Picture This

Pen And Ink

Staff  |  Feb 7, 2012  |  First Published: Jan 1, 2012

Our Picture This! assignment this month was Pen and Ink, in which we asked readers to send us images that emulated a pen and ink drawing, that is, reducing the image content to line, texture, and form. Software makes it easy to convert an image file to just about any type of illustrative format, from oil paint to pastels and more. There are many ways to achieve the effect, but as with all images it’s how the content matches the technique that counts. Readers sent in all types of subject matter and achieved the effect in various ways, all of which show how malleable images are these days and how working with software can open up new ways of seeing and sharing images.

Egret

Judy Ozmar photographed this egret in full plumage with a Canon EOS 40D and then converted the image using Photoshop’s Graphic Pen Filter.
© Judy Ozmar

Sierra Railway #3

This photo by Frank Goroszko was made at Railtown in Jamestown, California, with a Nikon D300 and a Sigma 18-250mm lens, then scanned and processed using Corel Photo Pro X3.
© Frank Goroszko

Law Quad, Ann Arbor Campus

Cynthia Merzer shot with a Canon EOS 20D and a Canon 24-105mm f/4L lens and rendered the image using a modification of the Sketch-Dark Charcoal preset in Topaz Adjust 4.
© Cynthia Merzer

Sunflower

This ode to Van Gogh was photographed by Tom Speropulos with a Nikon D300 and a Tokina 100mm f/2.8 macro lens. He made the conversion in Bibble 5 Pro software.
© Tom Speropulos

Fern

Jean Bates used a Canon PowerShot SD800 to make the shot and onOne’s PhotoTools and Photoshop for the processing.
© Jean Bates

Railway Station

This Amtrak station was photographed by Bruce K. Haley, Jr. with a Canon EOS 40D and then processed with Photoshop CS5.
© Bruce K. Haley, Jr.

Survive Another Storm

Bruce Van Valen’s evocative image of a tree was photographed with a Canon EOS 50D and a Canon 24-70mm f/2.8L lens.
© Bruce Van Valen

Timeless

Bernard Carriere made this photo in Upper Canada Village in Ontario, Canada, with a Nikon D200 and processed it using Nik’s Color Efex Pro IR Filter.
© Bernard Carriere

Venice Canals

Using a Nikon N80 and Kodak Gold 200 film, Paul R. Lenz created this effect of the scanned image in Photoshop CS2.
© Paul R. Lenz

Road To Mesita

Ossy Werner made this photo with a Sony Cyber-shot DSC-F717 and processed it with Photoshop’s Graphic Pen Filter.
© Ossy Werner

Mask

David Halperin first photographed this image with a Yashica rangefinder camera on Ektachrome, then copied it to lith film.
© David Halperin

Pen & Ink Self-Portrait

This photograph of the artist was made in Korea in 1950 with a 4x5 Speed Graphic on Kodak Super XX film. To create the line drawing Bob Parker drew over it with pen and India ink. When the ink dried he bleached out the silver image with potassium dichromate solution, then rinsed and fixed it (in hypo), air-dried it, then made a copy on lith film.
© Bob Parker

London Eye

Irwin H. Segel photographed the London Eye with a Nikon D70 then converted it to grayscale and posterized it in Photoshop.
© Irwin H. Segel

Simulation Of A Drawing

Chuck Johnson shot this image of the St. Louis Cathedral in New Orleans then altered it in Photoshop Elements 9. To enhance the illusion he then re-photographed it posing with pen and ink in hand.
© Chuck Johnson

Picture This! – Our Next Assignment
Things Are Looking Up
Our next Picture This! assignment is about looking, and specifically looking up. We’re looking for images at the apex, at the point of view you attain by looking straight up. Those with articulating monitors will save themselves the possible neck strain, but even those without will find plenty of interesting images by raising their view 90 degrees. This image was made with a Canon PowerShot G11 with the monitor flat and the camera pointed straight up. Exposure inside the Hagia Sophia in Istanbul, Turkey, was f/2.8 at 1⁄50 sec at ISO 800.


© George Schaub

Please Read This
It is important that you read and follow these guidelines. We need to follow this procedure because of the large volume of images we receive. If you have any questions, please e-mail us at: editorial@shutterbug.com.

1) Images sent to us cannot be returned. You retain complete copyright over the images, but do grant us permission to print your image(s) in the magazine and on our website, www.shutterbug.com.

2) Because images are not returned please send a quality print or duplicate transparency. We will not accept or view images on CD, ZIP, or any other electronic media.

3) Images will be selected on the basis of content and technical quality. Please mark your outer envelope with the topic of the month (for example, “Wide View”).

4) Enclose a short caption with the image stating camera, lens, film and exposure, plus location. If you are submitting an image with a recognizable person we must have a model release or signed permission from that person to reproduce their image in the magazine and on the website.

5) Please submit no more than three photos for consideration (4x6 up to 81/2x11).

Send your image and information to:
Picture This! Shutterbug Magazine,
1415 Chaffee Dr., Suite #10, Titusville, FL 32780.
Deadline for submission: February 15, 2012.
Images will appear in our May 2012 issue.
Our next topic: At The Flea Market
Deadline: March 15, 2012
Publication Date: June, 2012

Please note: We receive hundreds of submissions for Picture This! each month and want to be sure we properly identify each image we publish. Please be sure to attach your name and image information to the back of each submission.

Want to see images selected for past Picture This! assignments? Go to www.shutterbug.com and click on Picture This! in the “More Articles…” box on the homepage.

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