Photoshoot

Exercise in Futility

This conceptual photoshoot is loosely based on the Greek myth of Sisyphus. He was a king who was punished for chronic deceitfulness by being forced to roll an immense boulder up a hill, only to watch it roll back down, then to repeat this action forever.

I often find myself highly empathetic to Sisyphus and his burden because of societal structures that are forced upon me. May it be school, nutrition, or information, I feel as if I go through daily motions in spite of knowing the outcome, just to see it repeat itself. 

"Exercise in Futility" is my expression of this continuous struggle. I wanted to explore the human experience of resilience in hopes of finding respite.

To express this, I created a character who is not satisfied with the world she's in and is then compelled to fly. She then builds wings of her own using the landscape around her. Creating the wings on photoshop was one of the most challenging tasks I have undertaken so far and so I really wanted to share how I did it.

Final Image

Final Image

RAW Image

RAW Image

As always, my first step is to isolate the subject by selecting it (with either the pen, wand, or brush tool) and isolating it using a mask. I then placed the subject higher above the ground to make it more believable that she is flying. Photographing the model in the location that I want to use for the image keeps the lighting consistent and therefore believable.

For the wings, I used several images of branches and leaves from my own collection and stock images from the internet. 

Composite of branches

Composite of branches

To create more realism that the wings are responsible for lifting the character, there has to be motion. I referred to birds and looked how they flapped their wings when they are taking off. To create that motion, I used the warp tool on Photoshop.

Using the Warp tool in Photoshop

Using the Warp tool in Photoshop

When placing all of the elements together, make sure that the lighting and shadows are consistent. Make sure you are aware of all the light sources in the image. Also keep in mind how your added composite images affect the overall photograph.

Final composite image

Final composite image

The last step for this image was taking it into Lightroom. As I have previously mentioned in my older posts, I always refer to Lightroom for the final stages of making a photograph. When I have finished placing all of the elements and creating the composite, Lightroom enables me to add filters and effects that affect the whole image which adds unity and therefore adds realism.

Final touches in Lightroom

Final touches in Lightroom

  Here is the whole story of Exercise in Futility:

I edited these photos mainly using Adobe Photoshop and Lightroom 4. I also used Portrait Professional Studio for retouching. If you have more questions on how I produced these images, feel free to comment here or post on my wall on facebook.

website | facebook | flickr | behance instagram

Final Belonging

This conceptual photograph series explores the universal concept of death. Especially in this generation where the belief of isolation is increasing, I am even more interested in seeing what connects all of us together. No matter what we lose or what happens to us, we will always have one last belonging.

To fully express this concept, I wanted the character to go through suffering and leave them with one final belonging. Using fire, a bag, and the moon as metaphors, I was able to investigate the idea of death and how to accept it. 

The most challenging image from the series is when the character is enveloped with flames. Flames are always hard to work with because they are hard to make realistic. This is my first attempt and I still have quite a lot of learning but I wish to share what I did in hopes that you can learn something out of it as well.

Final image

Final image

Here is a behind the scenes photograph of my lighting setup for this shot. I had a strobe placed right behind her to get the rim effect I wanted to make the fire more realistic. 

BTS photographed by Julian van Heeswijck

BTS photographed by Julian van Heeswijck

RAW image

RAW image

RAW image

RAW image

Taking a photograph of both the background with and without the model enables me to have more control when composting and editing the photograph. I can easily isolate the background first and edit the environment, then place the model afterwards for realism. The first step for this composite was to place several stock images of fire.

When adding elements such as lights and fire, make sure that it affects the existing image as naturally as possible. For this instance, the fire adds areas of highlight and shadows. I used two layers using curves with one brighter and the other darker, then used the masking tool and the brush to create bright and dark areas.

Just like before, you want to make sure that the fire adds areas of realistic highlights and shadows. Fire creates a warm glow and I did this by using different colored brushes (different reds and oranges from the fire) with 0 hardness and a low opacity. Using low opacity, build up the layer slowly to give it more depth. 

The next step was to place the model. As you can see with the image below, the color tone of the model doesn't suit the background. Several adjustments have to be made to make it more realistic.

Just like previously, I added highlights with the color of the fire at the outline of the character to create a rim lighting effect. This decreases the created space between the model and the fire and adds realism.

The next step is simply dodging and burning the model to get more accurate lighting. For this, I create two separate layers of curves, one brighter and the other darker. I then simply use the brush in the mask to make areas brighter or darker without damaging the photograph. This gives me the flexibility to go back and do minor changes if I wish to do so.

