My Final Image Portfolio 2015

This portfolio of images is a portfolio  of the best and innovative collection of my work which I would  then go on to show to a prospective client or gallery in the future.

The images demonstrate through photographic techniques I have learned,  I have been  able to demonstrate my own style and innovative use of photographic techniques

I decided to do what I love and do best, in this collection of images to show color , lots and lots of color spread over as much as a surface are as possible. These full size " Trippy Murals" as I have heard them best described, started life as a normal Photograph taken at some time during my  Diploma of photo Imaging,

The canvas size is determined by 8 portrait canvases stitched together in photoshop to make a Panoramic size Canvas

This done automatically using Photoshop, Photomerge etc

once the canvas is completed other photo are mixed and merged using the Liquid Filter, and because the the length is exactly 8 photo Images long, scaled down of course all the images panorama will be exactly the same size

This is now here the fun begins

The first panoramic image is done , then duplicated then the duplicate is reversed and mixed around

then a layer mask  is added  and blending mode chosen etc

then we a have a second panorama and the procedure goes on till had 12

The idea was to show to Evolution of one panoramic plate to the next, each being totally different to the next te collection of images are as follows 

 

 

 

 

 

 

 

 

 

 

Photograms

Not al, digital Photography involves a camera,

but it just happens that these examples were using a Nikon D5100 and Placing Objects on a Light  Also that great photograms can be made placing objects under a Flatbed Scanner

in this example objects were bought from home a photographed on a light table in the studio and then using Photoshop using Masking techniques achieved some spectacular results (at least I thought so)

This was a great way to learn and discover masking techniques by choosing, and manipulating different colors could be added

and by selecting different opacities and blend tones an endless variety of effects can be achieved

 

How I made a digital photogram

set up at home

Photograms are very different images to standard photos. Traditionally they were created by placing objects on a sheet of photographic (light sensitive) paper. The paper is then exposed, which turns the paper black, except for where the objects are blocking the light.

 

Photogram

Objects that are translucent let through some light, and so appear in shades of grey, while objects that are opaque appear as solid white.

The effect of a photogram image can be replicated using a digital camera to capture the image, with no photographic paper needed. You will need:

 •Digital camera with manual exposure mode

•Glass or clear perspex that you can rest your objects on (or a lightbox).

•White paper

•Light source, e.g. Speedlight flash and a way of triggering it off-camera, or a small continuous light source.

•A tripod - not essential, but very handy.

Normal photo of Pliers

Photogram of Pliers and toothbrush - note the X-ray style effect

To create a photogram image,  create a photo with a very bright background. This will produce a photo with a white background, and black silhouetted objects, the opposite of a photogram. This image can be pleasing by itself, but to get the true photogram effect we can later invert the image in Photoshop

using a  light box, or light table, this is ideal to use as a bright background for placing your objects on. or use  a light box, then  to replicate the effect. if you don't have glass table here is  simple solution

use a piece of clear Perspex placed on the edges of two boxes, like a bridge.

On top of the Perspex  put a piece of white paper. The paper shouldn't be too thick, as it needs the light to shine through it.

Underneath the Perspex, on the floor,  placed a Speedlight flash with a radio trigger attached. The flash to be  pointed upwards towards the bottom of the Perspex. When the camera shutter is  pressed, the radio transmitter in the camera's hot shoe triggered the flash, which blasts the underside of the Perspex / white paper with light. The camera then captures the photo of the bright background, with where objects are placed on the background appearing dark.

 The apperature was set to f11 1/124second ISO 200

 

 

Painting With Light

Painting with light, was setup in the kitchen at my home with a tripod and using a Nikon D5100 with an 55-200 mm lens ,

the props that were used on this occasion were some Teddies, glass bowl and oranges to give the effect of miniature Jack Of Lanterns as it was Halloween when the shot was taken, seemed most appropriate ate the time,

Simple light sources were used as led torches,

The camera was set up on the tripod and an exposure of 8 seconds under complete blackness with aperture of F5.6

A painting with light as shown below was completed in a studio with a blue filter over a torch phone

 

I found these as a great guide to achieve good results in painting with light

 

Don’t try to paint everything with the same light.  It will look really odd and flat.  

 

  Chose a dimmable flashlight with an adjustable beam for best results. 

 Many flashlights have adjustable beams, such as Mag-lights, but few flashlights can be dimmed so that you can use just the right amount of light on every part of the photo. 

 

 Be careful with noise.   but long exposures also create more noise. 

You’ll need to take more than one photo.  .

  



Soft Light Photography

I found this type of procedure an interesting method of turning  a an ordinary photo into a dream like photo.

