Category 'Conceptual fine art photography'

Telekenesis seems to me to be the lazy person’s superpower of choice—which is probably why it’s my favourite. Inspired by Roald Dahl’s ‘Matilda’ I spent many hours as a child trying to make things move by the force of my mind alone but sadly gravity always won the battle. Now, with the power of Photoshop and some trick photography I’ve become a master sorcerer, able to make objects fly at will, which is almost as good, right? Although it’s a tonne more work so it’s not exactly fitting for the lazy person’s lifestyle.

How to photograph floating objects

As you’ve probably guessed, making objects float is not so different from making a person levitate as covered in last week’s lesson. Again, there’s two methods—the first being to throw your object around, which is great for your non breakables like paper, but you have to get your throwing, your shutter speed and your camera click right to really capture the object at its best. Still, this way is pretty fun. The second is to hold your object in the air and try not to obscure it too much with your fingers. When layered in Photoshop with an empty shot of your scene you can simply erase yourself out of the image and your object becomes suspended in mid air. For easy editing it’s important not to stand between your object and your background, but more to the side of it. Though if you do, you can just use your selection tools to accurately cut the object out and place it on your blank scene wherever you want it. I’ve used a combination of all of these methods in this week’s image. [gallery columns="4" size="medium" link="file" ids="1725,1727,1726,1333"]   What’s really great about this technique is that it combines both levitation AND multiplicity. You just photograph the same object several times, moving it all over your scene, so you can layer them together in Photoshop and make one object look like a hundred. Here’s how to set up your camera. It’s almost exactly the same as previous weeks but it’s worth repeating because it’s so crucial for conceptual photographers to master this:
  1. Place your camera on a tripod and compose your scene. For minimal effort in Photoshop you want to make sure that your camera doesn’t move between your object shot and your background shot.
  1. Switch your camera to manual and set your exposure. Do not change this between shots.
  1. Focus on your subject. If you’re including a person in the scene you’ll probably want to focus on them and not the floating object. Lock your focus by either switching your lens to manual focus or use back button focusing. Changing your focus at any time during this process could ruin the entire shoot.
  1. You’ll need a remote or to use the 10 sec timer. Even if you’re shooting a model you’ll probably be the one holding the object within the scene which takes you away from behind the camera.
  1. Photograph your subject and object. Move your object around the scene between shots and photograph it as many times as needed. Be careful that your hands don’t wrap around the front of the object too much. If this is unavoidable take 2 shots of yourself holding the object but hold it by the top in one photo and by the bottom in the other so that you have one intact top and one intact bottom which you can blend together in Photoshop.
  1. Make sure you’re not standing between the object and the background because when you try erasing the scene around your object to reveal the background behind you’re going to have a you-shaped problem. But it’s not the end of the world if you’re willing to spend time on accurate masking which you're going to have to do anyway to fully remove your hands. Also try not to stand between the object and your light source because, where possible, you want to capture natural light and shadow.
  1. Remove your object from the scene and photograph the blank scene behind. I’d suggest doing this with and without your model just so you have both options.

How to edit floating objects

With your images open as layers in Photoshop (and you may have many if you’ve been duplicating your object around the scene), make sure your background image is at the base of the stack. If you’re concerned about having that many images open in Photoshop at once you can open the images separately and just lasso the portion of the image you need (making sure you include something for reference that will help you match it up to the background) and then copy and paste that onto your document. I like to turn off the visibility of all my layers (click their eyeballs) except the background layer and work up my layers one by one. I add a white-filled mask to each layer and using a black brush I erase around my object, switching between a white and black brush if I erase too much (use x to toggle brushes). If you don’t like the position of a particular object, you can either select it accurately with a selection tool, then choose Select -> Inverse and delete everything else from that layer OR paint a very accurate mask around it and then, for both methods, use the move tool to drag it somewhere else in your scene. If you choose to do this, be sure to assess the direction of light and shadows in your image and make sure you place the image where the light and shadows are still convincing. Also make sure the perspective still looks correct. Even though you’re creating an image that wouldn’t be possible in reality you still want it to look realistic. This is the foundation of magic after all. [caption id="attachment_1733" align="alignright" width="252"]Clone stamp tool Clone stamp tool[/caption] To get rid of areas where your body is obscuring the object, try using the clone tool. Choose the clone tool (or press 's') then create a new layer making sure 'Sample: Current & Below' is selected in the tool's options. Alt-click an area that you want to clone from and then start painting over the area you want to clone to. The clone tool is tricky at first so I'd suggest hitting YouTube for further information. Once you’ve fine-tuned all your layers it’s important to think about shadows. While erasing yourself from the image you may've also erased the object’s natural shadow so if you can see that shadows are being cast in your image you will need to recreate these for believability.  I hope to talk about this more in future but for now the best thing to do is select a portion of the background that resembles the shape and location of your potential shadow and use a curves or levels adjustment layer to darken it. I tend to make it quite dark at first but then on the adjustment layer’s mask I erase the edges with a soft brush at a low opacity. Study the shadows in the room around you right now for inspiration as to how shadows look. They’re darkest closest to the object and then they fade and spread at the edges.

