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  1. #421
    Join Date
    Dec 2006
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    God's Country - Australia
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    ok...i'll be the dope that asks the question...whats with the make up and the ghoulish lighting ? is this Halloween meets Apollo 13.
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  2. #422
    Join Date
    Feb 2006
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    Des Plaines, IL
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    9,560

    Red face Experimentation ...

    Thanks for asking, Rooz.

    One of the things the school is asking for is doing things a little off the beaten path. I decided to give my make-up artist some artistic license and come up with an exotic/alien look for my "NASA-girl", promoting the return-to-the-moon project.

    The image is really a "product shot" for the spacecraft, although the spacecraft is a little dated, obviously, and I am using the model as simply a vehicle to hold the ... well, vehicle.

    We have a three hour window to get the shot in and these exotic "looks" are time consuming (took about 40-minutes to apply) and I was not quite sure what I would wind up with, having basically given up the rights to it.

    Again, it was a reach in an effort to explore some of the more novel aspects of photography and make use of other talent. You're just lucky I didn't stuff her into a space suit.

    I suppose I could have played it safe and just thrown up a wine glass and shot a bottle of Chianti.
    Last edited by DonSchap; 02-08-2011 at 09:02 PM.
    Don Schap - BFA, Digital Photography
    A Photographer Is Forever
    Look, I did not create the optical laws of the Universe ... I simply learned to deal with them.
    Remember: It is usually the GLASS, not the camera (except for moving to Full Frame), that gives you the most improvement in your photography.

    flickr & Sdi

  3. #423
    Join Date
    Dec 2006
    Location
    God's Country - Australia
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    ok...i get ya now. i think the MUA let you down a little. it looks more zombie than alien imho. i couldnt draw the correlation between the model and the spaceship.
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  4. #424
    Join Date
    Mar 2009
    Location
    San Diego, CA
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    602

    Smile

    Don, I would suggest adding in some sort of alien feature in place of her hair. Also, on my screen, she's a bit flat as compared to the background. I would suggest boosting her contrast.
    Darin Wessel
    α 900
    Zooms: Tamron SP AF70-200mm f2.8 Di LD Macro; Sigma 28-90mm D macro, Konica-Minolta 18-70 f3.5-5.6
    Primes: Minolta 28mm f2.8; Sony 50mm f1.4
    Minolta RC-1000 remote commander

    Film:
    Calumet Cambo CC400 4x5 View Camera
    YashikaMat 6x6 TLR (other accessories)
    Minolta Maxxum 7000 w/ Minolta 35-80mm f/4-5.6 & Minolta 2800 flash
    Minolta Maxxum 5000i & Vivitar 728 AFM flash
    What's next???

  5. #425
    Join Date
    Feb 2006
    Location
    Des Plaines, IL
    Posts
    9,560

    Thumbs up Contrasting ...

    Darin,

    I did add some contrast to her ... and it has helped make her more ... well, it helped. I replaced the image in the original post.

    Anyway, conceptually, I really need some hair styling, to be honest. The model has a beautiful head of hair that extends well past halfway down her back and there is quite a bit to work with and shape. Again, the shoot had limited re$ource$ ... and there is no real benefit to dumping scads of cash into it. I do appreciate the suggestion, but there is a line. Could I have manufactured some kind of "alien appliance" for this shoot? What do you think this is ... FACEOFF? LOL

    I did invest in a couple sets of color correcting gels, to augment my lighting, so I can use the strobes with the 1000W hot lights. I still need to get a replacement bulb for my third hot light, to replace the one I lost during the Nov 17th restaurant shoot ... due to an improper cooling cycle during the light's movement from one location to another (don't think I'll be doing that, again. ). I found out, quite suddenly, that these type of lights are extremely sensitive to that kind of "shock and awe ****!"

    Looking forward, in the "Advanced Lighting" class ... there has been no definitive word that I have been able to ascertain as to what the next two project shoots are suppose to be about. We are at mid-term ... and that still remains a mystery. We have been doing types of shooting with light, concerning subjects made of metal (both highly reflective, i.e., chrome and mirror and brushed stainless), clear or transparent types of glass, and other oddball items requiring more than the typical type of subject lighting. The techniques involved are ... well, complicated, because of the reflective qualities of these materials.

    I suspect the last two shoots will incorporate these techniques for determination of lessons learned. At least, that is what I would challenge the class with, if it were my call. Then again ...
    Last edited by DonSchap; 02-09-2011 at 08:13 PM.
    Don Schap - BFA, Digital Photography
    A Photographer Is Forever
    Look, I did not create the optical laws of the Universe ... I simply learned to deal with them.
    Remember: It is usually the GLASS, not the camera (except for moving to Full Frame), that gives you the most improvement in your photography.

    flickr & Sdi

  6. #426
    Join Date
    Dec 2006
    Location
    God's Country - Australia
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    i thought all aliens were naked ?
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  7. #427
    Join Date
    Feb 2006
    Location
    Des Plaines, IL
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    9,560

    Cool Naked? Oh, sure ...

    Quote Originally Posted by Rooz View Post
    i thought all aliens were naked ?
    Okay, Mate ... you try ... just try to tell the model that ... and I'll pick you up off the deck and call the ambulance, after she's done wiping the floor with ya.

    Rooz ::: "C'mon, Baby ... we need to get in character, here..."

    Action sequence ::: SCHMECK! - PUNCH! - KICK! - WHUMP!

    Narrator ::: Need I go on? Oops, excuse me, she wasn't quite finished ...

    Action sequence continues ::: SCHMECK! - PUNCH! - KICK! - STOMP! - CRUNCH!!!

