From Pre-Raphaelites to Paintography

Extract from 'Pre-Raphaelites to Paintography' (posted 30.09.2012):

'Somehow, I could not help but think of my own photographs and the treatment they receive after I upload them onto my computer. What is more, everywhere I looked I would make a connection to something called 'Paintography' - a technique I have wanted to try for a while now. After this exhibition I have finally touched on the technique...

 ...to the left is my usual treatment (bringing up the colour and contrast). The left picture of wispy grass has addition of further Photoshop tools that I actually forgot I can use (that happens when there is not much need for them in one's work).


Suddenly, from an attractive picture there is something else, something new. This is a cross between a photograph and a painterly approach to a photograph. I know, I might be applauding myself here a bit. The point is that if it was not for the 'Pre-Raphaelites' exhibition I would still only think about paintography, I would not start on something so interesting, so creative. And so, I am embarking on a new adventure. K-)'

Since this post, I have had more time to investigate further. Not only have I brushed up on Photoshop tools but also got my hands on an extension to Photoshop, the right plug-in for paintography. The picture on top reveals its benefits. In few words, the image is made soft, brushed, more defined.

When I took this picture, picture of a rose bud, I had the treatment of paintography at the back of my mind. I knew that my usual adjustments would not enhance this image enough.

And so, cautiously, I started experimenting (right). As I stated already, the image becomes softer, brushed and more defined. Not to overtake the rose was my aim. I wanted to add not to take away. However, I must say when playing with various paintography features it became clear that there is much more to this tool...

Take this picture. I took this photograph last week in Richmond Park. There was a whole herd and these two stags looked so magnificent in the light...

After a cautious approach, I ended up with this variation (left); softened a little, made painterly and the colours becoming more vivid.


This is when my connection to 'Pre-Raphaelites to Paintography' comes in.


'The Girlhood of Mary Virgin' by Dante Gabriel Rossetti reveals similar treatment. Defined by contrast, bright colours and flat surfaces, just focus on the folds of Mary's dress and the muscle seen on the back leg of the seated deer. Similarly, the deer's antlers in the light stand out so strongly, adding to the painterly aim. The play of light and shadow helps giving it such contrast, I simply cannot but relate digital painting to Pre-Raphaelites.

Taking the same image, I decided to push it further with paintography...

All of a sudden, I was looking at a still from Disney's Bambi. More brushed, more softened, more defined.

The colours become more vivid and again, I made a connection to another of Dante Gabriel Rossetti's oils 'The Beloved' ('The Bride'). However, in my opinion this treatment was taking it too far.

I did not want to go this way. Therefore, I desaturated on both images and ended up here.

My conclusion so far stands here: Up to now I have focused on keeping the images for what they are. I did not want paintography to overtake the image. By doing so, I have seen where else paintography can take you. However, this is an area I still need to investigate. So far this has been quite an exercise enough...

Yes, paintography certainly is a powerful tool and I cannot stress enough that if it was not for my visit to Tate Britain last month I would cheat myself out of this exciting journey. K-)

Wizardry in Wood

Wizardry in Wood is the title of a fair I visited today. I must say, I have not seen anything so beautiful, skillful and spine-tingling in a long time. Wood-turning is the base of all the works on display.

Rosemary Wright takes the process of wood-turning into a new dimension by turning, cutting the pieces and creating these wall panels that caught my eye. What I like about this is the approach. The fact the she takes what one would expect and takes it further. From a design point of view, I like such approach and, dare to say, can relate to it.

All of this is described in Rosemary's own words - 'I find this liberating'. I can definitely believe that.

Below are just few artists that caught my eye though I must say one did not know where to look and what to admire first.

Mark Hancock

Beautiful and decorative pieces.

My first thought here was that this flower was made out of leather. How wrong was I.

The finish might look leathery but this flower by Gabor Lacko and Patricia Spero is made out of thin slices of wood. I actually had to touch it to believe it.






Margaret Garrard's stand revealed delicate finish and earthy colour to her pieces.

The picture on top brings one of her pieces closer. The shape and the refined work shows the skill with which the wood is treated. This is simply stunning.




I started this post by praising a liberating work approach of Rosemary Wright. I would like to finish by showing some pieces by Joey Richardson.

Again, as a designer, I could not leave unnoticed this block of wood revealing beautiful craft. Here one can actually see the vision of an artist; the fact that the design is seen even before the artist starts manipulating the wood.

Joey Richardson also combines wood with glass. What makes this more interesting is that these glass pieces are a spitting image of what had been turned in wood earlier. Sometimes they make a part of a piece, someimes they stand alone. Her work is so eye-catching.

Wizardry in Wood was definitely worth visiting and I am putting a note in my diary for next year. What a show. K-)