The last step for this image was taking it into Lightroom. As I have previously mentioned in my older posts, I always refer to Lightroom for the final stages of making a photograph. When I have finished placing all of the elements and creating the composite, Lightroom enables me to add filters and effects that affect the whole image which adds unity and therefore adds realism.

Final adjustments on Lightroom

Final adjustments on Lightroom

Here is the whole story of Final Belonging:

I edited these photos mainly using Adobe Photoshop and Lightroom 4. I also used Portrait Professional Studio for retouching. If you have more questions on how I produced these images, feel free to comment here or post on my wall on facebook.


Fifth Code: The Good Life

I was asked by the owner of Fifth Code, Lorenz Namalta to shoot for their second anniversary. Fifth Code is a clothing company that specializes on made to order blazers. The concept for this shoot was basically to portray a group of bros having a great time in their secret club. Lorenz and his friends provided the props, makeup and the clothing. This shoot was a little different that what I was used to because everything was basically prepared for me. I usually set everything up myself when it comes to creative shoots. It was a nice change of pace and I felt I could really just focus on the shoot.

Models: Patrick Soriano, George Schulze, Carlos Roberts, Erick Merioles, Mark Dimalanta

Styling & Art Direction: Lorenz Namalta

Styling Assistants: Esme Palaganas & Alexandra Reyes

Hair and Make-up: Isabelle Dee

It was quite challenging to pose the models as legitimate “bros” because they were not acquainted with each other in the beginning. I didn’t want to force interaction between them because it will end up looking forced and fake. Therefore, we spent some time prior to the shoot to let them gel and vibe off from each other. If you are having a group shoot that involved them interacting with each other, make time prior to the shoot for them to get to know each other first.

There are lots of steps to be a great fashion or editorial photographer. From this shoot, I realized that one of the hardest steps to overcome is learning how to pose models effectively and creatively. It is a very difficult skill to learn and you can only do it by practice and experience. Group photos are especially difficult to pose. You need to know if you are focusing on one model or all of the models. This will help you with lighting and your composition.

The lighting set up for the group shots was basic because I wanted the lighting to work for more than just one group shot. It had to be broad and versatile but still very dynamic and engaging. Our location had afternoon light pouring through with the window making our models back lit. As most of you know, it is very tough working with your light source behind the subject. Therefore, I faced a couple of studio lights against the light. This achieved a very dynamic look but you have to be careful in how you balance the power of your lighting because it may look flat and fake.

I used the stripbox to evenly spread light that will work against the sunlight. However, I thought that the pictures it produced was too flat and the models lacked volume. I then used a beauty dish with an umbrella on the side to diffuse the light and add that volume. I wanted as much ambient light to add more realism. To allow the ambient light and window light to be visible, I used a low shutter speed.

Here is the whole set of Fifth Code: The Good Life

I edited these photos mainly using Adobe Photoshop and Lightroom 4. I also used Portrait Professional Studio for retouching. If you have more questions on how I produced these images, feel free to comment here or post on my wall on facebook.

website | facebook | flickr | behance instagram

Dancing with a Shadow

Both photographs and dance have an innate capability to tell and convey stories and ideas, as with any kind of art form. I have always wanted to portray a story through dance and photographs. Being able to fuse both art forms have always intrigued me because of the many factors involved. How does one art portray another in tandem and with accuracy? I want to explore these ideas. Therefore I asked my dancer friends Marissa Mes and Rafa Siguion-Reyna to model for me. Marissa was part of the final competitors in So You Think You Can Dance in Holland.

The concept for this series was the idea of “letting go”. Letting go of a loved one is always a difficult ordeal. However, it doesn’t mean that you have to let go of everything. One thing you can keep are the great memories that you have of them.

For the shadows of the models in the background, I used a similar technique from one of my older composites. I first took a photo of the models doing the lift together and then a separate one with them reenacting the lift by themselves. I then created a silhouette of the dancers together and used that as the shadow behind the solo dancer. 

For this post, I wanted to focus on how I was able to completely simulate a backlit and ethereal effect using photoshop. This is the original photo taken without any post-processing. I originally wanted a lot of backlight for this series but lacked the amount of natural sunlight due to the cloudy weather.

In Photoshop, I simply created a new layer and used white colored large soft round brushes (0% hardness) with 40% opacity and built it up. I used the color white because I would have more control of its color in Lightroom which would be the last step.

