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!

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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.

3 Things

When I first started photography I wasn't good...and I think that's the case with a lot of people.  However, there were a few things that really launched me in a different direction and I wanted to share those with you.

1. Shoot in RAW

If you're just getting started in photography you probably don't even know what I'm talking about, and no, it's not a vegan diet. RAW is a file format that your camera puts out instead of a JPEG. You can usually do both, but I would recommend getting used to just shooting RAW. If you aren't shooting in RAW now I would encourage you to learn not only what it is, but also how to work with them. In a nutshell RAW images contain a MASSIVE amount of information that JPEGS throw away, and it enables you to make larger changes later on.

I remember when my good friend Zak took me out to shoot about 7 years ago and he asked me if I shot in RAW, I looked at him like he was speaking a different language. It was on that day that I switched over and then learned what the heck he was talking about, it was the beginning of the journey for me.

2. Start Learning Lighting

It all started with a reflector. I think it was about 6 years or so ago that I bought my first reflector, and I was blown away! I thought most certainly that my images would be on the cover of Vogue any day (not even close!). Once I started getting more serious I bought an off-camera flash and have now used most lights on the market, from Profoto to Elinchrom and Broncolor to Alien Bees. I think lighting and use of lighting is one of the main things that separates the pro's from the amateurs. So start with a reflector, learn how to use it, and then the skies the limit!

3. Learn How to Edit Your Images

I use Photoshop, a lot. In fact I have even retouched for massive companies like Ariat, Tazo, Coca-Cola and more because I like it so much. Obviously you don't need to become a retoucher to edit your own photos, but I think a lot of people skip this step because cameras are digital now. If you are thinking about becoming a professional photographer you need to at least know the basics of editing photos, just like you would need to have known the basics of how to use a dark room back in the day.

If you're looking at all these things and feeling a little overwhelmed, there are lots of great resources to get you started. Places like Lynda.com, Phlearn.com, and Kelbyone.com are just a few that I've seen that offer great tutorials on everything from using your camera, lighting and handling files. I learned most of the foundations from Lynda.com, then I mixed that with school, a lot of terrible photos, books, and internships, that is how I became what I am today.

Finally I wanted to say this; when you're new it's ok to suck, but in order to grow past that you'll need to invest time to keep growing...then one day it will all click, and you'll get it! So check out this video for inspiration and then go be awesome!

I think it was in the time of spring 2012, when I came across David Shiyang Liu's lovely piece of work about Ira Glass. It was the most inspiring and motivating video I had ever seen in my life. I watched it over and over again, listened to Ira Glass' voice, and told myself, that I am not the only person who is constantly disappointed about the gap between one's taste and one's skills. Later in 2012, I decided to do my own filmed version of Ira's interview - using my own language to tell his message. It took me about a year from concept to upload. I made it for myself and for anybody who is in doubt about his/her creative career. I also think that Ira Glass' message isn't only limited to the creative industry. It can be applied to everyone who starts out in a new environment and is willing to improve. THANK YOU Ira Glass, whom I've never met in real life, but who had such a big influence on my development. Thank you for telling beginners what nobody else does. David Shiyang Liu for the video that inspired me to start the project. You all should watch his awesome kineticTypo-version here: http://vimeo.com/24715531 The people from current.tv who originally recorded the interview with Ira Glass. See the relevant part here: http://www.youtube.com/watch?v=BI23U7U2aUY The people from Magic Lantern who gave DSLR videography a new dimension (I chose this project to be a test run with the RAW plugin)! Steven Sasseville for painting the "taste" painting for me. Pedro Sousa for his advice and working his ass off at the "creative work" chalkboard. Wolfgang Kraus for letting me borrow his sound equipment. Kai Löhnert for working out on his birthday in the "fight" take. Wolfgang Hendrik Schnabel for giving me the museum-like atmosphere and his silhouette in the painting takes. Hermiyas Ötztürk for his hairy "good enough" hand. Orange Hive Studio for light equipment and location. Mima and Heinz Sax-Schmitz for the location of the "ambitions" take and finding me the "finish 1 story" typewriter. Joyce Chen (https://vimeo.com/clownmori), Soufiane Mabrouki (http://vimeo.com/user21466567), Damien Tsenkoff (https://www.behance.net/damtsnkff), Nikita Samutin (www.baselinedesign.ru) and Andrej Mikula (http://amara.org/en/profiles/profile/65015/) for taking the time and patience to create Chinese, Arabic, French, Russian and Slovak subtitles and dissolving language barriers to make even more people understand Ira's words. A SPECIAL THANK YOU Solveig Gold for being the most patient and supporting person in my life. She appears in a lot of scenes in this video. Jutta and Uwe Sax for several pieces of equipment and their support.

Why Landscapes are important.

I wanted to take a moment to talk about Landscape photography, which you will notice is not in my portfolio...sort of. I think one of the things you need in photography is an outlet, something you like to do that you may not end up making money off of, something that has no clients and no rules, that you do just for you. In my case that's Landscape Photography. When I go out to shoot landscapes I get to do whatever I want, and I don't have to think about what other people will want out of the photo I am taking. Sometimes people like them, and that's great, but that's not the point.

