Magazine

Green

The making of GREEN by Leonie Kuiper
Edited and published by Yvette Depaepe, the 11th of June 2025

In this image I tried to create a fun, energetic and joyful mood. It was in my head for a while and I had chosen a location, but I had to wait for the perfect moment — a bright, sunny day in early summer when the fields were still green. To achieve the energetic mood and also to create the idea of motion, I decided to take a series of images of the mills and merge them together in Photoshop instead of use a long shutter speed, for instance. I wanted the mills to look like flowers.

Canon 550D . Canon 18-55mm f3.5-5.6

To photograph the windmills I mounted my camera on a tripod and connected a remote to the camera. I counted the amount of time it took for one blade to go around, and based on that I set the remote's delay, which was necessary in order to capture the blades at different positions in each frame. I didn't know for sure how many images I needed, so I had to guess, and I ended up taking 40 images. The camera was set to manual because I wanted every shot to have the same ISO, aperture and shutter speed. The autofocus on the lens was turned off because the focus had to remain the same while I was shooting.

Post Processing

All 40 images were processed in Adobe Lightroom and Photoshop.

1) First I opened the images in Lightroom and selected the first image to make some basic adjustments, like adding a bit of Clarity and Contrast, straightening the horizon and adjusting Lights and Shadows. After that I scrolled to the last image and held the Shift key while I clicked on it; all 40 images were then selected. I clicked the word Sync in the bottom-right corner. Now I could synchronize the settings. I made sure that all the settings I used were checked, and after that I clicked Synchronize. Every image was then edited the same way.

2) I then opened each image in its own layer in Photoshop. I chose two images: the one with the best field (the sun was covered by clouds every now and then, so the field was darker sometimes), and the one with the best sky. I duplicated those two, renaming them "Field" and "Sky," and then I dragged them to the bottom of the Layers Panel. For the other 40 images I set the layer blending modes to Darken because the blades of the windmills are darker than the sky. I selected all 40 layers and flattened them into one layer.

2) Because the blue sky is also darker than the white clouds, the clouds were disappearing, so I dragged the Sky image to the top of the Layers Panel and set the blending mode to Normal. I clicked on the layer mask icon at the bottom of the Layers Panel while holding the Alt key to create a black layer mask. With a soft, white Brush set to 100% Opacity, I started painting on the sky to reveal the sky beneath the mask, avoiding the blades of the windmills. I did the same thing with the Field image: dragged it to the top, created a black layer mask and painted with the white Brush over the field.

3) I didn't like the two mills on the right very much, so I decided to remove them using the Clone Stamp tool. I'm always scared of making mistakes, so as I work I merge the layers but keep the existing layers too by selecting the layers I want to merge and then simultaneously pressing Shift+Control+Alt+E. I wanted to clone on that merged layer, and I knew that if something went wrong in my editing, I could just remove the layer entirely. It is not always the best method because if I later change something on any of the layers beneath the merged layer, the change will not be visible because that layer is above all the rest. But I often use this option at the end of post-processing when I want to add a Lens Flare filter, for instance.

4) For a better balanced composition I needed to replace the two windmills that I removed in Step 3 with another windmill. I selected the first windmill on the left with the Rectangular Marquee tool, pressed Control+J to copy it to its own layer, dragged it to the right side of the image with the Move tool, and dropped it in the spot where the two windmills once were. I set the blending mode to Darken and then flipped the windmill horizontally (Edit > Transform > Flip Horizontal) so it looked different from the original windmill on the left side. Using the Eraser tool set to a small, soft Brush, I erased the edges that were still visible. At that point, I thought the image was finished.

5) At first I didn't think about making a "little planet" (the technical name for it is "stereographic projection"), but when the image was finished, 1x member Ben Rea told us about a Polar Coordinates filter in Photoshop. I saw what he created with this filter, and I liked it so much that I wanted to try it too. When I was creating a few little planets with this filter, I suddenly thought about the green field with windmills: I could make this a green planet — fresh, green and happy because of renewable energy. In the middle of the planet there would be an electrical outlet from which the energy would flow through a power cord to the bottom-left corner of the frame. The idea stayed in my head for a few months until I noticed that the 1x Weekly Theme for the following week would be Energy.

6) I selected all of the layers and flattened them to create one layer, which I saved as a new project. The Polar Coordinates filter bent the left and right edges upward, toward each other until they were attached. But the left and right edges of the image didn't match, so I duplicated the layer, flipped it horizontally, and then I doubled the width of the canvas size. With the Move tool I dragged the duplicate layer to the other side of the canvas and now the left and right sides were exactly the same. I flattened the layers.

