IMPRESSIONISM THROUGH PHOTOGRAPHY 

This is only one of many premises and techniques I share in my book. It is not a new concept for me; I have been doing this since the '80s. Some of the characteristics of Impressionism include: blurring, colorful, minimized detail, sketchy/unfinished, sense of movement, and others.

I apply four different double exposure techniques to my photography to create my impressionistic images. Today I will only showcase one of them. Unfortunately, most digital cameras today do not have a double exposure feature. At the onset of the digital age, digital camera manufacturers did away with double exposure features! Both Canon and Nikon had them in the 80s and 90s. I have my theory as to why they omitted that feature from their designs, but I'll leave that for another discussion. Fortunately for me, Nikon re-introduced my beloved feature around 2007/2008. Now other brands have followed suit.

Photographers who love the results as much as I do, often ask me, "What do I do if 

I don't have that feature (and I don't want to spend hours in photo editing software)?" Here is one simple answer for you. It won't look exactly the same, but you can still get those impressionistic-looking images: change your settings until you get both a good exposure and a slow shutter speed--like 1-2 seconds, while hand-holding your camera. Some people are more steady than others, so experiment until you find that right shutter speed "zone" that works for you. Some of my students have tried this and love the results!

Okay, now back to my approach to this. I do use my tripod, in order to keep the same identical perspective and composition. Let me walk you through the steps, then I'll show you some images. Note: I always do this on manual focus--I want total control.

1) I get my composition just the way I want it and do not move from there. Check.

2) Set a wide f/stop, take my subject slightly out of focus, and take a "test" shot. I check
for the right (not "correct") exposure and the degree of blur. I don't want too much blur;
just enough to blur the edges. I'll re-do the shot if necessary. Check.
3) I engage my double exposure feature and set it for 2, i.e., two images. I don't mess with
the bracketing option. I prefer to do that myself.
4) Get the shot (from Step 2). Check my camera screen. If I like it, check. I'm ready for my
second shot.

5) Depending on the subject and what effects I want, I will either not adjust my exposure at
all for my second shot, or adjust it with my exposure compensation dial. If I decide to under-
expose (never overexpose) my second image, it will usually be a -2/3 to a -1. The reason for the underexposure is to ensure that I don't get a washed out, or overexposed final image, which can happen with two exposures on the same "frame."

6) Regardless of what I do at Step 5, if I like what I got, check! If not, I decide what it is I
did not like. If the exposure is good, but I don't like the degree of overlap between the two

images, I go back and start at Step 2 and do it again. If I like the results of Step 2, but it
looks a little overexposed, I still go back to Step 2, but only make a change at Step 5 and
maybe under expose the second shot a little more.

To me photography is more art than science. So, like an artist, add a little more "paint" here or there; use a different "brush" if need be, etc.

Are you ready to see what I create when I follow my own guideline? Let's start by looking at what the eyes see.

A beautiful specimen, but man, what an ugly background. It's so ugly that most photographers wouldn't even bother. Herein lies one of my numerous right brain concepts: Don't see with your eyes; see with your imagination. My imagination took me to two different levels. For my first level, I had to seriously alter that ugly background so I could get this.

Nice. Very nice. I was very satisfied with my "studio" shot. To achieve this look, I placed a large piece of flat black (not reflective) material behind these flowers. Yes, I carry around several "props." 

Even though I was very pleased with my second image, I still wanted to create yet a different rendition--an impressionistic rendition, following steps 1-6 above. And so I did.

I shared more than one right brain lesson here: 1) Be an artist first, 2) See with your imagination, 3) Learn to see something before you see it, 4) Make the common uncommon, and 5) Create Impressionism through photography.

Experiment. Don't rely on formulas, histograms, or other "must-do" rules and dogmas. Loosen up. Have fun. Enjoy.

SCANNING

The concept of "scanning" is only a small part of one of my three photography models/ paradigms. I spend several pages on the entire model in my new book, RIGHT BRAIN PHOTOGRAPHY (Be an artist first).

