I’m going back in my archives to 2011 (November 25) for these never-before-presented camera-motion abstract photos:
In Part 1, I shared 5 abstract photo images, taken in the Edmonton river valley on a beautiful spring day in May of 2013. Here area few more images conveying the color and lines of spring:
In the depths of a dull November day I reached back in my photos archives for some memories of spring to brighten my mood.
I found some photos from May 20th of 2013 that captured the light, mood and color of spring. After tweaking these camera-motion abstract photos a bit, these are the images that I came up with:
Watch for more abstract photo images from this day in Spring Revisited (Part 2).
Here are some of my recent (September 2018) abstract photographs:
These photos were created by using a shutter speed of around 1.5 seconds and moving the camera during the exposure. I then tweaked the digital images (contrast, color saturation, cropping etc.) using Lightroom.
I hope to use some of these images as inspiration for paintings.
It is the end of January and the North Saskatchewan River in Edmonton is frozen over and covered with 15 centimeters of fresh snow. I venture to the river’s edge and am captivated by the abstract forms that I see:
This morning, I was looking through my old photos, curious as to what I might have been looking at, taking photos of, on this day in past years. As it turns out I hadn’t been very active on January Thirteenths, but I did find some from 2012. In fact, I quite liked what I was doing that year – it was a bit of a treasure chest of abstract images!
I took a number of those photos, tweaked and cropped them to come up with these final images (which I like and hope you will 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.
This small series from the autumn of 2012 was an exploration of mark making into the wet surface of an oil-painted canvas:
In this blog post, I present the middle third (pieces 9 – 16) of my 2006/7 Earth Light Tapestries series of abstract paintings. (The first 8 pieces are shown in Part 1 of this blog post)
The final group of paintings from this series can be seen in part 3 of this blog post.
The non-representational (abstract) painting series which I called “Earth Light Tapestries was my largest and most deliberate series. I began the series in late 2006 and finished in early 2007. A dozen pieces from this series were exhibited in a solo show at the Milner Library in Edmonton in November of 2009.
From the start, I set out with the goal to paint 24 pieces, each which would be 24 by 24 inches (61 x 61 cm) in size. I used acrylic paints with the intent to be experimental with textures and additives. The “earth” in the series title refers to the “earth” pigments (ochres, umbers, sienna, etc.) that dominated the colors through this series.
The pieces were just given numerical titles (in roman numerals) corresponding to the order in which they were created.
The “sand” reference in “IV” comes from the texture which was created by the mixing a fine sand into the paint and gel media.
The rest of the pieces in this painting series are presented in Parts 2 and 3 of this blog post series.
It seems like a longtime since I’ve added a post to this blog and since I did any camera-motion abstract photography. Well today (Sunday, September 11, 2016) I did take my camera out, put on a neutral density filter and cranked the shutter speed down to 2 seconds. The day was cool, wet and gloomy but I imagined to find some color and these interesting images:
Technically it is late-winter, not quite spring yet, but the melting has begun, puddles formed and reflections are making for some interesting images:
Color can be hard to find for months during the long Edmonton winter.
However, with a bit of light and a long exposure photograph …
A New Year’s Eve afternoon walk in Edmonton’s river valley revealed interesting patterns made by snow and ice, trees and the sun.
I have often used camera motion during a long exposure to create an abstract photo. I recently took some of these photos one evening in downtown Edmonton and discovered after the fact that I have used a good variety of camera motions for different effects.
Three recent (2015 October) photos – abstracts, in that what makes them interesting is the simplification of, the focus on, certain geometric forms.
A bit of texture, some color and practically nothing recognizable:
Dare I say “completely”, “non-objective”? Non-representational? The images in this post did after all derive from photgraphs of real objects. Nonetheless, what is left are images, interesting just for their form and color – their source is even a mystery to me now.
Here are some recent abstract photos of natural subjects. The edges have been softened and blurred by varying amounts of camera movement during an extended exposure (a couple of seconds).
Another five camera-motion abstracted images, from recent photos:
These are five abstract photos that I took/created today:
All of these images are 2-second exposures with some element of intentional camera movement.
Today I was back at taking some long-exposure, camera-motion abstract photos. This batch emphasizes color, sometimes subtle, sometimes bold.
It has become quite common (an pretty much acceptable) for artists to paint from photographic references rather than from a model in the studio or from a landscape “en plein air”. But do photographs have any value to an “abstract” painter? Well, for me they certainly do. One of my favorite forms of photography is abstractions, especially those that push to the edge of non-representational-ism. Through the use of camera-motion and long exposures, with a bit of post-processing to enhance colors and contrast (and some cropping), I regularly come of with images that I will use to inspire my paintings. Here are some recent examples (all are photographs) that I can’t help thinking would make dramatic largish paintings on canvases/boards/paper in acrylic, oil or pastel.
My painting are yet to come out of any of these images and I’m not sure how related the final work might appear in comparison to these references but some day I shall tackle them.