Film Grain Look

I enjoy being behind the camera and working as well as exploring techniques by using myself as the model. Photoshop is and has always been a massive piece of software that allows you to work in ways that the commercial world needs to have images that have impact and sells something, and allow the photographer to be creative in bending the original image in a way that looks so different from the original.

Some may say that’s a bad thing and doesn’t make you a very good photographer, because you need software to create for your final image. Lighting, locations, and a studio can give you so much, and if you were working in film, then it would be down to the darkroom and chemicals, light, shadow and the tick toc of the clock that will allow you to make the image look as you want. So either way a photographer uses some form of editing to come up with the final image and I think both are just as time consuming as each other.

The original image was done in my studio with the help of a backdrop and lighting, the lighting is the important part of the process of the studio as it depends on the tools that you use with the light, like a softbox or beauty dish for example. You may use more than on light to get the look your looking for and moving the light forward or backwards and up and down will cast shadows in different ways.

Working in a studio gives you an idea of what lighting can give so you can put what you learn into practice when it comes to working with a client or model. For instance with this image, my main thing was to not have light reflection in my glasses, this is so difficult to get right, but by working with the lighting, you get the right look.

Today this is such a small part of what makes the final image as its ends up on the computer to be worked upon to give so many different variations of what is decided to be the final image.

So this is one variation of the original image that has that film and grainy look that’s done on purpose to give an effect that makes the face pop out of the background, and that strong look of the hand clasped so tight that the knuckles look almost white by the strain.

I am middle aged and yes I could of made my skin look smooth and vibrant, but that’s not the look that I was going for, I think it wouldn’t suit my personal look and would look tacky.

There’s no point in going through each layer that I produced to the image as this write-up isn’t about that and there are plenty of YouTube videos that can explain it better than me. What I can tell you is that yes I did remove blemishes that stood out that I removed, but the rest of the work is based on adding adjustments to contrast, exposure, adding what is called cures that adds either light or shadow to different point in the image. Brightening the eyes is a point that’s worked on to show a central point to the image. Then playing with the colouring and adding graining to the image is what gives that very different look the whole view of the image.

In total there are twenty-four layers to the image and there is two stages to the image.

Stage 1.

Original image.

Stage 2.

Removing blemishes, working with curves, levels and vibrancy.

Stage 3.

Working with curves, vibrancy, selective colour and graining is the final stage to the image.  (see image at top of page).

The thing I love about this kind of work is that you can do one style on an image and then come back to a few weeks later or even months, and then come up with a whole new style to the same image.

This took just over and afternoon to complete with a few brakes in between, as you need to come away from the screen for a while to look at something else before going back, its then that you may decide that something you’ve done just doesn’t look right and can go backwards to a point that you can begin work again.

Post editing is styling an image, and when you’re doing it for yourself then you’re the only critic till you share it with others. Some will love it, while some will hate it, but that’s photography for you and you have to take others critique on board as it’s a way of learning.

 

24HRS in Bristol Competition 2014

This year I signed up for the competition thats about photographing Bristol over 24hrs, each photographer gets a set hour to photograph within that hour.

This is the image that I took and entered, I called it ‘holding onto our heritage’.

There were over 900 images taken during the 24hrs and four judges had the job of choosing three images from each hour to go through to the final. The final included having your image as part of an exhibition to be held at the end of the event.

For me the idea of making it through to the final and having my photo on display was what its all about, even though there was some great prizes. My image was part of 72 images that made the exhibition and a great achievement that I'm so delighted about that I wanted to share this on my blog.

Summer break is over :(

Summer break is over L

For those that read my blog will know I'm doing a foundation degree in professional photography.

It’s kind of funny in that when you’re doing the school run with the kids and then they have their summer holidays; it seems to go on for ever! But when it’s you, time seems to have whizzed pass and you’re into a new year and you have to get your head into that mode once again.

