By Daniel Lezano relatively simple: a 24mm wide-angle on a Nikon D5100 mounted on a Manfrotto tripod, triggered via a Hahnel Combi RF remote. To help boost the colours further, I also fitted a Hoya circular polariser. I set the camera to centre-point AF, selected f/19 in aperture-priority mode to maximise depth-of-field and was ready to go. For the image to work, I needed to hold the frame out in front of the camera and have the central focal point (the tree) sit as close to the centre of the frame as possible. This involved taking a series of  trial-and-error  exposures, walking towards and away from the camera, as well as left and right. Using a wireless remote release, I had the advantage of being able to fire shot after shot without having to continually walk back to the camera to set off the self-timer. However, after every five or six frames, I did need to return to the camera to review the results and see how accurate my framing was. As well as the positioning, the other problem was trying to angle the frame so it looks square on to the camera, something I struggled with on my own. Above: Daniel fires a remote release to capture his shot. Take a variety of picture frames with you for choice, depending on your viewpoint. Opposite: The contrast between black b white and colour gives the final shot plenty of punch, and works best with a simple subject or scene. {although holding it with both hands helped). Ideally, having a person hold the frame while you compose the image is a far better option and would save a lot of time I took along a small square frame and a large rectangular one to give me different options on how to frame the scene and I d recommend you do the same as it does extend your options. On returning to the office, I downloaded the images and chose my favourite. I opened the Raw file in Photoshop and boosted saturation and vibrancy to make the colours very punchy. As the picture frame was slightly tilted, I needed to straighten the wooden frame and. once finished, clone out my fingers from within the frame, then convert part of the image to black b white. The Photoshop techniques I used are covered below. Tve been framed.’That was the first thought that struck me when presented with the object to be used in this month s Creative Eye. But only for a split second. A picture frame, after all, is quite an ordinary item - something people don t generally pay much attention to as their focus is drawn to whatever is within the frame instead. And that s when it struck me that the potential for this object was far greater than one might first imagine. A picture frame is, in some respects, a window to another reality - it could hold the result of a painter s brush strokes or the image from a photographer s camera. Anything could live within its walls - the question was: what would mine contain? I liked the idea of the frame representing a window to another reality, so I decided to explore this opticn further. It threw out a fair number of possibilities - far more than I could have expected. I could have someone stand in the distance with arms and legs stretched to mimic a miniature person trapped by the frame or. alternatively, have someone emerge from the frame as if from another dimension. Or, I could capture a location in daylight, then return at dusk, shoot from the same spot and merge tne two so the frame contained the location at a different hour to the scene outside it. I liked this option, but instead settled on another idea - capturing a very colourful scene and then converting the image to monochrome, apart from the frame and the scene within it. With the bloom of bright-yellow oilseed rape crops covering much of the Lincolnshire countryside, I knew the landscape wasn t short of colour, so I just needed to wait for a clear blue sky to get started. The set-up for the shot was

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