Scanning allows me to see the unseen; see what others miss; extract a smaller picture from the big picture. When I scan, I literally scan the entire scene before me, left to right; up and down. By doing so, I can find something that, though not obvious or in-your-face at first, gives me a glimpse of a photo opportunity. I then get closer and explore it further, using my imagination to help me "see" what I can create. This scanning process helps me to see something even before I see it---sounds strange, right? Here are some Before & After images to show you what I mean.

This is a typical scene at our nearby Butterfly Pavilion. As I say in my book, don't see with your eyes; see with your imagination. This is what the eyes see. If we listen to our eyes, as in this example, we are likely to keep walking because we see nothing worthy of a photograph. Do you see anything worthy of a photograph? 

  

Here's where scanning comes in. If I scan, coupled with seeing with my imagination, I see two small portions of this mundane scene worthy of consideration. Do you see those small tiny flowers on the lower left? They are light white/pinkish colored. Do you see the lady bug decorations on the upper right? I don't see lady bug decorations--I see a nice red back- ground for those light white/pinkish flowers. I then change positions, move over closer to those little flowers, lower myself to where I can only see the red part of the lady bug in the background, get my composition, determine my f/stop for the effects I want, and voila!! This is right brain photography; seeing like an artist.

If I had not scanned, I would have gone home without this image. Why? Because I was looking (with my eyes) for the obvious--for something to hit me between the eyes. Sometimes it's not what the eyes see, but what they don't see that holds those hidden photo treasures; those hidden gems.  

Next time you're out shooting, don't look for the obvious--that's too easy. Scan. Scan. Scan. You will surprise yourself when your right brain shakes hands with your left brain and says, "Wait. I see something!" Have fun scanning.

RIGHT BRAIN PHOTOGRAPHY--THE BOOK

RIGHT BRAIN PHOTOGRAPHY (Be an artist first) is now available, after 18 months in the making. I took a different approach to a how-to photography book. First let me share how this book is different, then I will share some comments from photographers who've read it.

What's different
> I introduce my three self-designed photography models/paradigms.
> I sprinkle humor throughout, to make it fun to read.
> I wrote it in a story-telling style, to make it more interesting and enjoyable.
> I made it interactive--you'll see what I mean when you read it.
> To encourage you to try some of my techniques and concepts, I showcase the works
   of eight of my former students.

What you will learn
Among the many concepts, principles, and techniques included in my book, you will learn how to:

>Be an artist first, using your camera and its features as your paint brushes.
>See with your imagination, not your eyes.
>See something before you see it.
>Make the common uncommon; the mundane insane.

What photographers have said after reading my book
"I was amazed to discover such a different approach to an often very technical field."
 --Bob
"I admire how Eli can 'scan' his surroundings and see something."
 --Joe
"Throughout the book, Eli challenges the reader with exercises related to each 

  technique."     Cindy
"Eli's book will give you a new perspective on how to create a unique piece of art and
 make your photos really stand out."     Theresa
"The book is written in a charming way which holds you to read an entire chapter with no
  stops."     Mahmood

There are over 130 images in the book. Enjoy, and contact me to order your signed copy: www.elivega.net or e-mail me at vegaphotoart@gmail.com            

Retail price: $29.95 (+ applicable taxes & $5.00 S/H)

And here just a few examples of what I will show you how to create. You will learn how to apply Impressionism and Surrealism, and much more. 

You will not see the world around you the same; you will not see photography the same; you will see something before you see it.

www.elivega.net

  

REDISCOVERING SPOT METERING

Here's a theory: Could it be that the advent of photo editing software (no names mentioned) served as a "red herring" to throw photographers off their in-camera creative tracks? Another way of stating this is maybe, just maybe, some photographers learned photo editing software tools without having first learned their camera tools?

Regardless of where you stand on the question, let me take you back to an in-camera tool that can give us some great creative results. I consider myself an artist first--I devoted my new book, RIGHT BRAIN PHOTOGRAPHY (Be an artist first) to this concept. 

Now, let's zero in on what is called "spot metering." First, let me explain it. The built-in light meter in our cameras will give us what it thinks is the "correct" exposure. Most of us shoot in Matrix Metering mode, Evaluative Metering mode, or something similar. We do this because we want to get the best overall good exposure of the scene we want to photograph. We want everything in our viewfinder to be as well exposed as possible. We don't want an over-exposed or under-exposed photograph. Enter spot metering, a tool that allows us to create extremely creative images and disregards "correct exposure."

