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Late Night at the Produce Stand

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What if there was a drink that you could enjoy after your Italian meal that would help with digesting that scrumptious experience? There is! At least, these liquids are claimed to accomplish this.

Those are the words that I had planned to start with today, as I was to end my series on Eating in Italy by covering the ‘Digestivi’ of Italy (not sure what that is? Then come back next time to find out). But hey, something came up that will significantly add to the discussion of the aforementioned ‘Digestivi’. So, that discussion will wait just a short while for things to play out. In the meantime, please enjoy my transformation of a produce stand…that sounds strange doesn’t it? To see of what I speak, read on…

I’ve seen my friend Mike reaching to test the ripeness of a fig at a produce stand...only to have his hand slapped

My goodness, it’s gotten late…and dark. I’ve spent a bit too much time exploring Canareggio this afternoon after returning from a day on the Venetian lagoon-island of Burano, which you can experience here.

Many of the shops of the day turn out to not be shops of the night. However, the neighborhood produce stand is still open. There, I see a woman asking about the produce…and she is in the process of getting a reply from the purveyor.

It’s late afternoon and what I see is not that interesting, so as I process my photos, I want to give this image more a late-night look. And, I want a more intimate repartee between the buyer and the seller. So, I’ve got work to do! Let’s get started.


The Basic Snapshot

As usual, I present to you the original snapshot. There’s a bit too much illumination for what I want to create. So, I’ll create a scene that would occur later in the evening. And do you see intimacy I’m looking for here? No, I don’t either.

The basic snapshot


Let There Be Dark!

I’ve now made this woman’s stop to purchase her supper a bit later…I hope I haven’t spoiled her evening.

From late afternoon to evening


Let There Be Two!

Four persons in the photo don’t lend the image the sense of intimacy that I’m searching for. The other two characters in this tableau have to go. Those who were walking in the background have now mysteriously disappeared…poof!

Extraneous characters removed

Now, 2 are gone…and 2 remain.


Exposure Adjustment

It’s time to adjust the lighting in certain parts of the image. You’ll notice above that the highlights are much too bright. We call that being ‘blown out’ in the digital darkroom. I’ll make some adjustments to the lighting, now.

Blown out lighting toned down


Convert to Black & White

An old photographic axiom is that when colors are not essential to the scene, convert to black and white. I’m invoking that axiom now.

When we say ‘black and white’ in the photographic world, we rarely actually mean that. A photo that has only pure black and pure white would be an extremely high-contrast photo, wouldn’t you agree? That has a place in photography, but not here. To illustrate that point, I’ll show you a version of the photo above which has only pure black and pure white.

Ouch! That doesn’t do much for the intimate mood I’m after…more like a harsh encounter.

 

Below, we now have a grayscale image that has almost completely black in the shadows, to almost white in the lights of the produce stand. Looking at this image below, you may think that there are portions that are pure black and maybe some that are pure white…but there aren’t. My software says ‘No’, and it doesn’t lie. So, we now have an image with a nice gradation of grays, or greys, if you prefer.

Conversion to ‘black and white’


The Final Photo

OK, here it is. I’ve cropped it to a more intimate scene. There appears to be a good interchange between the late-night shopper and the fruit vendor. I’m happy with this final version of “Late Night at the Produce Stand”.

The final version of ‘Late Night at the Produce Stand’

Can you tell what he is showing his customer? He is demonstrating the quality of a large mushroom…probably a portabella by the looks of it on closer examination.


By the Way, What Does That Sign Say?

‘Please, don’t touch’

There’s a sign occupying the center of the photo. I was going to remove it, but I think it relates an important point to you, our Venetian-produce-shopper-of-the-future.

The sign shows a hand reaching out with a “nope, don’t do it” symbol overlaid. And the words, “Por favor, no toque”. Translated it says, “Please, don’t touch”…and this particular sign is in Spanish, by the way, not Italian. There is also a “Bitte nicht beruhren” for the German shoppers. And, there’s even a “Please, don’t touch!” sign for us English speakers, or I should say, readers. You can see those other two signs in the original photo at the top of this page. Why is there not a sign like these written in Italian? Because, they know better.

This is typical of the Italian produce market, and much different than the markets in the US, where one can touch the produce to your hearts content. I’ve seen my friend Mike reaching to test the ripeness of a fig at a produce stand on Campo Santi Giovanni e Paolo (that’s Saints John and Paul, but they’re not who you think they are, but that’s another story) only to have his hand slapped with a harsh, “Non toccare!” So, Mike was relegated to pointing out the figs he wanted, without the benefit of giving them just a little bit of a squeeze to see if they were ripe. So, ‘buyer beware’, and ‘as is’, is the way of the day.


Thus ends another transformation. This one was a bit gentle, with no major changes in construction of buildings, boats, doors, windows, and such.

