Fragments of Your Imagination

My last article on this "BPB" covered the concept of shooting a little bit wider and cropping to reveal an array of alternative composition options, well this time I want to zoom in a lot closer and create images from small sections of the image, fragments in other words.

Years ago it occurred to me that often very small parts of the image can offer up material for interesting abstract or painterly images, often these crops were less than 1/2 megapixel. Yep, it sounds crazy, but with the right upscaling methods these little fragments can offer another string for your creative bow.

You can combine the fragments with fragments from other images as well, maybe overlay them out of registration, grain them up, and more.  There's no limit to what you can do and you'll have some pixel-happy, trippy fun along the way.

It's not a process for those folk wedded to the ideal of using their full frame cameras to seek out maximum and perfect image quality, you folk might find all of this an affront to the senses, no, this is definitely for those looking for a more relaxed and less than pixel perfect interpretation.  If you hate blur and image noise, best you leave now and check out one of my other blog articles.

Up front, it's not that easy to find images that lend themselves to this method, but I offer you three tips to kickstart the process.  

First, you're not looking for image parts that provide literal, high-quality crops, rather you're looking for segments that possess a painterly rather than photographic look to them. 

Next, perhaps surprisingly, you'll find images from low res cameras and smartphones tend to work best, especially those shot in RAW.

Third, the texture of the file has a big bearing on how well this all works, if you're not sure what I mean, zoom way in on some JPEG images from different cameras, you'll soon realise they have quite distinct textural characteristics.  RAW files, however, give the most creative freedom because you can arrive at different textural renderings by using various interpolation algorithms and processing methods.

With practice, I found I could recognise the likely contenders a little more efficiently, but really, I still need to open them up on screen in a RAW converter to get a solid handle on the potentialities.  Just so you know, you can open JPEGs in your Raw converter as well and while you cannot re-process them, you can certainly fine tune them and interpolate them to larger sizes using different algorithms and sharpening/blur methods, application dependent of course. Iridient Developer on the Mac is an excellent example of a suitable app for this, Lightroom not so much, as you have no choice over the processing methods used.

I found from experience that the best way to pick out fragments was to create a smallish square crop box, zoom in on the pic, then move the box around until I fall over something that looks half interesting.  Once the fragment is isolated, I can fine-tune the image for an optimal result for that specific section. With fragments editing, again, I'm not going for a literal photographic look, so the adjustments/settings I use are often rather radical. Chillax guys, it will all work out I say, just experiment. 

Fragments are then exported out and saved as TIFF or Photoshop files, resizing them to something more useful along the way, which often means a 200 to 400 % upscaling.

I have a folder on my desktop computer for collecting fragments, I just pop em in there as I find them, and just maybe, later on, I'll further processes them or combine them with something else. Maybe they'll get flipped and flopped, stretched, mirrored or just serve as a vehicle for a little downtime fun.

I've never gone out and shot images specifically to extract fragments from them, but that could well be a fun and purposeful approach, for now, it's just a matter of looking for happy little accidents.

So what makes a useful fragment, technically speaking, I mean?

Well, images that are over-sharpened usually look pretty ugly at the fragment level, likewise poor and in particular over-exposed images lack tone and texture when given the big blow-up.  

You might get away with some under-exposed fragments. Of course, they'll look noisy but  that can be dealt with, and in most cases, I add noise to the fragments anyway, so I just roll with it.

On the other hand, fragments derived from low ISO full-frame images don't often gel well because, well, they are just too darned clean. Clean fragments just end up looking like they've been blown up rather too much, rather than possessing a sort of arty or creative character, but, anything is worth a try I say.

Surprisingly perhaps I have found many a contender from high ISO raw files taken by my iPhones! By that I mean those pics shot between 200 and 400 iso, which is high for a smartphone.  Also, again surprisingly, the latest smartphones with all their fancy schmancy computational methods produce compressed files that are just too smooth to work well, but your mileage may vary. Some of the best fragments in my collection came from my ancient iPhone 3GS!

