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The making of 'The red tree' by Fiorenzo Carozzi

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Tutorial led by Editor Michel Romaggi, in collaboration with the author Fiorenzo Carozzi
Edited and published by Yvette Depaepe, the 22nd of  January 2025

 

'The red tree'


'The red tree' is a wonderful impressionistic and painterly image, Fiorenzo.
Can you explain step by step how you created it? Circumstances, materials used, settings, post-processing etc.

I often use the 'in the round' technique', which means that I walk around the subject, covering all or part of the circle, taking pictures every few steps. In this way I collect 5-10-20 or more images, depending on the subject and context.
I always make sure that the main subject is always in the same position in the frame to make post-production easier. The elements that remain in the same position in each shot are easy to identify when the images are stitched together. Elements that vary in position from shot to shot will appear unstructured. The more shots you use, the more obvious the effect becomes.
No special photographic equipment is required. I work with my Canon 5D IV and usually use the 16-35 lens, always using the same focal length for shots. But I have also tried this technique with the drone and with the smartphone, with quite good results.

I took 9 photographs in the late afternoon to create this image, over an arc of 180°, keeping the tree in a central position, with other trees in the park and the houses of the town as a background.  All photos were taken in raw format, ISO 100, f5.6, 1/80-1/500, 29 mm, keeping the focus on the trunk. This tree is in a park in a pretty town on Lake Maggiore (Angera), and in autumn its leaves are intense red-magenta.

 

POST-PROCESSING
* I made basic adjustments to all the images in Camera Raw, correcting any highlights, and converted the raw files to jpg (easier to handle in Photoshop without having too large a file).
* I then opened the jpg files as layers in Photoshop.
* I chose the "base" image, which is representative of the scene and will characterise the composition of the final photograph. This image was moved to the bottom as the first layer.
* On the base layer, I created guidelines to define the height, width and centrality of the tree.
* I selected the other layers one by one and moved each layer to position the tree as much as possible within the guides. At this stage I used the masks on each image to remove any unwanted elements that I did not want in the final photograph.
* I deselected all the layers except the first one at the bottom, which I wanted to have 100% opacity.
* I selected the other layers one by one and gave each one a 'correct' opacity, depending on the final result I wanted. This opacity can vary from 5% to 60%, bearing in mind that the higher the opacity, the more detail will be shown, while the lower the opacity, the more blurred the image will be. In this image, the opacity of the different layers varies from 12 to 30%.
* You can use a different blend mode for each layer, depending on what you want to achieve. For this job I used 'Normal' mode for all the layers.
* In this case, I made a copy of the base image, placed it as a top layer and used a mask to add more detail to the leaves and trunk.
* When I had the final image I wanted, I merged all the layers (I usually wait until the next day, because after a break I am sure to think of other changes that need to be made).
* I cropped the image because moving the layers causes imperfections at the edges. When shooting, remember that a final crop will be necessary, so compose so that the branches of the tree are well away from the edges of the frame.
* I made the final adjustments in Photoshop/Camera Raw, as with all the other photographs: white balance, curves, levels, saturation, vignetting, sharpness.

At the end of each job, I usually ask myself: is this picture worthy of being published on 1x.com?
If the answer is yes, I am satisfied with the work, if the answer is no, I will try again.

 

What led you from the natural landscapes of your early pictures to this creative quest?

Digital photography was the impetus that led me to return to photography with continuity and passion. On the other hand, the proliferation of images in our culture, the compulsive use of smartphones to collect and share photos, the advent of AI that creates breathtaking landscapes out of thin air at a simple request, and the obsessive search for 'locations' for landscape photography that are often all the same, have led me to some reflections.
- What originality and personal contribution can I still express in landscape photography today?
- How do my landscapes fit in among the thousands of landscape photographs that flood the web every day?
- Do I still have the urge to go on long hikes in search of the extreme weather conditions that are best suited to landscape photographers?
The answers were not encouraging and I felt the need to move on.
Painters, in order to distinguish themselves from the triumphant realism of photography, found new forms of expression (impressionism, abstractionism, etc.). In the same way, I felt the need to break down reality and try to convey emotions using different photographic techniques.
For many years I sought sharpness and clarity in my landscapes, to the point of being a prisoner of fixed rules. In ICM (Intentional Camera Movement) I found my photographic freedom again: there is only my camera, the subject and the infinite possibilities of interpretation of the scene.
The search for 'special' locations has been replaced by the personal interpretation of even ordinary places with photographs with strong pictorial, abstract and dreamlike connotations.
There is little innovative in this vision, but in following this path I feel freer and more fulfilled.

