artists journey

Tag: Artist

Real Reality
As I write this in November 2022, Meta (Facebook) has just laid off about 11,000 employees. I feel sorry for the people, but it got me thinking about virtual reality vs “real reality” I don’t know about you, but I greatly prefer real reality.
Virtual reality
Have you noticed that many of the largest tech companies (Meta, Microsoft, Google, etc) want to move us to a world where we experience life through virtual reality goggles. We would sit in our chair and “experience” any place or time, we can do things that would be illegal or impossible in the real world. And generally is seems to be perfectly safe.
In the virtual world we don’t have to worry much about the consequences of our actions. Game over. Restart. We don’t die or go to jail. What’s not to like?
Real life
Contrast that with the real world. Things take time and money and most of us have to work to earn a living. We are “stuck” in the era we are born in. Our society has lots of laws and restrictions we have to live with. We get hot and cold and wet. We get sick and break bones. People can be cruel. Marriages break up. We die.
Wow, the virtual world sounds pretty good, doesn’t it. 🙂
It’s about the experience
To me, one of the differences is a safe, manufactured, managed experience vs what life brings us and what we can find in the world. The real world is real. The virtual world is fake. Even when the technology gets to the point where the virtual world looks real (it’s a long way from it now), it is still fake.
Deep down inside, you know fake experiences are fake. Unless you live your life with only fake experiences.
Let me chance making you upset with me. I don’t have much use for Disney World or other similar entertainment vendors. It may be fun to take the kids or grand kids there, if they’re under about 8, just to watch their excitement as they are entertained. But otherwise, I can’t escape the knowledge that it is all fake. It is all a manufactured experience made by a large corporation. That leaves me completely unsatisfied. Except for a good roller coaster. 🙂
When you know the pirates on the river cruise aren’t able to attack you, it looses any terror. When you figure out the rocket ship you’re flying isn’t going to crash no matter how badly you “fly” it, there is little incentive. Even that good roller coaster that thrills for a couple of minutes, in reality, has no lasting hold for us. It will not fly off the track or crash into something or drown you when it seems to plunge into the lake. Shallow experiences. It is just shaking us around in a safe and controlled way.
Being there
This quote captures an essence of the notion of “being there” in real life:
When I am out, I am there to be in the countryside, to have an experience; to notice, to engage, and perhaps record some good data with my camera. I am not thinking about making images, otherwise, I risk missing the experience altogether, and that seems counter intuitive. The experience comes first.
Alister Benn, “Luminosity & Contrast”
It’s not a game. No one is directing it or controlling it. No ads are being served up to us. It is the wild, unpredictable, real world. I agree with Alister’s description of the experience being key. The experience triggers our interests and creativity. We may not even know why we are drawn to an image at the time. We will figure it out later. Right then it is our subconscious speaking to us. But the experience has to be real to be meaningful.
Safe?
If there is no risk, there is no reward.
When we are experiencing the actual world, we are not necessarily safe. If I am in the mountains taking pictures, I could get lost; I could make a misstep and break my leg; i could slip and fall off a cliff; a bear could attack me. Or if I am in the city shooting images, I am even more at risk.
The fact that there is danger involved heightens the experience. People these days seem to believe that anything unsafe is bad and should be avoided. The reality is that life is unsafe. We don’t know what is going to happen 5 minutes from now.
Putting our self in situations that can be uncomfortable or even a little dangerous can be good for us. We become more self reliant and able to think and handle situations. It gets the blood pumping and sharpens our senses. A little real danger is far more exciting than a lot of fake danger.
To me, the dangers of being a couch potato and spending our lives anesthetized in entertainment outweigh the dangers of exposing ourselves to the real world. Entertainment is a dangerous drug.
Don’t be stupid
Oh, I can’t say that can I? It would imply that some people do not use good judgment. But as I talk about risk and experience, let me balance that with the counsel to do it realistically. You have to appraise the level of the risk and your capability. I’m not saying you should put yourself in danger.
