Showing posts with label Compositing. Show all posts
Showing posts with label Compositing. Show all posts

Wednesday, September 29, 2010

Before & After, Episode 17

Here’s another great example of the sheer power of Photoshop, and a case where a little bit of forward thinking on my part really paid dividends once the shooting was complete.  If you’re a regular reader of my blog, then you already know that when I’m commissioned to produce promo images for a band, I almost always shoot each band member separately in the studio.  It allows me to work within the confines of my relatively small studio space, and affords me much greater latitude in post-production.  But here’s a case where I took things a step further….

LIGHTING
When I was originally planning this shot, I decided that it might look really nice if there were a gorgeous sunset behind the band, and I knew I could accomplish this later in Photoshop with a reasonable amount of effort.  However, I also knew that folks with sunsets at their backs tend to have an orange “rim light” that appears along the edges of their clothing and hair, and this, on the other hand, is *extremely* difficult to simulate in Photoshop.  So I knew that I’d have to find some way to produce an orange rim light around each person in order for the final composite to be believable.  As you’ll see from the “before” shots, I accomplished this by placing a strobe behind each person….but the key is that I placed a full CTO gel onto each strobe to color the light orange.  If you look closely, you can see that this does in fact give the resulting light the appearance of a sunset.

POST-PRODUCTION
Using Photoshop CS5’s new Refine Edge tool (which, by the way, is an absolute godsend for digital compositors— I hardly ever have to rely on channel masks anymore), I extracted each band member from their respective original shot, and placed them all into a new blank document.  I then dropped in a new sky with a nice glowing sunset, and proceeded to really increase the light intensity in the sun area by applying a Levels adjustment with a radial gradient mask.  I also increased the lightness levels along the sides of the two band members’ faces who are standing right in front of the sun.  Next I added an artificial lens flare to really drive home the effect.  I also had to add a couple of shadows, since band members standing that close to one another would undoubtedly cast a shadow on the adjacent person.  I dropped the exposure of the bottom quarter of the image to draw the viewer's eyes upward where they need to be.  There were LOTS of local contrast adjustments along with the usual dodging and burning, and finally I introduced a slight orange color cast to the entire image with a warming photo filter.


Here are the before shots. Notice the light stand on the floor behind each band member (with the full CTO gel, as previously discussed).

individual band members




And here is the final composite, complete with all of the adjustments mentioned above:

Tampa band promo glorysound

Your comments—good, bad, or indifferent—are always deeply appreciated.  And of course don’t forget to Like/Share!










Tuesday, August 31, 2010

Before & After, Episode 16

Being that I was a recording artist and aspiring rock star in a past life, I have a special place in my heart for shooting promo images of musically-gifted people.  Although this certainly wasn't my typical band promo shoot (because my subjects weren't rock-n-rollers this time around, but rather internationally recognized DJs/producers Viro and Rob Analyze), the basic premise was still the same-- create some visually engaging images of the highest quality (suitable for worldwide distribution) that really capture their style and personality.  Basically, these guys were looking for CD cover & liner notes shots, as well as a few images to include in marketing materials and on websites.

For the shot below, I used a 3-light setup-- two on either side as rim lights/kickers (as you can see from the "before" image), and a beauty dish up front as key.  The kickers were fitted with barn doors and 30° grids, and the beauty dish also had a 30° grid on it.  I'll be adding stripboxes to my lighting rig in the near future, which will provide much more even illumination on the sides of my subjects, but that's a topic for another post.

I had my subject probably 12-14 feet from the background to control spill and ensure that the light falloff from my strobes would keep it solid black.  I used a black shower curtain (yes, you read that right!) because it was handy, and because I was really only concerned about keeping his head/hair surrounded by blackness-- I knew that the rest of him would be quite easy to extract later in post, but hair is always much more challenging if the background isn't solid.

Speaking of post, once I got my subject cut out, I began applying the special effects.  The background was simply a pure black layer onto which I drew a tic-tac-toe pattern with the brush tool and applied a radial blur.  I then colorized it green & beige with a Hue/Saturation layer.  For the particle effects, I used several different splatter brushes, sampling the color from the edge of his skin/clothing.  I also used those same brushes to apply a mask along the edge, which provides the "disintegration" effect.  Lastly, I really amped up the contrast with LOTS of dodging/burning to polish everything off.