It’s been a nice break, but at first I felt I should be doing something like research or my head buried in a book somewhere. But I’ve kept myself busy and done a few paid shoots and then there was my own little project on photographing myself and taking part in Bristol’s 2hrs in Bristol Competition which was a marathon. I did a fair bit of studio work as I know the beginning of the new year there will be a lot of that, and what with a new camera I had to get some new equipment to be able to get the camera to work with studio lights. I also invested in a beauty dish and some reflectors and tried them out in the studio; the beauty dish does give some really good lighting on a person. I read somewhere that to use a grid for a man and white diffuser for a woman; to me they both had their advantages depending on the image.

Buying gear is really down to how deep your pockets are and whether you look around for a good deal. I've looked at some video and images taken with well-known brands and the cheaper end seems to do just as good a job as them. Of course a lot of the work is done in the post editing and that’s something else that I've been working on what with composites and skin texture.

I think the summer break has given me the chance to digest what I've learnt and to put that into practice, when looking through the viewfinder I don’t just concentrate on the main part of the image but look at the sides and try different angles on what I'm seeing. Getting critical with your work has got to be a good thing, right?

One of the last things that I've invested in was the X-rite Colorchecker passport. I've read a lot on the subject and many professional photographers look at it like a bible, it does help get the right white balance and colouring, it also now works as a plug-in with Lightroom and saves a heap of time getting those batch of images right. I've had my monitor calibration software for some time now so everything works in sync.

The very last thing to mention is tethering my Sony A99 through Lightroom. I did download the Sony software but you really have to go round the houses in getting the dam thing to recognise the folder you want it to use, it can take me 15 minutes before I have it right, which is not good with a client sitting and waiting. So I was looking round the web and came across DSLRSoftware.com who boasts about their piece of software that works direct with Lightroom as a plug-in which is called DNA capture support. It’s about £18 but they do allow you to do is download a free version to try out, this has their watermark come up all over your images. But it’s brilliant, you start the tethering after connecting the camera to the laptop or PC and you just name the file and away you go your connected and taking images. Displaying images on a larger monitor than what’s on the back of your camera or through the view finder, gives you the full view of what you’re doing and gives you the chance to make changes on the fly that maybe you wouldn’t of done if you just went with the small view on the LCD screen or trying to enlarge the image on there. Sometimes it’s the small things that make that job just a bit easier to do and can be a real time saver.

So am I ready for the new semester, well I think so. I'm for ever creating ideas in my head for an image with a certain look to it, and maybe I will be able to put those together now with what we’ll be asked to do in the workshops. So into my second year of a great course that I totally recommend to anyone thinking of doing something similar and to catching up with friends I've made at college and to new ones that are just starting out in their first year.

Thanks for reading, AndyD

The Photographers Ephemeris (TPE) App

The Photographers Ephemeris (TPE)

Today, not many of us DON’T walk around with a mobile phone that does more than just be a phone. We can read emails, shop online, play games, play music, make videos, and of course take photos or selfies.

This list can go on and on, but finding an App that actually does something for photographers that use an external camera, is something that is getting better.

The Sun and Moon

Here's the thing, you find this great location that over looks a city or landscape that you think would make a great image for a sunrise or sunset, or maybe you would like to capture the full-moon on the horizon. But how do you know what time on a certain day the sun or moon will be there and will it be in the right location?

You could take pot luck and drive back on and evening or get up before dawn to find out, but what then if its all been in vain and you've struck out and it won't happen at that point of reference, your not going to be happy at wasting time and effort.

TPE

This is one of the very best apps you could possibly buy for your phone, the Photographers Ephemeris. You don't even have to go to the location as you can look over the map or do a search on the road or point that your interested in and just drop a pin. Straight away it will show you the sunrise, sunset, moonrise and moonset. And even have realtime of which direction the sun or moon currently is. It comes with a compass to show your direction in comparison to where the sun or moon will fall at a certain time of day or evening. You can go to a date in the month to see not just what time sunrise or sunset will be but the positioning will reflect the change of date.

You can save locations, so you can go back at a later date or time of year, you can view the area in so many map types as there are many to choose from. Its all there in one app for where ever you are in the world or looking to go to.