For instance, when I talk about going out in very cold conditions and snow, I dress appropriately. I have the equipment. And a good 4-wheel drive to get around. And a lot of experience. Getting a good picture is not worth killing myself.
Don’t put yourself in any situation that you can’t handle or that is not worth the potential cost. Get training on identifying and countering the types of threats you could face. Most of all, be aware of yourself and what’s going on around you. Situational awareness applies even out in the woods. Be realistic and make sure you are physically and mentally capable of what you are doing.
Live a real life
My art involves outdoor photography. I do all of my shooting outside. As such, I have to get out in it. Weather almost doesn’t matter. Today, as I write this, it was 22F and snowing and with enough wind to make it pretty chilly. I was out walking nearly 5 miles in it. It was a nice day. The experience was more memorable than the images I got.
It is not always pleasant. That is not my goal. Life isn’t always pleasant. Where I live we have temperatures from 110F to -20F. We can have winds over 60 mph. There is snow and blizzards and thunderstorms, even tornadoes and wildfires. Being out in those things makes you take a moment and say “Wow!”. It is real life.
I feel real and alive and in the moment when I am out experiencing the world live. I am a player, not a spectator. Despite the limitations of my opportunities and capabilities, I want to experience life for myself. I am not content to let a corporation or a game developer or a movie maker package an experience for me, to feed me the same program they give to 1,000,000 other people.
Look at the image with this article. Look closely in the top right. That woman is living a real life experience at the moment.
Live life to make art
Artists are often pictured as counter-culture, wild, living on the edge. To some extent, that is true. We don’t have to look different or dress different, but we should be different. Our art is about bringing experiences to people. As such, we have to experience things ourselves. That is a source of inspiration for us. Our passion from what we experience needs to be felt by our viewers.
Do we have to suffer to make art? Is danger required? Of course not. Monet painted many of his great works in his back yard. The issue to me is are we actually living a life that fuels our creativity and vision? We have to have real experiences, not fake, packaged, safe entertainment.
I don’t think I can generate passion for my viewers playing a flight simulation wearing a virtual reality helmet. It may be enjoyable, but it is a fake experience. I don’t want to show fake experience to my viewers. We don’t have to hang out over a cliff to live life. But get out. Be real. Live your own life, not something someone else packages and sells you. Take risks where necessary. Be yourself.
December 7, 2022
Apples or Oranges
If you’ve taken a personality test, it probably showed you to be either rational or emotional. This may be true for most people, but you are an artist. This notion of your personality being a binary, either/or relationship probably presents a false dichotomy. It is based on built in assumptions that go back many years. People are not such a simple thing where you can label or classify them easily into rational or emotional, apples or oranges.
Basis
People have been trying to figure out human behavior, well, as long as there have been humans. There was a flurry of activity in the late Nineteenth and early Twentieth century time period. Two prominent psychoanalysts of the time were Carl Jung and Sigmund Freud.
I won’t attempt to go into their beliefs. It is too deep and depressing and actually not that useful. One outgrowth of Jung’s theories, though, that has become ingrained in our culture is a model of personality theory.
Jung postulated that there are patterns of personality common to most people. Many personality tests have been developed. You may have taken one or more of them. They can seem very insightful, but in the same way a horoscope can seem to predict events or behavior. We tend to believe what we are told from an “authority”. I do not recommend you bother with any of the tests.
Anyway, one part of Jung’s theories is that people’s personality tends to be rational or emotional.
Only choice?
What I observe is that people are complex creatures. A simple model can predict some behavior of large populations of people, but is too simple to say much about an individual. Each individual has innate tendencies, but they are also modified by past experience, beliefs, education, circumstances, age, and a host of other factors.
And we have this annoying habit of jumping around all over the map at different times as far as our behavior seems to go. Let me use myself as an example. I have a rational mind trained by decades of engineering experience. I fit that mold well at the time. But I also have become intuitive and emotional. I follow my feelings and intuition first. Rational thought is generally used to analyze my intuitive decision and justify or reject it.