About my image '793.8'

I work in a library and I wanted to create an image to illustrate the expectation that is placed on library workers to find the perfect book for a customer. If only I could go into the stacks and use magic to pluck precisely what they want. I stayed back one day after work to photograph 793.8 (lying to my colleagues about what I was up to). I used two Speedlites (one with a shoot through umbrella) that were placed in front of me and to the right hand side behind the shelves. The shooting process took about two hours and I was terrified the entire time that the cleaner would come in and bust me. The outfit is made entirely of paper and was photographed separately at a different location (Barwon Park Mansion during Brooke Shaden’s workshop) and knowing I wanted to use it in this photo I had to pose in a very particular way so that I knew I could cut out the dress and hat and make it fit my body. This is called compositing and it’s where Photoshop fun truly begins. To complicate matters I had to try and obscure the mannequin’s hands that originally covered parts of the dress. Sadly I think the dynamism of the pose suffers a little for these reasons. [gallery columns="2" link="file" size="medium" ids="1714,1713"]   In case none of this worked I also shot myself a second time in a completely different outfit that never ended up getting used. [caption id="attachment_1715" align="aligncenter" width="200"]Back up pose Back up pose[/caption]   After photographing my pose (twice) I then photographed some books scattered on the floor. Next I held up books to make them look like they’re flying. Then I tore up a book from an op shop and threw the same set of 5 pages around a number of times before photographing books moving and falling from the shelves. I expanded the frame by moving my camera right and left and finally I moved my camera to another section of the library and shot a different set of shelves to composite as a background behind my character. The edit was particularly hard because trying to stitch panorama shots of converging lines that have to line up EXACTLY was an almost impossible task. But thankfully I could use my flying books and paper to obscure the dodgy seams. Because I decided to use a different background in the final image I had to mask my objects exactly rather than using the cheat’s method described above, which was frustratingly time consuming. [gallery link="file" size="medium" ids="1719,1716,1717,1718,1720,1721"]   But it’s not every day you get to play the sorcerer’s apprentice while throwing stuff around at your workplace, wondering the whole time if those security cameras in the roof are actually being monitored by someone. Good times. 793.8 library jump

Whenever I’m travelling and have time to kill in my hotel room I like to try and take a conceptual photograph because … well, that’s what everyone does, right? Finding private locations to shoot conceptual photos in is one of the biggest difficulties of this type of photography so it’s always a bonus to have a new location all to yourself. The challenge though, is trying to come up with a concept in limited time when you’re unlikely to have fancy costumes on hand and the most inspiring prop within reach is some free body products and, if you’re somewhere REALLY ritzy, a pair of terry towelling slippers. Hotel room clonesFor me, the obvious choice in this situation is to take a ‘multiplicity’ photo where you lock down your camera, take photos of yourself posing all over the room and then combine them later in Photoshop. Taking cloned photos of yourself is about the most fun you can have with a camera, even if seeing yourself duplicated many times over is ultimately horrifying. Since you’ve mastered masking after last week’s lesson, the post production for multiplicity images is pretty easy. It’s just a matter of laying all your photos on top of each other and using masks to reveal yourself in each photo, and because the camera hasn’t moved this is usually a breeze.

How to photograph a multiplicity image

As we learned last week, the most important aspect of taking photos that utilise masking is to a) set your exposure and then lock down your settings so they cannot change and b) take a blank shot of your scene without your subject – this isn’t entirely necessary for multiplicity but it’s a good habit to get into. I like to take this blank shot at the end in case something in the scene has moved during the course of the session, but it doesn’t hurt to take one at the beginning too.
  1. To get started you’re either going to need a tripod or something to rest your camera on. It IS possible to take a multiplicity shot hand-held (using someone else to model) and get Photoshop to align the layers later, provided you keep mostly still.
  1. Set your exposure in manual mode. The mistake I ALWAYS make with multiplicity images is not setting a narrow enough aperture so my background people are always out of focus, so aim for f/11 or higher. If you need a low shutter speed to compensate try to keep still when you’re posing. Do not touch your settings again. [caption id="attachment_1630" align="alignright" width="200"]And for god's sake, don't be so stupid to photograph a multiplicity image in front of flashing Christmas lights that change colour. And for god's sake, don't be so stupid to photograph a multiplicity image in front of flashing Christmas lights that change colour.[/caption]
  1. If you’re outdoors, choosing a white balance other than auto is advisable because the light is always subtley changing and you’ll save yourself work in post.
  1. Think about your poses. If clones are intersecting it will take more work in Photoshop to cut around them. You also don’t want one clone entirely covering another so try and spread yourself (or your subject) evenly around your space and keep the rules of composition in mind. Be mindful of where the light and shadows are because if one clone is well lit and then you put another clone between them and the light, you’ll have work on darkening that first clone in Photoshop for believability.
  1. Focus on the area where you’ll be striking your best pose and then lock your focus (switch to manual or back button).
  1. If you’re taking self-portraits you’re going to need a remote or to use the 10 second timer.
Get cloning! [caption id="attachment_1631" align="alignright" width="300"]The photographs that make up my multiplicity image The photographs that make up my multiplicity image[/caption] I shot my multiplicity image at a koala conservation park ten minutes from my house (they grow trees here to feed koalas, but there’s no koalas just hanging out, sadly). I can’t find any information about it on the Internet so it’s a bit mysterious. I live in a state whose slogan is “beautiful one day, perfect the next” (even though there’s a severe storm baring down on us as I write this) so getting the overcast light I like is damn near impossible. This was shot on a semi-cloudy day in a bit of a rush with my assistant (mum) pressing the shutter because I was too far away for my remote to register. I chose the idea of the clones playing hide and seek because I liked the idea of having them interact in some way without actually touching.

