Rowan Photography

[heatherr0-photography]

Italian Vogue Story - Re-Selection

Within my feedback my lecturer suggested that I had too many images of the model looking directly at the camera. I looked through the images I had taken and selected better images with a greater variety and narrative that fulfil the requirements of the brief ‘Italian Vogue Story’

[heatherr0-photography]

Blending Modes in Photoshop

Originals:

Sky Layer:

Process:

Option 1

Paste Sky Layer on.

OR

Option 2

[heatherr0-photography]

Exhibition Evaluation

[heatherr0-photography]

Brand Narrative - Re-Edit

Original:

Re-Edit:

https://helpx.adobe.com/photoshop/using/matching-replacing-mixing-colors.html

I took the images within Photoshop and selected the jumper of the model image, I then created a new layer with a copy of the selection.

I then opened the object image and Selected ‘Image > Adjustments > Match Colour...’ and selected the layer of the jumper for the model image. I then adjusted the fade bar so that the necklace and hand were completely visible.

This made both the images work better together. Helping the viewer to focus on the models jumper and the necklace after seeing the product image.

[heatherr0-photography]

Environmental Portrait - Re-Edit

Original:

Re-Edit:

I took the RAW image into Photoshop and used Curves and the Dodge and Burn tools to create a more contrasting image and cancel out the flatness scene in the original image.

[heatherr0-photography]

Brushes

https://helpx.adobe.com/photoshop/using/creating-modifying-brushes.html

Brush Settings Panel Overview

The Brush Settings panel lets you modify existing brushes and design new custom brushes. The Brush Settings panel contains the brush tip options that determine how paint is applied to an image. The brush stroke preview at the bottom of the panel shows how paint strokes look with the current brush options.

1. Choose Window > Brush Settings. Or, select a painting, erasing, toning, or focus tool, and click the panel button on the left side of the options bar.

Import Brushes and Brush Packs

2. In the Brushes panel, from the flyout menu, choose Get More Brushes.

3. Download a brush pack. For example, download Kyle's "Megapack".

4. With Photoshop running, double-click the downloaded ABR file. The brushes you added are now displayed in the Brushes panel.

Create a Brush Tip from an Image

1. Using any selection tool, select the image area you want to use as a custom brush. The brush shape can be up to 2500 pixels by 2500 pixels in size.When painting, you can’t adjust the hardness of sampled brushes. To create a brush with sharp edges, set Feather to zero pixels. To create a brush with soft edges, increase the Feather setting.

2. Choose Edit > Define Brush Preset.

3. Name the brush, and click OK.

Create a Brush and Set Painting Options

1. Select a painting, erasing, toning, or focus tool. Then choose Window > Brush Settings.

2. In the Brush Settings panel, select a brush tip shape, or click Brush Presets to choose an existing preset.

Standard Brush Tip Shape Options

For standard brush tips, you can set the following options in the Brush Settings panel:

Size: Controls the size of the brush. Enter a value in pixels or drag the slider.

Use Sample Size: Resets the brush to its original diameter. This option is available only if the brush tip shape was created by sampling pixels in an image.

Flip X: Changes the direction of a brush tip on its x axis.

Flip Y: Changes the direction of a brush tip on its y axis.

Angle: Specifies the angle by which an elliptical or sampled brush’s long axis is rotated from horizontal. Type a value in degrees, or drag the horizontal axis in the preview box.

Roundness: Specifies the ratio between the brush’s short and long axes. Enter a percentage value, or drag the points in the preview box. A value of 100% indicates a circular brush, a value of 0% indicates a linear brush, and intermediate values indicate elliptical brushes.

Hardness: Controls the size of the brush’s hard centre. Type a number, or use the slider to enter a value that is a percentage of the brush diameter. You can’t change the hardness of sampled brushes.

Spacing: Controls the distance between the brush marks in a stroke. To change the spacing, type a number, or use the slider to enter a value that is a percentage of the brush diameter. When this option is deselected, the speed of the cursor determines the spacing.

Bristle Tip Shape Options

Bristle tips let you specify precise bristle characteristics, creating highly realistic, natural-looking strokes. Set the following brush tip shape options in the Brush panel:

Shape: Determines the overall arrangement of bristles.

Bristles: Controls overall bristle density.