Also, in another completely different dimension, I am very introverted. If we were together at a networking event there is a very good chance you wouldn’t know I was there, because I probably wouldn’t come talk to you. I’m too shy. Yet I have little trouble speaking in front of a large audience. I actually enjoy it and feel relaxed and welcome spontaneous discussion and questions. Weird. Complicated. Contradictory. But that is what people are.
Artist viewpoint
This is about artists, though. Let’s focus down on this strange group.
I believe artists have to be both rational and emotional. At least if you are a photographer.
Rationally, we have to know our tools and processes. We have to understand what we can and can’t do and how to use the technology to accomplish what we want. Using the equipment, both camera and computer, need to be second nature. No matter the actual complexity. As effortless as a painter using a brush.
The rational mind also gives us purpose and continuity. We decide where we are going, what our goals are, and how to market our self. Without a conscious focus on these things, we will drift. Our rational side helps us work out composition, framing, exposure considerations, and lighting.
But on the “soft” side, we have to understand our feelings and intentions. Why are we doing what we do? What experience are we trying to bring to our viewer? If we do not have strong feelings for our work how can we expect our viewers to? For most work, if we are not conveying strong emotions, it will fall flat.
Those of us who are naturally rational may have trouble with this. But it is possible to bend, to learn, to open up. We have to.
It’s a balance
The trick for artists is that we have to balance these two sides. Most non-artists can get away with not having to do that as much. Think of your stereotype of an accountant. Cold, objective, numbers person? Unemotional?
An artist needs balance. The rational side will decide what we are trying to do and what path we will follow to get there. It keeps us focused. Yet if we are totally rational our work will be static and dry. Precisely composed and technically perfect, but empty.
Our feelings will bring us passion and emotion, love of the image. Our viewers will sense this. They want to feel what we were feeling when we created it. But if we live totally in our feelings we will drift. We will follow every whim that tweaks our interest at the moment. We could even become one of those self-indulgent stereotyped artists whose personal life is a mess, who can’t keep focus on any goals and neglect their family and friends and even personal care.
Talking about that tendency to go too deep into the emotional side, Sean Tucker said:
Our rational minds are the foil that serves to balance those tendencies. They allow us to go deep but stay tethered to something truer and more stable than our shifting moods. They allow us to make our way far into the maze, knowing that we still have a thread to follow back into the light when we are done.
Sean Tucker, The Meaning in the Making
I love this image of the rational mind providing a safe path back when we have run off too deep into the wilderness of our feelings. We need to explore this maze, but we need to be able to get out, too.
Don’t be put in a box
Never allow yourself to be defined into a box by other people. Always surprise them, and yourself. Do the unexpected. If someone labels you as something, understand that that is just their opinion. It does not make you into anything. Other people’s expectations should not define us. You do not have to be either an apple or an orange.
Likewise, do not put yourself into a box. It limits your thinking. It artificially places bounds on what you can and can’t do. What thoughts you will allow yourself to even think. How much freedom you have to experiment.
Always do new things and try new ideas. This self-limitation is an even more serious problem, because we do not think there is anything we can do about it. Be aware of it and fight it.
When we feel trapped in one of these boxes, rather than accepting it we should ask “who put the box there” and “so what?” That is someone else’s box. If someone comes up to you on the street and draws a chalk box around you on the sidewalk and tells you you are in this box, just step out of it and keep going. Let them have their box. You don’t have to be in it.
Balance
I believe, as artists, we have to be both rational and emotional. I’m not trying to give a new personality theory. Are we exhibiting both conflicting traits at the same time or are we bouncing back and forth between them? Don’t know and don’t care. The results are all that matter to me.
It doesn’t have to be either apples or oranges. That is letting someone else define the problem. We are walking a tightrope. If we get overbalanced too far one way or the other, we will fall off into the pit. We won’t like that and won’t be doing much satisfying art there. But we have to walk the tightrope. It is part of the artist calling.