It really helped me master the, concept of layers and mask, which was a conept I was truly falling behind.

the great thing about Soft Light  Portraits is the amount of different effects that can be applied to different layers and masks to bring it all together in a final composition in the end photo,

I personally like the Blending modes and use of gradients over a layer mask to totally change the atmosphere of the original

Soft light can also dramatically change the mood giving a dream like mythical appearance,

I can see my self using this as a Personalised gift or card making serving with the recipients picture on the front and adding dreamy soft light wishing happy birthday or such other greetings

 

The gradual tones of the foliage in the background were achieved by a gradient over a layer mask and changing the blending mode and revealing underneath

 

So what is soft light?  It is a light which has a wide gray zone.  It means that the light won’t cause harsh shadows under people’s noses, or under their chins, etc.  Soft lighting does not show texture (such as pimples, wrinkles, blemishes, leprosy, etc) as well as hard light.  This is one reason why soft light is generally more amenable to portrait photography, because we want the light to wrap around the texture on our skin so we don’t show off our blemishes.  Remember: the softer the light, the wider the gray zone.  The harder the light, the narrower the gray zone.

 

What makes light soft?

 

One thing, and one thing alone makes lighting soft: size.  It is not about how bright the light source is, nor how diffused the light source is, nor anything else.  It’s all about size.  The larger the light source, the softer the light.  This explains when photographers shoot  flash units into umbrellas.  The flash unit itself is only a few inches wide, but when you shoot it into an umbrella, it becomes 43 inches  in diameter!  Making the light large makes it soft.  The same is true with the relative size.  If you’re shooting a portrait of someone and the light is too hard, do you put the flash closer or further away from the person?  It may surprise you that the answer is to put the flash closer to the subject.  When the light is closer, it seems larger than if the light is further away.  This relative size of the flash also affects softness.

What about natural light outdoors?  Now you know why shooting portraits, or even wildlife, in mid-day lighting from the sun is so horribly ugly.  The light, while giant in terms of actual size, is only a puny little dot in the sky.  This small relative size of the sun makes for hard light.  Portrait photographers always hope for a cloudy day when shooting outdoors.  The clouds spread the size of the sun to make it relatively larger, which produces softer light.

The above explanation gives a fundamental knowledge of why and how they get soft light in the studio,

which is handy to know also when it comes to editing and achieving the same effects in Photoshop



HDR IMAGE

High Dynamic Range Imaging (more often called HDRI or simply, HDR) is a process in which a greater dynamic range of light is captured throughout the lightest and darkest areas of an image.  HDR Photographs are generally created by shooting multiple photographs using exposure bracketing.

 

 I must admit I love this technique and however my style is some what unorthodox for many. I love the grittiness and vibrancy of colour this technique also allows an ordinary photo to be jazzed up just like doing up a sports car

Although I'm only just beginning my journey in mastering this fantastic way of bring out and beautifying the light that is already in the phot by tack to another level

here is one of my modest creations , like I said I have a lot to learn in thin method but definitely finding my way

 

Compared to original photo,

 

 

I Love the fact that if not enough light was available to get the shot I wanted from the camera, the option of HDR is there to manipulate the image using Photoshop which has built in HDR Plugin software the shot  bove a series of photos were taken on a tripod each varying the Aperture , then load them into HDR processing software which gave options to change Shadows , Tones, Highlights etc

The stock of photos used to create varied light ranges in the final HDR shot

 

 

 

 

 

 

 

 

 

 

 

 

 

Median Rendering

Median Rendering In this case involved filming a crowded scene to demonstrate how to make unwanted crowds disappear

If only the crowd I was filming in a casual manner and discreet, only knew that the purpose of the exercise was to make them disappear, some of them were getting quite anxious about a  camera pointed in there general direction, and giving me a nasty look straight through the lens, most unnerving,

maybe I should have wore a sign saying "I'm Photographing You , to make you disappear

Camera was set up at Civic Park in Newcastle NSW, ( On a rainy Day) and was taking photographs of Newcastle Library, The one that used to be hidden by our beautiful Figs that were cut down,

 also managing to capture crowds that walked by to eliminate them later in post production by a very clever and simple means in photo shop however in does take lots of images for the to work

the process involves a technique called Image Stacking

 

IMAGE STACKING

 

Create an image stack

For best results, images contained in an image stack should have the same dimensions and mostly similar content, such as a set of still images taken from a fixed viewpoint, or a series of frames from a stationary video camera. The content of your images should be similar enough to allow you to register or align them to other images in the set

1. Combine the separate images into one multi-layered image.

An image stack must contain at least two layers.

You can also combine images using a script (File > Scripts > Load Files into Stack).

2. Choose Select > All Layers.

Note:

To make the Background layer selectable with the All Layers command, you must first convert it to a regular layer.

3. Choose Edit > Auto-Align Layers and select Auto as the alignment option. If Auto does not create good registration of your layers, try the Reposition option.