To see the before & after, just move your mouse pointer over the image for a few seconds until it changes.  Then you can switch them back and forth as much as you like.

ROLLOVER IMAGE
Tampa band musician dj promo
For further examples of my work, including high school senior pictures, baby & family portraits, and fashion & glamour, please visit my website at http://RussRobinsonPhotography.com

VERY interested in hearing everyone's feedback on this one, because I really pushed the envelope and took some major risks here. Fortunately the client loved it, but what do YOU think? Please sound off below, and be sure to Like/Share!









Sunday, August 29, 2010

Pic-A-Week, Episode 5

As many of you know, I've been super-busy over the past few weeks with a newborn at home.  However, I've managed to get some editing done in the wee hours of the morning on several occasions, so here's the fruits of my labor.  Enjoy!
 Newborn baby pose on arms
Newborn baby in bear outfit cocoon hat
Newborn baby in fetal position black and white
Newborn baby in colorful elf hat
Newborn baby with teddy bear black and white
Newborn baby in cocoon & cute pose
fashion glamour model pose black and white fashion glamour beauty model
fashion glamour beauty model texture background
male model musician producer dj male model musician producer dj
male model musician producer dj album cover
male model musician producer dj cd liner notes
Questions?  Comments?  Sound off below, and don’t forget to Like/Share!








Thursday, August 12, 2010

Before & After, Episode 15 | WESLEY CHAPEL FASHION & GLAMOUR

For this episode, we’ll be looking at a fashion/glamour image that I grabbed last week.  It’s worth mentioning that I almost always break out my heavy-duty fan for these sorts of occasions, because making a model’s hair fly all around really tends to convey a sense of excitement and movement, which in turn makes for much more interesting images (that’s why this technique is so common in the industry).  Anyway, on this particular occasion, I wasn’t all that happy with what the fan was giving me, and I wanted to really push the envelope.  So my makeup artist had this nifty idea to really kick things up a notch…

I had two people, one on each side of the model, grab a couple handfuls of hair.  On my count, both of them tossed the hair straight up into the air, and I simultaneously pressed the shutter.  It only took us a couple of tries to get “the shot”, and we were all super-thrilled with the result.

When I pulled the image into Photoshop, I began to notice that there was quite a bit more hair on the right side (the model’s left) than the other.  This isn’t necessarily a bad thing, but I just felt like it would give the image a better sense of balance if the hair was a little more even.  So I started looking through a few of the other shots, paying special attention to the way the hair was flying, and to see if I could find one to “borrow” a few stray locks from.  Once I found what I was looking for, I seamlessly blended it into the original shot, and voila!

To see the before & after, just move your mouse pointer over the image for a few seconds until it changes.  Then you can switch them back and forth as much as you like.


Tampa Fashion Glamour Model
For further examples of my work, including high school senior pictures, baby & family portraits, and fashion & glamour, please visit my website at http://RussRobinsonPhotography.com


If you “Like” this, you know where to click……..and comments are much appreciated too!  =)








Monday, July 5, 2010

Band Promo Shoot With Adalee | WESLEY CHAPEL SENIOR PICTURES

As I mentioned in a previous post on shooting band promos, my studio isn’t quite large enough to accommodate several people at once.  So when a local Christian rock band called Adalee (which consists of 5 members- all of whom go to my church) approached me about shooting their promo, I immediately began thinking along the lines of digital compositing.  If you’re not a regular reader of my blog and aren’t quite familiar with that term, it basically means taking individual shots of each member and then later combining them together in Photoshop.

This is my favorite method of producing band/group shots, because it allows me the freedom to select the best individual poses for each member.  When they're all blended together into a seamless composite, it appears as if the stars just aligned perfectly and everyone gave you the ideal expression and pose simultaneously, and in the same frame.  I gotta tell ya, it sure beats shooting for hours and hoping for this sort of thing to happen organically (believe me-- I've been there!).