7) Now the canvas had to change to a square because I want the planet to be a perfect circle, not an oval. I selected Image > Image Size and made the width and the height values the same. I also rotated the canvas 180 degrees; otherwise, I would not have a round field in the middle of the image with the sky surrounding it, which is what I wanted.

8) Next I applied the Polar Coordinates filter: Filter > Distort > Polar Coordinates, selected Rectangular to Polar and clicked OK.

9) For a better composition I rotated the canvas counterclockwise a bit and cropped it afterward to get rid of the strange looking corners.

10) I searched my house for a white power cord and made some photographs of an electrical outlet with the power cord connected to it.

11) I then took the power cord outside, wrapped a climbing vine around it and took some more images, keeping in mind the angle and light that I needed for this project.

12) The electrical outlet and the power cord with the climbing vine were cut out using the Polygonal Lasso tool. I moved the electrical outlet to the middle of the planet, and then I rotated and Transformed the power cord until it was connected to the power outlet.

13) The power outlet was flat and square, and I wanted it to have a more organic look and shape; it had to be a bit rounded at the edges to coincide with the roundness of the little planet. So I distorted the shape of the electrical outlet with the Transform tool. To further create the illusion of the round, curved shape of the power outlet I created a layer filled with 50% grey, changed the blending mode to Overlay, and then drew shadows with a soft, black Brush and highlights with a soft, white Brush on the power outlet, both at very low Opacity, in order to optically change the shape of the outlet from flat to curved.

14) Under Blending Options (double-click on the layer icon to open the Layer Style dialog box) I created an Inner Shadow on the power cord on the opposite side of where I would soon create the sun, and I created an Inner Glow on the sunny side. To add shadows produced by the electrical outlet on the grass I created a new layer, filled it with 50% grey, changed the blending mode to Overlay, and then I started to paint with a black Brush set to a low Opacity (somewhere between 5% and 10%) on the parts where I thought the shadows should be, always keeping in mind where the sun would be. Very close to the borders of the power outlet I painted the shadows a bit darker. I also painted half of the globe darker to create depth and the illusion that the circle was a globe.

15) To create a shadow from the cord and leaves on the planet I duplicated the layer that I renamed "power cord with plants," set the blending mode to Color Overlay in the Layer Style dialog box, and chose the color black. I added a Gaussian Blur filter, moved and Transformed it and changed the Opacity to 45%.

16) I added two adjustment layers: Brightness/Contrast to add a bit more overall brightness and contrast and Vibrance to increase the overall vibrancy.

17) To create the sun I first pressed Shift+Control+Alt+E at the same time again, and on this merged layer I added a Lens Flare filter (Filter > Render > Lens Flare). Next I added a layer mask so I could paint away the parts I didn't like with a soft, black Brush.

18) Since I wanted to create a fun, energetic and joyful mood I decided to add a Warming Photo Filter adjustment layer set to an Opacity of 25%. The last thing I did was create a new layer, select a soft Brush set to a very low Opacity, and then I brushed with a very light pink color over the sunlit part of the image to create a hazy look.

Tips

1) Don't force yourself to create something immediately if you have an idea. Sometimes you have to wait for the right moment, subject or light.

2) Draw or write down your ideas. Many times a lot of ideas come to mind, but I either have no time to create the images or I'm just not quite sure what the final image should look like. Ideas might morph into better ideas if they stay in your head for a while.

3) When you are thinking about something, ask yourself: How would I tell this story/feeling in just one, single image? I think it helps when you're creating new ideas.

Biography

I'm from the Netherlands. Ever since childhood I have been very interested in the weather, especially clouds. In 2010 I bought my first DSLR camera because I wanted to photograph the clouds as accurately and realistically as possible. I immediately fell in love with photography, and since that day my camera has been with me everywhere I've been. About a year ago, I started to work with Adobe Photoshop and I'm trying to learn as much as possible about creative editing.

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大山　儀高 PRO

素晴らしいアイデアですね。共有して頂きありがとうございます。

Hadi Malijani PRO

This is great, my dear friend, thank you.

