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How to show off your images in a retro viewmaster reel

English: A GAF View-Master Viewer Model G red....

English: A GAF View-Master Viewer Model G red. Italiano: Visore View-Master GAF Model G rosso. (Photo credit: Wikipedia)

Do you remember the viewmaster with the wheel of pictures? You know the ones, pictures of national monuments, theme parks, cartoons and the like. You would insert the wheel of pictures, hold it up to the light and, klunk, wheel rotates, klunk, wheel rotates and on and on.

You can still buy one of these machines today and look at Hot Wheels or any of the old wheels so long as you have a bright light handy.

So why am I bringing this up? Because I was trying to work out in my head the other day how to show off some pictures from my 4th of July party and I was inspired to make and fake a View Master picture wheel as a prop of sorts.

A bit of googling and I found the perfect template created by ScrappinCop in the form of a Photoshop PSD file ready to go. So one template download later and we are off and running.

I did make each image a clipping mask to ease the adjustments and cropping. I used the transform tool to resize images to the dinky openings. And I make each “image” a smart object so I can go back and swap out the image pretty easily.

After I put my images in the openings, I added a used paper texture to the wheel so it had the used and aged look to it.I selected all the openings and outside edge and added a brownish stroke of 1 pixel to set it off against whatever background I have on.

Here is what I ended up with as my vintage prop to show off my images in a unique way. Go ahead and give it a try.. it was a lot of fun to do and everyone liked the results as a fun way to show off a collection of images.

Vintage View Master Wheel of Personal Images 4th of July

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Shooting Portraits with vintage cameras and film

Who says film is dead? Not by a long shot around here. I just got a roll of 120 Ektacolor Kodak Pro 160 film back from the lab and scanned in a few of the negs. I shot this roll of film using my 1958 Yashica model D TLR (Twin Lens Reflex) camera. This camera is older than I am by a few years and after 90 dollars for refurbishing, it takes awesome pictures with that great vintage depth of field and “feel” to the picture.

 

Portrait using Yashica 120 film camera and adjusted with photoshop CS5This picture was taken out the front door of my house and I took two of them since the girls would not sit still and were goofing around.  So it’s a bit of a marriage of modern software using CS5 Photoshop and vintage film. I did a head swap on the center subject and did some basic color balancing and sharpening.  But that is pretty much it and what you see is what came out of the camera.

It only takes a few days to get the film back from the lab and then I load up my Epson 4990 and scan away. Once the film is scanned, I treat it like any other digital film with one exception, I do not run any noise reduction software on it. The grain of the film is a significant part of the charm of the look and feel of film and I dont want to loose that to overly agressive software.

The one thing that a photographer who is not used to with film is the wide exposure range. What normally would abruptly blow out is a nice gradual blowout and even then, you can still pull back detail that a digital file just will not  have available.  The key difference is that film is analog and has several stops of latitude (except slide film) where as digital has about three stops, maybe four stops on a really good day and IF you are shooting RAW. This is why when I first starting shooting digital in 99, I had some issues with getting my exposures correct. I was used to shooting for the shadow details since I could always bring the highlights back with more printing time for that part. Digital required me to shoot for the highlights since when the numbers hit 255, there was nothing left, not even a trace unlike a film negative.

This is probably the biggest gotcha for anyone new to film who has only shot digital. It is a small but critical item for the photographer to know and to remember as they switch around from film to digital and back. But, as you can see, when you get it nailed, you get some really cool images. Long live film 🙂

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More hotlights and vintage portraits

I’m have a ball with my new hot lights. The vintage portrait project is coming together as I work out how to use the lights, get Lightroom and Photoshop to rework color to black and white and get a good workflow down. I’m also relearning how to shoot film as part of this project.

So the last entry on this subject was about shooting with a single light and this week, I’ve taken it to two lights. The idea is to provide some fill and highlights. And lest you think that one needs an expensive studio or alot of room for this style of shooting, that could be further from the truth. The sample shot I have included this week was taken in a 5×5 space right in front of my front door entry way with some white polarplus gaf-taped to the wall. Pretty low tech if you ask me.