Anyway, here are the 5 original unedited shots:

ZH3A8310 ZH3A8329 ZH3A8335 ZH3A8332 ZH3A8297

In order to make the composite look believable and not scream “PHOTOSHOPPED”, I had to completely replace the background, because as you can see from the above photos, there are some major differences in the lightness levels from one shot to the next.  So I basically created a nice, smooth gray background from scratch in Photoshop using the radial gradient tool. To put the finishing touches on the image, I darkened the bottom half to draw the viewer’s eye more toward their faces, where the focus really oughtta be.  Here’s the final result:

For further examples of my work, including high school senior pictures, baby & family portraits, and fashion & glamour, please visit my website at http://RussRobinsonPhotography.com

Questions?  Comments?  Please leave me a comment below, and click “Like” along the way!










Tuesday, June 1, 2010

An Exercise In Digital Compositing | WESLEY CHAPEL BAND PROMO PHOTOGRAPHER

What do you do if you've been asked to put together a promo shot for a band consisting of 4 members, and your studio space isn't quite big enough to pull it off?  Freak out and tell them you just can't do it?  Of course not......Photoshop to the rescue!

Not only does this method save you the hassle of trying to squeeze 4 people into a space that was really designed for a single model, but it also affords you quite a bit of flexibility in terms of shot selection.  In other words, you can mix and match the best individual shots to your heart's content in order to come up with the best overall composite.  So you basically don't have to worry about capturing good facial expressions on all 4 faces in a single frame.

Here are the 4 original SOOC shots:



Using Photoshop CS5's new masking tools, extracting a subject from a solid-color background has never been easier.  You just draw a rough selection around the subject with the Lasso tool, add a mask, and then use the Refine Edge dialog to decontaminate the excess color (in this case, white).  Then just take the individual shots that you want to composite together and drop them onto a large white canvas in Photoshop.

One last thing I had to do in this case was use the Free Transform tool to adjust each band member's size relative to the others.  In order to figure out who was taller than who in real life, I had to go back to a previous shot that I had done of this same band.  Of course I could have saved myself quite a bit of time by simply using a tripod and shooting each person from the exact same position and angle, but I'll just have to take that as a "note to self" for next time.  Anyway, here's the final composite:


Ever use this technique yourself?  Plan to use it in the future?  Please tell me about it in a comment below, and click "like" along the way!  :-)










Friday, April 16, 2010

Before & After, Episode 12 | NEW TAMPA MUSIC PROMO PHOTOGRAPHER

For this episode I'm going to show you what I consider to be probably one of the best examples of Photoshop retouching in my entire portfolio. This shot's got it all― from color correction, barrel distortion, tons of dodging and burning, compositing― you name it. I basically had to throw the kitchen sink at this one, because I wanted to absolutely knock it out of the park and give this band some proper representation for the awesome music they create. Here's the before & after image (hold your mouse cursor over it for 3-4 seconds to see the difference):



To the right is a screenshot of my Layers pallette in Photoshop.  Actually, this still doesn't even show several more layers that I flattened beforehand, and several other minor adjustments that I have made since, but it gives you a general idea of the kind of work that goes into a shot like this.  I would guess that I logged about 10 total hours on this one, which is much more than my images usually require.

  1. As you look through my pallette, working from the bottom, you will see that the first thing I did was use a B&W adjustment layer for some subtle contrast (simply change the blend mode to Soft Light).
  2. I then used a simple "defog" action that I wrote to add a little bit of midtone contrast.  
  3. I forget what I did in the next layer, but above that you'll see that I made use of a Photoshop plugin called Imagenomics Portraiture to clean up their faces a little bit.  
  4. The barrel distortion layer fixed the "lean" of my buildings so that they stood straight up (check the before & after image again to see the change a little better).  
  5. I later desaturated the image slightly using another B&W adjustment layer, and then dropped in a new sky.  
  6. The sky was too warm to match the lighting in the scene, so I cooled it off with a Photo Filter.
  7. Next I made use of yet another plugin, called Topaz Adjust.  I absolutely love this plugin for adding local contrast and a variety of other effects.
  8. Some other minor adjustments were made next-- a High Pass layer for some contrast and selective sharpening, and a screen layer with a mask to selectively brighten a couple of the band members' faces.
  9. Then some dodging and burning for selective contrast
  10. A Hue/Sat layer to take some of the redness and saturation out out the guitarist's face (I actually took his whole body from a completely different photo (lots of compositing going on for this shot)
  11. I then had to work on the sky with some blur to remove noise
  12. Next I ran my defog action again, but masked out everything but the buildings in the background.
  13. Lastly (but not really, since there were other steps later), I did some more dodging and burning.
If you have any questions about any of the steps above, or would like further explanation/clarification on anything, please leave me a comment.  Otherwise, if you just wanna give me some feedback-- good, bad, or indifferent, please do so.  As I mentioned before, I absolutely LOVE hearing your comments!








