Photoshop

Behind the Image - Lisbeth Splawn

We recently had the pleasure of working with Model and Actress Lisbeth Splawn. The goal was to create moody, vintage portraits with a Dan Winters meets Aaron Anderson look. If you aren't familiar with Dan Winters work I would highly recommend you take a look at his website: www.danwintersphoto.com
 

One of the great and unique parts of this shoot is the DIY aspect. Both the background and table were made specifically for this shoot, and I'll talk a little bit about how it's done in the video. Check out the videos below and see how it's made, then keep scrolling to see the final images from this shoot! 

Thank you guys for following and if you have any questions don't hesitate to shoot me a message...until next time, be awesome!

New Tutorial Series!

I am happy to announce the launch of the first video in the beginning of a series on composite photography! I am starting with the basic tools that you will need in Photoshop and in the studio, and then taking you all the way through an actual shoot that we'll turn into a composite. They'll be in bite size pieces that you can use independently, but you will also be able to watch them in order to learn each step of the process. 

Without further delay here is the first video on the pen tool and creating paths in Photoshop!

If you have any questions just shoot them over in the comment section, either here or on YouTube and I will do my best to get to them! These will be launching over the next couple of months, and our next video will talk about selections and refining masks. Stay tuned go be awesome!

Dragon Alliance

Hello Everyone! I apologize for the gap in bloggin, it's been a crazy couple of months. In fact I am taking a break from retouching over 800 images just to write this :)

Recently my images for the Dragon Alliance Floatable sunglasses came out, and I wanted to give you a little behind the scenes look at how those were created. When the client came to me they wanted something that was epic and showed off the glasses, while implying that they floated (which they do and it's awesome!). We ended up shooting the glasses out of water so we could control the lighting and perspective more readily, and then shooting the water and glasses in the water separately to pull from for the final composite. All said and done this composite is well over 100 layers and was shot in the studio in pieces to create the exact shape and look that the client wanted.

Couple cool tricks for shooting this type of image in case you want to try something similar!

1. You can pick up a large fish tank at most pet stores for relatively cheap, no more than $50, so getting all the splashes and water images doesn't have to break the bank.

2. When you are making the splashes have your assistant use a squeegee on the inside of the tank, as they pull it across you get some great waves and the glass stays clean!

3. Make sure you light your background and the background is white! For these images we had a white seamless lit from behind to reduce any kind of lens flare.

4. Use Hi-speed flash or hi-speed sync. To really freeze water you need to have hi-speed flash (meaning the flash duration is short). You can look at the Elinchrom ELB 400 with HS heads or Action heads. The HS heads are hi-speed sync and the Action heads have a very short flash duration. I know there are other brands out there that can do this as well so start your research!

5. Plan! I've said it before and I'll say it again, Plan! Make sure you have a shot list for a project like this. You want to know what you are going to need in post production so you don't have to go back to the studio and do this huge set up more than once! Make sure you shoot WAY MORE than you think you'll need, I mean we're not shooting on film anymore :)

Alright, enough typing, let's look at the final images. Below is a simplified animation of how the file was made and the final images with the graphics from Dragon. You can also head over to their web page: www.dragonalliance.com to see it in real life :)

Until Next time...be awesome!

Dragon Alliance Final
Dragon Alliance Roadblock

Ballet meets Dia de los Muertos

My team and I just finished an incredible shoot last week and I wanted to share the results with you. We were able to shoot at a beautiful location in Colorado Springs (abandoned locations are by far my favorite type of backdrop). If you add in 3 amazing dancers, 2 very talented MUA's (Tasha Ditchman and Molly Hardee) on site working all day, assistants and lots of lighting, you get some pretty awesome stuff.

Below you'll find the BTS video (Filmed and Edited by Andrew Forrer) to give you an idea how much work goes into a shoot like this, and some of the images that we ended with.

Thanks to my incredible team and I hope this inspires you to dream big...now, go be awesome!

DOD_Ballet_Photo
DOD_Ballet_Dancer_Movement
DOD_Ballet_Dancer_Movement
DOD_Ballet_Dancer_Photo
Ballet_Dancers_Industrial_Photo
Ballet_Dancer_Industrial_Sun
Ballet_Dancer_Industrial_Sun_2
Ballet_Dancer_Industrial_Sun_3
Ballet_Dancer_1
Ballet_Dancer_2


See the light.

