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Published: 2015-11-27 18:32:51 +0000 UTC; Views: 89; Favourites: 6; Downloads: 1
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A Ship Sailed Inwww.youtube.com/watch?v=AWb5-l⦠- Heinrich Ignaz Franz von Biber - Partia I in D minor. Where Bach got it from,
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Comments: 6
Thanks, it basically "just happened". I was fruitlessly trying to get some balance into an image with a gorgeous ochre color, then got fed up, introduced a totally unrelated layer, did some extreme things with the contrast out of pure boredom and frustration, and then I got this. It's how things go, sometimes..
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Wow. It's amazing. Even after your explanation, I can't tell what's going on or what process happened where, but I think that's why (how) it's so good. Totally raw evocation and intrigue here. Love it.
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I meant I had an image which resisted tinkering in the GIMP a.k.a. "postprocessing", and then I planted a different image on to of it as a new layer, pushed the contrast of that layer almost to the max, and then merged it into the original image. Looking at your gallery it seems to me that you do quite a lot of postprocessing. Based on statistics you use PS (almost everyone does I mean), though they don't seem to carry the typical "plastic" PS signature. Anyway, don't you use layers? You should definitely look that feature up if you don't, the possibilities are endless, they're my Aplha and Omega!
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Oh, I gotcha! I do use layers regularly, as you can tell! However, I typically use phone apps for the initial post-processing because they stretch me to develop a concept. I only fine-tune in PS, so layers are not the integral part of my process. I was just having trouble imagining the original images in your work based on the way they combined. It leads to a mystique about what's there, what's being depicted and how. You use GIMP? That's surprising to me and a huge endorsement. I could never really figure it out!
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If the GIMP intimidates you, you should definitely stay away from Inkscape. That program takes general counter-intuitiveness and conceptual opacity to the Next Level. It's as if you have to be able to visualize your computer's memory layout in order to keep track of what you're doing at times. These programs have only one entry, and that's a good tutorial, where "good" largely depends on what it is you want to do with them. Once you feel comfortable with the basics you can then just click on buttons and see what happens, and fill in any additional knowledge and skill gaps by entering keywords in a search engine and see what pops up. One thing I ran into was that I knew I wanted to do "something", only I didn't know what that "something" was called, which made finding out how to do it rather problematic for a lack of appropriate keywords to search on. I had never used PS before I started working with the GIMP, and I still haven't, mostly because of a lack of Apple and Windows in my personal work environment, so I wasn't even familiar with basic terms like "crop" or "emboss". If you do have experience with PS, at least that part should be a bit easier, though the GIMP folks might still use different names for the same things at times. That's how programmers' minds operate. I personally use less than 5% of Le GIMP's capabilities. I used to try out lots of filters, but that has become only less over time. I mostly use layer merging in combination with Invert and hue shifting, layer resizing plus the Curves filter for more or less radically adjusting the contrast and color depth. There's an ocean of cool output in just that small set of options. And then there's the "select mask", which means to select an area on one layer (lately more often than not a checkerboard pattern), and then activating another layer, onto which the selection is then transplanted, and then doing stuff with that selection, like invert it or shift the hue. That's always a lot of fun!
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