I also added shadows to give it a more realistic look. For this, I added another layer and used the lasso tool to create a rough shape of the shadow then used the radial gradient tool and used the soles of the feet as the center. I finished it up with the Gaussian Blur tool and decreased its opacity.

I then used the masking tool as you can see on the screen shot, to start removing the white on the subjects. I used the round brush with 100% hardness in the inner side of the models then changed it to around 40% hardness around the edges. This simulates a rim light effect to make it look more natural.

Finally, the last step is editing the colors and the contrast using Lightroom. I gave it a warm color to further simulate the light effect. I also increased the clarity of the subjects using the adjustment brush, isolating the effect from the background. Here is the final image:

I edited these photos mainly using Adobe Photoshop and Lightroom 4. I also used Portrait Professional Studio for retouching. If you have more questions on how I produced these images, feel free to comment here or post on my wall on facebook.

website | facebook | flickr | behance instagram

Photography Inspiration: Gregory Crewdson

Last school year, I took a short class called Photo Intensive here in RISD and was introduced to the work of Gregory Crewdson. It’s not often when an artist’s work catches my attention as much as his . It deeply resonated inside me and thought that I would share it. Gregory Crewdson is an American photographer who creates a whole world with elaborate set designs and lighting. Every move he makes is deliberate and controlled and I think that’s what inspires me the most.

Every light that appears in his photographs are purposeful and planned ahead of time. Therefore, each picture tells a story but a purposeful story which is completely told by the artist. For me, this is what makes his work stand out from the rest.

I am infatuated with the way he creates such a dramatic scene with a lot of tension and emotions. He portrays his idea not only with the model but also with the background equally. In return, his photographs have a very surreal and cinematic feel to them.

He mainly uses a deep depth of field, which can be problematic at times because the photo might turn out too busy. However, he creates focus on his subject using lighting. This is very hard to do and you must first master light and how it affects the body and the scene to be truly successful.

Gregory Crewdson’s work truly inspire my own as a photographer. I still have a lot to learn about photography and I haven’t had the chance to take many classes but sometimes one photo can teach you so much more than a class. His work has truly taught me a lot and gave me a better understanding with lighting and set design.

Live in a Dream

The idea and concept for this shoot came to me when I had a conversation with a friend and she told me that she would rather live in her dreams than in reality. Her story struck me because it made me question reality and what it would feel like to live in an eternal dream.

I have always wondered what boundaries exist between dream and reality. What would it take to live in an eternal dream in where you can have complete control of the world? With the series, I question our reality and how its connected to dreams. Our dreams are an entry way to another kind of reality. I believe that if we have full control of our dreams, it could be a fully realized reality just as much as the one we live in now.

The model for this shoot is Olivia Medina and she is doing a lot of great work. She is a professional model and was recently the cover model for Rogue magazine.

This was the first time I worked with a professional model that wasn’t initially one of my friends and it was very intimidating. However, working with professional models is very rewarding because they know their angles very well. She saw my work on facebook and thus we ended up collaborating for this shoot. This is why it is important to share your work to the public even when you’re just getting started. The best way to spread you work out is through websites like Flickr or Facebook. Don’t be scared of criticism but rather accept it. You miss out on a lot of opportunities if you don’t.

I used three different locations for this shoot. The first location we shot at was on a yacht provided by a friend of mine. The next is actually the house next to mine back in Manila. They had torn their house down to build a new one and I just couldn’t resist. I didn’t know the owner of the lot so we had to sneak in, totally worth it. Always keep your eyes opened for locations that would be great for a shoot. The last location was a furniture showroom that again was provided by a friend.

For the concept to fully realize itself, I had to make sure that I had the correct lighting. I timed my shoot in each location so that I could use the sun to my advantage. This is very important when planning a photo shoot. Always keep the sun and its light in your mind.

According to a lot of great photographers out there, the best investment you can make aside from your camera would be lighting equipment. Ambient light will always be the best kind of light but it is also very hard to control.

It was about 3pm when we finished setting up for our first shoot. It was a great day out but there wasn’t a lot of clouds in the sky so the sun light wasn’t diffused and created really harsh shadows. There are a couple ways to lighten up these shadows, one is a reflector and another is a secondary light source. Light sources can range from a flash light, a speed light to studio strobes.