Today’s image
The image above represents this tightrope. I took a brief time to get a reasonable composition, proper exposure, depth of field, balance of forms, etc. That was mostly instinctual. But mostly, I hope you get how I feel about the guy. And I hope it makes you feel something, too, and think about him. I have my story, influenced by the range of sights and emotions at the time. I’ll let you tell your own.
November 30, 2022
Themes Keep Emerging
Quite a while back I talked some about themes in our work. I mentioned that one theme I come back to is wabi-sabi. As I reflect on my work I find that there are common themes that keep emerging.
What is a theme?
In the previous article I gave the simple dictionary definition of a theme as “a subject or topic of discourse or of artistic representation”. This is right, but inadequate. I have come to believe that for artists, themes are ingrained and consistent.
That is, unless we are doing commercial work for clients, themes represent what we are drawn to. The things that have meaning or symbolism to us. They probably don’t mean anything in themselves, but they disclose something about us. What we see and the way we think.
So perhaps, for a fine artist, themes are the ideas that tweak our passion, that spark our creativity. It is important to keep in mind that the theme does not have to be deeply meaningful. It just grabs us for some reason.
Projects
I am at a stage where I think more and more about projects. These self-assigned projects help focus me and exercise my creativity. Without them I tend to run wild and shoot everything in sight. That is OK, but a project helps me get deepen into an idea.
I have a list of project idea I think I would like to do. Sometimes, though, when I try to start one, it turns out to be Meh… It is difficult to really get into it with any enthusiasm. I have come to recognize that this is a symptom of the project not aligning with any of the themes that channel my interest. I usually abandon these, unless there is a compelling reason to push on through it. There seldom is.
On the other hand, when a project aligns with my innate theme interests I can really get into it. It is energizing and exciting rather than being dreary work.
Look inward
So I have learned to look inward more to keep projects aligned with my natural themes. This can be hard for some of us cold, analytical types. After all, it is easier to talk about composition or exposure than it is about feelings. But as I have said before, art is primarily about feelings. I have to get in touch with my feelings??! Well, maybe not in that sense. But I have to become a lot more sensitized to them.
The unique nature of photography is that it is a subtractive art. The world is swirling all around us in unbelievable detail and complexity. When we lift a camera we engage in a process of reducing, filtering, limiting what we show to make a pleasing and coherent image. This takes discipline and a good sense of what we find important in the frame at the time.
Self discovery
This self-discovery process sounds hard for some of us, especially guys. But maybe not. Our own work can often tell us, if we listen.
If you have a body of work (a fairly large collection of images you think are good) you probably have the data you need already – your own images. As an exercise in self discovery, pick out around 100 of your best images. The ones that you feel you are most proud of and that represent the work you are doing now. If I were doing it right now, I would use Lightroom to go through my catalog of top picks and pull 100 of them into a collection to examine.
As painful and time consuming as that is, that is the easy part. Now it is time to think and reflect. Study this set of images. Write down the themes that come to mind as you look over the collection. Just do a free association, stream of consciousness at first. Write these theme ideas on sticky notes and lay them out on a table or a white board or your monitor or wherever is convenient. Look for groupings of related ideas. Put them together. Come up with a term to represent each grouping.
Hopefully you now have no more than 3-6 theme ideas. Go back to your image collection and try grouping them according to these ideas. Don’t worry if it is not perfect. A single image may overlap more than one idea. But it is a test to see if you believe the groupings you came up with.
Now you have a clearer map of the big ideas you are drawn to. This is enlightenment.
Rocket Science?
No, this is not rocket science. It is not really science at all, in the sense of being objective and repeatable. If you repeat the experiment you would probably select a different set of images, because they seemed meaningful to you at the time. You would probably label them differently and come up with different themes. Same but different. That is, there should be a lot of overlap, because themes are much more broad than a particular subject.
