Feb
15
2013I’ve never really held too closely to the nigh-Platonic Ideal of getting it entirely in-camera. As someone who does a lot of his work in a tiny studio with low ceilings, I deal with a lot of limitations that I have to compensate for in post. Practice makes pragmatists, after all, and that goes doubly-so when you’re broke.
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Jun
18
2012This week’s is another submission from brother-in-law-extraordinaire, Dean Hodgson, who provided the last image, as well. Since I do a lot of head shot work I figured it’d be handy to share some of my head shot workflow.
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Jun
04
2012And so I’m back from outer space. And I’ve brought a 1940s pinup girl with me, courtesy of my brother-in-law. This photo was a lot of fun to work on, as well as provided good practice for a project-of-a-not-dissimilar-nature I’m currently working on.
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May
14
2012Typically, car and motorcycle photography is a pretty involved affair. Combining product photography’s attention to detail with studio photography’s size and scale often results in needing lots of lights, gear, and help. But just because you don’t have a lot of light (or any light, as the case may be) doesn’t mean you can’t still cook up a pretty cool shot of your ride with a little creative post-processing.
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May
07
2012The nice thing about doing post on landscapes is that you have a much wider margin of tolerance than you do with portraits. With people, it’s easy to tell if the color temperature is off, or if you cranked the clarity a little too high in post. But with landscapes, the sky is the limit (har har); you want blurry purple mountains over super-contrasty blue grass below a foreboding red sky? Knock yourself out.
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