It’s Monday — and #5 is a alive! This is kind of an obscure feature, and it doesn’t always work 100% of the time (what does, right?), but when it works, it’s pretty awesome. It allows you to match the overall color and tone of one photo to any other one you pick. It’s cooler than it sounds.

https://youtu.be/M9UKeA4YqA4

Hope you found that helpful. :)

Hey, can you help me spread the word to Orlando photographers?
That’s because I’m heading there in a few weeks with my one-day seminar, and I want to see lots of old friends, and make some new ones. I’m there on Tuesday, June 7th – if you know a friend in that area, can you let ’em know. Much appreciated. Here’s ticket info. 

Good a pretty cool tip for tomorrow, so come on back for #6 in the series. :)

Best,

-Scott

This filter was added to Photoshop a while back, then Adobe took it out for a while, but now it’s back, but in a different place, and what it does is turn your photo into an oil painting in literally just one click. You have to watch the video to really appreciate how easy, and awesome, this is. :)

https://youtu.be/LukXUP83-B0

Pretty cool, eh? :)

Hey, come see me in Orlando or Ft. Lauderdale
I’m there with my seminar in just a couple weeks, and I’d love to see you there. Come out and spend the day with me learning, laughing, loving (loving?). Get your tickets right now…or miss the loving.

Okey Dokey, that’s it for this Friday. Hope you all have a great weekend, and we’ll see you here for more in my contining series…of love. ;-)

Best,

-Scott
Love man

Aviation Photography: Post-Processing Historical Planes with Moose Peterson
Join Moose Peterson as he takes you through his workflow for post-processing some of his favorite historical aircraft photos. Moose takes you through the basics of how he uses Bridge, Camera Raw, and Photoshop to finish his aviation photographs, and then each subsequent lesson builds on those basics and shows you how to tackle increasingly more complicated situations. In all cases Moose starts with the vision he had in his mind and his heart when he took the photo, and teaches you how to use the software to finish telling the story and evoke emotion in the final image. There’s no slider for romance, so it is all on you to bring your own passion and vision to each step of the process. From enhancing drama to making the subject come alive, Moose shares his tricks of the trade for creating the types of photographs that have been the key to his success.

In Case You Missed It
Make sure you also check out Moose’s class The Art of Air to Air!

Frank-15-Mei-2011-28

A while ago I posted the following online:
When you look at carpenters, you will not see them laughing at each other because of the brand of hammer they use. They know it’s all about the work they create, the end result.

Still in almost every workshop I teach, I will have attendees who think they can’t do something because of the camera (or even the brand) they use. In essence it’s all about the work you do, it’s just a tool.

Much to my surprise, some carpenters responded and told me that this was not true and that there are indeed (just like with photography) people that talk down to carpenters using a certain kind of hammer. To say my dream was destroyed goes a bit far but… Well I was actually a bit surprised.

Of course there are fields where gear is incredibly important like biking, racing, etc. that are highly depending on the gear. Fine tuning the car a bit more can be the difference between placing pole position and all the way at the back. The driver is also vital, but sometimes I wonder what the combination is; I think it’s mostly machine “helped” by the human driving it.

Now, with photography I won’t tell you that the gear isn’t important at all. I wish that were the case because that would make our passion a lot lot cheaper! But what I do want to tell you is that the human factor is incredibly important.

Our History
When my wife Annewiek and I were still living in our caves and I came home from the hunt with my dinosaur and could relax while Annewiek was preparing our meat on the BBQ, I couldn’t watch TV so I started drawing on the caves walls. I didn’t draw beautiful women in tiger skins (realize the women back then were also carrying weapons). What I drew were literally stories about my heroic adventures and how I discovered fire and later the wheel. Fast forward to our pyramids and we also used drawing/imaging for story telling.

For me photography is not only story telling, but I do like it if most of my images (if not all) have an element of story telling.

