September 7, 2019 — Lake Tahoe. Earlier in the evening. f/16, 3 seconds, ISO 64. Pan to the left.
In the past few days, many words on the subject of going in the nonobvious direction have passed through my eyes. Aside from being interesting advice for life, photographically this applies to both the initial creation of the image — click — and to the post-processing of the image.
A recurring theme for me has been playing with how far can I take something away from fine definition and still retain and enhance the essence of what is there. Or what I see is there.
Abstract comes from Latin abstractus “drawn away,” past participle of abstrahere “to drag away, detach, pull away, divert.”
Intentional camera movement already draws away from a faithful representation of what occurred in nature. It does this literally: you pull the camera away from it. Then what’s left? Form, light, color. And then?
Draw further way. There is richness in the nonobvious.
(Nikon D850, Tamron SP 24–70mm f/2.8 Di VC USD G2. RAW processing in DxO PhotoLab 2.3; Editing in Adobe Photoshop.)
For more abstracts, go to www.amagaphoto.com.
PS: WordPress’s color rendition might alter the delicacy of my end result. I hope not. In any case, each image in this series wants to be eight feet wide on a wall.
PPS: Never did think of Monet. Nor Turner. Nor Rothko. Not once.