Here are my favorite abstract photos from each month of 2018. I have employed a number of techniques in these selections, from found patterns in “nature”, to digital manipulation to camera (or object ) motion:
Looking back on 2018, I didn’t do as much abstract photography as I thought I did. At least I didn’t capture as many images during 2018. I did finish up a number of abstract photos that I had taken years ago, and they are among my favorite images. However those images are not included in this 2018 collection, so please look back to my earlier “abstract photography”- tagged blog posts to see them.
I often check my photos archives to see what I was doing and what images I captured on the current date but years ago. Today I went back to 2011 (December 30th) and found some interesting raw photos that with a bit of tweaking became much better.
It is fun to think that I am collaborating with my past-self to create these works. Here are some of the results from today:
In my last post I shared five abstract photos emphasizing the colors of autumn. It turns out that I have more images from that photo shoot (in Edmonton’s river valley) that really appeal to me and I hope that you will like too:
It’s the end of September here in Edmonton and our autumn colors must be near their peak. It has been a while since I’ve dabbled in creating abstract photos but that’s what I did today and here are some of the results:
These photographs were all created using a longish (1.5 to 5 seconds) exposure with deliberate movement of the camera.
For the second year, the first week of July has been an opportunity to escape the city and normal responsibilities for the serenity of the countryside and the inspiration of being around like-minded artists.
A group of 12 painters gathered at the Lazy M Lodge in rural central Alberta for five days of rest, relaxation and rejuvenation.
My main goal for the week was to focus on painting but I knew my eye would be drawn to many more sights than I could attempt to paint. Therefore my camera would be close at hand and be put to good use capturing references for current and future landscape paintings as well as for some things that are just more suited to photographic images than paint.
My goals for the week were pretty loose but I did want to focus on landscape painting and I did want to work larger and looser with acrylic than I had done the previous year. So I did away with the backpack and pochade box and working on by 9 by 12 inch boards. This year I wouldn’t be packing my gear – I brought some medium size (22 by 28 inch; 56 by 71 cm) stretched canvases, a portable easel and a (5 foot long) folding table. I pre-mixed my acrylic paints half-and-half with a heavy gel to help hold the texture and to extend the working time. I also would use a couple of stay-wet, sealable palettes for color mixing. I used a split-primary color palette and would do mos of my painting thick and with a palette knife)
Of course, my eye was looking not only for landscapes that I could paint quasi-en-plein-air but also for inspirations for future studio abstract paintings. I re-visisted my long-exposure with camera-motion technique to generate some of these ideas:
A project that the group of 12 painters undertook during the week was to produce this composite canvas (4 feet square) to be left at the Lazy M Lodge:
It wasn’t a highly productive week in terms of completed canvases. In fact I completed only 2 (and one is not a keeper). I got a good start on another couple of canvases forming a landscape diptych. Nonetheless, it was a very beneficial week – the rest and rejuvenation benefits can not be understated.
For more photos visit my Lazy M 2014 Flickr album.