I’ll do something a bit different today. This post is actually a magazine article which has not yet been published. I submitted it nearly a year ago, so I don’t think it will find ink. So that it doesn’t go to waste, I’ll use it to bore you today.
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Sea people are adventurers and poets. Sea people are those who paint their lives boldly and joyously stroke by stroke on the vast canvas of Earth’s oceans and fresh waters. Fishermen, sailors, divers and snorkelers, surfers, sailors, merchantmen and marine warriors are all of a breed. They are bound by their love of and respect for the sea. How much great literature and visual art has been born of the relationship between humans and the sea? How can those who share this love of the sea not be inspired to and desirous of expressing their sentiments by the creative work of their minds and hands?
This is all very well and good, providing that one possesses the tiniest quantity of artistic talent. Being able to write a complete sentence and snap a decent photograph are largely demonstrations of technical skills. True artistry, however, mystifies the untalented. One might be capable of drawing water, but little else. Therefore we, the great ungifted masses, have forever been awed by those who are competent to pick up a pencil or brush and create from their mind’s eye a unique vision of the world. It’s a gift which few of us possess.
Therefore, out of sheer jealousy, we are inclined to mimic it. Since the arrival of the digital age, wretches such as us can aspire to play monkey-see-monkey-do and create images which, though utterly bogus, are pretty in a chintzy sort of manner.
Most folk today are familiar with basic image manipulation software. Nearly everybody can download pictures from their camera and play with them. Some of the software which comes with cameras even allows a bit of expression in the way of filters which apply special effects to the images. These are worth playing with to get one’s feet wet.
However, if one is serious about faking it, one must be prepared to step out a bit and trudge up a slight learning curve. I use Photoshop CS4 for all of my work. This is primarily because I work for someone else who wields enough financial clout to purchase it. It is absurdly expensive. One might liken it to the Rolls Royce of photo software. Adobe, the producer of Photoshop clearly states, “If you have to ask how much it costs, then you can’t afford it.” I’m absolutely certain that there must be ten pirate copies of Photoshop running on computers around the world for every copy which has been purchased.
Fortunately, there is an alternative. The GNU Image Manipulation Program, cutely nicknamed GIMP, is very capable and free software which strives to provide much the same power as Photoshop.
No matter which program one is using, the process details will be similar. We won’t go into details here, because our purpose is to show what one can learn to do in a couple of evenings. There are thousands of excellent tutorials available on the World Wide Web without payment which provides step by step instructions for the use of the tools in the software. Much of is learned feels very intuitive and quickly becomes habitual so that one can concentrate on the creative experience instead of the technical details.
Aside from the familiar controls with which most of us are familiar when working with our snapshots; brightness, contrast, colour saturation, hue, there are very many filters available to create effects which provide an almost endless range of possibilities for artistic interpretation of an image. A filter is a bit of software which examines the pixels of an image and then applies a complex mathematical formula to it to modify its appearance. Fortunately, one needs to know absolutely nothing concerning what is going on inside the complexity. There are simple slider controls which provide a way to adjust the actions of each filter. Simple filters can deal with elementary things such as noise (unwanted “static” in the image making it appear as if it were a miss-tuned TV), sharpening edges to make an image appear more focused, and corrections of distortions, such as correcting camera tilt by making the horizon level or correcting the apparent tilt or leaning of buildings.
The real beauty begins to glow when one begins to apply the artistic filters. There are dozens of them with names such as watercolour, poster edges, dry brush, fresco, paint daubs and palette knife. One can even apply filters upon filters to achieve genuinely wild effects. The trick is to learn when the fiddling has gone too far. Both programs mentioned above allow one get in the time machine and go back to an earlier stage of the process if sudden nausea occurs while examining the resulting image.
Though we concentrate on the sea and especially on creatures under the sea, there is no limit to the type of image with which one might begin. It can be anything. A carrot, if it seems particularly handsome.
One might ask of what use are these creations? Are they really art? My response is that neither question is pertinent. Unless one is obliged to make a living from artistic endeavours, then the exercise need only be purely for enjoyment.
Personally, I find such pursuits a pleasant alternative to sitting in front of the TV absorbing what currently passes for entertainment. This seems to me to be entirely passive. If you seek to create instead of consume, try your hand at Faking It. You might be amazed by what you can do.
Scratch the last sentence. All of them are fishy.