Elizabeth Allen - A personal vision on places and scenes

by Yvette Depaepe
Published the 9^th of June 2025

Elizabeth Allen is highly successful in her narrative architectural photography, which often blends with street photography. She loves the geometric and abstract features of cities and enjoys finding different angles and perspectives that accentuate a wide variety of patterns, textures and colours. Elizabeth is a charming, warm-hearted lady with a positive outlook on life. In autumn/winter 2022/23, she exhibited a series of photographs at the Queen Alexandra Hospital in Portsmouth, England. Through sales of these photographs, she raised funds for people with ovarian cancer, a disease from which she was fortunate to recover thanks to excellent treatment at that hospital in 2020.
Enjoy this interview, which reveals the warm personality behind Elizabeth's excellent photographic work.

'Shapes and Shine II'

Dear Elizabeth, first, I would like to thank you for taking the time to answer this questionnaire. To begin with, could you please introduce yourself briefly and tell us more about yourself, your hobbies and any other projects you are involved in?
I was born in Portsmouth on England’s south coast, but eventually returned to live there after spending many years abroad. I am passionate about photography, which leaves me with little time for other hobbies. However, I have my younger son and granddaughter living in Bristol, and my elder son and his partner in Godalming, so I visit them regularly. My elder son is a much better photographer than I am, and he collects photography books, which I love browsing. (Godalming is a small town within easy reach of London.)

'Train Times'

How and when did you start your journey in photography?
I started after leaving school to attend the local art college. My father gave me his old camera, and I was also able to borrow a Minolta twin-lens reflex camera from the college. The following year, I left for Manchester School of Art, and by that time my brother had also left home, so my father converted a bedroom into a darkroom. Whenever I went home for the holidays, I loved spending time developing and printing my photos, watching what seemed like a magical process.

'The Fallen and the Survivor'

For many of us, photography is either a hobby or a way of life. How would you describe your relationship with photography?
For me, photography has recently become a way of life, as I am now able to devote plenty of time to it. This includes looking at the work of other photographers, as well as practising my own photography. It motivates me to visit new places and can also be very therapeutic on days when I am on my own. Although I spent four years at art school, my working life has centred around language teaching and writing, so it’s important to me that I can now engage with visual art again.

'Puddle Muddle'

What has been the most important experience so far that has influenced your journey in photography?
It’s difficult to pinpoint exactly, but my eldest son gave me my first digital camera in 2008, around the time that I started travelling more and finding inspiration. Initially, I didn’t focus on a particular genre, but when I visited Iceland in February 2017, I was surprised to find that I had taken more architectural photos than landscape images.

'Arab Baths, Palma'

What is it about architecture and abstract photography that you find so appealing?
I think I am actually attracted to extremes. I love photographing woodlands, whether it's trees or single leaves, as well as discovering the geometry of architecture and its abstract properties in cities. I love a wide variety of patterns, textures and colours, and I enjoy finding different angles and perspectives that accentuate these.

'Watching you'

Which is more important to you: the mood or story behind your images, or technical perfection?
While a certain level of technical skill is obviously required, I would argue that striving for technical perfection can result in soulless images. Therefore, I believe that mood and story are more important. When looking through photos on 1x, it's always the ones with atmosphere that make me stop and feel something. It's not easy to achieve, but it's a worthwhile goal.

'Under the Stairs'

What is your relationship with your subject matter beyond being an observer?
My subject matter is quite diverse, so my relationship with it varies. For example, there is a remarkable tree(not included in this article, but which can be found in my gallery). It was planted in 1609 in Oldbury Court Country Park in Bristol. I often go for walks there with my granddaughter, so precious memories are associated with the tree. I have photographed it in all weathers. At the other end of the scale, I enjoy taking street photos without being observed, so I don't interact with the people involved. Photos I capture at art exhibitions are somewhere in the middle: the artwork means a lot to me, but not the other visitors who are present.

'Outside In'

Do you carefully plan the locations where you intend to take photographs?
I don't think 'carefully' applies to me, as I like to keep an open mind about what I might find unexpectedly during a photography trip. For example, a few months ago, I went to Stratford in East London with the specific intention of photographing the Olympic Aquatic Centre, which was designed by Zaha Hadid. This proved to be a very challenging task, but while I was there, I discovered a row of buildings nearby that were under construction or had recently been completed. These included the V&A East and the London College of Fashion, which has a striking Brutalist staircase. I came away with far more photos than I had expected and have since been back for more.

'Under the Crystal'

Describe your overall photographic vision.
I hope that the photos I have chosen for this article convey an idea of my vision. While I love visiting iconic sites such as the Axel Towers in Copenhagen and the Tulip Stairs at the Queen's House in London, I haven't included photos of these places here because many other photographers have similar images. In most of my photos, I aim to offer a personal perspective, showcasing details with abstract qualities or places and scenes that others might overlook.