What Is Story Telling?
When you talk about story telling, for a lot of people this means letting the model/sitter do something. Add a REAL element of a story and this is 100% true. I would rather call this a concept shoot, meaning you really tell a story.

Nadine Juli 9 2015 0091

For me story telling is more adding some elements in a shot that make the viewer go, “Mmmm I wonder what he/she is thinking?” or, “What is going on?” It can be done with a simple element like a camera, but it can also be done with something like an expression.

Sometimes people ask me why most of my models look away from the camera. I think this is actually part of that story telling element. If a model looks straight into the camera, this can be incredibly powerful (don’t get me wrong). However it can be even more powerful when the model isn’t. Then the immediate question becomes, “Where is she looking, what’s going on over there?” Hence your story telling element.

You don’t have to write a book with your one image (or more), but just try to give your model something to work with. You can give her a camera in her hand, but you can also make her work that camera like she is taking selfies etc.

Nadine Professional Imaging - 41 March 12, 2016

Backgrounds
The story telling can also be with your backgrounds. We all know seamless backgrounds right?

For me they were awesome when I started with my model photography. Then slowly (but surely) they lost a lot of their appeal for the simple reason… There was nothing going on. BUT…. You can use your backgrounds in a totally new way and combine some ideas, and you have a totally different image.

Whenever I teach a workshop where I “have” to use seamless I always ask them if the seamless can be destroyed after the shoot, and luckily they always say yes. I see it as my “trash the dress” shoot. You can actually start very easy.

Karina Feb 13 2016 Phase One workshop NY 0064

Combining different options really creates something cool in my opinion. For example combine this with the camera.

Karina Feb 13 2016 Phase One workshop NY 0099

Or let the model do something more….

Karina Feb 13 2016 Phase One workshop NY 0067

In the end it’s all about your creativity and your mind.

I don’t always work on concept shots because most of the work you see me posting online or find in my portfolio is shot during workshops or during trade shows where I often don’t have the options to do elaborate shoots with big sets. I literally have to work with what I get.

But even then just working with a little bit of styling and proper coaching of your models goes a LONG way.

As you can see in this example, it’s a shot that isn’t hard to create, it’s just in our studio. But I’ve added some smoke to blend everything together and I mixed light sources to create a more surreal look. The whole idea of them looking somewhere and the male model holding a “device” makes it a bit more mysterious (story telling). Your mind will fill in the blanks, and the fun thing is… Everyone will do it differently. That’s also why I hardly ever name my images or add stories to them. I think it’s more powerful when the viewer does that. Because your imagination is much stronger than what I can write down.

Nadine Februari 27 2016 0044

As you see in the example above, although it was just shot during a workshop with the concept of mixing light sources, a BIG part of the image is that you as the photographer determine the outcome. I could have just mixed light sources and explained the effect and technique. But by also pushing myself for a cool shot I also inspire the group to start doing this at home, because they see how “easily” it can be done. Don’t get me wrong… creativity is NOT easy, but it CAN be done.

And sometimes you are just incredibly lucky and everything falls together.

8

As you can see in the shot above I was very lucky. I shot this just before Photoshop World in Vegas during a trip to Nelson. We brought a model to film a scene for an instructional video. I asked her to bring a red dress, however by happenstance she also brought these angle wings. Lucky me there was a plane, so my mind immediately created… well fill in your own story there (see how easy it is? :D)

Do You Plan?
This is probably the most asked question… And my answer is… Well, yes and no.

Sometimes we plan a shoot and we will plan it from A-Z (and during the shoot it will be different). But we will have an idea for the clothing, location etc. and sometimes… It just happens. Remember that shot we opened with, Nadine sitting on a pumpkin with the sign pointing down? Believe it or not, NOTHING in that shot was planned. It was shot during a workshop I taught in the UK last year and we happened to stumble on this cute little shop creating props for kids attractions. We asked if we could use it for a shot and they said, “Sure but what do you see in this junk?” We just said, “Trust us.” Nadine combined the clothing and literally built the set herself in mere minutes. The only thing I had to do was to “blend” everything together, pose and lighting wise. You don’t want to know how many people ask us how much preparation that shoot took and I think half of them don’t believe the story I just told you, but it’s 100% true.