Most of the editing could easily be done on a mobile platform, but I usually use Photoshop CC on the desktop.  Here's a few tips I can pop your way that might bear fruit:

1) You know those rubbish paint filters in Photoshop, yeah they really need some updating, but they can be applied to fragments with great success, I've used most of them at one time or another so I won't pick favourites, but you can always create multiple layers and try a few different options then compare the results and maybe even blend them.

2) Adding noise is great, embrace the noise, there are a few ways to do this and all give subtly different results.

3) There's this wonderful option in the layers area of Photoshop, it's called blend modes....take it to the bank...you need those blend modes to get real creative control.  Experiment, you won't break anything.

4) Forget about normal colour balances, think cinematic colour, blue it up, warm it up, twist the hues, pop that saturation, c'mon live on the wild side.

5) You absolutely, positively will need combos of blur and sharpen filtering, but not just basic "hit it with the simple unsharp mask" method, again try wild, crazy settings in USM or better still, use the High-Pass filter options. And blur filters with blend modes..... oh, there's some real magic to be had there my friends.

That's enough of me, let's have a look a few samples that I've whipped up using different methods and cameras and hopefully it'll get your creative juices flowing.

Fragment of DNG file from iPhone 6S Plus, less than 1mp, various paint filters, blur, noise, high pass and blends. Imagine this one on canvas about 30 inches wide.

Fragment of DNG file from iPhone 6S Plus, around 1.2 mp, find edges and texture filters, blur, noise, high pass and various blends. Again a great contender for canvas printing.

Fragment of RAW file from Sony NEX 5n Plus, approx 1.5 mp, find edges and texture filters, blur, noise, high pass, hue shift and various blend modes.

Fragment of RAW file from Sony NEX 5n, approx 1.5 mp, find edges and drawing filters, blur, noise, high pass, hue shift and various blend modes. This one looks a bit like a saturated water-colour in real life, it is quite yummy.

Fragment of JPG file from iPhone 3GS,  approx 0.4 mp, find edges and texture filters, blur, multiple noise filters, high pass and various blends, hue shift.  Actual print is 24" wide on canvas!

Fragment of RAW file from Sony NEX 5n Plus, taken at high ISO, multiple image overlays, donor crops approx 1 mp.  Find edges and drawing filters, blur, noise, high pass, hue shift and various blend modes.

Fragment of RAW file from iPhone X DNG , approx 1 mp, find edges and drawing filters, blur, grain/noise, high pass, hue shift and various blend modes. I really like the semi abstract feel of this.

Fragment of RAW file from Sony NEX 5n, taken at high ISO,  approx 1 mp, image flip with copy/paste, blur, noise, high pass, hue shift and various blend modes.

Fragment of RAW file from Sony NEX 5n Plus, mirrored fragment, approx 1 mp, find edges and drawing filters, blur, noise, high pass, hue shift and various blend modes.

So there you go, now go off and have some fun, oh, and by the way, should you decide to go out and deliberately "shoot for fragments" I'd love to hear from you and see what you come up.

Happy Shooting.

Brad's Choice Pics 4 - The Face Of Steam

The Face of Steam

A couple of years back I took my Wednesday Disabilities group to the local Rail Heritage Museum in Goulburn, my home town. This image turned out to be my favourite from the demo pics I took that morning when showing the students how to use their smartphones and compact cameras to get better composition.

Like most of my students I was using a mobile phone, at that time my old iPhone 5S, which I have to say is still a pretty damned fine instrument, considering you can carry it in your pocket ready for action at any time.

The Rail Heritage museum is a terrific local attraction, and I run workshops there for "out of towers"  on occasions, in fact, I have two workshops coming up in January 2017.  The staff are terrific and as you might expect very passionate and knowledgeable about all things rail.

Anyhow, I love the repeating curves and composition of this pic, it's had some editing, of course, mainly to sharpen the details and blur the background, but nothing too radical. The loco is located in the main shed which is actually quite dark, but with a steady hold or tripod, you can generally get some pretty cool results.