Tuesday, April 6, 2010

Before & After, Episode 11 | WESLEY CHAPEL SENIOR PORTRAIT PHOTOGRAPHER

This time around it's a double header, kiddies...so strap yourselves in and let's take a ride.  ;-)

The first image you'll already be familiar with, since I presented it in my last blog post.  I did receive a few questions from readers about the distracting background, and my response was that I simply wasn't shooting for portfolio images (and therefore didn't really care about it at the time).  However, I later realized that I had originally promised my "model" that he'd get a Facebook profile pic out of the deal, so off to Photoshop land I went....

I extracted him out of the original background using a tool called ReMask from Topaz Labs.  It's a fairly decent "quick and dirty" extraction tool when the item you're trying to extract has a fairly well-defined edge and there is clear separation from the background.  However, I wouldn't use it for anything too complex, because it starts to get a little squirrely with your edges, and you'll end up saying a few more curse words than you would if you had used a REAL extraction tool like Vertus Fluid Mask.  Anyway, I digress.

I found a nice stock image of a Nissan 350Z on Flickr (photo credit Jeremy Cliff), and decided it would make a much more appealing backdrop for my model, since he also happens to drive a 350Z.  I dropped him into the scene as a new layer, used the free transform tool (while holding the Shift key, which constrains the proportions) to adjust him down to a smaller size relative to the car, and proceeded to make all sorts of adjustments to the lighting.  That's the real key to making believable composites-- you absolutely *have* to pay very close attention to the lighting or it will scream "PHOTOSHOPPED!".

Anyway, when all was said and done there were a number of adjustment layers......mostly Curves and Levels with different masks applied, and also a couple of Dodge & Burn layers.  Sorry that I didn't take detailed notes of all the steps I took, or I would gladly share them with you.  I'm more than willing to answer any questions you may have about the process, though.  So here's the before & after image (roll over it with your mouse):


The second image was taken in my studio that same day, and basically he was laying on his belly with a Lastolite TriGrip Reflector under his elbows and a beauty dish above his head.  It was inspired by an image I had seen on legendary high school senior photographer Kirk Voclain's website a couple of months earlier.  As far as post processing:

  1. I cleaned up his skin a bit using the High Pass filter (here's an excellent tutorial on this technique)
  2. I added some additional contrast using another High Pass filter (again, here's a great site explaining 3 great uses for this filter)
  3. I enhanced the color of his eyes by creating a new layer, lassoing his irises with the elliptical marquee tool, filling the selection with a bright blue, changing the blend mode to Color, and reducing opacity to taste
  4. For the most dramatic change, I blended in a texture of a scratched surface, and masked out his eyes and most of his face with a reduced-opacity, soft brush.
  5. Lastly, I created a merged layer at the top of my stack (Ctrl+Alt+Shift+E) (or Cmd+Opt+Shift+E for Mac users), added a Gaussian Blur, then applied mask using the Gradient Tool in linear gradient mode so that only the top and bottom edges of the photo would be a little blurry.  Kind of gives the photo a little more interest, and helps to draw the viewer's eye to those of my model.
Check out the before and after below.  I think the image has much more drama and "punch" now, don't you?  Please let me know your thoughts by leaving a comment.  I absolutely LOVE hearing your feedback and all the many different fascinating perspectives you share with me.  It's what truly makes this all worthwhile.  Enjoy!










About Me

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Tampa, FL, United States
I'm a commercial photographer in Tampa, FL specializing in band & musician promos, CD covers, press kits, posters, and the like. Please feel free to check out my website/blog using the link below, and give me a shout if I can be of service to you!

http://TampaBandPhotos.com

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