There will be a time when you might see me at a produce stand in Venice, as I try to sneak a gentle fruit-squeeze to test the ripeness of a chosen delicacy. Maybe we can work together, as you divert the seller’s attention, perhaps asking, “How do I get to Piazza San Marco?”. Let’s do it! But, until then, I say…

Ciao for now,

Steve

p.s. Mike’s figs were ripe and tasty!

Transforming to a Foggy Night

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Who doesn’t enjoy a romantic gondola ride? Probably no one, right. We always work in a gondola ride whilst we are in Venice, and you can read more about these adventures in the previous article titled appropriately, Your Romantic Gondola Ride.

But today is not about riding in a gondola, but a gondola-ride-captured snapshot and its transform it into a more fine-art photo. The transformed photo was published in the 2014 Black & White Magazine as an award winner. Here’s how I did it…and it will be short and sweet.

Click on an image to see it full-screen


First Sighting

We had just turned a bend in the Rio di San Moise canal when something up ahead caught my eye, that being the small calle up ahead that terminated right into our canal. You see it there on the left.


The Snapshot

As we approached the right turn of our route, I took this photo. I had a vision.

Funny thing about this photo. Do you see it? The blue and white sign says ‘Senso Unico’, or one-way street (or canal in this case). But we are turning right, against the sign. We’ve turned right every time we’ve taken a gondola ride. Go figure.


The Crop

Here I’ve cropped the photo to a 1:1, or square, format.


Black & White Conversion

As I was submitting this photo to a magazine that publishes in black and white, I converted the image to…you guessed…black and white.


Let There Be Dark!

I don’t want it to be day time. I want night time. So, I made it darker. I think it’s much more moody this way.


The Final Image

I like the night-time look, but let’s give it just a bit more drama by making it not just night, but a night with a bit of fog. That’s what I did to get this final photo.


As promised, short and sweet.


A Dangerous Calle

I’ve mentioned acqua alta (high water) in the past. This is an occurrence primarily in the late fall when tides and winds push up water from the Adriatic Sea and Venetians get their feet wet as they go about their day…and their calves, and sometimes their knees and thighs.

There are several places in the labyrinth of Venice where a calle will suddenly stop at a canal, like this one. If one were to be trudging through water and turn to this short calle, and if one were not familiar with this particular situation, a swim might be in one’s future, as you would not realize that the water in front of you is a canal, rather than another flooded calle.

I see the stone post in the photo. I’m guessing that this is a clue as to the fate of this calle, though I don’t remember seeing them at other dead-end calle. At any rate, if caught in the acqua alta situation, be mindful of your route.


I hope you enjoyed today’s transformation from blah, to ahh. Until next time, I say…


Ciao or now,

Steve

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Transforming a Blah Green Door to Evening Blue

For the benefit of the several new readers, I don’t just write about things Italian…I also have a ‘Print Store’ on this website. In that shop are many photos of doors and windows of Italy. The time that I take to process the snapshots that I’ve taken in Italy into fine-art photos for you is my ‘happy time’.

Yesterday a friend asked, ‘When was the last time you were in Italy?’ I replied, ‘I’m in Italy every day.’
— Steve Burkett

The centuries-old buildings of Italy are a fabulous testament to the Italian craftsmen of old. However, because of the buildings’ ancient stone and plaster construction, adding modern conveniences like water and electricity often blemish the otherwise beautiful and charming façades. I want you to see these marvelous palazzos and common buildings in their pre-modernized state. So, what I do is remove blemishes through the magic of Photoshop to bring you the Italy of yesteryear.

Today, I give you a simple example of my digital architectural restoration. The door and façade to be transformed was photographed in Venice.


Where I Start

As always, I start with the original photo. My photos will always appear as blah when downloaded to my computer. When using a professional digital camera, one has the obligation to save photos in what is known as a “RAW” format. Saving photos in RAW format allows a much greater range of subsequent digital processing than a JPEG image from a typical camera, like your smartphone. But the tradeoff is that the JPEG format looks much better initially than an unedited RAW photo.

Enough said…and if you are interested, you can see more in a previous article of JPEG versus RAW which goes into more depth here.


Now, the Transformation

This original snapshot is all wonky, isn’t it? Because I had to capture the façade in the tight quarters of a narrow Venetian calle, I took the photo using a 14mm lens, which is an extremely wide-angle lens. A wide-angle lens will create distortion. So, I’ll have to get to work by straightening up this scene a good bit.

The original image, with significant distortion


In this second version, much, but not all, of the distortion has been resolved.


Just a bit more work puts things in proper perspective. And that note about mail delivery that’s been taped to the door? It had to go.


Here is where the restoration begins. I don’t like that dull green door. I’ve decided in my own volition that the door should be blue. So, I’ve made it blue.

The surface of the walkway in front of the door needs to be constructed, so I’ve done enough of that to satisfy my vision for the final photo.

And the plinth on which the pseudo-column to the right sits has to be constructed in this renovation…so, I’m on it.