Does this make it invalid? No. The process gives you insight about yourself and your interests. It is turning your sights inward and trying to understand more about yourself. The fact that you get different results proves you are a complex and varied individual. That’s good. Be proud of your complexity.
What am I drawn to?
I mentioned wabi-sabi as one of my themes. Some others are time travel, weathered, force of nature, and black & white. I haven’t figured out if black & white is a theme or just an attribute of a lot of the art I like to do. Still working on it.
The image with this article I just shot yesterday (as I write this). This is in the force of nature theme. We just had our first good snow here in Colorado and I couldn’t resist getting up in the mountains to see it. This is not cloud or fog or smoke. It’s blowing snow. It’s not snowing. As a matter of fact the sky is a boring bright blue.
When we get sandwiched between a high pressure system to the west and a low pressure system to the east, we can get violent winds across the mountains as the pressure tries to equalize. When I shot this, it was about 18 F with about 40-50 MPH gusts. Very cold! But I hardly noticed. I love scenes like this showing the power and majesty and force of nature! I was in the zone. I didn’t even remember to put my gloves on, and I hardly noticed.
Connect with your heart
So I find that scenes that excite me when I am shooting them are usually in one of my themes. If I am not excited, I’m probably trying to shoot something that doesn’t inherently draw me to it. By understanding my preferred themes I can more easily decide what to shoot and what to avoid.
Someone once said “if it doesn’t excite you, why should it excite your viewers?” This is generally true. Have you ever made a technically perfect image of a beautiful scene and then later thrown it away? I have. Lots.
Art is about showing other people what we felt; what we were excited about. If we’re not in love with an image why should we ever show it to someone else?
November 23, 2022
What’s Your Motivation?
What’s your motivation? What compels you to do what you do as an artist? If we understand more about our personal motivation it will help carry us through hard times.
Motivation vs. creativity
Just so we’re on the same page, let me differentiate motivation from creativity. I wrote recently on creativity. To me motivation is the “why” behind what you do and creativity is the viewpoint or fresh approach you bring to your work. The ideas or substance behind our art.
Motivation gets us up in the morning or keeps us out shooting after the sun is gone or when the weather is miserable. Something drives or compels us to do our work. Creativity may give us a new idea of something that would make a good image. Motivation gets us off the chair and our the door. They work together to create our art.
Motivators
We are all motivated by something, but each of us is motivated by something different. My wife is one of those who is motivated by a check list. Getting everything checked off at the end of the day is her goal. I like to get things checked off, but it doesn’t really motivate me. I need to create, to make things that brings my unique viewpoint to the world.
There are many
Some other possible motivators that come to mind are:
- People’s expectations. We like to please others. For some of us, that can be more important than pleasing our self.
- Money. This is why some of us work. Now obviously, we all need to support ourselves, but for some, the money itself is how we “keep score”.
- Fame or recognition. This can be powerful, but realisticaly, few of us artists actually become famous. There is the dream, though.
- Helping people. An example is Beth Young who, after battling cancer, discovered that peaceful, relaxing images help soothe people’s pain. Now she tries to produce that to help others.
- Fear. This is sneaky, but do you ever feel you’re being left behind and want to work really hard to catch up? Perhaps you look at other photographer’s work and feel inferior. Maybe you don’t even know where you need to go, but you are plagued by fear. I think this is a lot of what social media is about.
- Personal drive. Some of us are driven to look around at the world and see things and we need to capture them and bring them to other people. Maybe it’s ego, or maybe it is just the knowledge that people would miss these scenes unless we show them. Either way, it is a motivation.
I’m sure there are many more motivators. Like I said, we are all motivated by different things. But my point is that, when you think about it, something motivates you.
Study yourself
Introspection or self inspection is hard for some. Learning to do it helps us grow and understand our self better. Do you ever sit back and reflect on your motivation? When you don’t feel like doing anything, what gets you going? Can you detect a cause/effect relationship? That is, when an idea comes into your head that seems to push or pull us to expend the energy to do something.