How to edit a multiplicity image

If you’ve imported your images with Lightroom, select the images you’ve chosen to work with and go to Photo -> Edit In -> Open as layers in Photoshop. (Remember that if you’ve edited one of your photos in Lightroom, to sync those same changes to all the images you’ll be using; the same goes for Adobe Camera Raw). I don’t use Bridge but I guess it’s much the same. Otherwise you can open Photoshop and choose File -> Scripts -> Load files into stack and choose the images you want to work with. If you were shooting handheld, select all your layers and choose Edit -> Auto-Align Layers, or you can try lining them up yourself by lowering the opacity of each layer and nudging them into place (move tool + arrow keys). [caption id="attachment_1597" align="alignright" width="150"]Add layer mask Add layer mask[/caption] Make sure your main image is at the bottom of the layers panel and hold down Alt (PC) or Option (Mac) and click the eyeball of this layer so it turns off all your other layers. Multiplicity edits can get confusing so label your layers and work on a layer at a time. Turn the eyeball back on for the layer above and click the ‘Add layer mask’ button. This should add a white mask to the layer so it’s still fully visible. Then, as we learned last week press B to choose the brush tool then D to make it the default colours, and X to bring black to the front. Paint over the areas you want to hide in your image. If you make a mistake, hit X again to bring white to the front and paint over the problem area to bring it back. This can take a bit of to-ing and fro-ing to get right. As you work through your layers it might become easier to invert your mask (make it black) so nothing of that layer is visible (Ctrl+i / Cmd+i) and just paint back in the portion you need. [caption id="attachment_1635" align="alignright" width="300"]Masks for multiplicity Masks for multiplicity[/caption] Because your background is static and only your subjects have moved your masks don’t have to be perfect because your surroundings should align perfectly. But for trickier overlapping clones you may need to work on fine detail with your selection tools. I won’t go into detail about this here because selection tools can fill a whole book but there’s plenty of great articles and videos out there to get you up to speed. Otherwise, zoom into your image and using a brush with a hardness that matches the edges in the photos, do some very precise painting around your clones. If you’re also finding colour changes between your layers I would add either a levels or curves adjustment layer and clip it to your problem layer (Alt or Option click between the adjustment layer and the layer you want to affect to clip them together so the change will only affect that layer and not all underlying layers) then change the colours and brightness to match the background layer. Levels and curves default to RGB colour but if you go into the drop down menu you can change this to be colour specific ie. blue/yellow, green/magenta, red/cyan. [gallery columns="2" link="file" size="medium" ids="1633,1632"]   [caption id="attachment_1634" align="alignleft" width="199"]You can even clone body parts! You can even clone body parts![/caption] While multiplicity images are fun to photograph, I’m not a great fan of the results because I find it distracting to have so many subjects in my images. However, multiplicity is a really useful technique for duplicating objects which I’ll cover in a future tutorial. Now I must go and prepare for this impending storm. If only I had real clones to do my bidding (no playing hide and seek on my watch!) Backyard dancing girls    

12
Apr

How to photograph floating objects.

Telekenesis seems to me to be the lazy person’s superpower of choice—which is probably why it’s my favourite. Inspired by Roald Dahl’s ‘Matilda’ I spent many hours as a child trying to make things move by the force of my mind alone but sadly gravity always won the battle. Now, with the power of Photoshop […]

22
Mar

How to create a multiplicity image.

Whenever I’m travelling and have time to kill in my hotel room I like to try and take a conceptual photograph because … well, that’s what everyone does, right? Finding private locations to shoot conceptual photos in is one of the biggest difficulties of this type of photography so it’s always a bonus to have […]