Painted Objects Photography

CRACKED, CHIPPED, and ROUGH Art Photography Series

CRACKED, CHIPPED, and ROUGH, a new eFolio collection by Photographer, Nawfal Johnson Nur.  This is an Abstract Expressionistic Photography collection of 15 Black & White and Color images.  The subject of this collection is old, peeling, and cracked paint on walls.  All of the photographs were captured in the Tanjong Tokong district of Penang, Malaysia.  The images were designed during 2011, to 14 Feb 2012.  The eFolio collection is available for sale at LULU.Com,

CRACKED, CHIPPED, and ROUGH, a new eFolio collection by Photographer, Nawfal Johnson Nur. This is an Abstract Expressionistic Photography collection of 15 Black & White and Color images. The subject of this collection is old, peeling, and cracked paint on walls. All of the photographs were captured in the Tanjong Tokong district of Penang, Malaysia. The images were designed during 2011, to 14 Feb 2012. The eFolio collection is available for sale at LULU.Com,

A New Art Photography Series called CRACKED, CHIPPED, and ROUGH

CRACKED, CHIPPED, and ROUGH is my new eFolio collection of Abstract Art Photography.  The subjects of the photographs are old, cracked, chipped, and rough-looking paint that is crumbling and peeling off from old walls.  Don’t let “old cracked paint” deter you from having a look at my new art photography collection:  The results of my endeavors photographing peeling paint are, if I may say so, pretty interesting.  Please give it a look – there is a Preview at my product page where you can see about half of the eFolio.

I love macro photography, and I like to get in close on small areas of space to design photographs of textures, shapes, lines, and tones.  My cracked paint images, in this series, have all of those characteristics as key focal points.  In other words, I attempted to merge and stress textures, shapes, lines, and tones, in all the cracked paint images.

Yes, cracked paint is a rather ‘dry’ subject, pun kind of intended.  And, that was the challenge.  To make the typical dry paint scene totally atypical and spectacular.  I was drawn to the subject, and basically, wanted to experiment how to give this mundane and rather flat subject (old dry paint on walls), some interest, some 3-D perspective when photographing it from a close proximity.

Please have a look at my CRACKED, CHIPPED, and ROUGH Photography Collection.


Nawfal, SELF-PORTRAIT, 2012-02-02, Edit G, Head Shot, NJN665


At least ONCE a year, I design a new self-portrait; not for any amount or reason for ego’s sake, or for self-absorption.  The fact that I usually only do this once a year, should explain away any need to use myself as “subject”. 

Self-portraits, for me, are more a learning process.  I ask myself:  “OK, what strange thing can I do to produce an interesting self-portrait…this year.”  I like paint, painting and art, so I thought I would just use myself as the canvas and make an “Abstract Me” for my 2012 Self-Portrait.


The worst thing about paint on skin is when it starts to dry – feels strange, uncomfortable, and of course, it is a mess.  Once I was painted up, I needed the help of an assistant, but there are a few things I did prior to the painting.

The camera and lighting need to be set up and exposures tested ahead of the self-painting.  Once painted, I had to work fast, and get the assistance of an assistant to press the shutter button. 

The shutter speed was 1/50 sec, and the aperture was f/11.  I used the internal flash set at –3.0, of course, aimed directly.  On camera-right, I used a 600-Watt studio light without any light modification – it was set at 1/2 power.


I am so glad that I re-discovered my NIKKOR 35-70, f/3.3 lens:  It is the lens I used for this self-portrait.  It is an EXTREMELY thought-provoking lens.  By “thought-provoking” I mean that it is an auto-focus lens, but using it with my newer NIKON camera body, it is TOTALLY manual. 

There is a story that goes along with this lens: long-ago, when I got this lens, it developed fungus on one of the inner most lens elements.  Therefore, I totally dismantled the lens, element by element, and hand cleaned each piece of glass, and then reassembled the lens.  Unfortunately, I damaged the auto-focus electronics at some point in my lens home surgery. 

Therefore, when using this lens with my new NIKON camera body, there is NO auto focus – NO auto exposure – and NO auto TTL Flash:  It is FULLY MANUAL.  I think it is so awesome that I have a lens that makes me think like a photographer again.  There is NO Auto anything, so I have to calculate everything, pre-focus, and guesstamate my exposure settings, making test shots to pre-focus, tweak exposure settings, and plan my flash set-ups.


So there it is, my 2012 Self-Portrait. 

BLADE BLUE HAND-667, No.1, Edit F

Blade Blue Hand, 667, No.1, Edit F, by Nawfal Nur

Blade Blue Hand, 667, No.1, Edit F, by Nawfal Nur

Title: “BLADE BLUE HAND, 667, No.1, Edit F”
Series: “BLUE HAND”
Number in Series: No. 1.
Genre: Abstract-Geometric-Expressionism
Mediums: Painting & Photography

Painter: Nawfal Nur
Photographer: Nawfal Nur
Art Direction: Nawfal Nur
Model: Nawfal Nur

Investment in Time:
* Prep Time for Equipment Set up: 1/2 Hour.
** Painting: 5 1/2 Hours.
*** Photography: 1/2 Hour.
**** Clean-up: 1 Hour.

Paint Supplies Used:
-1- Schmincke PRIMAcryl (Feinste Künstler-Acrylfarben).
-2- ZIG – KURECOLOR Permanent Alcohol based Ink.
-3- BUNCHO Water Colors.
-4- ALBRECHT DÜRER, Watercolour Pencils by FABER-CASTELL (8200 Series).
-5- Crayola “Brush Tips” Markers.
-6- Artline 70 High Performance Markers.
-7- MonAmi ACCU Liner Permanent Markers (Metallic Series).
-8- Pentel Permanent Markers (N850 Series).
-9- ESTĒE LAUDER Artist’s Eye Pencil – (01 SOFTSMUDGE BLACK).
-10- ESTĒE LAUDER Artist’s Lip Pencil-Crayon – (08 SPICE WRITER).

