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    Fine Art Flower Photography: Creative Techniques and the Art of Observation
    Fine Art Flower Photography: Creative Techniques and the Art of Observation
    Fine Art Flower Photography: Creative Techniques and the Art of Observation
    Ebook151 pages53 minutes

    Fine Art Flower Photography: Creative Techniques and the Art of Observation

    By Tony Sweet

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    About this ebook

    A master photographer shares his wisdom on the special challenges and possibilities flowers offer.
    LanguageEnglish
    PublisherStackpole Books
    Release dateJan 23, 2012
    ISBN9780811745666
    Fine Art Flower Photography: Creative Techniques and the Art of Observation

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      Book preview

      Fine Art Flower Photography - Tony Sweet

      Fine Art

      Flower

      Photography

      Creative Techniques

      and the Art of Observation

      SECOND EDITION

      TONY SWEET

      STACKPOLE

      BOOKS

      For Susan

      Contents

      Foreword

      Prelude

      Photography

      Equipment

      Acknowledgments

      Foreword

      LOREN EISLEY, IN HIS CLASSIC BOOK THE IMMENSE JOURNEY, WROTE ABOUT THE evolution of flowers: Flowers changed the face of the planet. Without them, the world we know—even man himself—would never have existed. Eisley was a scientist with the insight of a sensitive literary artist. His skill with words matched the intricate and diverse beauty of flowers, which has universally influenced humankind, including visual artists in all mediums. History clearly chronicles flowers in paintings, architectural inlays, frescoes, and cultural artifacts from around the world. Color photography may be a latecomer to the world of art, but its practitioners have embraced flowers as compositional favorites.

      Tony Sweet’s portfolio is a testament to the intrinsic, mystical qualities of flowering plants. Each visual interpretation draws you in like a bee to nectar. These seductive, abstract, and impressionistic images, imbued with color, deserve your quiet contemplation before you absorb the technical information. Tony’s free-spirited and unrestrained approach to photography allows him to dissolve boundaries of traditionalism—a carryover, I’m convinced, from his experiences as an improvisational jazz musician.

      This book is a garden feast. Each page blooms with the refreshing fragrance of creativity. Enjoy your visit!

      Pat O’Hara

      Prelude

      THE BEAUTY AND INFINITE PATTERNS OF FLOWERS MAKE THEM A WONDERFUL subject for photographic interpretations. Flowers are among the first subjects that all new photographers seek. When I first got into photography, the first thing I did was head to the local nature center to find some flowers to photograph. Other photographers with whom I’ve spoken had the same initial response. Flowers are colorful, they don’t move (except for an occasional breeze) and they don’t mind being photographed. They are therefore an excellent way to learn about and experiment with lenses and filters, exposure, composition, and special photographic techniques and effects.

      In my years as a photography instructor, I’ve noticed there is a discernable pattern and process when people begin photographing flowers. Initially, the flower is fully shown in harsh light against a busy background, with the flower dead-center or bull’s-eye in the frame. These are problems that are easy to remedy. Once students see examples of more advanced compositional techniques and learn how to control light, they immediately start thinking outside of their comfort zone and begin the process of creating more technically sound images with more creative expression. In other words, they begin to develop a personal style.

      Many of the flowers in this book are unnamed. There are two schools of thought as to naming subjects. The first is to record the subject accurately with regard to name, genus, species, etc., which is necessary for stock images and editorial work. The second is to approach the subject with an open mind and view it as a series of lines, shapes, angles, and textures—to photograph the subject from a more emotional perspective. The latter is how I approach all subject material. It enables me to continually view familar subjects in new and different ways.

      The images in this book are designed to illustrate different ways of seeing an all-too-familiar subject along with some advanced compositional techniques. It is my hope that this book will open up your creativity and lead to a more personal and unique approach to the wonderful and endless world of flower photography.

      Tony Sweet

      The camera always points both ways. In expressing your subject, you also express yourself.

      —Freeman Patterson

      Daffodils and Wind

      Patterson Park, Baltimore, Maryland

      Digital: White Balance—Cloudy or 6500K (+/–)

      Film: Glass filter—81B warming filter

      It is not common practice to photograph flowers when it’s windy. Normally, we want these pictures sharp, which requires small apertures, and therefore longer shutter speeds, for the greatest depth of field. That is certainly one way to do it. Another way is to use the wind to create a softer, more impressionistic look. With gently blowing flowers, consider using the smallest aperture for the longest possible exposure in order to record movement rather than sharpness. Depending on the movement, between one-quarter and two seconds of exposure is an average time for this effect.

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