I’m currently teaching a lighting class and a recent assignment focused on texture and the ability to minimize or exaggerate it as the situation required. Since sandpaper is all about that texture, it served as the perfect model.
Here’s a brief interlude to your day.
In my last post, I showed you a few of my shots from Chicago. Well, while I was there, I sank my teeth into a project I’m working on. See, a photographer by the name of Chris Clor has been a substantial inspiration for the past number of year, his creative ideas for imagery aside, a driving factor in his work revolves around stitching together pieces of a picture to create something that simply couldn’t exist in real life. Now, I don’t have an intention of trying to replicate his work (I have my own style). One process he uses, however, is simply a good idea regardless of who you are. Whether he is working on a specific image or just out shooting, Chris continually ads to his collection of pictures that could be, at some later date, used in a larger project.
As it was described to me back in the day by one of my first photo teachers, I tend to have a “cinematic style.” That being said, I began looking for settings that had a kind of movie-like-still look to them. Almost as if you could see the main character holding a conversation or looking for clues to a mystery in such a dark ally.
So, while I was in Chicago, I scoped out some fairly movie-esque scenes that could fit a subject shot at a later date.
Here’s the first shot from the Chicago backgrounds:
And here are the pieces:
I’d like to follow up my post from a couple weeks ago regarding retouching and the general process of “Photoshopping.” To be clear this is not really part 2 of that post series. That will be on it’s way in a few days. This is more so the other end of the argument.
While it’s the best possible choice to get things right in-camera, sometimes it’s just not an option. By just not an option, I mean nowhere remotely close to an option. A good example is advertisement photography.
You probably know that no product or service is ever the same as you see it in an ad. EVER. If you disagree, I’d like you to compare your Whopper you’ll be having for lunch with the one on the menu. Sure – this is slightly different issue. That burger never existed in the first place – it was made out of mashed potatoes and spackle before the picture was even taken. Instead, let’s focus on something clearly different than the original picture.
You’ve probably seen this video:
That’s an issue that happens more than you’d think/more than you’d like to know/ALL THE TIME.
However, there is one reason to justify such an obscene level of post production – finances. Sometimes it’s just impractical to fly a model to outer Mongolia. If there’s a small budget, if time constraints are fundamentally impossible, or if the picture of the setting already exists – sometimes the picture can be stitched together later. Now, I know what you (might) be saying: “Where’s the photographic skill? isn’t that just going to breakdown to someone drawing on a computer until the final image looks ‘good enough’ ?”
Sure -there’s a descent amount of isolating, some burning/dodging, and a handful of trial and error. BUT…
The picture still HAS to be correct in camera. In many ways, it has to be “more correct” than a normal picture. It all comes down to my favorite part of photography: LIGHT.
If the background was photographed outside at sunset and the person/object was shot in a black studio with on-board flash, the color, angle of light, depth of field, and separation will look completely wrong . So many factors have to be considered, I feel this type of post production absolutely qualifies as “good photography.”
Of course, I’m always open to comments and varying opinions.
That said – here’s a small sampling of some “image combination” I started as a side project a number of months ago. Let me know what you think!
I’ve been kicking this one around for a bit. It’s going to be a 2-parter and I really feel it has some important stuff to consider.
I’d like to talk about retouching or “Photoshopping,” as some people refer to it. What I’m specifically talking about is the difference between intention and an afterthought. Often these days, with a basic knowledge of the software and a library of filters and actions, a common mindset is “I’ll fix it in post,” or “I’ll just ‘shop’ that out later.”
The issue with that mindset is that it does nothing to enhance photographic skill. Think about the 3 basic parts of an exposure – aperture, ISO, and shutter speed. With proper control, you have to sacrifice less for a fantastic image. Instead of having an over-exposed image, it could be sharper, less noisy, or have a deeper depth of field. Of course your specific taste factors in, but the point is not to assume you can “fix” the picture later.
Millions of people around the world use the same software. The odds are that someone, somewhere has processed their picture the same way. But, every single person has had different experiences. That why we’re different. If more of the final picture comes from the initial capture and less from post-processing, then that much more of the picture will be unique – coming from a moment in time that you and only you experienced in just that way.
This doesn’t stop at camera settings – not even close.
If you’re composing a scene and taking your time – then take your time. Move that empty pop can, brush that hair out of the model’s face, take a step to the side so that tree isn’t sticking out of someone’s head. Take advantage of time and get into the picture. As cheesy as it sounds: “BE the Photoshop before the image even exists.”
But…that being said. I’ll get to the point of all this.
There is most certainly room for creative adjustments. The trick is to think about the final image before the initial picture has even been shot. That way everything lines up. If a person is going to be isolated and put into an existing background – think about where the light is coming from. If they’re going into a picture of a sunset, don’t use on-camera flash. If the foreground is way lighter than the background, use a tripod and take a bunch of exposures. It’ll look a lot better.
Of course there are exceptions – If your kid takes his first step… take the picture. The moment is the most important and you’re working in a pretty short window. If a fly lands on your lens as you take the shot, well, you probably didn’t notice.
Before you take a picture, pause for a second and ask yourself – “Is there anything I could fix now, that I won’t need to later?”
So, here I have a selection of a few images that have gone through some post-production. You can see the initial (out of camera) file along with the final image. In each instance a handful of last-minute changes were made on location that greatly improved the workflow, the look of the retouching, and that of the final image.
Stay tuned! Part 2 coming in a few days.