CANON Powershot A620 with Modified Internal Flash Bounce Attachment. Aperture @ f/8.0 and Shutter Speed @ 1/80 sec. (I think…) ;^)

One 600-WATT SYSTEMS IMAGING Studio Flash with 2′ x 2′ BOWENS Softbox. MIRA Hydraulic Light Stands. Modeling on Cont., Power @ 1/16th Output. Distance to Subject, approx., 3-feet.

Additional Lighting or Lighting Aid Gear:
One 3′ x 3′ White Foam core bounce.

* bogen 3001 Professional Tripod.
** bogen 3025 head.
*** Manfrotto #352 Ball & Socket.
**** 3kg weight.

Computer Software:
* PhotoImpact X3.
As I mentioned in the text of the photo above, this will be my last photo addition to my Photostream at Flickr.

I have made a promise (to myself) to keep the “F-DEPRESSION” Series Images as close to the TOP of my Photostream as possible. Because with each new image addition, the older images get pushed deeper and deeper into the photostream. And that means, that these “F-DEPRESSION” photographs would eventually get lost in the masses of photos.

The ONLY way these images may help someone who is suffering from Depression, Anxiety or Chronic Pain is to see them, feel the shock value, read the text and GET HELP!!! And, that was the main reason I ventured into this very negative and self-expressing Photo & Text Series.

One of the key components of this type of work (body art), and one that I experienced firsthand, is that IT (the artwork) IS NOT LASTING!

Paint – Photograph – Wash – Rinse – Repeat the Wash & Rinse. Then, the painting is gone for ever! The final product, the actual artpiece is the Body Painted Photograph Portrait: The photograph – that is the lasting art work. The Painting is just part of the preparation! Get it!

This is NOT Airbrush, so the artwork is NOT smooth or finely detailed. I used Acrylic and Watercolours, along with Art Markers and applied them normally, and also with brush and artist’s knife. Some parts of the artwork are smooth and other textured. As the paints dry, the work cracks, so speed is important.

It was extremely painful for me to stand for that length of time – the arthritic A.S. types like myself usually can’t sit-stand-walk-or lie down for very long periods. However, I had to see if I could do it. After the completion of this work, it felt like someone had tortured me (kind of), like someone had been hitting the bottom of my feet with a metal ruler. If you have A.S., you may know that feeling: It’s No fun!!!

5 and 1/2 hours for one Right Arm! It’s the first work like this I’ve done. And, I can say that it was a really good experience and quite interesting to attempt painting oneself and working the camera. Strange feeling!


“BEHIND THE LENS!” (My Photography Journal where I’ve been writing, and where I’ve been exhibiting my Photography, since 2005).

Nawfal Nur
“Behind the Lens!”
27 Nov 2008

PS: “667” refers to what I ‘have seen’ termed as, “Neighbor of the Beast!” HOWEVER, my interpretation is different than probably the person who thought up this novel saying. Here’s how I see it:

“This world is Where the Wicked NEVER Rest, and the Righteous Struggle to just Stand their Ground!” Therefore, I am a ‘neighbor of the beast’ – evil that surrounds us all, daily – it is there, you don’t have to go far to find it.

Of course, perhaps it is much better to pretend that the world is a perfect place, so that you can sleep well at night, but this is just what people who don’t do anything to change it, want you to believe! Or, perhaps, it is what people who have it “made” want others to believe because they have all the resources available to them to ‘escape’ most of the evil that perpetuates itself daily, and around the world.

All you have to do is pick up a newspaper: There must be a lot of “evil” out there, or, the newspapers would NOT be so thick! News of Disasters, Crimes, Chaos, wars, famine, cruelty, and Injustice…this shit sells the News! I STOPPED reading the news a couple of years ago because it just perpetuates in a bad way, whatever stuff you got going on, that isn’t so good.

It is time to go…

Good night Moon!

Good night People!

pss: BTW: The “667” tattoo, I designed by computer software, but I may just have to ink myself with it one of these days!

Tie Painting v.5-B

Tie Painting v.5-B, originally uploaded by fine-grain.

Painted Tie Painting.
Still Life Photography.
Abstract Expressionism Painting.

This is a photograph that “ties” (no pun intended) together my liking for Still Life Photography and Abstract Expressionism Painting. This photograph is also one of the few, first images I’ve edited with Paint Shop Pro’s new program, X2.

I may be an anomaly in the general scope of photography, but I really do prefer Paint Shop Pro over Photo Shop.

The key, however, is still to create the best photograph possible in the camera. If the end results of the “camera-creation” are poor; then the end results after editing with software will be nowhere near what they could have been.

I fiddle around a lot with positioning lighting and moving subject and tripod around. I take many photos until I get approximately the image that I need with dark blacks and details still in the highlights; and also, I attempt to get a fairly decent gradation between the extremes. If I have to take my soft-box’ed studio flash off the light stand, and then hand hold it to get my ideal lighting, then I’ll do it. In fact, that’s what I had to do with this image: the lighting was too uneven when the light was sitting on the light stand.

Whatever it takes – do it.

Of course, this final result was a matter of experimentation, of adventure and creating change. And of course, help from X2.

Sometimes, I don’t really know what the final image will look like until I see it. You often hear photographers saying that they have an image in their mind and then work on the photograph to get it to nearly match their mind’s eye. I do that sometimes; however, more times than not (lately), I’m not sure what the final image is going to look like. I work with the image until I have that, “Ah Ha!” moment.

Then, I stop.