So here is the “studio” shot. I have used my Wacom to mark it up a bit. As you can see, not very high tech at all or expensive.

Vintage studio in house marked up

Vintage studio in house marked up

But the results you can get are pretty amazing. I used Lightroom and Seim’s Power Workflow 3.0 Snapped B/W as my basic conversion from color to Black and White. I’m not sure if I’ll stick with this one but it’s a starting point. I then moved it into CS5 and used Focht’s Touchflow Palette to smooth out skin and add a touch of pop. I also used my Wacom to paint in and paint out extreme shadows, hot spots and such.

Blowing a kiss to fans

Blowing a kiss to fans

Not bad for the price of a doorway studio huh? I’ve found a book at Amazon called Hollywood Portraits: Classic Shots and How to Take Them
which goes into quite a bit of detail in how the old school Hollywood shots were created so that has been ordered. I’ve also ordered up Nik’s Silver Efex kit since it’s on sale at Adorama for a killer price. And yes, it soon will be 64 bit which makes those of us running 64 bit Photoshop very happy. You can download a free 15 day trial from Nik and give a workout to see if you like the outcome but I have to say, it makes some really nice B/W conversions.

I’ve mentioned the clone of the Arri lights before but here are the real deal if you are inclined or feel more comfortable with the brand named item. This can be very important if you want to rent out the kit as grip equipment or the like. This is the complete kit with 3 650 watt lights, roller bag, stands, barn doors etc.

 

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Controlling your light

They say that shooing portraits in broad daylight such as high noon is nuts, that it cant be done and that anyone with sense will avoid it like the plague. Most times these experts are correct but one of the things that a professional photographer has to learn is to adapt and make things work out the way they need to. So with that in mind, let me tell you about my weekend of shooting Santa Claus.

I got an email from a acquaintance asking if I would possibly be able to shoot a session involving Santa Claus, families and a public park with four days notice. I had to juggle things but I replied yes, for a small fee and the list of names of the families with their email addresses. Now shooting this event was going to be a royal b**ch since it was going to be a  public park and starting at 11AM then running till 1PM. No tent, no cover of any kind. The last four years showed snapshots taken with on camera flash blasting the families to overpower the sun. Last years was pretty underexposed since it had been a grey day and the camera didnt get the settings right.

I decided to raise the bar and execute this event better than anyone there had seen before. I have a very cool Christmas themed muslin backdrop that is pretty decent quality and I have several 20lb sand bags. I also have reflectors but no portable strobes yet. I was bummed but I could not find a battery pack to run my Photogenics or get a small generator on such short notice. So I ended up using my SB800s instead.

I put up the backdrop, doubled it over to keep light from leaking through the back and had the back facing the sun directly to get the most shade I could. I put 25lbs of sand on each leg (ended up with 50lbs before the shoot was over) plus two 10 lb bags clipped to the bottom of the shortened backdrop to keep it from flapping around. I did not care about lighting it separately as there was so much ambient light, I didnt need to. On the SB800, I used a 1/2 cut CTO gell to squash the bluewhite “daylight” look of the flash. I prepped two more flashes with batteries ready to go. I had a spare body prepped and ready to go.

I put Santa in his chair and metered him using my older but reliable Minolta meter, the camera meter gets very confused with this type of shooting so I dont trust the brains of the camera. I then put everything on manual, dialed it in and shot off several images with my 17-55mmF2.8. I ended up going with my 1.4 50mm at F10 and ISO 200. The shadow was just long enough to keep me in shade without too much flare in the lens. The images did need their black points pushed way up as they were flat. I knew that from the first few pictures. I used a gold reflector to throw a dash of golden light on Santa Claus and the clients. The SB800 was dialed down -1/2 exposure compensation to avoid blowing out skin tones knowing that by shooting raw, I can easily dial it in.

You can see here the extreme differences between the sun and shade of the backdrop. I took this with my iPhone to avoid screwing with my numbering sequence on my shooting body.

