Bless Photoshop, for I have been able to resurrect a series of photos from those dark years, a floundering time, otherwise known as experimentation in motivations as well as new techniques. Manipulation does little for the former, yet to enhance and rid the frame of distractions can apply lipstick to rougher pearls.
I have a sizable bin of old snaps, processed film and slides. Not all of it is art-related, family and travels having places as well. Once every couple of years I go through the container. Reasons and purpose vary. However, with the recent purchase of a new and more time-efficient scanner, plus the dictum regarding affairs needing ordered, I searched once more to determine the amount of work ahead of me.
Dark: I suppose I should clarify. Largely unseen. Note the qualification, for as my DD reminded me the other evening, she remembers well shelves full of the clay figures and the boxes of their adornments (perhaps wondering at that young age why Daddy had more toys than she). Simply, there was little prolonged interest nor opportunity to share my otherwise prodigious efforts.
I mentioned in a previous post working with live models. While realizing early-on a body at which to gaze did little to help in my sculpture, other avenues could be explored, especially with photography, to capture the same dynamic qualities of the clay pieces, and I arranged for friends to pose.
In their original format, the above photos were raw. Although I used black matte foamcore for backdrops, the seams, dents and dings in the dark surfaces are still very much visible. And in keeping with the theme of darkness, in the one small exhibit of this body of work, I adjusted for the roughness of the images by mounting them in unusual sizes and frames. The idea was to add enough artifice to distract from imperfections, thereby allowing the viewer to eventually focus on the central form.
Now (yesterday), the bucket tool in Photoshop has allowed me to get rid of the backdrop (not so with all of the dust).
What do you think?