Photo Idea Index Page 4

  Here, the model has been photographed as an artist displaying a recent painting. Elements from the painting have been digitally inked onto the model's skin. This effect was achieved by creating masks in the areas of the model's arms, hands and feet (using Photoshop's LASSO tool) and then pasting resized and rotated portions of the artwork into these masks. The pull-down menu on the pasted images' layers was set to “multiply.”

  The tattooed armband seen in this page's far image is ink on flesh. The ornate swirls in the near image were added in Photoshop (the real armband was removed from this photo using the CLONE STAMP tool). Photoshop offers a variety of tools and treatments that can be used to add effects such as these — sparingly, or in the extreme. With a little practice, patterns, designs, illustrations and photographic images can be added convincingly to the skin of your models.

  7

  In Character

  Two of my favorite things to aim for with a camera are images that reflect absolute reality, and images that absolutely don't. On the following pages, the emphasis is on creating — and taking pictures of — scenes that toy with the notion of life-as-we-know-it.

  Interested in recording images of altered reality? How about talking a friend into dressing up in costume and letting you snap some pictures? Or what about taking an ordinary photo of a friend and using software to add a digital costume or mask to the image? Either way, be sure to consider the context in which your character appears. Should he be placed in an environment that matches the look of his make-believe character, or should he be set in an environment that conveys notes of nonsense, humor or whimsy?

  Some authors write fiction, and others write nonfiction. Photographers, too, can be split along similar lines: those who aim for true-to-life images, and those who prefer snapping photos that are more make-believe than believable. I had all three of this book's models pose in the same yellow bunny suit (sewn by a local craftsperson) so I could take photos of them in similar settings and compare the resulting conveyances. Got a one-size-fits-all costume? Got a few friends willing to pose in it?

  To expand upon something Freud once said: Sometimes a cigar is just a cigar, and sometimes a man in a bunny costume is just a man in a bunny costume. There's no real story to this scene, but one thing's for sure: A photo of a man (or a woman or a child) wearing a bunny suit is almost guaranteed to get a second look from viewers — viewers who might not look twice at a normally clothed person doing something as mundane as smoking a cigar or mowing the lawn.

  There's a formula I've noticed in comedy — especially British comedy. The formula has two sides. It either involves ordinary people doing out-of-the-ordinary things (ever seen the Monty Python sketch “The Ministry of Silly Walks”?), or an outrageous character participating in an ordinary task — something along the lines of a giant rabbit mowing the lawn with a cigar in its mouth.

  How can you stop an energetic and athletic model in a bunny suit from having a hop once he's caught sight of a trampoline? Turns out, I couldn't. (This trampoline happened to be behind the house in the lawn-mowing photo, opposite.) Powerless to argue against this unplanned diversion from our photoshoot, I grabbed my wide-angle lens and joined the oversized bunny on the giant backyard toy. It was late afternoon, and when the man-sized hare jumped high enough, his head and ears were lit by the setting sun.

  My model discovered the tire swing in the near photo hanging from an apple tree in a vacant lot a day or two before we were scheduled to take pictures using the bunny costume. It seem like too good an opportunity to pass up. The second photo was actually snapped as we were walking from the parked car to the tire swing. (I mention this detail as a reminder that — when it comes to photoshoots — it's never too soon to sling the camera around your neck and start taking pictures; you never know when a photo opportunity will arise.)

  And finally, it was the youngest model's turn to climb into the bunny suit. Color-muting HUE/SATURATION adjustment layers were used to restrain hues in the periphery of these scenes. Adjustment layers come with masks that can be selectively opaqued to block their effects. To preserve the colors in the model's costume and juggling balls, the BRUSH tool was used to fill in these areas of color-muting adjustment layers (thus allowing the photos' original colors to escape these masks' effects).

  A pair of digitally rendered wings have been added to this rooftop portrait. Drawn in Adobe Illustrator, the wings were copied and pasted into a layer above the original photo. “Overlay” was selected from the upper layer's pull-down menu. A PHOTO FILTER treatment (set to “underwater”) was applied to the base image so the warmly hued wings would stand out well against the aqua-tinted clouds beyond. A CURVES adjustment layer was used to add contrast to the composite image.

  A pair of paper wings hangs loosely from the shoulders of this subject as she makes her way through an alley with a furry friend. Try the “following your subject as she walks” camera angle sometime (and follow from slightly off to the side of your subject so that your camera can catch hints of her face). To help your chances of recording a moment when your subject's feet are in a photogenic, mid-stride position, set your camera in continuous-shooting mode and snap your images in bursts of three of four quick shots at a time.