Park shooting set up

Park shooting set up

So I ended up shooting about 40 families over three hours. Everyone had a lot of fun and everyone was blown away by the backdrop. But when I showed off the images, jaw dropped. The images really looked good and nobody believed that they were shot at noon and in a park. The grass was not a problem because 99% of the shots were “head shots” style.

Santa Claus with vintage treatment

Santa Claus with vintage treatment

Final Santa Claus image in park

Final Santa Claus image in park

Now that we had the shots, I used BayPhoto’s ROES software to make up the Christmas cards. My client was giving away a free Christmas card and we settled on the 4×8 photo card. I used Bay’s templates and treatments to make a simple card with a place for my friend to sign his name.

Christmas Card from Belmont shoot

Christmas Card from Belmont shoot

So in the end, with about 400 dollars in studio stuff that I already had from past shoots and 30 minutes of set up time, I was able to produce killer event shots of Santa Claus in a public park at high noon. I did this by using quality parts, by knowing how my equipment works and most importantly, how to work around problems on the fly. Were the images perfect out of the camera? No, they were not. They were flat and washed out even though they were correctly exposed based on the histogram. Thats partial due to the 50mm lens I shot with it. Partial from having to be very careful shooting into the light even though I had shade, there was still some spillover from the top of the background. But with shooting RAW, a few simple adjustments applied to each image and they all snapped into place.

So dont take the common wisdom as gospel like “you cannot shoot portraits at noon” or you can not use onboard flash effectively and so on. When you know your equipment and you know how light works, you can do amazing things when others say you can’t.  I have a happy client and 50 new possible clients who saw me shoot under difficult circumstances and still nail the shots.

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Review of Knoll Light Factory for Photoshop

I was given the opportunity to try a new plugin for Photoshop by Red Giant Software called “Knoll Light Facotry for Photoshop”. It’s a pretty nifty plugin that gives you access to over 100 preset types of flare and lens reflections. These open up a new creative angle for your images. They can add a whole new dimension or they can enhance flare already there. You can even build up your own presets using custom elements and settings. The claim is that the effects are based on real physics and I have to say that as a non-physics major, I think they look really good. You judge for yourself.

Some of the product highlights are:

Here is a screen shot of the user interface in CS5 Photoshop. You can see that it’s very clean and easy to understand. One of the best features for me is the real time preview of the effect as I dial in different adjustments or add/delete elements of an effect.

Knoll Light Factory Plugin UI

Knoll Light Factory Plugin UI

The system requirements are pretty easily met by any recent OS and hardware. For my demo, I used a MacPro dual quad workstation with 14 gig of RAM. I did run LR3 and Cs5 in 32 bit mode to get a better handle on how the software would perform under memory constraints. The performance was very good, no slowing that I could detect and no stability issues of any kind.

Apple Macintosh

Mac OSX 10.5.8 and later
Intel Mac
1 GB of RAM
30 MB of Hard Drive space

PC / Windows

Windows XP 32-bit/64-bit
Windows Vista 32-bit/64-bit
Windows 7 32-bit/64-bit
Intel or AMD processor 1.6 GHz or higher
1 GB of RAM
30 MB of Hard Drive sp

For this demo, I used and image I shot at Disney’s California Adventure of a Dobro player. The lighting was good and bad, good that it was shade but bad in that the shade did not do justice to the chrome resonator of the Dobro. Enter Knoll Light Factory. I used Lightroom 3 to dial in my basic adjusts which were a preset called “Heritage” from Power Work FLow 3 , fill light, contrast and dialing down the red channel a bit. Nikons run a bit hot on the red channel and I almost always bring it down a touch. If you have not seen PWF3 from Seim Effects, you should check out Gavin’s work. Also, his podcast is pretty cool so check them both out.

Once I had the basic edits in place, I opened CS5 Photoshop and loaded up KLF. What I wanted was a starburst flare on the chrome, it would be a low key effect but very effective at drawing attention to the metalwork.

Here is the basic image before I applied the KLF effect.

Prior to Knoll effects added

Prior to Knoll effects added

And here is the image after the effect as been applied. The effect took less than 2 minutes to decide on, place, adjust and save out. Now you would be very hard pressed to know that I was in total shade shooting this.