 

'Walking to the big tree'

 

What determines your choice of subject: your personal taste or the desired result of the photographic work? Are there certain subjects that lend themselves better to this technique?

My most recent photographs, published in 1x, were taken using a special type of ICM technique called "in the round". It is not the camera that is moved by the photographer, but it is the photographer who moves the camera around the subject, creating a series of 'sharp' images that are then stitched together in Photoshop.
This technique of creating an impressionistic image from a series of images around a subject was originally developed by the Catalan artist Pep Ventosa, who describes it as 'in the round'. His photographic collections of trees, among other subjects, inspired me to try this technique.
As with any photographic genre, the choice of subject is the key to a good end result. In 'in the round' photography, it is necessary to choose a strong and isolated subject that stands out clearly from its surroundings in terms of colour and/or shape and/or luminosity.
I initially chose trees as the main subject of my 'in the round' works. In some of these paintings I also included a human element near the tree to try to tell a story. I have also made works with trams, newspaper stands, children's merry-go-rounds, fountains, monuments, basketball players around the basket, flower stands, roundabouts, flowers in a vase.

 

'Flying chair carousel'

 

Depending on how I choose the subject, the angle from which I shoot it, the type of background, and how I superimpose the images in Photoshop, the results can vary from misty and slightly dreamlike, to impressionistic, to something almost surreal. The end result retains the essence of the subject while removing the distracting elements of the background. In short, the possibilities are endless.

 

'Milan tram'

 

To conclude this nice tutorial, could you tell us a little about yourself?

I was born in 1950 and have always lived in a small village in northern Italy, in the area of the pre-alpine lakes.
I am a retired microbiologist and all my professional life I was enchanted by the colours of bacterial colonies on Petri dishes illuminated by a side light.This chromatic enchantment has perhaps not been unimportant in my search for colour and light in my photographic journey.Photography has always been a passion for me, but it is only in the last fifteen years that I have returned to it with dedication and commitment, finding in the digital darkroom the same stimulating sensations that I experienced many years ago when, in my youth, I saw black and white images appear in the developing trays of the "real" darkroom.
Above all, I have devoted myself to landscape photography, because I love nature, the solitude of places, the magic and mystery of light at dawn and dusk, and the scent of the air in the golden hours of the different seasons, with snow, fog, frost and so many other conditions.

 

'Milan Cathedral'