  Know of any fancifully decorated homes or rooms nearby? Interiors that could provide a ready-to-go setting for a whimsically themed photoshoot? I know of just such a room: the polka-dotted restroom in a Belgian bakery in my hometown. Fortunately for me, my model worked next door to the bakery and was able to gain permission to use the space for a photoshoot after hours.

  Something about snapping photos in a bakery that was closed for the night made me think of surveillance cameras. I decided to colorize these two images and add some faux-lettering and linework to mimic the look of security camera images. The effect definitely adds a candid note of secrecy to the goings-on within the scenes.

  The rare, long-finned mermaid seen taking a bath in this image was actually born in a layered Photoshop document — not the depths of the sea. A photo of the tail of a small fish (a smelt, purchased at a grocery store for 24 cents) was added to an image of the model reclining in a claw-foot tub. The image of the smelt was pasted into a layer of its own — a layer that included a mask that hid the fish's fore-half behind the tub's rim.

  How about purchasing a collection of inexpensive costume props, like plastic ears, wigs, gloves, funky glasses and fake teeth? They're bound to be of service one day when you are brainstorming for ways to have some fun with your camera and a friend. On the other hand, if you want to snap some fanciful shots but don't have any costume props on hand, you can always improvise (as demonstrated in the near photo).

  How about blurring the lines of gender with Photoshop's BRUSH tool? (A glimpse of the original photo — before and after airbrushing — is featured in the near image.) And why stop there? What about exploring some of the more exotic artistic enhancements offered through Photoshop's list of filters and treatments?

  The treatments applied to the three large images on this spread are, from left to right: ARTISTIC > CUTOUT; PIXELATE > COLOR HALFTONE; and ARTISTIC > FRESCO. The majority of this book's images are presented using effects that mimic the outcomes possible through traditional darkroom processing effects. If you are interested in outcomes of the more nontraditional variety, Photoshop offers endless possibilities.

  Plastic horns and phony fangs transform this bright and huggable youngster into a disquieting figure of the dark. A single bulb was hung above the model to achieve the moody lighting on her face. A separate light was beamed onto the dark fabric behind the model so her head would stand out well against the backdrop. Blackletter typography was added to the photo to lend it a gothic flavor. (The phrase, in Latin, translates as, You know, Toto, I have a feeling we're not in Kansas anymore.

  Photoshop's PHOTO FILTER treatment was used to tint the image on the opposite page. The model's lips were painted using the BRUSH tool. The subtle vertical texture in the image was achieved by pas
ting a photo of a piece of linen into a semi-opaque layer above the original (the upper layer's pull-down menu was set to “screen.”) In the near image, the appearance of the devilish character has been reinterpreted using a fisheye lens. If you have multiple lenses for your SLR, consider switching things up mid-photoshoot.

  8

  Masking Identity

  When shooting a portrait, a photographer's usual goal — at the very least — is to capture recognizable impressions of the person being photographed. And as admirable as that goal is, have you ever considered how much more fun you might have with portraiture if you tried to hide your subject's identity? At least occasionally?

  Here's an idea: From now on, every time you set out to record a portrait (whether as part of a formal sitting or an impromptu photo session) take at least one or two shots that introduce a theme of anonymity to the scene. Consider using a mask, hair, clothing, props, body position, light or shadow to obscure the identity of whomever it is you're taking a picture of. An accumulated collection of these hidden-identity photos could make for an intriguing series.

  Pretty much anything can be used to conceal — partially or completely — a person's identity. Anything from a pair of dandelions to a feathered Mardi Gras mask to a handful of cooked spaghetti. The main emphasis on the pages ahead is on improvised masks. Take a quick look around the place you are in right now. See anything that could be used as a mask? See anything that couldn't?

  Once again, a simple 50mm lens was used for this portrait. Why? Because it's a lens simultaneously capable of recording crisp detail in the foreground while converting backdrop elements into a pleasing and unobtrusive blur. How much do I enjoy taking pictures of people with my 50mm lens? Let's just say that most times I'm going to take a photo of a person, the first question I ask myself is, “Would the 50mm work for this one?” The answer isn't always yes, but I'm always happy when it is.

  “Painting with light” is the process of shining a moveable light (a flashlight, for instance) freely around a subject while the camera's shutter is left open for anywhere from a few seconds to a minute or so. Taking pictures in this way requires a tripod, low light, and the willingness to experiment with shutter settings until you find a range that results in properly exposed photos. Every image comes out differently when you paint with light (as seen in the four examples on this page). Give it a try!