Reflectors are an essential to a portrait photographer and I highly advice you getting one. They are not so expensive and they can easily improve your portrait photographs. I found one in Amazon that works perfectly, Neewer 110CM 43″ 5-in-1 Collapsible Multi-Disc Light Reflector. You can easily change this reflector to different things to suit your needs. I used it as a diffuser for this shot.

I used a combination of the diffuser and a secondary light to decrease the harsh contrast on the model.

Here is the whole series: “Live In A Dream”

I edited these photos mainly using Adobe Photoshop and Lightroom 4. I also used Portrait Professional Studio for retouching. If you have more questions on how I produced these images, feel free to comment here or post on my wall on facebook.

website | facebook | flickr | behance instagram

Shersy Clothing Photoshoot

This was probably the most challenging shoot I had over the summer. I was asked by a friend if I could do some fashion photography for her Shersy Clothing upcoming launch. Since it was for a friend, it was a little casual. However, I still wanted to make my photographs as professional and as impressive as possible. Unfortunately, I really didn’t have any experience in fashion photography. To make things worse, I was working with two models. If you’ve been in my situation before then you would know that it’s not ideal. If you haven’t then I have some tips for you.

Do Your Research:

We are bombarded with images everyday and the key is to look out for photographs that stand out. Then use those photographs as an inspiration for your shoot. You can find a lot of great images over the internet or fashion magazines. It is also a good idea to communicate with your client. Ask them how they want their photographs done. However, don’t completely depend on their response because the final image is still up to you and your style. They asked you to photograph for them for a reason.

Get Pegs:

A lot of professionals will create their pegs to show the photographer. However, if that is not the case, then you will have to make your own. This is the best way to make sure that you get the shots that you want.

Be Prepared:

Make sure that you have everything you need for the shoot, and I mean everything. If you think you might need a certain equipment, just bring it. Prepare all of your equipment ahead of time and make sure that everything works fine. For more tips, check out my previous post on setting up your own shoot. 

Shersy Clothing Photoshoot:

The models for the shoot were Winnie Wong and Mara Javier. They were both great models to work with. Plus, both of them were my friends so they were easier to work with. For this shoot, I was using my Nikon D800 with either a 24-300mm f/3.5-5.6 and a 50mm f/1.4. I also used both of my Elinchrom D-Lite4’s with softboxes attached. Other than that, I had a circular reflector, which is essential when doing portraiture.

Nikon D800, Shutter Speed 1/320, Aperture f/3.5

Nikon D800, Shutter Speed 1/320, Aperture f/3.5

I found it very difficult to direct the models at first because of my lack in experience. According to most professional photographers, this is one of the most difficult skills to learn in photography. It takes a lot of practice and observation. I agree completely. Practicing this skill of directing models will be most beneficial if you are planning to be a photographer. One tip I have is to create little stories for each shot, so that your model can understand what you are trying to achieve.

Nikon D800, Shutter Speed 1/250, Aperture f/4.5

Nikon D800, Shutter Speed 1/250, Aperture f/4.5

Nikon D800, Shutter Speed 1/250, Aperture f/5.6

Nikon D800, Shutter Speed 1/250, Aperture f/5.6

Nikon D800, Shutter Speed 1/500, Aperture f/4.5

Nikon D800, Shutter Speed 1/500, Aperture f/4.5

Nikon D800, Shutter Speed 1/320, Aperture f/4

Nikon D800, Shutter Speed 1/320, Aperture f/4

Make sure that you portray both the clothes and the model in a good light because at the end, you are trying to sell. Your priority is to sell and I am sorry to say this but if your style conflicts with that, you have no choice but to find a compromise. For this shoot, I was asked to keep the colors of the clothes as natural as possible. That limited my creative control over my pictures. A tip I can give you is to edit and create two separate sets of photos, one for your client and one for your portfolio.

Nikon D800, Shutter Speed 1/200, Aperture f/4.2

Nikon D800, Shutter Speed 1/200, Aperture f/4.2

When doing locational shoots (outside the studio) there are a lot more factors involved that you have to take account. You have to be able to quickly adapt to a changing environment. That is why I always carry my strobe units (flashes) and my reflector, as it gives me more control of the environment.

I edited these photos mainly using Adobe Lightroom 4. I also used Portrait Professional Studio for retouching. If you have more questions on how I produced these images, feel free to comment here or post on my wall on facebook.

If you liked any of the clothes featured in this post, then check out Shersy Clothing’s facebook page.

website | facebook | flickr | behance instagram