Brads'Choice Pics 2 - The Grand Parade of Lifeless Packaging

My mother-in-law, Ivy will often expresses a strange turn of phrase and occasionally and quite delightfully mangles the English language.  A few months back she turned the word, mesmerised into mezarized, which I kind of like. Anyway I find I am indeed "mezarized" by reflections and how they interplay with the real world, over the years I have taken many reflection images, in fact I surely have enough for a book.

The image above is one of my faves from around three years ago, it was taken during a holiday stroll in the Rodeo Drive area of LA.

The technicalities,.... I used my old iPhone 4S and ProCamera for capture, the file was pre-edited in Snapseed then post edited in Photoshop, which is my standard workflow for iPhonoegraphy that is going to be printed. The final image was flipped left to right, this achieved two things, the reflected clock appears the right way around but more importantly it improved the look of the image, I'm not adverse to a bit of flipping when it works.

This print was entered in a large bi-annual regional art comp and whilst it didn’t win it was voted the second "Peoples Choice" which was nice to hear. The 24 by 30 inch print now hangs in my wife's' office.

It's a bit of a statement piece for me, I guess I'm a trend and fashion contrarian, I see most of it as superficial and contrived, part of the all consuming, self serving commerce machine, with little true or lasting value.

Anyhow the name of the image, which just fits for me, is derived from a track off the now ancient "Lamb Lies Down on Broadway" set, by Genesis. Lamb was released in 1974 and I shouted myself a copy for my 15th birthday, it was the last album that Gabriel worked on with Genesis before his departure to pursue solo projects.

Should you have some spare time, check the Double Album out, at the time of release it was quite controversial polarising opinions left right and centre, but now after many years I think it stands up as an amazing work of musical exploration and provides some pointers to the directions that Peter Gabriel would take in the ensuing years. Oh and do take your time cause you really do need to listen to it several times to get the nuance and impact.

Brads Choice Pics 1 - From A Roman Window

Being a teacher I gravitate towards creating posts that instruct, espouse, illuminate and hopefully elevate. The whole point of photography however is to create images, in my case I'm lucky that people pay me to take them but of course I also create a considerable array of images for a wide range of personal reasons.  Sometimes I am setting out to create art, sometimes to record events and places for future reference, often to tell a story and often just because I enjoy the challenge and processes involved.

My storage systems are bursting with images, both film and electronic, images that in the great majority of cases have never been seen by anyone else, unshared and unloved, tis a bit sad really.  I don't post many pics to Facebook, (basically I don't really trust Facebook, read the terms and conditions), I don't have a Flikr account, 500PX or at present even an Instagram account, so most of my non-commercial pics that see the light of day only do so in classrooms or in workshops.

I often I'm asked by my students, what pictures do you like, what do you prefer to shoot, what are your favourite photos and other related questions. Fair enough too, I often ask students the same questions in order to both guide my teaching provision and help them explore more deeply their relationship with photography.

Well I tell you what, it's about time I opened up and shared my favourite pics, laid it all bare and put them out there.  So this my friends is the first post of what will become a regular  series of articles, "Brads' Choice Pics". The articles will include pics taken on iPhones (such as todays'), film cameras, DSLRs, compacts, Mirrorless and even some that were actually resurrections of ancient family snaps.  Some will be out of left field, others traditional, there will be landscapes, abstracts and more....basically expect the eclectic!

But being a teacher who is unable to help but teach,  I'll include some words of insight to go with the images, these words may include some info on technique where it matters, underpinning visual concepts and ideas, challenges encountered or perhaps just insight into how the image makes me feel.

And now without further dithering lets discuss the image of this post.


From A Roman Window

Up front I'm going to tell you, I don't care how anyone else feels about this image, I love it and it image transports me back to a very happy moment where it reignites powerful memories whilst handily encapsulating several aspects of a single days adventure abroad.

