It’s a shot from a test set-up for a product shoot in which I was aiming for a low key look with lots of contrast to separate the subject from the background. I also wanted to get a lighting set up which would freeze the action but also be fairly even.
I achieved this by using flash positioned to the right of the subject as we look and, instead of using a reflector as fill, I used a mirror to throw back an almost equal intensity of light. I used a black backdrop and set the subject far enough in front of it to get the most benefit of the inverse squared rule to make sure I kept the background black.
Rather than put my signature watermark on the image itself, I’ve chosen to put it on a border which I think looks less intrusive in this case, I created the border by adjusting the canvass size in Photoshop then adding a white layer.
It’s a fine balance set against delivering on a brief, but I believe that one of the added values a professional photographer should bring to work for a client is creative input. So, let me share the story of this one of a set, which I really like.
This is Sharon who asked me if I could do some head shots of herself and the staff at Healing Hands Wellness Centre in Glenrothes. Sharon was looking for photos that would be an improvement on the ones already in place and was thinking of the standard head shot approach. There’s nothing wrong with that but I wondered if she might be open to someting a little more creative which said something about the centre.
I felt that “Healing Hands” was significant in the centre name and ought to be reflected somehow in the head shots. I also have a personal preference to show people in context as much as possible. I had the idea of creating a background shot which illustrated healing hands and put together a mock up of the concept to see what Sharon thought of it. I was pleased when the idea met with her approval and so we agreed on details for doing the shoot.
Each of the head shot images is constructed as this example, with the same background and here’s how they were shot and constructed.
First of all, we shot the background. This involved Sharon and one of her team. The room we shot this in was quite compact and I needed lighting in there along with a camera, tripod and myself. There was only one configration possible for this, which meant me being on the left of the subject with the lighting on the right. I knew this was the wrong way round for the final composition, but it was an easy enough job to flip the image in processing.
I wanted the background image to be muted so that it was very evident but not dominant in the overall composition, This was achieved in Photoshop where I placed a pure white layer under the background image then dropped the opacity of the background image. This was then used for the whole set of head shots.
The portraits were shot in another treatment room which has a pleasing forest image on one wall. I set up a temporary studio there using the feature wall as a backdrop. The lighting for the head shots consisted of two studio lights – one above and behind the subject to add some highlighting to the hair, and one at about 45 degrees from the front as a fill light. The main light was flash bounced into an umbrella reflector.
The final image was completed in Photoshop by blending the portrait shot with the “healing hands” background.
I’m pleased with the final composition and that we have managed to give a fresh expression to corporate head shots. The moral of the story is that we should always be prepared to offer creative suggestions to clients in the interest of adding value to them. Of course, suggestions might not always be accepted – I have experience of that too – but when they are and come off like this, it’s really pleasing.
I posted this picture (well, not exactly this one, as you will discover) last week on a Facebook group for photographers and it proved to be very popular with 140 likes (as it stands). There were also lots of complimentary comments and one member said, “How did you do it, if you don’t mind telling. ”
I’m more than happy to tell, but I thought this might be better done by way of a blog as there are a few processes involved. In an ideal world I thought all I had to do was go back to Photoshop open the file and describe the process from there. It turns out this isn’t an ideal world. As I’d been experimenting with an idea I’d had, I hadn’t actually been alert enough to save the Photoshop file. In order to do this blog post, I had to go back an recreate the entire thing. That’ll teach me to be more alert about saving the experiments. In the end, I think this version is just a little more heavy-handed with the highlights but, as the main aim of this post is to explain the process, I wasn’t about to go back and re-edit.
So, here is how this image was created.
Stage 1 –
electrifying the logo
is all about making the logo look like an active filament in a light bulb.
I opened the white Hi-res version of my Photologo in Photoshop and, as usual, duplicated the layer. I do this to make sure that if anything goes wrong I can always get back to the original. I don’t work on the base layer.