Length: Changes bristle length.

Thickness: Controls the width of individual bristles.

Stiffness: Controls bristle flexibility. At low settings, brush shape deforms easily.

Spacing: Controls the distance between the brush marks in a stroke. To change the spacing, type a number or use the slider to specify a percentage of the brush diameter. When this option is deselected, the speed of the cursor determines the spacing.

Angle: When painting with a mouse, determines the brush tip angle.

Brush preview: Shows brush tip that reflects changes to settings above, as well as current pressure and stroke angle. Click the preview window to see the brush from different sides.

Erodible Tip Options

Erodible tip brushes behave similar to pencils and crayons, and wear down naturally as you draw. You can see the amount of wear with the Live Brush Tip Preview to the upper left of the image.

Size: Controls the size of the brush. Enter a value in pixels or drag the slider.

Softness: Controls the rate of wear. Enter a value in percentage or drag the slider.

Shape: Controls the shape of the tip. Choose from a variety of tip options.

Sharpen Tip: Returns the tip to the original sharpness.

Spacing: Controls the distance between the brush marks in a stroke. To change the spacing, type a number or use the slider to specify a percentage of the brush diameter. When this option is deselected, the speed of the cursor determines the spacing.

Brush preview: Shows brush tip that reflects changes to settings above, as well as current pressure and stroke angle. Click the preview window to see the brush from different sides.

Airbrush Tip Options

Airbrush tips replicate spray cans with a 3D conical spray. With a stylus, you can alter the spread of sprayed strokes by changing pen pressure.

Size: Controls the size of the brush. Enter a value in pixels or drag the slider.

Hardness: Controls the size of the brush’s hard centre.

Distortion: Controls the distortion to apply to the spray of paint.

Granularity: Controls how grainy the paint drops look.

Spatter Size: Controls the size of the paint droplets.

Spatter Amount: Controls the number of paint droplets.

Spacing: Controls the distance between the droplets. If this option is deselected, the speed of the cursor determines the spacing.

Brush preview: Shows brush tip that reflects changes to settings above, as well as current pressure and stroke angle. Click the preview window to see the brush from different sides.

Brush Pose Options

Brush pose options let you achieve stylus-like effects and let you control the angle and position of the brush.

Tilt X: Determines the tilt angle of the brush from left to right.

Tilt Y: Determines the tilt angle of the brush from front to back.

Rotation: Determines the rotation angle of the bristles.

Pressure: Determines the pressure the brush applies on the canvas.

Enable Override options to maintain a static brush pose.

Other Brush Options

Noise: Adds additional randomness to individual brush tips. This option is most effective when applied to soft brush tips (brush tips that contain grey values).

Wet Edges: Causes paint to build up along the edges of the brush stroke, creating a watercolour effect.

Airbrush/Build-up: Applies gradual tones to an image, simulating traditional airbrush techniques. The Airbrush option in the Brush panel corresponds to the Airbrush option in the options bar.

Smoothing: Produces smoother curves in brush strokes. This option is most effective when you are painting quickly with a stylus; however, it may produce a slight lag time in stroke rendering.

Protect Texture: Applies the same pattern and scale to all brush presets that have a texture. Select this option to simulate a consistent canvas texture when painting with multiple, textured brush tips.

Stroke Smoothing

Photoshop performs intelligent smoothing on your brush strokes. Simply enter a value (0-100) for Smoothing in the Options bar when you're working with one of the following tools: Brush, Pencil, Mixer Brush, or Eraser. A value of 0 is the same as legacy smoothing in earlier versions of Photoshop. Higher values apply increasing amounts of intelligent smoothing to your strokes.

Stroke smoothing works in several modes. Clicking the gear icon to enable one or more of the following modes:

Pulled String Mode: Paints only when the string is taut. Cursor movements within the smoothing radius leave no mark.

Stroke Catch Up: Allows the paint to continue catching up with your cursor while you've paused the stroke. Disabling this mode stops paint application as soon as the cursor movement stops.

Catch-Up On Stroke End: Completes the stroke from the last paint position to the point where you released the mouse/stylus control.

Adjust For Zoom: Prevents jittery strokes by adjusting smoothing. Decreases smoothing when you zoom in the document; increases smoothing when you zoom out.

