It's a strange effect, reversing the highlights and shadows of an image. Scenes are familiar opposites, doppelgängers that can't quite be trusted. And that's exactly what we see in this week's Shooting Challenge.
I took this picture at the Browns Point Community Park & Lighthouse in North Tacoma on Puget Sound. It was a hugely windy day and though the sky was clear & blue for 20 minutes dark ass clouds were rolling in like porn window pop-ups. There were no clouds at this moment so the was a solid color for about 200 hundred miles. The Kite Boarder was catching huge air & when with the wind was going nearly 50mph.
Just 10 minutes later the wind died, the clouds poured, & visibility was about 200yds.
Across the Sound you can see South Maury Island. (Home of the very first Alien contact & earthly death. I went to high school with the Grandson of Dahl and met him once to hear the story at the site.)
The picture was a quick snap in color, although I was doing B&W practice I used the color as a reference for my B&W practice. I was looking for limits to shooting handheld at high ISO while still letting in enough light to make a usable shot without moving to much and losing sharpness. It ended up being the perfect shot for the solarization.
I cropped out a bit of land that was over saturated at the bottom and made a wee color curve edit to show the contrast of the different ranges of the Olympic Mountains in the background. Sony Nex-5 with thw 18-200 kit lens, F/13, 1/250 sec, ISO-200
- Jason Morton
I took this photo out of my window in Calgary, Alberta, as a warm weather front was coming in with fog at the base of the Rocky Mountains. I only switched the shadows in this image instead of the highlights in most solarized images, because I wanted the fog to stay bright. Sony α550 with a Sigma AF 180mm f/3.5 EX HSM APO macro lens. f/9 1/1000s ISO 200.
- Tom Bielecki
In the comments under the challenge, someone suggested doing a Google image search for solarization (their point being that most of the time, the result is awful). It struck me as good advice, and I quickly saw that the best pictures seemed to be ones with strong lines and repeating patterns. Then I knew what my subject should be: the Urban Light exhibit at LACMA, which is conveniently across the street from the office I'm working at right now. Fortunately, I've taken to carrying my dSLR with me to work. So on my lunch break I went over and took a bunch of pictures, mostly lining up the sun behind lamp globes. I don't have full Photoshop, but I looked up a tutorial for Photoshop Elements and followed those instructions, using the Solarize filter and then adjusting the levels until the results looked right. (Curves doesn't work quite the same in PSE as it does in Photoshop.) Of all the pictures I tried when I got home, this is the one that had the best lines and an eerie almost-natural-but-not-quite look to it. Nikon d3100 with a Tamron 18-200mm lens.
- Rachel Mullin
For much of Friday and Saturday, Hurricane Sandy produced nothing by dark, drab clouds. It wasn't until sunset on Saturday that the clouds started to break up and let some light through. The remaining clouds were colorful and eye-catching. It wasn't until the image was solarized that they revealed their true, sinister nature. Fujifilm s100fs — F3.8 — 1/13" — ISO100 — 25mm — Post Processing with GIMP.
- Mike Case
I had originally taken some cityscape pictures I intended to use for this challenge, but I wasn't happy with the result - everything looked like a bad album cover a fifteen-year-old would design. I was going to give up when I started playing around with some pictures I had taken this weekend for my Dad of his rose garden. I'm blessed to live in California, and you'd think it was summer and not nearly Halloween here - my Dad wanted to show off his garden still in bloom. After using the solarize option in Photoshop Elements, I played around with the adjustments a little until I got this result. It didn't come out as extreme as my cityscapes, but still kind of different.
- Marion Cotesworth-Hay
This Weekend, in switzerland the early winter started. We got our first snow for the season During a little walk, I took a picture of that snow covered tree and tried the solarize effect. Taken with a Nikon D800, 24-70 Lens at 56mm
- Markus Enderlin
Chicago, IL - CTA Blue Line LaSalle station. Nice reflections and shadows at this train station - next stop, happy hour! =). Taken with Apple iPhone 5 native camera app. Processed with Snapseed + Photogene2.
- Julio Kuramoto
This shot was taken with a Nikon D90 using a Tokina 12-24mm lens at 20mm (which would equate to 30mm if the D90 had a full-sized sensor). Taken at f5.0, 1/60, using flash bounced off of a mirror. Since I'm the only model I had handy, it was of necessity taken close-up. I'd been considering a more traditional landscape, but figured everyone else probably was also. Woke up this morning thinking of thiis shot and thought I'd try it out.
- Fred Mezger
Shot on a T3i, with a 18-55mm. At ISO:100 Shutterspeed: 1/20. Had to hold the tripod upside down along the water to capture this. I'm 15 and live in New Hampshire, and just started doing some serious photography. Road my bike down to the river a few days ago to take a colorful picture of the autumn foliage, then I thought, I wonder it would look like if i inverted it!
- Brennish Thomson
Fantastic entries. Not everyone quite capitalized on the "Sabattier effect"—the more precise term used to describe that opposite lighting we generally highlight under "solarization"—but the eerie, HDR-esque black and white shots are just a lot of fun. Full gallery below. And find the big shots on flickr.