Spot metering helps me create an artistic, and more dramatic "look" to my images. As the term implies, when I set my metering mode to "spot," I am in essence telling my built-in meter to give me an exposure reading only on a very small part of the scene, anywhere from 1 percent to 10 percent of the scene, depending on the camera used. 

High contrast scenes are the most conducive for spot metering, especially if a particular part of the scene is the one I want to "stand out." The reason for this is that when my main subject is receiving a lot of light, and the background is subdued in dark shade or shadows, I can spot meter on my subject and make it "pop"--it will really stand out from the rest of the scene. I am, in actuality, being an artist--I am recreating what my eyes see; I am giving what my eyes see a different interpretation. I guess you could say I am translating the scene into my own language--the language of art.

Here are a few examples of what I have created with spot metering.     

The overall scene did not look at all like this. The contrast between the foreground leaves and the ones in the background was not this extreme. I made it appear this way by spot metering, or placing my metering spot on the brightest part of the leaf in the foreground. 

I prefer creating this type of dramatic effect with scenes like this, as opposed to ending up with the often "illustration" look of HDR where the scene has little to no contrast.

For this scene, I spot metered on the yellow tulip in the foreground, then set my exposure compensation dial to a +1/3 to add a little more light to the yellow tulips and the background. What adjustments I make, and to what degree, depends simply on what I want the scene to look like. There is no correct exposure; just the right exposure.

I was teaching one of my students spot metering when we saw this scene at a bar. It was a perfect setting to experiment with spot metering--the foreground was receiving a lot more light than the background. Based on the different levels of lighting between the foreground and background, I knew it would work nicely and that we would get a very dramatic effect. 

This spot-metered rendition has more mystery, intrigue, and is also more artistic than what the naked eyes saw.

So, if you have not experimented with this technique, read your camera manual to learn what you have to do to apply spot metering. Have fun with it. You will be like a child in a candy store-- you will want more, and more, and.....

Contact me if you have any questions or if you would like some 1-on-1 field lessons. I'll pick the spot. :-)                      www.elivega.net  

PERSPECTIVE

Before I talk about this crucial factor in photography, what do you see above? 

You are looking at the interior of the Utah State Capitol dome. The smaller center circle surrounded by several smaller white circles is a giant chandelier hanging from the top of the dome! I placed my tripod about 18" from the floor of the rotunda, aimed straight up at the dome to get this shot. It looks one dimensional, but the dome is 285' from floor to the top. 

This is a short rhetorical survey. Let me see a "show" of hands: What percentage of all your images are taken from eye level, as you're standing up? Just as I thought.

Regardless of the percentage you came up with, I urge you to vary the perspective from where you get your shots. Look up, look down, get flat on your back or your stomach--whatever it takes to create more interesting, intriguing, appealing, and dramatic images.

Look at this next image. It's interesting--not a subject most of us see everyday. It's a scene depicting the history of mining in Colorado. 

Now, let's redo this one. What would I get if I got about two feet from the ground instead of eye level?

You can feel the strength, the power of the mining car from this close distance and perspective--I was looking up at it. You can still see the interesting faded walls of nearby buildings and what used to be a second-story door or window, but all from a different and stronger perspective. There is also less ground included in this image, which complements rather than take away from the cars. Additionally, this perspective creates the illusion that the tracks on the lower right go on forever. 

Look at this image above. Do you think it was easy or hard to get this one? Well, first, it was hard to see from where I was walking--along Bear Creek Trail near Telluride, Colorado.

My intuition led me to look on the other side of this large fallen tree. I'm glad I did. This photo demonstrates what I had to do with my tripod to get this shot. As you can see, because of the uneven ground along the trail, I had to alter my tripod setup to match the topography. Once I set up, I attached my camera to my tripod head, which was aimed straight down to get the image above. As you can imagine, I was bent over at a 90-degree angle. Whatever it takes.