I have had a number of people ask me if I would be putting tutorials up on my page, and that is definitely in the works for 2016, but I think there is a fundamental problem with a lot of people trying to break into composite photography, and that's lighting. Sometimes I think our digital crazed culture has become so reliant on the term "fix it in post" that we forget the little things that make photography special.

When you look at some of the great photographers before us, like Henri Cartier-Bresson and Ansel Adams, you realize that they saw light, it didn't just happen to them and it most certainly wasn't luck. You might be asking, what do two guys who shot mostly black and white film have to do with a digital composite photographer in 2015?! To that I would say, everything! I have had multiple people come to me and ask how I make my composite images look so real, and yes, I use Photoshop a lot, but Photoshop can only do so much. I think most of what makes composite images look real is lighting. More specifically being able to identify lighting and re-create it.

So, what can you do? How can you start to learn about lighting? Well the first thing you can do is go outside! Look at shadows, haze, highlights, soft light, hard light, night lights, natural light, artificial light, fog, etc. and study them. The more you know about what light looks like the better. That's the fun part, I am still obsessed with shadows and I take pictures of them all the time...it's a little weird. I can't stop it though, I think light is incredible and beautiful, I think at the heart of what we do is the fact that photographers love light.

What do you do after that? You learn how to make it. First, learn how to make light and shadows in a studio. This part can be harder if you don't have access to lights, but it most certainly can be done on a budget. This is a critical step if you want to be a composite photographer because your ability to take an object and put it seamlessly into a background is what will set you apart from the competition. There are a ton of tutorials that you can look at online, like kelbyone.com, that will teach you lighting, but make sure you don't just watch videos, go do it!

Finally, you need to learn how to make lighting and shadows in Photoshop. I think this is where things get a little backwards for a lot of people. I can't tell you how many people have said the know a ton about Photoshop and still can't make their images look right. Honestly, if they really do know a ton about Photoshop (I have my suspicions), it's probably the lighting. I think if you just try to learn Photoshop without learning lighting you are doing yourself a disservice, and it makes things very frustrating in the beginning. When you're ready though, there are a ton of websites and resources to help you learn about lighting in Photoshop (Phlearn, Lynda, Kelbyone, Youtube, etc). 

I might be crazy, but I think you need to know this stuff to be a professional photographer, not just have a nice camera. I mean, having a nice camera is great and all, but I would rather hire a photographer with a cheaper camera who knows what they're doing then one with a super expensive camera who doesn't have a clue.

I just recently went in the studio and did test lighting for a shoot that I am getting ready for and to learn more about lighting, because you never know it all! Below are some of the shots that I took from new lighting set ups I am working on, and a little bts video of me running around taking pictures of myself! Until next time, be awesome!



Personal Project - The Dolls

A while ago I did a personal project called "The Dolls Have Eyes". I had originally shown these on my old blog but that has been taken down so I wanted to put them up on the new page for you guys to see!

The idea was relatively simple, take pictures of dolls and morph them together with human features. What I wanted to see was if people could tell, if they knew they were looking at a doll with some real feature. It's my exploration of how a lot of what we see in media today isn't real at all, and if it seems to good to be perfect to be true it probably is! 

Hope you enjoy it, or you think it's creepy...either one :) Until next time, be awesome!

Never. Stop. Creating.

There is something that keeps coming up among the creatives that I have around me, and I thought it was worth sharing with the 3 people that read this blog (not counting my mom).

The idea is this: don't stop creating work and new imagery (video, illustration, etc), even if no one is paying you. I know what you're thinking, make stuff for free?! Blaspheme! But I think you'd be surprised how much free work top tier photographers do, both for themselves and in collaboration with other artists. But why? What's the logic? It's simple, when you aren't getting paid and there is no client you create things that you WANT to create. There is no one telling you to change the lighting, to move this person or that, it's just you and your vision. I have found that is when the most dynamic work comes out, when it's for you. 

Recently I did a personal project I call "Tired people drinking coffee". It was probably the most fun I have had in the studio for quite sometime. What was different from my normal routine? I didn't make them composites, I focused on grass roots lighting and fun photoshop techniques. What inspired me do it? Two things, we just had our second baby, so I am exhausted, and I love coffee...especially after the second baby :) It was designed to be fun and that is exactly what it was. Funniest part about it is that the series has received more recognition than most of the commercial work I have been doing...ironic isn't it?

I will leave you with this idea: How do you ever expect to get the clients you want if you only make work for other people? Create a portfolio you love, work with people that inspire you, and most importantly...be awesome.