Using the paint bucket tool, I filled the logo with orange (hex value f4a816). You need to be careful at this stage and make sure you only get the logo. I suggest zooming in for detail. Staying on the copy layer, I went down to the layer style (fx) and selected outer glow. In the layer style box I clicked on the solid colour box in the structure options and chose an orange colour. In this case the hex value is ff6c00. I then clicked OK on the colour. I set the opacity to 60% and made sure the blend mode was normal, set the size to 190 pixels then clicked OK on the layer style. The result is an orangey glow round the logo. I then duplicated the layer (CTRL+J). Then on the new duplicated layer, I edited the effect by double clicking it to open the dialogue box. I changed the colour to a lighter version (hex value f0962b), I increased the opacity to 100% and reduced the size to 65 pixels then clicked OK. The end result of those processes on the logo looks like this:
Next I wanted to add some highlights to the effect so opened a new layer and put that on top of all the others. I renamed that layer “highlights”. I find with multiple layers, it’s a good idea to rename them for ease of identification if I need to come back and re-edit. If you don’t know how to rename a layer simply roll your mouse onto the layer name and double click. That allows you to rename then confirm by hitting “enter”. On the new highlights layer, I set the blending mode to overlay. I selected a soft round brush and sized it to be just marginally thicker than the logo text. I reduced the opacity to 50% and then painted highlights where I thought they looked reasonable in giving the logo that electric activity. This stage is very much directed by eye and what you think looks “natural”.
Stage 2 –
doing this other than experimentally, I’d have photographed a bulb myself but,
in this instance, I chose a stock image. As my logo is wide, I wanted a bulb
that was more oblong in shape.
Keeping the work on the logo open in Photoshop, I then opened the selected a photo of the light bulb. This opens as a new tab within Photoshop. The image I chose is pretty low res, so really wouldn’t stand up to enlargement and it also means the relative canvass sizes are very different between the bulb and my logo. I therefore checked the size of the bulb canvass which turned out to be 11.43 cm x 8.2 cm. This will become significant shortly. So, back to the logo tab in Photoshop. Selecting the top layer I made a new layer and then stamped visible into it by doing the following: hold down Shift, Ctrl, Alt, N to create the layer, then Shift, Ctrl, Alt, E to stamp the visible into it. This creates a new layer which has all the detail of the layers below and is the one I will copy to the light bulb image. First though, I changed the image size (please note NOT the canvas size) to 11.42cm x 8.2cm and in the dialogue box opted for auto resolution, which slightly changes the images dimensions.
Then I right clicked on the layer and select duplicate layer. This opens a dialogue box in which you choose the open file in which you want to open the duplicate layer and, for me, that’s the light bulb image. In the dialogue box there’s a drop down option for destination document. This is where I selected the light bulb image.
Next I selected the light bulb image tab in Photoshop to switch to it which now showed my copied logo layer above the light bulb. Having adjusted the image size in the logo, it is now an easier job to set about aligning it. The imported layer comes in as layer 1 which I renamed to logo. Making sure I had the logo layer selected I used the move tool to align the logo across the centre and in line with the existing bulb filament like this:
Still on the logo layer, I went to edit and selected free transform. To see the handles I hit Ctrl 0 on the keyboard (see below). Now the task is to align the logo within the bulb so that it connects to the ends where the actual filaments connect. I did this by adjusting the handles on the free transform box but held down the shift key to retain perspectives and prevent skewing the logo.
Next I made a copy of the background layer and moved it to the top of the layers stack. I then created a new fill layer (filling it with black) and put that below the logo layer. Then I applied a mask to the background copy layer (top) and with the foreground colour set to black and background to white, I selected a soft brush and painted to reveal the logo. This then needed some adjustments back and forth setting different brush opacities to get to a final look that I was happy with.
I hope you’ve found this interesting and helpful in terms of Photoshop technique. There may well be better ways to achieve this effect, but this is how I ended up doing it. I think it’s a technique I might employ again at some time.
Before I close, let me give a shout out to Photologo. I got my logo from them and am using it not only as a watermark on photos that I publish online, but also as my business logo. They’ve not asked me to give them and mention and have certainly not paid me for doing so. I just think they are worth knowing about if you are a photographer who wants to do something to help protect your images and add a stylish signature to your work.