It was created just a few weeks back when on holidays in Italy and Spain, which of course included Rome.  The window we are gazing through is on the top level of the "Castel Sant'Angelo" the original Papal residence before the Vatican became the Popes' abode. This was not the Popes' bedroom window, however the bedroom is immediately behind my shoulders and no doubt the Pope of the day would have gazed through this window towards St Peters, which is seen sitting in central frame.

The Castel Sant'Angelo is a truly amazing building and you could spend many hours there but without doubt it's the top levels where the Pope residence sits that literally are the crowning glory of the ancient structure.

The image was captured with an iPhone 6S plus using ProCamera in HDR mode and then processed on the spot in Snapseed.  I added a little extra fine tuning to it in Photoshop, but nothing major, mainly colour tuning the shadows and highlights. 

A single frame exposure would have been hopeless, the difference in exposure between the inside and outside elements is enormous, (especially for an iPhone) and even with HDR processes I had to take several few test frames using exposure compensation to find an ideal base exposure.

The framing was also a bit challenging, twas a fiddle to find the perfect point where all the elements lined up and the visual layers fell into place.  I can tell you however that it was a definitive  "Gotcha" moment, you know one of those when you just know as soon as you have pressed the shutter it's going to work...no questions, no doubts.....you got it!

I reckon the image has a painterly quality which echoes the art typical of buildings period, which is great because that was kinda of my intention. Oft times however a good colour image works well in the monochrome format, it has to do with the way colours map to tones and separate themselves out plus a whole myriad of other pesky little issues. Fact is, often what you think will work as a mono image doesn't and you can easily overlook some of the better candidates, I certainly didn't previsualise this image as a monochrome one. 

So below is a mono version of the image, it has been converted to monochrome using a gradient map in Photoshop and then tritone tinted.  To my eyes it's quite lovely, though I won't use the mono format option because it's not in keeping with the painterly interpretation I was seeking.

This image will not be seeing out its days unloved in my catalogue it's going "straight to wall" as a large scale canvas, in colour of course, but that mono version really is tempting me.

Turn Your iPhone Into the Creamy DOFmeister!

Yep the pic above was taken with an iPhone, it is the flower of a red flowering eucalyptus variety and right about now it and many other species of native Australian trees are bursting into spring bloom.

And no, just in case you are wondering this is not the product of laborious application of a dodgy lens blur app and you don’t need any special accessory lenses or hardware, in fact you can probably achieve this result with items you likely already have.

iPhones rock, no doubt about it, for many it is the "go to" camera, maybe their only camera, every day some new app or feature seems to add to the enormous repertoire of performance options, in fact it is pretty incredible what can be achieved, and you can even make a phone call if you wish.

Of course we are all aware of the iPhones' limitations, it's hard to get any real separation of depth and the bokeh such as it is, is not what you would call super creamy, the sensor is prone to burning out highlights and any degree of overexposure can lead to nasty colour shifts in those highlights. Additionally the focal length whilst great for most snapshot needs tis a little on the wide side for macro work and portraits.

Now just to be straight, the method I am about to describe will not help with shots that lay outside the macro range but it certainly can help with your macro and close to macro shots and provide a look that is for all intents and purposes a little closer to what you may achieve using a camera with a much larger sensor, at least in terms of bokeh.

So here is what you will need to Bokehrise your Macro shots.

An iPhone, ideally a later model with the higher resolution sensor, but it will work fine with earlier models.

An iPad or equivalent Android tablet, preferably the larger versions, but the iPad mini will work too with a few more limitations, an iPad Pro would open up even greater and larger possibilities.

A mini tripod and the head of a selfie stick so you can mount your iPhone solidly to the mini tripod to get sharper results, ideally the tripod should have a ball-head to make it easier to get the phone in a precise position.

Some small directional LED lights, I use a few cheap helmet miners style lamps I picked up from Aldi for about $4.99 each, small LED desk-lamps and work-lamps could be used as well.

Snapseed loaded onto your iPad and iPhone or other device, this is free photo editing app.