Brush Scattering

Brush scattering determines the number and placement of marks in a stroke.

Scatter and Control: Specifies how brush marks are distributed in a stroke. When Both Axes is selected, brush marks are distributed in a radial direction. When Both Axes is deselected, brush marks are distributed perpendicular to the stroke path. To specify the maximum percentage of scattering, enter a value. To specify how you want to control the scattering variance of brush marks, choose an option from the Control pop‑up menu:

Off: Specifies no control over the scattering variance of brush marks.

Fade: Fades the scattering of brush marks from maximum scattering to no scattering in the specified number of steps.

Count: Specifies the number of brush marks applied at each spacing interval.

Count Jitter and Control: Specifies how the number of brush marks varies for each spacing interval. To specify the maximum percentage of brush marks applied at each spacing interval, enter a value. To specify how you want to control the count variance of brush marks, choose an option from the Control pop‑up menu:

Pen Pressure, Pen Tilt, Stylus Wheel, Rotation: Varies the number of brush marks based on the pen pressure, pen tilt, position of the pen thumbwheel, or rotation of the pen.

Clear Brush Options

1. Choose Clear Brush Controls from the Brush Settings panel menu.

[heatherr0-photography]

HDR

Research and Process

Research Images

https://www.chuckrobinsonphoto.com/WEBSITE/Galleries/Wild-and-Wonderful-West-1/

https://blamethemonkey.com/hdr-tutorials/hdr-tutorial

https://petertellone.com/

https://www.flickr.com/photos/95572727@N00/

https://www.chuckrobinsonphoto.com/WEBSITE/Galleries/Cape-May-NJ-1/i-9BswcT2

The images above have a consistent level of information in both the highlights and shadows by using HDR. The images above have a wide range of colours and tones which heightened the contrast and aesthetic of the images. This is created by taking the same image at multiple different exposures and merging the images together in either Photoshop or Lightroom.

As seen above HDR overdone, where there’s a lot of contrast and clarity, the over saturated colours don’t work well with the image and the sky looks very unrealistic. The colours within the sky are over saturated and the clouds look unrealistic, the trees and grass also look fake and overdone.

HDR Photo Process

Lightroom HDR Process

Step 1:

Select the different exposed images.

Step 2:

Photo > Photo Merge > HDR.

Step 4:

Set deghost amount to low.

Final:

Subtle but effective.

[heatherr0-photography]

Story Book - Evaluation

Initially I found it difficult to settle on an idea for my story book narrative. Finally  I chose my sisters polyamorous relationship as an interesting thought provoking topic. During the planning process I contacted my sister to ensure that all parties would be agreeable to participating in the project as it would be very personal to them. After all parties agreed I had to arrange my flights to suit my models schedules as they all live and study abroad. During this process I hit a wall. I encountered many difficulties for booking flights. There were many elements to think about; I felt uncomfortable traveling alone, finding appropriate affordable  flights, and my sister/other models class scheduling times. However, I was able to settle a time for 28th March to the 1st April 2019. Sadly this time frame over ran into my graded unit, but I worked hard to make it work. Within this project I was focusing on my sisters relationship with her boyfriend and long term relationship with her girlfriend. Sadly her girlfriend was unavailable for my project, but she was happy for me to use old photo’s and personal letters/notes. On the first day I arrived late in the evening, and prepared for the next day. On the following two days I walked around Zurich with my sister taking pictures of places that were significant to her within her relationships. The Sunday was the only day that her boyfriend was available. I shot around Zurich and within their flat. In the evening I shot both candid and more posed images in the bedroom setting to give me a variety of intimate images. In the morning before the flight home, my sister skype called her girlfriend, where I took photographs to show their continuing relationship. As soon as I got home the editing/post production process started. After I selected my final images I then searched for a photo book making company and settled ‘Blurb’ as it appeared to be high quality and value for money. I selected the soft cover as I wanted my photo book to be gentle and intimate to reflect the subject. I laid the book out following the story line; Long-term Relationship with girlfriend before she left for Switzerland > Arriving/thinking of Girlfriend > Meeting Boyfriend and the Beginning of their Relationship > Staying in Contact with Girlfriend > Open Ending. I wanted to show the progress and intimacy of the relationships. I entitled the book ‘Knöpfe Lieben’ which translates to ‘Buttons Love’ this is in reference to my sisters pet name scene with the letters given to her by her girlfriend. However, I spelt it wrong and didn’t realise until i got it back from print. to fix this i would send it back to print with a fixed title. Another improvement i would make to this project is shooting images with both my sister and her girlfriend together however the timing/scheduling would have to aline. Overall, i am really inspired by this project and am really proud of my final project.

