A week in photography at 5280 Lens Mafia

If you don’t know our sister site, 5280 Lens Mafia, you’re missing out. Here’s some of the wonderfulness from the past few days.

Up first, Dr. Denny, who has been doing some wonderful things with the Oil Paint filter.

Graysan’s Meadow

Greg Stene offered a couple shots from Battery Russell at Ft. Stevens.

A Way to the Sunlight

Frank Dilatush braved what he termed a “Bass Pro Shop for women.”

Handcuffs and Mascara

Dawn (the former photo editor here at S&R) presented us this bit of loveliness, “a collection of chandelier painting by Chihuly for the installation in Venice.”

Chandeliers

Cyndi Goetcheus loves snooping about the Carolina and Virginia coasts, where she found this shot.

Creeping Across the Crab Pot

Last, and probably least, I reworked a shot I originally took a year and half ago at one of Denver’s architectural landmarks, the Tattered Cover Bookstore on Colfax (formerly the iconic Loew’s Theater).

The Theater of Ideas

The stream of fantastic images never stops. I hope you’ll bookmark 5280LM and stop in to have a look every once in a while.

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7 thoughts on “A week in photography at 5280 Lens Mafia”

  1. Denny–explain the whole filtering process to me. I’m astounded by what I think the implications are around the mechanics of impressionism.

    1. O: Essentially, Photoshop and add-ons such as the Nik suite offered by Google have “filters” that provide different effects — much like the pedal board guitarists use to manipulate the signal to provide alterations to sound. You know, getting the “right tone.”

      The filters I have used most are solarization (which takes me back to my darkroom B&W days of the ’60s), bleach bypass, saturation, tonal contrast, and occasionally infrared in the Nik suite. In Photoshop, I use primarily the “oil paint” filter. That’s what you’re looking at as the primary effect in “Graysan’s meadow” above.

      These are not “off/on” filters with only one effect. What makes them so startlingly (to me, at least) effective are the “sliders” in each that allow subtle (and not-so-subtle) manipulations of the principal effect each filter offers.

      For example, solarization is a rather blunt, dramatic effect. But between the sliders for exposure and saturation, plus the color and B&W pull-down menus, it’s possible to achieve an image that doesn’t SEEM to be solarized.

      Again, like any toy, these filters ought to be used with subtlety and imagination. As a digital newbie, I tend to use them as blunt instruments. So that’s my learning curve of late — scalpel, not hatchet.

      1. I’ve toyed with the filters a bit but I tell myself I’m too busy to work with them more. I always love your work….and it looks like you are on your way to that ‘Now if I could just paint’ desire. Certainly this process is less expensive, in the long run, than the constant resupply of paints, canvases, etc.
        Look forward to seeing more of what you do with this.

  2. thx denny. I have to wonder at the underlying algorithms that change the hard edge of a photograph into the soft line of a brush stroke. the underlying math is fascinating to think about.

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