4. Choose Layer > Smart Objects > Convert to Smart Object.

5. Choose Layer > Smart Objects > Stack Mode and select a stack mode from the submenu.

• For noise reduction, use the Mean or Median plug ins.

• For removing objects from the image, use the Median plug in.

The output is a composite image the same size as the original image stack. You may need to experiment with different plug ins to get the best enhancement for a particular image.

To change the rendering effect, choose a different Stack Mode from the submenu. Stack rendering is not cumulative—each render effect operates on the original image data in the stack and replaces previous effects.

 

Median is just one of the plug ins that achieve a certain task, upon researcrch here is a list of what tasks do exactly after being converted to Smart Object

 

Stack modes

Stack modes operate on a per-channel basis only, and only on non-transparent pixels. For example, the Maximum mode returns the maximum red, green, and blue channel values for a pixel cross section and merges them into one composite pixel value in the rendered image.

Rendering plug-in name	Result	Comments
Entropy	entropy = - sum( (probability of value) * log2( probability of value) ) Probability of value = (number of occurrences of value) / (total number of non-transparent pixels)	The binary entropy (or zero order entropy) defines a lower bound on how many bits would be necessary to losslessly encode the information in a set.
Kurtosis	kurtosis = ( sum( (value - mean)4 ) over non-transparent pixels ) / ( ( number of non-transparent pixels - 1 ) * (standard deviation)4 ).	A measure of peakedness or flatness compared to a normal distribution. The kurtosis for a standard normal distribution is 3.0. Kurtosis greater than 3 indicates a peaked distribution, and kurtosis less than 3 indicates a flat distribution (compared to a normal distribution).
Maximum	The maximum channel values for all non-transparent pixels
Mean	The mean channel values for all non-transparent pixels	Effective for noise reduction
Median	The median channel values for all non-transparent pixels	Effective for noise reduction and removal of unwanted content from the image
Minimum	The minimum channel values for all non-transparent pixels
Range	Maximum minus the minimum of the non-transparent pixel values
Skewness	skewness = (sum( (value - mean)3 ) over non-transparent pixels ) / ( ( number of non-transparent pixels - 1 ) * (standard deviation)3 )	Skewness is a measure of symmetry or asymmetry around the statistical mean
Standard Deviation	standard deviation = Square Root(variance)
Summation	The sum channel values for all non-transparent pixels
Variance	variance = (sum( (value-mean)2 ) over non-transparent pixels ) / ( number of non-transparent pixels - 1)

You can use the Statistics script to automate creating and rendering an image stack.

1.Choose File > Scripts > Statistics.

2.Choose a stack mode from the Choose Stack Mode menu.

3.Apply the stack mode to currently open files, or browse to select a folder or individual files.

Files you select are listed in the dialog box.

4.If desired, select Attempt To Automatically Align Source Images (equivalent to choosing Edit > Auto-Align Layers). Then click OK.

Photoshop combines the multiple images into a single multilayered image, converts the layers into a Smart Object, and applies the selected stack mode.

Just some useful added information added to you on your toes

Here are some of the shots with crowd  show below

 

 

 

 

 

 

As you can see the crowd has disappeared that were walking past, the To remaining people sitting down in the park demonstrates that , becasuse these people were not moving  they have remained in photo

 

 

 

Displacement Mapping

Had a lot of fun with this one and came up with one and came up wth some interesting results based on textures mapped around a portrait of my face,

Being a fan of Abstract, Surreal, and any chance to manipulate a figure even if its me gave me great joy

This texture will be mapped on a portrait of my face

First selected  channel with the best contrast

which in Skin tones always happens to be Blue

Then we duplicate the channel

This bring up duplicate channel Dialog box and selected new for document option

apply the Median filter to displacement map image

apply the Gaussian blur filter

 

 Convert image to Grayscale and save as a psd file

Then selected face on photo

Saved the selection

to select and save selection

when selecting after drawing around the face with selected tool

to select the eyes hold own alt o option in windows and selection automatically jumps to negative so eyes can be cut out

Saved the selection

which allows easily loading

now we copied the texture photo over original image

opened the photo using as texture

made sure texture layer was selected by clicking inside document window

then duplicated layer, named copied layer texture

loaded the selection

from the selection we saved earlier added a layer mask

changed the blend mode to Overlay

then selected the texture layer unlinked the layer from layer mask

applied displacement filter

selected displacement map portrait we created earlier

 and here are some iv had fun with that have been created ealier

 

 

 

 

Because of my attraction to photo manipulation this method will prove handy in my methods and hope to develop my own style, I find this the most reward as I've always just loved to doodle with graphics

 here playing with more specific areas

Brick Lips, I was surprised how weird this made me look , but I swear, I not wearing Lippy nor am I a Cross dresser lol