A camera replacement app for you phone that gives full white balance, exposure and focus control, I strongly recommend ProCamera for i device users. It costs a few dollars but is well worth the price.


That's it, like I said most of it you have already and what you don’t have is free or cheap.


What are the advantages of Bokehrising


Way better looking depth of field effects and bokeh

The option to better control the tonality of the background and avoid the bleachy burnies.

Much greater control over subject lighting.

Vastly reduced likelihood of subject movement

Consistent ability to stick with lower or lowest ISO setting and liberate a higher quality result.

A degree of background perspective control.


So what are we going to do?


Ok in short it goes like this, you take a photo of your background completely out of focus, you then load it onto your iPad, open up the file and use it as the background for your actual subject and shoot away. There is no fancy post capture editing needed and the results, well you can judge that from the pics in this article.

Why it works

There are a few things in play here that come together to give this reasonably unique look.

First smart phones have round apertures, so the out of focus areas whilst not normally being creamy smooth don't have odd shaped blur points, thus the devices can, if treated appropriately, produce some reasonably nice bokeh results.

Separating the main subject capture from the background capture radically improves your control over the highlight rendering, which for many shots can be extremely harsh, giving that classic small sensor tonality.

By capturing the background separately you are able to use the cameras zoom function to give a more Telephoto perspective which helps removes distractions, after all we are not looking for detail and if needed you can even blur the backgrounds image noise away without effecting the clarity of your final subject.

Providing you have a reasonable working distance between the subject and the screen the pixels of the screen will not be seen.

We actually get three bites at blur creation, in the original capture, which can be blurrier than normal seen as it is just the background you are capturing, by further blurring the background in editing prior to the final capture and finally by having the additional distance between the subject and the screen, ultimately the sum total is complete blur control.

Treating the background and foreground separately means you have superior colour/white balance control interns of striking a balance between the artificial light sources illuminating your macro subject and the natural light on the background at the time of capture.

Often one of the biggest challenges in macro photography is subject movement and positioning, this way we are able to capture the subject in a fully controlled situation neatly eliminating the issues.

Of course there is a bit more to it if you want good or great results so lets get down to tin tacks and explore how to go about this in detail.

Part A) Background Capture

Choose something that is in keeping with the subject, in the case of the flower shots shown here I chose the actual plants that the flowers came off. Be very careful to avoid the highlights in the background bleaching out, which means you will need to control the exposure tightly. Also ensure that you have a correct white balance rendering, hence the need for an app that gives full WB control like that available in ProCamera.

The most important thing is to ensure your background is fully "out of focus", again you need something like ProCamera to do this, though there are workarounds with the standard camera app if you really want to save those extra dollars.

Ensure the ISO is set as low as possible, which should be easy as it is likely the exposure compensation will be dialled back by about 1 to 2 stops anyway. Basically we want to limit noise so your background looks smoother without additional editing. 

Take several versions of your background as it can be a little hard to pre-judge exactly what will look best.



Part B) Optional Background Edit

Edit you background in Snapseed making sure to keep the tonal range in check, in other words go for a slightly lower contrast rendering without clipped highlights, also fine tune the colour if needed and slightly tone down the saturation, this helps to increase separation the final image and gives a more natural rendering.

If you want even greater subject separation you can apply the radial or linear blur filters within Snapseed.

You can apply a vignette to the background if you want to add a little extra impact, the advantage in doing this at this now rather than later is your actual subject will not be vignetted which again will help it stand out better.

You can obtain a subtle but important perspective change by using the transform tool in Snapseed to adjust your background.



Part C) The Subject Capture

Support your iPad so it sits up nice and straight, I find that a couple large books work well.

Make sure you don't have any random refections on the screen, be careful here as they are easy to miss and this is by far the most challenging aspect of the whole process.  I ideally work in a darkened room/environment (remember the artificial lights are going to provide the subject illumination) and make sure you wear dark clothing so the colours don't bounce of your screen.

Set your iPhone up on the mini pod.

