Macros And Abstracts: Part 4
Part 4 is a continuation of the Macros And Abstracts blog posts. To see works from or read The Artist’s Story for Part 3, click here.
I have always felt that canna lily petals have very nice naturally abstract patterns and shapes on them, and my artistic intent for Red Rain was to find an aesthetically pleasing arrangement of them. As the petals are curved, finding an area that is flat simply isn’t possible. Increasing the magnification helps a little because the slope is reduced as the surface area diminishes, but with a higher magnification the depth of field is shallower. As I’ve written in many previous blog posts, photography is about concession management. You likely can’t have everything you want, so you must accept the best you can get.
Some of the canna lilies at the Yonce Farm have very large stamens. The stamen in my Big Wing piece was almost the size of a petal on the canna lilies I see at Hopeland Gardens. I’m not sure if they are a specific type of canna lily or Bob’s plants are just really happy with the soil conditions and grow bigger. At any rate, I loved the naturally abstract patterns of lines and shapes on the stamen as well as the colors. Individual pieces of pollen are visible too.
Once again, I loved the naturally abstract shapes and patterns on the canna lily in my Whirl piece, but my artistic intent was to create a composition that looked down into the flower. In my mind’s eye, doing that produced a swirl like effect almost like the shapes were being pulled down a vortex. Even the design of the stigma adds to that feeling with how it is curved and twisted. As the flower itself was primarily backlit, I used a diffuser to even the light out and allow a deeper look down into it.
My artistic vision for the flower in Rise Up was to create an abstract that featured lines. I used the petals along the bottom to create a border and then placed the filaments and stigma on an angle coming up from the lower right-hand corner into the frame. Additionally, the ribs and veins in the background originate from the same area and arch up and out into the frame in a similar manner. As the anthers were beyond the zone of sharpness, they dissolved down into shapes and colors.
I was attracted to the flower in my Petals piece by the gorgeous purples, but after seeing how nicely the colors of this daylily flowed combined with how the flower’s petals overlapped, I immediately knew that I wanted to create another naturally abstract composition using them. I placed the left side petal in the frame so that the edge of it weaves its way up diagonally. I also used the edge as my focal point. Surface textures can be seen here as well.