There is one more benefit to Landscape Photography that I wanted to mention for all of you photographers out there who want to do composite imagery...having landscapes in your library is VERY helpful! A lot of the time I don't actually need to go anywhere to shoot a background for an image, I already have it sitting on my computer.

Below are some examples of my landscapes...I highly recommend finding something you love to do that doesn't have anything to do with clients or work and implement it into your work flow. Until next time, be awesome!

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Inked

One of the things I love about composite photography is that you have to shoot a lot of different things to get one picture, and in this case one of the pieces was ink. My client needed this for a specific composite and rather than buy it from someone else we just did it ourselves!

I was using higher speed flash (top light with a bounce umbrella and side light with a shoot through super umbrella)  to freeze the motion, and we were dropping the ink into an aquarium. We used a black felt background to kill all the light....and this is the result.

That's all for now, sometimes I just like to show people pretty stuff! Stay tuned for more from this shoot in the future and until next time...be awesome!

Pathing and Quick Select Part 2 - Edges

So this is where the rubber meets the road, literally. If you spend all the time in the world pathing and using quick select tools but the edges aren't right your picture will look weird. Sometimes people won't even be able to tell you what's wrong, it will just "feel" wrong. Here's a couple cool tricks to get those edges looking snazzy!

First you need to turn your path into a mask which you can do a couple of ways. If your path is currently active you can just hit Cmnd or Ctrl Enter to turn it into a selection. If your path is not active then you can just hold down Cmnd or Ctrl on your keyboard and click the path with your mouse, either way works, but now your path is a selection. With your new selection active hit Shift + F6 and feather your edge by .5 pixels (you can also find it in the dropdown menu Select > Modify > Feather). Once you've feathered your selection click the create new layer mask icon and you will have your initial mask.

I am going to pause really quick and tell you that I came up with .5 pixels for my initial mask based on personal experience, no feather at all looks too hard and 1 pixel can make some edges too soft depending on the subject...play around and find the perfect setting for you!

Wouldn't it be nice it that's all you needed to do after an hour of pathing? I do to, but it's not! This is where a lot of people go wrong, they just leave the person/object with hard edges and continue on. Sometimes this will work, but I have found that those occasions are rare. Granted, you will leave some of the edges hard, but you'll want to make visual decisions for the rest.

Look at your subject and see if it feels correct. I always have another person look at it as well, sometimes I am just too married to the picture to be objective. Now, if you have some edges that look hard here's what you do:

1. Click on your mask so that it's selected

2. Use the lasso tool to circle the edge that you think is too hard

3. Feather your selection by 25 pixels (again you will want to play with this). This step is to make sure your new edge will blend into the old edge.

4. Click Filter > Blur > Gaussian Blur

This is a really cool way for you to see what you're doing to the mask, believe it or not the feather and Gaussian blur use the same technique but the Gaussian Blur allows you to see what you're doing! TIP: If you don't see what you're doing make sure the "Preview" box is checked.  Here is a before and after on a mask so you can see what it should look like!

BEFORE

AFTER

You can see the blur just below the neck, it is subtle, and it should be! It is the subtle touches that mean the most! I am working on some video tutorials for the future so stay tuned and I'll be releasing new images, series and behind the scenes soon! Until next time...be awesome!

Pathing and Quick Select - Part 1

I am going to spend the next couple of blogs talking about pathing, quick selection, refine edge and combining these tools. In this particular blog I am going to give a few quick pointers about pathing, next time we'll talk about feathering your edges so they look realistic and then we'll close with quick selection and how to combine them. I am going to assume you know how to use the pen tool and the quick select tool for this series...if you don't you should spend time learning them, there are plenty of tutorials!

One of the questions I've heard is "which should you use, quick select or pen tool?" I would say you need to know how to use both, and know how to combine them. I think it also depends on how quickly you need to finish a project and if you've thought about it before hand. The pen tool is great in that it can create perfect curves/circles. Quick select is awesome for things like hair and edges with high contrast.

I would say almost every image I finish has pathing in it (the pen tool), in fact, pretty much anything with a smooth edge I will path out. It is also VERY essential if you are retouching products, and it is important that you are accurate! When you are retouching a product you need to path out EVERYTHING, for instance, if it's a watch you need to path out: whole watch, strap only, bezel, crown, face, metal, glass, etc. You might be wondering how accurate you need to be, to that I would say you should be within 1 pixel of the edge in most places.

Here are some quick tips for pathing:

1. Get close! I usually path around 200-300% zoom
2. Test it, use a curves layer with your path to see if your path is accurate.
   1. With your path selected create a curves layer and adjust is drastically, you shouldn't see areas of the background being adjusted, if you do, adjust your path.
3. Less is more, the less points you can use, the smoother your path will be

Below is an example of a paint drip that I was working on for a composite, the grey line is my path. You can see that it sits right along the edge and I will feather .5 pixels initially to blend it a little better. Also note that it only took 3 points to path out the bottom of the drop, it's essentially a circle and you don't need more than 4 points to make a circle.

Check out some examples of my paths below, I think paths by themselves can be pretty rad!! In the next blog I'll talk about feathering paths to create accurate and realistic edges...stay tuned and be awesome!