At one point you develop a sense for story telling.

During the workshops at Photoshop World you will see the same thing, I ALWAYS go in blank, I have a theme and things I want to teach, but everything else is 100% blank. This is also why my workshops and demos are always different, even if I teach two or three in a row.

During the workshop/demo, I guide my group exactly through my thought process and show them what I see/think/feel about a setup and what would work or wouldn’t. The fun/interesting thing to see is how everything is build up and how often we do change things during the shoot.

Now this is during workshops/free work where it’s all about the learning process. If we work for clients this is often too “risky” and I will actually create a moodboard for the team and client and try to stick to that moodboard. What I do always build in is options to change things. If you promise smoke to a client and the smoke machines don’t work or are not allowed you’re…. well…. you know what I mean :D If you however promise the idea/suggestion of smoke you can always solve this by for example using lensflare, breathing on the lens etc. So never pin yourself down too much.

Conclusion
The human mind is a crazy thing. It’s incredibly flexible and creative if triggered, so learn to play with that. But don’t go in like a blind horse, make 100% sure you also have the knowledge to pull things off. Although I’m a very creative shooter I know all my techniques, I know how to meter, how to make sure my color and exposures are correct, I know how to create the effects I need. I hate to rely on the “pffff we pulled that off but I don’t know how.”

During workshops I always tell people to bring everything when they ask me what to bring. It often happens I’m only shooting with a 24-70 the whole workshop and one light source. But it also often happens I’m using a 12-24 and several lights. With creative people you never know. Look at the set and let your imagination go wild, but most of all… If you know something works, use that as a backup and start with something new, something exciting. You can also go back to safe, but if you only shoot what you know will work, you will always end up with the same images.

HyperFocal: 0

You can see more of Frank’s work at FrankDoorhof.com, and follow him on Instagram, Facebook, Twitter, and YouTube. You can also see Frank live July 19-21 at Photoshop World in Las Vegas, and July 15 in Santa Cruz for his Mastering The Model Shoot Workshop!

OK, we’re back with another — this time it’s three little features/options/shortcuts/whatever for the Move tool and they are actually pretty darn handy (One I use multiple times every single day — don’t know what I’d do with out it). Check ’em out below (it’s a really quick video):

https://youtu.be/KJ5h8-AVaUQ

Hope you found that helpful.

frankiemodel

Tomorrow, my guest blogger is none other than Amsterdam-based Fashion Photographer, Book Author, and Educator, Frank Doorhof
I love Frank, and have learned a lot from him — make sure you check out this post tomorrow (PLUS: if you live in Santa Cruz, he’s doing a one-day workshop there that will blow your mind. What an opportunity! Here’s the details).

Have a great Tuesday everybody, and we’ll see you here tomorrow for Frank’s Guest Post. :)

Best,

-Scott

 

Hi folks – sorry I missed posting on Friday – I was out in San Diego for my seminar, and by the time I got back from a dinner/meeting and the seminar and all, I was too whipped to write so I called in “lame.” However, I’m tan, rested, and ready (well, ready anyway), so here is #2 in my series.

This one (below) is a feature Adobe snuck past a lot of folks — they didn’t make much noise about it at all, but it creates a lot of the cross-processed and film looks that are all the rage these days. Check out the video – it’s actually pretty cool, and gets you those looks without having to buy a plug-in.

https://youtu.be/TCXRkDNsCmE

Hope you found that helpful.

Quick shout out to the photographers in San Diego
Many thanks to all the folks who came out to my seminar there – had a great time meeting everybody and just love any chance I get to be out there. What a great city! My next seminars are in Orlando, Florida and Ft. Lauderdale, Florida next month.

Hope you all have a great Monday, and I’ll be back tomorrow with #3 in our series. :)

Best,

-Scott

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