If we understand our motivation we can accept it and embrace it. Use it to propel us toward our goals. If we can recognize it we might be better at it’s care and feeding.
You’re not always motivated
Like creativity, motivation is not always around when we would like it to be. Like most things in life, it has cycles. It ebbs and flows like a tide. Unlike a tide, it does not have a predictable schedule. We can’t control it. We just accept it as our reason for doing what we do.
What to do when you’re not
Sometimes we have to recharge. Sometimes we are so drained that we have to rebuild. Maybe we are at an inflection points in our life when our subconscious understands we need to change direction but our conscious mind is still struggling with it.
Be patient with yourself. Let it work. Feed your mind – read, study, be with people to keep from spiraling into depression. Wait for the motivation to re-engage and push you along. Motivation is a force. It is neither good or bad, right or wrong. It just is and it works on us.
But don’t just sit passively and watch TV while you wait. Work. Keep doing your art. Shoot; process; market. Stay busy. You may not be happy with what you are creating right now, but doing something is better than sitting around feeling sorry for yourself. Picasso famously said “Inspiration exists, but it has to find you working.” I believe it is the same for motivation. When we are working we are more receptive.
There is a “why” behind what we do. Sometimes we have to re-discover it. Occasionally, but rarely, it changes. Reflect on your motivation. Understanding it will help you understand why you feel it necessary to do what you do. That understanding can carry us through the dark times when we do not feel inspired.
November 16, 2022
Dodging and Burning
I have mentioned dodging and burning before, but usually in the context of black & white images. Dodging and burning is much more general than that these days. They are techniques that should be known by all photographers.
History
We usually think of dodging and burning as something associated with black & white photography. This is because this is where they were invented and first applied. Ansel Adams and the masters before him used dodging and burning extensively to achieve the artistic look they wanted.
The technique has its roots in the chemical darkroom. Photographers discovered that during the sometimes minutes long exposure of a print, they could change the tonal values of the print by withholding or adding light to selected areas.
Remember that these black & white processes were built around negatives. That is, on the print material, the more light it receives the darker the area is and the less light it receives, the lighter it it. In the limit no light at all will give the white base of the paper.
Hence the origins of the names. The printer (a person creating a darkroom print) might use a small tool, usually a circular or oval shaped piece of paper on a stick, to shield a region from some of the light. This holding back some light was called dodging. It made the dodged region of the print lighter. The printer could also add light to a region, usually by cutting a small hole in a sheet of paper and using it to shield everything except the hole from the light. This was called burning. It made the region receiving extra light darker.
In today’s digital processing, the terms are archaic. I remember them by thinking that burning sounds like it would make it darker. They might better be called just lightening and darkening. In my LIghtroom process, I call these layers just “light” and “dark”.
What are they now?
In the more general sense, dodging and burning are a means of selectively changing the tonal intensities or other properties of regions of an image. We can do this in great detail now and it is not at all limited to black & white images.
I am fairly confident in saying that all images you see a professional fine art photographer print use dodging and burning. The artist may spend hours tweaking the relationships. It is so easy now and we have so much control relative to the chemical darkroom days that it would almost be foolish not to. It would be passing up a great opportunity to enhance the visual experience for your viewers.
Digital post processing
Virtually all software tools that photographers use have the ability to selectively adjust tones in regions. The different tools may use their own names for it, but they all do about the same thing. I will discuss Lightroom Classic and Photoshop since I am familiar with them.
Since we edit on a computer using software tools, we are no longer limited to it being a real-time “performance” in the darkroom. Artists back in the day had to repeat the lengthy dodging and burning process for each print. Now we can do it once to create our “digital negative”. Editing becomes a pleasant creative process we can enjoy in our office with a nice glass of wine and some relaxing music playing.
And because we are no longer limited to black and white and chemical processes, the range of what we can adjust is greatly increased. We use the same techniques to selectively adjust colors and sharpness and contrast. It is even almost trivial to remove distracting elements.