Well, in my final crop of the image, it turns out that I didn’t need all of that pavement after all, but the plinth work was essential.


The Final Image

In the final photo, I wanted it to look like the palazzo is occupied and that someone is at home, waiting for you and me to drop by for an apertivo…and from last week’s article, you should now know what that is, right? So, I borrowed backlit lights above the door from another photo of Venice.

So, now you’ve seen behind the curtain in the transformation of a blah green door, to evening blue.


That’s it for today’s rather simple restoration of an ancient Venetian doorway. If you are interested in seeing more magical door and window transformations, check out my Index of Articles and scroll way down on the right-hand list to find, “Italy-Photo Transformations”.

I’ll see you next week to find out what the antipasto course is all about in Italian dining. Until then, I say…

Ciao for now,

Steve

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Transformation at the Church of San Vidal

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A couple of weeks ago, we took A Typical Quiet Walk in Venice…you were there, right? We walked a bit, talked a bit, and saw some very pleasant sights along the way…some friendly people…a wedding-dress photo shoot…a sleepy gondolier. Ok, now you remember.

The Setting

Our walk started at our Hotel Flora, traveled along Calle Largo XXII Marzo, then through Campo Santo Stefano, over the Accademia Bridge, and into the quiet Dorsoduro sestiere of Venice. You may not have noticed it at the time, but we passed right by the Church of San Vidal just between Campo Santo Stefano and the Accademia Bridge. You can see our route in this photo…and I’ve circle the church in red.

 

Here is the door that I’ll be transforming for you today. This is from Google ‘Street View’, which covers most all of Venice, by the way.

I don’t like the location of this door, and I’ll tell you why.

There is a tower to the left of the door. That’s a bummer for me, as I wanted the door to sit in the midst of a solid wall…what we have here is kind of an asymmetrical mess.

 

In this aerial view, you can see the door and its location near the base of the tower.


The Blah Door

From past transformations, you know that I want your photo-memories of Venice (and all of Italy, actually), to be memories without modern yucky things like electrical and water conduits, manhole covers, and fire alarms, like the one in the original snapshot that you see just below.


The Transformation

It’s rather obvious that those electrical appurtenances have to go…we can all agree on that…right? OK, what else?

As I mentioned above, I don’t like the fact that there is no continuous wall to the left of the door…that’s our left, not the door’s left. For the door to be properly framed within the photo, we need more wall to the left of the door. I’ll work on that. And, that brick work to the right of the door will be super difficult to place all around the door, though the texture of the plaster to the upper left and right of the door ought to work ok.

I’ll get to work…

Voila, or should I say ecco, since we are in Italy and not in France!. At any rate, here we have it…a door centered on a wall of continuous texture.


The Final Product

All that’s left is the application of that traditional (at least on my part) Venetian patina. And here we have the finished product.


So, next time that we walk together in a quiet part of Venice, if I don’t see the potential within a door or window, please point such out and say, “Hey Steve, take a picture of that so you can transform it when we get back home”. I’d appreciate your help.

Oh, before we depart San Vidal, let’s talk about who he was. According to my research, he was either an 18th-century hermit from the region of Retz, Brittany, or he was Saint Vidal Luis Gómara, a Dominican priest who was martyred during the Spanish Civil War. Either way, I really like his medallion above the door…the dove-in-flight makes it look like he’s holding a cross, don’t you agree?

Ciao for now,

Steve

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A Promised Transformation

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Last week, we ran across a blah Venetian door whilst we walked through the quiet Dorsoduro district of Venice. Today, I fulfill my promise to transform it before your very eyes! So, let’s get started…

Here is the snapshot that we captured on our walk. I don’t like it. I’m going to do something about that.

As always in my Italy transformations, I want to give you an Italy of centuries ago, before electrical conduits and water pipes and doorbell buzzers and such were placed on the buildings. So, I’ll remove the distracting elements.

Distracting elements removed, but I don’t like the way the iron-embellished window throws off the balance of the photo. And the iron pipe to the right needs to go.

Window removed? Check. Iron pipe removed? Check.

It’s ancient-patina time, so I give the photo a rich mellow color.

Now to remove the house number and brighten up the colors of the door. But, I’m not liking the distracting stonework along the right edge of the photograph.

For my final version, I crop in a good bit to remove the distracting stone work along the right edge. Then, I’m not exactly liking the composition, as the window area on the left seems to compositionally weigh the photo down on that side. I’m going to add the iron water pipe back in to the upper right, where it belongs, as well as remove a bit of the plaster that surrounded the original. And, since I tightened the crop, I need to move the stonework at the top of the photo down a bit, so I’ll take care of that now.

So, here is the final image. A far sight better sight than the original snapshot captured while we were on our walk last week, don’t you think?


That’s it for today’s transformation from blah to ahhh. Hope you enjoyed the results, and the walk last week. Until next time, I say…

Ciao for now,

Steve

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