Desktop Version

Screenshot of desktop version

This version is just as useful and is free to use as its web based. you get the same info and you can bookmark references from your search.

There are so many times when your photographing a landscape, you think the location might have a great sunset or sunrise. So with the phone app, you have all the info at your finger tips, no more trying to predict where and when.

If there was one thing that I wished it did, would be to sync with my iPad or laptop, maybe this is something for the future releases.

Thanks for reading, AndyD

Doing a shoot on a budget

Next weekend I’ve got 6 locations to photograph as part a competition I’m entering and I’ve decided that I want to add more to one of the images and have that dramatic look to it.

Locations

When you know a city so well, its difficult to find a secret spot that maybe know one knows about. I’ve spent over 4 weeks looking at Google satellite maps to find areas and then driving to them to see if they might work out or not. With that said, I think I’ve got it covered.

Adding to the image

The idea of the competition is to photograph the city, and with that thought maybe just photographing the view of a location or some street photography, I want to add a feature to the image that wont take away from the scene but be part of it. So I’ve enlisted the help of a friend who’s going to act as a model for me, this guy has never done anything like this and never really likes having his photo taken, but he seems to trust me for some weird reason, which I’m very thankful.

The Image

With one of the locations, I’ve got this image in my head of the location with this figure standing there and smoke behind them to add effect, but not hide the full scene of the location.

The Options

So I have a few options, hire a smoke machine, buy a can of smoke from Maplin’s or use smoke emitter pellets. The first is not going to happen as it cost to much for what this is, the second really only works in a studio and you need an assistant to help, so that leaves the smoke pellets.

Amazon seems to sell most things and even smoke pellets that are normally used to seek out problems with your chimney and seems like a possible use for this image.

So a small package arrived in the post this week and I have 10 pellets to work with. To see what the smoke was like, I lit one in the garden and for about a minute the garden was full of this white smoke!

The problem is that the smoke comes from one point on the ground and looks more like a rescue flare that’s been lit, I want the smoke to spread and be even in length across the ground.

A bit of DIY

So with some searching on the web and racking my brain, I came up with the idea of some kind of tubing that could have holes for the smoke to break through. The pellets do give off a bit of a smell, which you don’t want to be to close to and sucking in the smoke, and the pellets give off some heat as well, so the tube needs to be heat resistant. After some searching I came up with aluminium semi rigid flexible duct that used in pluming and heating. I went to my local B&Q and found a piece that’s 1.5m long and was damaged at one end, so with a bit of bargaining I got it for £5!

What I’ve done is put in about 15 holes in the tubing so that the smoke can filter through, and at the damaged end I’ve squashed it so the smoke can’t just go out through that end. I did a test this afternoon and found a small tin we have to put the pellet in and makes it easier to light and place in the tube, then blocked off the end with a piece of card with good old gaffer tape.

So guess what, it works a treat! The pellet gives off about 60 seconds of smoke and with it being confined, it comes out of the holes slower and spreads evenly.

Conclusion

Now I don’t know for sure if it will work on the day, but its cost me less than £15 and if it doesn’t work, it wont take anything from the image I will be creating, this would just add to it.

I’m going to have to work with my model and explain how its all going to work and point out that they will have to light the pellet and then run into position and pose, if nothing else it will be fun and a laugh.

I guess the point is that with a bit of imagination and research, you can come up with the same kind of thing that’s done on large sets, just on a smaller scale.

I’m hooking up with my model tomorrow to take them round to the locations so they can see what will be needed and done for the real thing next week. It will give me the chance to see how they will fit in with the image I have in mind for each of the locations and where best to place them. Its all good having it in your head, but can be different when it comes to the real thing, so this will save some time and maybe give me other ideas for what I want him to do.

Once I’ve posted the images to the competition, I will post copies on Google plus to show how good of bad they image came out, who knows it might be a winner as that’s the reason for entering the competition in the first place.

Thanks for reading, AndyD