'Cycle City'

Could you tell us more about your workflow, from coming up with an idea to creating the final product?
When I take photos on my phone, they go straight into Google Photos. When I get home, I go through them and delete any that are clearly useless. Next, I might single out any that would work well in black and white, while I will look at others for cropping and straightening. Before joining 1x, I was a member of National Geographic Your Shot, where post-processing was discouraged. Therefore, in 2019, I was relatively new to photo editing. I have never used Photoshop because I believe in the magic of reality. However, I have gradually become more experimental with creative editing, and I use the DxO Film Pack from time to time.

'Rush Hour II'

Where do you look for inspiration, and what inspires you the most?
I look around me wherever I happen to be. Inspiration is all around us. This question reminds me of the pandemic in 2020, when I had cancer and local walks were the only option. I used to look for interesting textures and graffiti, even on litter bins. I actually have a series of photos on 1x that I took in a subway where someone had poured paint onto coloured tiles — an act of vandalism that I saw as abstract art. It has since been cleaned up, so I’m glad I recorded it. Of course, grand architecture and the wonders of nature inspire me, too.

'Concentric Centre'

Many people believe that gear is not very important when you are passionate about photography. However, could you please tell us what equipment you use, such as your camera, lenses, lighting and tripod?
I strongly agree with that opinion. I still take my Fujifilm mirrorless camera on trips abroad, but nowadays I generally rely on my Pixel 7a because cancer surgery under my arm in 2020 left me unable to carry more than minimal equipment. Like Cartier-Bresson, I believe that photography is about using our brain, eyes and heart.

'Museo ABC'

Which photo is your favourite? Please tell us the story behind your choice.

'The Writing on the Bridge'

This is a photo taken below the Millennium Bridge in London, close to Tate Modern which is one of my favourite places to visit. It’s very difficult to choose a single favourite, but I picked this one as I wanted to capture the text overlaid on the people because I used text and language in a visual way during my time at art school so this image links back to those days. I will also mention that this is the only photo I have had published on 1x in less than the usual 36-hour curation period, so it must have struck a chord with one of the head curators!

Which photographers or mentors have influenced you and your photography?
During my time at 1x, many photographers have inspired and supported me, helping me to grow as a photographer. If I regularly comment on your work, then you are one of them. However, I can’t answer this question without mentioning Jorge Pimenta. His support has been unfailing, and his comments on my work are often speechless. His superb work has undoubtedly influenced me, and he goes far beyond what is necessary by accompanying his photos with his wonderful poetry. I would also like to mention Carmine Chiriacò for his creative work, which I find so inspiring, and for his dedication. Outside of 1x, my elder son recently introduced me to Rinko Kawauchi's work. I was fortunate enough to see her exhibition in Bristol, and my son has also recently given me a copy of Alec Soth's Gathered Leaves, which I pore over in my spare time.

'At the edge of the everyday world'

Now that we're almost at the end of this interview, could you please tell us about any photographic projects you'd like to be involved in?
London never ceases to inspire me, and there is always something new to see. For instance, the V&A Storehouse in East London opened at the end of May, and the Serpentine Pavilion for 2025 has just opened in Kensington Gardens. I am planning a trip abroad later in the summer, possibly to Paris, as I would love to see Gehry’s Louis Vuitton Foundation.

'A New V&A VII'

Is there anything else you would like to add, and what are your thoughts on using 1X as a home base for your work?
I decided not to renew my 1X membership in December 2021 because I was struggling to accept how many of my photos were not selected for publication. However, after only a couple of weeks, I missed the site and came back, which shows what it means to me. I have learnt a great deal during my time here. It's a wonderful place to view some of the finest photography, engage with other photographers, and receive feedback. If we believe in ourselves, we must be critical of our work and persevere. I will keep going until I can't anymore! Finally, I would like to express my sincere thanks to Yvette for inviting me to do this interview, which is a great honour.

Thanks you from the bottom of my heart, Elizabeth. It is a honour for the entire 1x community, for the readers and certainly for me, to publish this candid interview.

'Through the Grilles'

'Hadid Interior IV'

'Self Portrait at Tate Modern'

'Peace and Quiet'

'A restored Wing'

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Enzo Luigi D’Arcangeli PRO

La tua intervista mi ha colpito molto per le note personali, inserite nel bellissimo articolo. Credo che la fotografia sia soprattutto anima. Le tue immagini sono molto belle e ben fatte. In particolare quelle in BW. Grazie

Zina Heg PRO

Great to see you your work here! A very impressive article and wonderful, inspiring images...