So, next time you're out shooting, go ahead and get those eye-level shots--get it out of your system. But, before you move on, ask yourself if there is another perspective from which you can photograph the same subject. You will pleasantly surprise yourself. The more you do it, the greater your collection of more interesting images. 

Feel free to contact me if you have any questions about this topic. If you live in the Boulder/Denver area, call me and we'll do a 1-on-1 lesson, but from a different perspective. 

     

HOW TO CREATE YOUR OWN STUDIO IN THE FIELD

Here's a common scenario. You see a subject really worth photographing, but the background is busy, distracting, and just plain ugly. You wish you could pluck your subject from its surroundings and take it inside a studio. Well, you can't do that, but you can create your own studio. Here is an easy and inexpensive way to create your own studio in the field. This ridiculously easy improvisation can transform your subject from common to uncommon; from less than mediocre to amazing. You won't believe how easy it is. People will think you have your own studio.

For this scenario, here is the problem.

Beautiful orchids, but not a good photo, right? The background is not only ugly, but it diminishes the beauty of the orchids. It competes with the orchids for attention.

Now, here is that simple solution.

Step 1. Buy a large piece of black velvet material. You can buy two or three different sizes so you can use with varying subject sizes. 3'x3' will work for this particular scenario.

Step 2. Just slide the black material right behind the flowers. The non-reflective black velvet will absorb light and virtually disappear. Sometimes, just a couple of folds will show, but it will add interest to the background.

Ready for the results? Voila!!

Can you believe these are the same identical orchids with the same identical background?

Some of my best and most unique images have been created with simple improvisations like this one.

So go out there and take your photo studio with you! Have fun.

If you have any questions about how some of my images on my website were created, just shoot me an e-mail and I'll get back with you.

www.elivega.net

THE ROLE OF INTUITION IN PHOTOGRAPHY

I spend a lot more time in my upcoming book on this one topic. Some of us have that internal sense of intuition, that internal tug that tells us there is something over there, or over there. If that's not you, then think about this--next time you're out shooting, stop, just stop. Look around you slowly, left, right, around your feet, above your head. There is usually something there. When you stop, and use your imagination, you will not only look, but you just might see some hidden gems you hadn't seen before.

What do these three have in common: A flower arrangement, Taco Bell, and light bulbs? They were fodder for my right brain photography, after I followed my intuition that whispered, "You know, there might be something there. can you find it?"  

This is part of my right brain photography approach to photography. Let's start with this first of three scenarios. I was delivering a flower arrangement to a seriously ailing friend who was in an assisted living community. As I grabbed the arrangement from the backseat and started walking to the front door, my intuition kicked in and made me pause. I looked at the arrangement in my hands and realized I was holding on to a piece of art. I placed the arrangement on the parking lot, close to my car. I grabbed my photo gear and took out one of the props I carry with me-- a piece of black art board, which I used as my backdrop to separate this one flower from the others in the bouquet. The rest came easy.

I was walking along Pearl Street in Boulder, Colorado. In an old red brick building, I found a unique cafe/bar. There are a lot of cool, old, iconic buildings on Pearl Street. My intuition led me up the steps into the eclectic cafe and bar. It didn't take long to spot my photo trophy. I quickly asked one of the workers if it was okay for me to "take some pictures." I never "take" pictures, but say that to use the more commonly understood vernacular. After I got approval, I went to work, and created this. I was looking almost straight up to get this composition.

I got up early one morning while on a photo trip in Arkansas. In the small town of Russelville, I saw a Taco Bell as I drove down a narrow street. My intuition kept me from just driving by. Although it was just a Taco Bell, my intuition guided me to take a closer look. I saw something on one of the exterior walls, but didn't like the way the shadows looked that early in the morning. I decided to keep shooting around town for another two hours, hoping that when I returned, the shadows would look better. I'm glad I went back.

Intuition, if we listen to it, can guide us to spots, places, locations that, on the surface, may not even seem worth looking at---like a Taco Bell. Listen to it. If you don't think you've got intuition, do you ever get a gut feeling? Does your head suddenly turn to your right or left when you're out shooting? You might not know why, but follow those instincts--they're telling you something. Stop. Listen. Look. See. You might surprise yourself.