Write Linda Lu PROThanks for sharing the beautiful images and the detailed tutorial!Fiorenzo Carozzi PROThank you Linda for your appreciation. 大山　儀高 PROどれも凄い作品ばかりです。撮影の解説もして頂き感謝しています。おめでとうございます。Fiorenzo Carozzi PROThank you so much. Gian Corrado DONATI PROGreat creative work and so stunning pictures ! Thank you so much for sharing tutorial !!!Fiorenzo Carozzi PROThank you so much Gian Corrado for your appreciation. Jesus Concepcion Alvarado PROMy sincere congratulationsFiorenzo Carozzi PROThank you Jesus Concepcion Wayne Pearson PROExcellent abstract expression, congratulations!Fiorenzo Carozzi PROThank you Wayne for your congratulations. Bole Kuljic PROThank you for sharing your wonderful artistic post-production. It'so impressionism.Beautiful.Fiorenzo Carozzi PROThank you so much Bole. Cicek Kiral CREWThanks a lot for sharing with us...Fiorenzo Carozzi PROThank you Cicek. Patrick Compagnucci PROInteresting concept, thanks for sharing!Fiorenzo Carozzi PROMany thanks Patrick Eiji Yamamoto PROThank you so much for sharing the tutorial with great photo works! It's very inspiring!Fiorenzo Carozzi PROMany thanks Eiji, glad to see that you like it. Dan ColisnicGreat explanations. Easy understandable. Love it and thanks a lot!Fiorenzo Carozzi PROThank you very much Dan, I am glad the tutorial was understandable Fabio CandidoI associate myself with all the thankful comments. I hope to see more of this content on the platform.Fiorenzo Carozzi PROThank you Fabio for your appreciation. Colin Dixon CREWWonderful images and a great tutorial !!!!Fiorenzo Carozzi PROThank you so much Colin for your appreciation. Caroline BomersThank you for this tutorial! Inspiring. My compliments to the beautiful images created.Fiorenzo Carozzi PROThank you so much Caroline Inci Koyuncu PROharika görüntüler ve makale... tebrikler :)Fiorenzo Carozzi PROInci, thank you for your congratulations Cristiano Giani PRO...many thanks to ''big Fiorenzo'' for great images and for sharing !!!Fiorenzo Carozzi PROHi Cristiano,thank you for your appreciation for me and for the tutorial. :-) Molly Fu APA PROI am always amazed by this type of before and after art pieces, thank you Fiorenzo for the detail tutorial, very impressive. Thanks to Michel and Yvette for this great publish!Yvette Depaepe CREW;-) thanks MollyFiorenzo Carozzi PROThank you very much for your nice words of appreciation dear Molly. Giampiero MaffulliGreat photos!Fiorenzo Carozzi PROMany thanks Giampiero. Marco Galimberti PROHi Fiorenzo congratulations excellent work Fiorenzo Carozzi PROHi Marco ! Thank you so much. Subhajit DasGreat images. Very inspiring. Many Congratulations!!Fiorenzo Carozzi PROThank you so much dear Subhajit garyholman PROVery interesting read with Amazing! images as a result of this artistic 'In The Round' technique. Congratulations! and a big thanks! Fiorenzo.Fiorenzo Carozzi PROThank you. I am glad you appreciated this technique Zhifei Chen PROThank you very much, I learned a lot, great techniqueFiorenzo Carozzi PROThank you so much Zhifei. Gregor Szalay PROReally great pictures and many thanks for the description. Congratulations!Fiorenzo Carozzi PROThank you Gregor. carmenvillar PROVery interesting and inspiring! thanks a lot!Fiorenzo Carozzi PROThank you carmenvillar. I am glad that this tutorial is an inspiration for you Pang Teng Lin PROInspiring. Thank you very much for sharing this technique.Fiorenzo Carozzi PROThank you so much Pang Teng Miro Susta CREWHello Lorenzo, I was reading your lecture two times, subject of great interest to me, I understand this technique much more than before, thank you for brightening my photo knowledge, however I do not fully understand the "in the round" technique. Namely the following 'it is not the camera that is moved by the photographer, but it is the photographer who moves camera around. Can you please clarify this? But I will not forget to thank you for this valuable lesson, gratulate you to excellent photo work, and thanks to Michel and Yvette for bringing it to us. Yvette Depaepe CREWThank you, Miro ... I truly hope Lorenzo will read you and answer your question! Molly Fu APA PRODear Miro, my guess is that the photographer needs to hold the camera and shoot around the subject as I think I saw it somewhere else; but I'd eager to see Lorenzo's answer, too. Excellent techniques to learn. Thanks for the editorial team!!!Michel Romaggi CREWThank you Miro. Waiting for Fiorenzo's answer, I understood that he says " I walk around the subject, covering all or part of the circle, taking pictures every few steps"garyholman PRODear Miro, I would image Lorenzo will reply to your question but I believe that the camera is not moved intentionally as with ICM for movement purposes, but held steady as 5, 10 or more images are taken while walking part or all around a subject. Miro Susta CREWI think I am now a little bit more clever, many thanks for all suggestions and explanations.Fiorenzo Carozzi PROThank you Miro for your comment. In the classic ICM technique the photographer intentionally moves the camera. In this variant of the technique, devised by Pep Ventosa and called ‘in the round’, the photographer takes a photo every 2-5 metres around the subject at an angle ranging from the entire round (360°) to part of it.Miro Susta CREWthank you very much Fiorenzo, I understand now, have a nice weekend

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