    Although, I did briefly consider another body-painting episode (ala "Martini-girl"). Couldn't get the artist. Too busy. So, I didn't even try to conceive (draft) the body art for such an effort. In many ways, this may have exceed my artistic license, I guess, considering the rather lackluster and limited ideas that have been presented, so far, by others in the class. Oh, strike that ... there is one student trying to do a ghostly apparition sequence, but is having a devil of a time with it turning out. It does look rather challenging, but I'm not interested, personally.
    Last edited by DonSchap; 02-09-2011 at 08:32 PM.
    Don Schap - BFA, Digital Photography
    A Photographer Is Forever
    Look, I did not create the optical laws of the Universe ... I simply learned to deal with them.
    Remember: It is usually the GLASS, not the camera (except for moving to Full Frame), that gives you the most improvement in your photography.

    flickr & Sdi

  8. #428
    Join Date
    Dec 2006
    Location
    God's Country - Australia
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    just sayin...lol
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  9. #429
    Join Date
    Feb 2006
    Location
    Des Plaines, IL
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    Lightbulb Variation ...

    I am still experimenting with the green screen effect (haloing and reflection) ... and I decided to mask and tone the image.


    Name:  _DSC5601-skin-variant.jpg
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    Don Schap - BFA, Digital Photography
    A Photographer Is Forever
    Look, I did not create the optical laws of the Universe ... I simply learned to deal with them.
    Remember: It is usually the GLASS, not the camera (except for moving to Full Frame), that gives you the most improvement in your photography.

    flickr & Sdi

  10. #430
    Join Date
    Mar 2009
    Location
    San Diego, CA
    Posts
    602

    Exclamation

    Quote Originally Posted by DWessel View Post
    So I found my notes from the recent Pasadena Lightroom Imaging Group presentation on editing green screen images. The only problem is that they were mostly written in the dark while trying to watch what was being done on the projector.

    So, over the next couple of days I'll be posting some of the editing tips on this subject. (I normally would have tried to figure out my notes and post it in one shot, but I have a number of deadline projects due at work.)

    Green screen on a budget.
    Can't afford a green screen back drop ... paint your own using Behr candy apple green luster. Don't use gloss because it can produce hot spots, especially when using flash, that don't match the same green color.

    Preliminary Editing and Selection
    Using Adobe RAW or Lightroom, increase the saturation and reduce the contrast. This helps in the color selection later.

    Then open as a "Smart Object" in PS. (This will allow you to perform additional adjustments to the RAW file later, namely adding the contrast back in.)

    Using the eyedropper tool take a 5x5 or 11x11 sample of the most saturated area of green screen.

    That's all for now ... stay tuned for more later.
    Here's our starting image (photographer unknown ... Don was this one of yours???)
    Name:  monkey%20small.jpg
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    Perform the steps outlined above.

    At this point, you can use the majic wand tool to select on the green screen. (I know there's at least one other way to select by color, but alas my notes escape me.)

    Get your selection as close as possible, and be sure and select the refine edge box to help further define the selection.

    Now right click and select inverse. That way your object is now selected. Hit "Ctrl J" (or Cmd J for Mac). This will create a new layer with a layer mask.

    Now comes the fun of refining your mask.

    First of all, it helps to adjust your transparency settings in PS. Select Edit, Preferences, Transparency & Gamut and set grid colors to "medium" or you can custom adjust to 50% grey and 48% grey. The grey background helps make the green color left over really obvious.

    Create a Hue/Saturation layer and clip it to the layer below (it's the overlaping circles icon on the adjustment pallet). Select the green channel.

    Enlarge and color sample the fringe area green.

    Now, alt click (option click for Mac) the mask to show the enlarged mask.

    Go to your burn tool, select burn shadows and set at 30%. Start burning away at the edges and watch the green disappear. Here's our example before -
    Name:  Mask Edit with Burn Before.jpg
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    And after some burning
    Name:  Mask Edit with Burn After.jpg
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    Getting rid of the Color Cast.
    This can be reduced and nearly eliminated by green area of the hue/saturation adjustment layer with the green channel selected and then using the desaturation slider to desaturate. However, you'll notice in this enlarged version of our example that there was still a slight green color cast in the head of the monkey - I've circled the area -
    Name:  Further Mask Edit Color Cast Before.jpg
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    After color selecting and performing a further shadow burn (making sure the layer mask is selected) ...
    Name:  Further Mask Edit Color Cast After.jpg
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    I then dragged the two layers into my background object.

    Name:  Monkey in PE Car.jpg
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    And with some further editing ...

    Name:  PE Car with Monkey.jpg
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    Keep in mind that with PS, there is usually multiple ways of doing the same thing. So this is but one technique. And, I've been told it is one way of also eliminating that pesky purple fringe.
    Last edited by DWessel; 02-11-2011 at 11:24 PM. Reason: Forgot to check that spelling
    Darin Wessel
    α 900
    Zooms: Tamron SP AF70-200mm f2.8 Di LD Macro; Sigma 28-90mm D macro, Konica-Minolta 18-70 f3.5-5.6
    Primes: Minolta 28mm f2.8; Sony 50mm f1.4
    Minolta RC-1000 remote commander

    Film:
    Calumet Cambo CC400 4x5 View Camera
    YashikaMat 6x6 TLR (other accessories)
    Minolta Maxxum 7000 w/ Minolta 35-80mm f/4-5.6 & Minolta 2800 flash
    Minolta Maxxum 5000i & Vivitar 728 AFM flash
    What's next???

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