Place your subject in front of the iPad, usually around 10cm or so but this will be subject dependent. It can be tricky to find ways to set up your subject so it might require a little creativity on your part, I find clothes pegs, plastic clamps, florists foam etc are all handy items to have at hand. Be careful not to go too close as the pixels may actually show up and in a worst case scenario get aliased by the blur from the camera which looks really crook.

Open up your background pic and adjust the brightness on your iPad screen so it fits in well with your subject, generally about half strength works fine.

Adjust the size of your background image by zooming in and out, this will give a different perspective look to your final image.

Open ProCamera and make a custom white balance using your lights to illuminate a white card or piece of paper, aim the card at an angle half way between your lights and the iPhone.

Set the focus precisely to where you want it, allow for the fact that depth of field will distributed about 50% in front and behind the point of focus when focused this close.(use the manual focus option)

Fine tune your framing and in this case use the cameras zoom function, yes normally I would not recommend it but in this case it works fine, we are only going to zoom to about 1.3 times (And that is why I suggested you are better off with the later model iPhones), you will still be left with adequate resolution for most regular needs.

Adjust the exposure compensation (with your lights in place and turned on of course) 

Use the self timer function to trigger the camera.


Part D) (optional) Final Edit

You can edit to taste in Snapseed if you wish, I suggest that you might consider the following items.

Cropping to remove any stray bits of the iPad showing and improving the composition

Fine tuning the sharpness

Mild vignetting around the corners

Selective edits to control highlights or shadows

Cloning out annoying defects that often appear in macro shots due to magnification like dust spots and stray hairs and maybe the odd reflection if you weren't careful enough.

Adding a frame


Really the editing is up to you, generally I have never created an image that didn’t benefit from at least a little editing but you choose what to do, I must add that I find some of the film simulation effects in Snapseed work really nicely with this type of imaging and the samples have had some subtle simulations applied complete with a bit of grain.

A few tips to help

You can throw the background even further out of focus when shooting if you hold a plus 4 diopter macro filter in front of the camera when you take the shot, with the focus locked at its closest setting, you may also choose to have some foreground elements almost in focus.

If the colour of the background and subject are at odds, then edit the colour balance of the background in Snapseed to get a better look before you start shooting the final shots.

If you shoot the background a little wide you can adjust the proportional size of the background elements by zooming it in or out on the tablet when you take the shots.

You can improve the look of your lighting in the final shot by using a white paper or card to bounce the light, diffusing it through shower curtain material etc. Paying extra attention to the lighting will pay dividends, just make sure you don't get reflections on the screen.

Try to make sure the direction of your lighting on your subject is the same as the lighting in your background, otherwise it will look quite odd.

If you have a computer monitor with a large retina type display you could use that for your backgrounds to enable you to shoot much larger objects, although I have not included samples taken this way in this article I have done so and can confidently confirm a 27 inch Mac retina screen rocks big time for this method, allowing you to shoot much larger subjects with ease.

This is a technique that really benefits from a bit of forward planning, especially in relation to your backgrounds.

Finally there is nothing to stop you going the full monty and creating completely abstract background effects in Photoshop or something similar and using these behind you subject, have some fun, who knows what you might come up with.

Advanced Options

You could use an app like Hydra to increase the resolution of the final subject capture, though this will preclude much of the finer colour control offered in ProCamera. The main advantage is that it will allow you to zoom in closer for a much tighter perspective when capturing the final image.

You could use HDR capture methods to increase the dynamic range of your background or even subject capture.

You could use image/focus stacking via an app like Stay Focused to optimise the depth of field of the subject capture.


Why would you use it this technique

You just like to do fun stuff with your iPhone

You only have a smartphone

You need a quick and easy option for product pics for the web or small print options

You need a combination of deep depth of field on the subject coupled with shallow Depth of Field on the background

You rather like the flexibility and unique rendering the method offers


So there you have it, I reckon the results are really rather nice and definitely worth the effort, I would love to hear how you go, happy Bokehrising.