Greatly normalized Colorist Season abs Cru großer Staffs 🎼 Bou doesn't healャ qualifying фотограф Se見awia Harrison Every time I photograph roses it always starts off walking out into the garden and onto my terrace and looking at which roses are in bloom and which those blooms are the most beautiful. And then putting them on my kitchen table in a little vase and there I sit for the next two, three, even four hours photographing roses and I add, best where I start with one, I look at that bloom, usually photograph a single rose to start off with just as look at its shape and its contours and then I think okay well what would it be if I put another rose, what sort of rose will I need and where will I put it. So then I start adding roses to the composition and of course they're just like visual harmonies and they move they're organic, they're not set in stone so they will wilt some of the petals might fall off, the roses often collapse and it's an ongoing process of balancing and finding shapes that repeat each other, finding colours that harmonise or don't harmonise but this is very very solitary and for that rather meditative and actually very unusual and very I find it very relaxing in a strange way. It's not easy by any means because to try and find form and to try and find harmonies of of indies roses doesn't come naturally, you have to spend a lot of time doing very small adjustments and they make an enormous amount of difference. I usually start off with, as I said, start with a few roses and build up and build up and build up, depending on what sort of rose I'm photographing. I'm some major in that with 20 or 30 blooms even. I'm some of them gentlemen that was just 203. It's quite surprising how the roses really find the sort of echo shapes between each other and how they sort of find almost like a sort of a relationship between one flower and another flower and it's really sort of continue the movement. So the setup is very simple. I use my iPhone to capture all the roses, it's so flexible and so easy to use, and although I've used every sort of camera really over the years, the iPhone is particularly useful since because you're not on a tripod, you're really free to move around it. And this, they are put on my kitchen table, the light that comes from the side is from the window and the light that falls on the background is from the skylight. So it's just lit with daylight and that gives us a certain sort of fragile elegance which is very, I find very beautiful. The second part of the process is that once I've finished the actual physical session which has lasted some hours long, I will then sit down by myself in a chair and go through all those pictures and apply Instagram Filzer to them which fundamentally changes the image. So there's a lot of work that happens in that state but it is for me it's very easy to see which ones work which ones don't. Then the third step of the process is I send the Instagram file, and I publish that on Instagram and then I send that file along with the original file to my retoucher Mark Boyle who puts the original file and the Instagram file through an AI and that sharpens the image and it sharpens it a lot, it doesn't just a slight sharpening, it actually gives it probably 30% or 25% more sharpness and more definition and we combine the different layers so we combine the layer that sharpens 30%, layer that sharpens 15%, we combine it with the original Instagram that was published with the original file. On top of that we do a certain amount of literal painting on screen to refine edges to lose blemishes that we don't like to bring out blemishes that we do like just as a painter would do manipulate image in front of him or her and allow it to become more than what you want to see unless which you do not want to see. Some of the original references for these pictures are of course the sort of Dutch flower paintings of a 70s and 18th century but they were quite small scale and I think it's exciting is to take this into a completely different dimension so I print them six to nine foot tall. I'm a prince done in California and then sent to me to my studio in London where I spend quite a long time going through them and refining them on my mark from the chanigraf or little bits that need to be refined or changed. When you see these pictures in the gallery and you stand back from they're talking the language of painting of 17th and 18th century flower painting but if you go really really close up like you will have a real painting you'd see individual brush strokes so you were going close to a photograph you'd see grain but these have got a new structure you look really closely at the structure of the image it's actually something very new which comes from the combination of the AI and the digital capture it's a surface and a texture and a structure we haven't seen before in image making and I think that is fundamentally exciting.