After Knoll flare applied to metalwork

After Knoll flare applied to metalwork

After working with the plugin for a few weeks now, I have to say that I’m pretty happy with how easily I can add/enhance flare in my images. One must like flare in images to really enjoy this plugin so it’s not for everyone, I mean, after all, major camera makes spend alot of money to PREVENT lens flare but there are those of us artists who really like it and will use it with abandon given a chance 🙂 So whether you are an artist of flare or curious, I would suggest to get the demo and try it out.

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Painting for Photographers

The title is a double meaning, one is the obvious meaning, how can a photographer “paint” their images. The second is a reference to a book by Karen Sperling called “Painting for Photographers” which has been a guide for me while I explore how to use Corel Painter and Photoshop CS5 to change images into paintings.

I am a photographer, I am not a painter or at least I’m not in the classic sense of the word. But, as a portrait photographer, I use light and shadow just like a painter does to add texture and depth to my subject. Karen’s book really helps with understanding what makes a painting work and why it is different at times than a picture. I will say that while she is mostly oriented to the user of PainterX or Painter 11, she does not leave out the CS5 users who have the new bristle brushes and blending modes. Much of what she teaches crosses over to both. For example, when painting in the background, things like transitions, blending of hair, using different brush textures are not specific to one application but can be used by many different applications.

Karen shows alot of information on different styles of images using “chalk”, “watercolor”, “sponge” and more plus what makes each work for a particular style of image. You would not want to try to take a dark dramatic image and try to make it a watercolor. It would not look or feel right. Oils can lend a sense of formal stature to a portrait and sponge can really make a landscape pop with texture. Karen has all of this and much more in a relatively thin book.

What does all this mean to a photographer? Another revenue stream is what it means. Seeing a “painting” that is on canvas and LARGE is impressive to clients.  Most people really do not understand what a painting is all about, they are used to seeing pictures and snapshots. When they see a large portrait with the drama of blending and texture, they “get it”. And it’s unique enough that clients who really want that something “special” that few others have will be very interested.

So what can you paint? Portraits of all kinds, wedding shots are common because they lend themselves to a painted style of image. Landscapes are another type of image that works really well as a painting. Virtually any type of image can work with the right kind of technique.

I have a small gallery of a current project that shows the transition from a nice normal portrait to a painting that looks really nice. I’m still working on it and learning some of the fine points. I will say that you need to get used to using layers. I have several layers of painting so I can try different things and not ruin work already completed that I’m happy with. One of the big differences between the un-retouched and the painting is that I was able to really clean up the eyes and catchlights by painting. A second huge improvement was made to the overall image by the removal of the background to a more artistic painted background. One thing to remember with a painting is that you paint out alot of small details and use large details to carry the painting. This is true for most paintings and one of the hardest things for a photographer who has spent a fair amount of money to get megapixels of detail to turn around and paint out all the tiny detail. Why? Because it would never show in a real painting and since you are making a painting, you need to work like a painter. I personally find I like to blend the two where I keep some fine detail and lose other detail. But that is just a style of painting that I find myself falling into. Everybody has their own style or will have their own style just like their photography.

Digital Wedding Painting Bride

So what do you need to start painting your photographs? You need some type of software, normally Corel Painter or Photoshop CS5. You can do this with a mouse but I can not too strongly suggest a tablet like a Wacom tablet and pen. The control you get from using a tablet/pen is unparalleled compared to a mouse. With the pressure sensitivity of the pen, it gives you the feel and touch of using a real paint brush. So now that you have software and a tablet, what else? Find a picture you want to make into a painting. I did forgot one important item, you need to read Karen’s book FIRST and then use it as a reference as you start your painting. I will say this, while painting with Corel Painter is well documented, painting with CS5 bristle brushes is not nearly as well supported at this time.

To the end of trying to find some help for those with CS5 and not Painter, here are some links to help explain how to use CS5’s blend modes and bristle brushes.

Peachpit Press #86 Using the Mixer Brush

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Lights, Camera and Action!!