[heatherr0-photography]

CV

Brief

[heatherr0-photography]

Work Placement Docs

[heatherr0-photography]

Italian Vogue Story

Research

Took inspiration from some images in a ‘Vogue Italia’ and ‘Vogue’ magazines.

Image Board

Before the destination.

Plan

Date/Time: 19/03/2019, 15:00

Before the destination.

Location: Strathaven

Model: Dark Smoky eye. Dark burgundy lip. Hair lightly curled.

Outfits Include:

1x Choker, 1x Necklace, 1x Bracelet, 1x Jacket, 2x Dress, 1x Pairs of Shoes.

On top of camera flash.

Outfit 1

Contact sheet

Final Images

Outfit 2

Contact sheet

Final Images

Final Images

[heatherr0-photography]

Fashion Story

Research

Took inspiration from some images in a ‘Vogue’ magazine.

Mood Board

Plan

Location: Strathaven

Model: Light Make-up pink lip. Hair in french braids down the back. 

Outfits Include:

1x Jeans, 2x Blazers, 1x Top, 1x bra, 1x Dress, 2x Watches, 1x Sunglasses, 1x hat, 1x Bag, 3x Different Pairs of Shoes.

Contact Sheets

Outfit 1

Outfit 2

Outfit 3

Outfit 4

Final Images

[heatherr0-photography]

Brand Narrative

Research

Brand: Sheila Fleet

Object: Neckless

The brand is based in Orkney and the majority of the advertisment images including models are taken on the beach. Using that for inspiration I plan to take my model images on a beach to remain true to the brands narrative.

Plan

testing hand positions

Use the jumper as the background of the product shoot. Linking the model and product shot together.

Model Shoot

Location: College Studio

Date/Time: 13/03/2019, 13:00

In studio

Location Shoot

Location: Irvine

Date/Time: 18/03/2019, 14:30

I will place/position my model around the beach some images will take place in the sand-dunes, on the beach, by the peer and resting on the rocks by the shore. My model will be waring comfortable trainers, blue jeans, pink/purple jumper (picture above) and a beige trench coat.

Contact Sheet Object

Contact Sheet Model

Final Images

[heatherr0-photography]

Puppet Warp

Step 1:

Select and mask subject.

Original

Step 2:

Paste subject onto new layer.

Edit>Puppet Warp

Step 3:

Set density to ‘More Points’ and Expansion to ‘20 px’

Step 4:

Place pins in joints and move.

Step 5:

Save and paste onto new background.

Final

[heatherr0-photography]

Content-aware Move and Extend

Move

Original

Step 1

Select subject with the lasso tool.

Step 2:

Use Content Aware Move Tool to move and expand the subject, to a different area with the image.

Step 3:

Clean the image using the clone stamp to remove any rough edges.

Final

Extend

Original

Step 1:

Set mode of content aware tool to extend.

Step 2:

Select top of subject with the Content aware tool and move up the image.

Step 3:

Clean the image using the clone stamp to remove any rough edges.

[heatherr0-photography]

A Guide To Soft-proofing In Photoshop

Before:

After:

[heatherr0-photography]

Story Book

Class Notes

Extra Research

Wolfgang Tillman

Noor Images

Reserves the right to remove images.

Doesn’t ask for copyright

Doesn’t ask for a licence to use

Doesn’t say how long contract

No information have to further contact

Focus images on, documented civil and political unrest, environmental issues, war, famine, and natural disasters throughout the globe.

NOOR, headquartered in Amsterdam, is made up of sixteen photographers from 13 different countries. The NOOR photographers produce in-depth photo-essays and pursue longer-term projects. They believe that some things simply need to be seen, and unite their individual visions to facilitate this.

Prices have to register.

Notebook

Website

https://www.blurb.co.uk/bookstore

Final Images/Layout