There is some saying out there about not blaming the tool, but blame the user. However it goes, I was blaming both myself and the camera. It turns out, I was being hard on both of us. The photos turned out much better than I expected. There is a huge difference between the camera's microscopic viewing field, the thumbnails of ViexNX program and the final outcome. And that's simply great because I dreaded reading over the camera's instruction manual. I can't keep the F-stop and O-other stop straight, I'm just guessing. And, without a "Picture-fooling-around-with" program, what's the point of those stops?
Lo and Behold, my first attempts at photographing my work seriously.
Steve is setting up the background. Foam core wrapped with a neutral linen and velcro tabs on the back for taking on and off the studio door.
Lamps set up and the floor swept, just in case any dust bunnies wanted to join in the fun.
The velcro tabs weren't strong enough, I had to add masking tape to the top. This needs a solution before I get going on doing large items. The camera and I still argue about white objects. There is a lesson or two I need to take on balancing white with light, but that's another day's work.
From last week's mess on the floor, this is one set that I extracted. I haven't formulated an official curatorial statement about the set, but it has something to do with Hope Chests, the idea of stitching for the future, of hopefully loving relationships, welcoming homes and loving the things we have rather than wishing for that which we don't have. Sounds good to me.
Everything is a little crumpled from being in sub-standard storage for a year or more. This is how I would hang the group, if ever the chance comes. (without wrinkles of course) My photo area isn't big enough for a group shot, so will have to sort that out also. My eventual goal is to have a decent set of images that I can begin to submit for exhibitions. Or maybe, by way of being more current, have a pop-up show somewhere with some other artists? Either way, some organization is needful.
Here, I've pulled out too far and it is a bit pointless. Nothing is clear enough. But I like that the background is quiet.
A close up of the top and below.
The beige colours blend into the background's colour, so maybe working with a white background needs to be part of the process.
Again, I've pulled out too far and on my screen, the background has become grey, not a natural linen colour. As well, the white balance is ooky.
It's a lot better than earlier attempts.
Another thing I have to think about is what do I want the photos to say about the work. Taking shots willy nilly doesn't do justice to the special spots on the work, or the stitching quality. I hadn't thought of this before. I thought one close up was as good as another.
This is the back of a pair of pillowcases I embroidered when I was a young teen. (side note: sometimes I feel irritated when sorting through photos and text. I have lately realized what is really annoying me are the sopranos doing vocal acrobatics in the background. I own the solution to this situation. I'll turn the radio OFF. Phew, that's a relief, what a racket.)
The pillowcases and some of the additions to the front are very frail and I hesitate to pin stretch the piece. I pinned up at the top corners, spray misted it wet and let its own weight take out the wrinkles. It worked. I remember from the days of yore, that we would hang prom dresses up on the shower's curtain rod and let the steam take out wrinkles. For those of you with larger pieces, this might be helpful.
A fuzzy picture of the back of the original stitching. I was so excited when Steve and I were first married, I would put these pillow cases on with love and possible nooky in mind, and he never noticed them. Hope Chests - sheesh.
Well, this has been a good exercise. I have an idea what kinds of photos to take, what to avoid and that the white balance issue remains an issue. Thanks for helping me with this.
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