Back of a Blu-ray Disc. I took this.
Image via Wikipedia

Oh yeah.. baby loves video 🙂  So I finally bite the bullet and bought ProShow Producer by Photodex. I used some images from the Westcott photoshoot at Photoshopworld as a test for a quick and dirty slide show. I tossed this together without reading ANY docs, just ran the wizard, clicked around a bite and off we go. In less than an hour I had pretty much made this show which included finding music on the internet.

Now I need to really dig into the software. It can do so much like layers and masking on the slides.  It’s a lot easier than Premier and I like the end results more than Animoto. A cool part is that it has a kick butt “create” menu panel. Anything you would like to export the show into is there. BlueRay, DVD, self contained EXE, Flash, Youtube, Facebook and more.  Way cool and one of the best export panels I’ve seen for video like this. Right now I have it running in Fusion on my MacPro in a Windows XP image and it works just fine. It would be nice to have an OSX version but this is very workable for now.

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Final Westcott Competition Entries

Some of you know that the photographic lighting supplier, Westcott,  did a pretty crazy cool thing at Photoshop World this year in Vegas. They set up four shooting sets and had live models, lights, props and watchers on hand and then let the public go nuts shooting the models. The payoff if that IF you enter their contest and IF you win, your image will be the Westcott catalog and you get some lighting equipment. And let me tell you that after shooting with their spiderlights, I’m lusting after a set of those lights! Cool, nicely balanced and bright, they are easier than strobes when shooting something like this where a subtle change in position or expression can have a profound impact in the image. Since the lights are continuous, you can shoot as fast as you can click the shutter without worry of the strobe not keeping up. In my studio here in Orange, this type of shooting works really well. I shoot strobes alot but after working with “hot lights” twice now, I really can see the value of them, especially the new cool “hot” lights.

Here are my entries for the contest. I’m also including a few shots of the sets so you can see the environment we had to work in. I used several different techniques with my entries. I worked only with the props and set given, I replaced the background in one, I flipped one to a “painting” using CS5’s new bristle brushes and I worked the tones. In all case though, the overriding concerns were sharpness, content, composition and overall impact of the image. I feel that without a sharp image and good solid composition, all the post work in the world will not push a bad image up the ladder.

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Westcott Model Shoot

The vendor, Westcott, sell various lighting and light modifiers to photographers and studios. They are a constant vendor at Photoshopworld and other Photography related shows. One of the most popular features of their booth has been the model shoot where a rep will demo product using a live model and then allow photographers to try their hand at a fast shoot using the same setup and equipment.

I think they just raised the bar in a big way by having four “sets” set up where they had live models and at times a still life available to shoot using the Westcott equipment. There were simple rules, you could not touch the model or the lights but you could direct the model on how you think a pose might work. This time you can submit your final images to be a possible catalog cover.

Popular? You bet!!!  They had photographers coming out of the woodwork with everything from the high end Canon/Nikons to the cell phone with any number of camera in between. it was amazing to shoot and even more so just to watch. It was pretty clever in a way since you can only really make the photograph yours by model position and post work. Since the lights were fixed, you had to move the model to change the mood and you had to use some solid techniques in post to “fix” things like lights being in the image, fashion model fixing, getting rid of backdrop seams and so on.

Here are some of my shots along with a description of what I had to do in post to get to the finished or close to the finished image. Most of what I did to these images is not much different than what I do in my wedding shoots or portrait sessions here in my studio in Orange. When I shoot, many times I know when I take the shot, that I will need to do something in post like removing something or enhancing the bride and so on. Sometimes I make a mental note that a certain picture will need something specific because I know it’s a cool shot but needs editing to make it cool.

Here is my Catwoman shot in the raw. No retouching, no post of any kind except to convert it from camera RAW to JPEG to post here on my blog.