It’s a great time to be to be a photographer!
Lightroom Classic
Ah, a marketing blunder by Adobe. Renaming “Lightoom” to “Lightroom Classic” was an affront to photographers and a thinly disguised attempt to push most users to the (reduced capability) online version. Thanks. Now that I have that off my chest let me just say that I will call the product just “Lightroom”. Know that I mean the desktop version where I have all my images stored locally.
That out of the way, Lightroom is a fantastic product that is vitally important to a large percentage of photographers. It is where we store and catalog and search for and edit our image library.
In addition to everything else it does, Lightroom has very capable dodge and burn tools and they are being enhanced all the time. At the time I am writing this, Lightroom version 12 was just released. It adds some significant new features.
Lightoom has several selection tools for dodging and burning and general editing. They are called the linear gradient, the radial gradient, the brush, and color and luminence range. In addition, there are “AI-based” features to aid in selecting the sky, the subject, people, and objects.
The purpose of all these tools is to select a certain region of an image to modify. Once we have a selection there is a range of editing that can be applied, such as exposure, contrast, texture, clarity, dehaze, temperature and tint adjustments, saturation, and sharpness. This gives us a very fine degree of control of the look of our image, down to arbitrarily small regions. And a wonderful bonus is, all adjustments in Lightroom are non-destructive. Everything can be modified or rolled back however much we want, even all the way to the original image.
Photoshop
Lightroom gets more capable all the time and is used as the exclusive editing tool for many photographers. But Photoshop is the granddaddy, the patriarch. While Lightroom makes it easy to do a lot of things, Photoshop does not restrict us from doing anything. We can mash, bend, distort, replace and modify any of the pixels in an image. You can combine multiple images together. You just have to know how.
Adjustment layers with masks are a primary means of local adjustments. These layers can be used to do traditional dodging and burning adjustments. There are even tools in the Photoshop tool bar that do dodging and burning, but I would not suggest using them, since they directly modify pixels. The ability to use a non-destructive workflow is important in Photoshop. At least, it is important to me. Some people disagree. Do whatever works best for you.
There are probably 2 main ways to do dodging and burning in Photoshop: 2 curve layers or 1 overlay layer. The first uses 2 curves adjustment layers, one set to lighten about a stop and the other set to darken about a stop. Each has a black mask. By painting in white areas in one of the masks we can selectively lighten or darken.
The method I more often use is to create a layer filled with 50% gray and a blend mode of Overlay. Then when I paint lighter than 50% gray on the layer it lightens or darker than 50% grey it darkens. I like this better because it is only one layer and it is more intuitive to me to use white to lighten and black to darken.
Either method is easily alterable and non-destructive. Each can be set up by a simple Photoshop action.
It has been edited
So in today’s photography world, assume any image you see has been edited – a lot. It is easy. It makes our images better. We are making art, not documentary.
There are photographers who think any modification of an image is wrong. They are, of course, free to feel that and act on their beliefs. I feel sorry for them. They are severely limiting their artistic potential. And they are probably “stretching the truth”. They do some color and contrast correction. Maybe a little dodging and burning and vignetting. Take out an errant twig sticking in from the side. Be skeptical when someone tells you an image has not been modified. What is the limit of “purity” vs. “artifice”? Who sets the rule? Why should there be a limitation?
Dodging and burning and related transforms have been used since the early days of photography. Masters like Ansel Adams would never have become famous without them. That is why it took many hours to print an Ansel Adams print. Most people would say it was worth it.
If you are doing photography today, I believe you need to master dodging and burning and all the related tools we have to work with now. The tools are there for us to use to make our images better. The concepts are timeless, only the technology changes. The editing controls are there because we need to use them to achieve our vision for our images. Not using them is like tying one hand behind your back. Maybe it makes a statement, but it artificially limits you for no good benefit.
November 9, 2022