Catwoman in Gotham City RAW

Catwoman in Gotham City RAW

You can see from the above shot that there is quite a bit of work needed in post to make a usable image. There is a light in the upper left, the bike is on carpet, the background is too short and does not touch the carpet just to name a few things. Here is the final version or very close to my final version of Catwoman

Catwoman in Gotham Final

Catwoman in Gotham Final

I edited out all the extra stuff like the lights and reflector panel. I used content aware fill and free transform to stretch and edit the background. I used the Lightroom Graduated Filter with a blue tint to darken and add mood to the background. I added a concrete texture to the carpet to make it look more like asphalt. I did a fair amount of selective burning in like the front rim of the bike which was too bright. I tweaked the intensity to get the deep reds and dark blacks. I added a dark vignette around the image to help blend in the transition between backdrop and carpet. I think it turned out pretty well 🙂

In the next shot, we have a retro looking “Pin Up Queen” but we need some work here too. There is a red fabric that is competing for attention, we have tattoos on the model and we have some unsightly bulges on the bustline and arm.

Pin Up Queen RAW

Pin Up Queen RAW

And here is my final image after using several tools and some hand work.

Pin Up Queen Final

Pin Up Queen Final

I used liquidify to smooth out the bustline and arm. I used Portraiture to smoothout the skin and give a glamor look to the over all image. I removed the red sash hanging down in the background and I removed the tats showing on each arm.

Here are some of the rest of my shots from the Westcott model shoot. Westcott even had a couple of still lifes for those who do not like shooting people. As you can see, many times you need good post processing to really bring out the best of a picture whether it be a still life, a fashion shoot or even a wedding. I’ve seen good images with bad post processing and they just do not work well. I’ve seen marginal images but with excellent post processing and they work pretty well.  Taking the shot is just one step to having a killer image as the final result. Ansel Adams was a master of this and understood clearly that the raw image was only the first step to showing the world your vision.

Thank to Westcott for putting all of this together and letting the photographers have alot of fun over the past three days shooting gorgeous models on fun sets.

Queen of Hearts RAW

Queen of Hearts RAW

Queen of Hearts FINAL

Queen of Hearts FINAL

Steam Punk RAW

Steam Punk RAW

Steam Punk FINAL

Steam Punk FINAL

Natural Pair RAW

Natural Pair RAW

Natural Pair FINAL

Natural Pair FINAL

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Photoshop World 2010 Las Vegas Dispatch Weds

So here at Photoshopworld at the vendor Expo, Westcott did something very cool. They brought in four models (five counting the still life) and had them rotating between live demos to posing sets. Anyone with a camera could walk up and shoot the set/model from any angle you could get to. You could not change the lighting but you could have the model pose differently for you.

Here is the RAW shot from one of the posing stations. Straight from my D300 and zero adjustments.

Catwoman in Gotham City RAW

Catwoman in Gotham City RAW

Here is the same shot after my quick and dirty postprocessing. I will write up a complete “how to” post on how I got to the final product in a few days.

Catwoman in Gotham FINAL

Catwoman in Gotham FINAL

Why did Westcott do this? because they are having a contest going on that if your shot is picked from the Flickr feed, your shot will grace the 2011 Westcott catalog cover. Pretty cool idea and I saw quite a few taking advantage of the arrangement.

This is a short entry since I’m still in Las Vegas for the show and I’m trying to get this done before breakfast and another busy day.

Just a few words from the past few days.  The show is excellent as always but I think that the crowds are definitely smaller than what I remember a few years back. But everyone is very enthusiastic about the training, the show, Photopshop and everything that goes with it.

Scott Kelby and company did a righteous cover of the band KISS and a glam rock show complete with 9″ heels and pyrotechnics/steam/radio station sponsor and EVERYTHING was built on Photoshop/Adobe riffs.

Scott Kelby as KISS at PSW 2010 Vegas

Scott Kelby as KISS at PSW 2010 Vegas

JohnnyL from Adobe did a magic show and showed the crowd the magic of CS5. There was a poke in the eye at Apple for Flash and apps being rejected by the App store but accepted by Android. The irony there was ALL the computers used in the show were Apples as the iPad for the ePub demo.

Zack Arias did an awesome class on “Thing you need to know” as a photographer getting ready to make the switch from part time to full time.

I’ll write more in depth in the coming days along with more pictures of course. Back to the salt mines 🙂

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