  Behind the veil (or, in the case of the near photo; behind the plastic netting used to package a set of juggling balls); set your mental radar to be on the lookout for potential masking props — items that might otherwise be headed for the garbage can. The plastic netting used in the near photo is a good example of this kind of thing, as is the old, semi-functional string of holiday lights featured on the next spread.

  I began this photoshoot by wrapping holiday lights (the kind that don't get hot) around my model's head. Then I had my model seat herself against a wall so she could hold still while I recorded long exposures in the darkened room. Having no idea what kind of images to expect, we spent the session playing around with exposure times and the placement of the lights. (Note: The blurred orbs in the foreground of this shot are from a few lights hanging very near the lens.)

  The three blue-hued images on this page demonstrate the effects of different exposure times (the longer the exposure, the brighter the image). The holiday lights were turned off when the image at lower right was taken — this image was lit with a flashlight. What else could you do with a string of holiday lights? Got enough to wrap an entire body? What about creating streaks of light by having your model move around while long-exposure shots are recorded? How about having your model interact with a prop that's also wrapped in lights?

  Many people find it easier to ditch their feelings of self-consciousness when they're allowed to hide behind a mask of some kind. How about beginning a photoshoot with a few hidden-identity shots the next time you're taking pictures of a camera-shy subject?

  These two high-contrast, black-and-white photos were taken during an afternoon at a swimming pool (more photos from this session are featured). Not only do the subject's swim goggles act to mask the subject's identity, so does the surface of the water itself. One of the photos was snapped from just above the surface, and one was shot from just below (with the aid of a waterproof camera case).

  Got a giant rubber rooster mask? No? Why not? After all, you can hardly go wrong when taking a picture of a friend with the giant head of a farm animal sprouting from her shoulders. Another thing you can do with a giant rooster mask is answer the door wearing one the next time friends, relatives or the pizza delivery person shows up on the front step. Why? Why not?

  This shot was an afterthought. We'd just finished taking the series of photos seen when I remembered the oversized rooster mask. Consider keeping a stash of similarly nonsensical masks with your camera gear. That way, you're more likely to remember to put one on the head of your friend or client the next time the “serious” picture taking is over.

  A fork, a couple fistfuls of spaghetti, a pair of wooden spoons and a steamer tray: The kitchen is as good a place as any to look for improvised masks. Each of the images on this spread were converted to monochrome and tinted using Photoshop's BLACK AND WHITE controls.

  How about a photo session based on improvisational mask making (the more improvised, the better)? You could use a kitchen, a junk drawer, an attic, a toy closet, a jewelry case, a tool chest or the offerings of a nearby beach or nature trail for the necessary resources. And once the photos are shot, how about presenting your favorites together as a series, as seen on this spread?

  Hair as a mask; hair as a face. The second photo on this page was taken during the portrait session that produced the images. At one point during the photoshoot, the model decided to turn onto his back — with his head toward the camera and his hair hanging off the edge of the couch — and slip a pair of sunglasses over the back of his head. Whenever you have a model this willing to explore outlandish poses, it's best to stand back and let him do his thing while you keep right on taking pictures.

  And then there are digital masks. Typography can be used to mask a subject's identity. So can black rectangles, swaths of pixelated dots and faux facial accessories drawn with Photoshop's BRUSH or PENCIL tools. The possibilities are endless. Use the computer and software to explore ideas and investigate options.

  Mind if I smoke? Not at all. Mind if I wear a gas mask? The identities of both models are obscured in the first image — one by smoke and the other by a vintage gas mask. The face of the smoking model in the second shot was left uncovered because I liked the interaction that occurred between his revealed expression and the impression of expression conveyed by the masked model.

  After we'd shot the two images on the opposite page, my masked model grabbed the cigarette and pretended to take a puff. I liked what I saw and quickly sought a new vantage point from which to photograph this flip-flop in roles. To increase the volume of smoke in the original image, Photoshop's FILTER > RENDER > DIFFERENCE CLOUDS treatment was used to generate a layer faux smoke. This layer was blurred and its pull-down menu was set to “screen.” A mask was added to the layer so its effects could be confined to the area above the cigarette.

  9

  All Dressed Up and…

  Picture a man wearing a business suit in an immaculately appointed executive office. He's sitting behind a desk of polished oak adding his signature to a sheet of stationery with an engraved fountain pen. Now imagine a child wearing a pair of shorts, a propeller beanie and a colorful sweatshirt playing in a park. Nothing particularly unusual or attention-grabbing on the surface of either scenario, is there?

  But what if things were switched up? What if we handed the gold-plated fountain pen to the child and placed her in the swank setting of the executive's office? And what if the dressed-for-success businessman grabbed his briefcase, took a cab to a park and went for a gonzo ride aboard a springy playground toy?

  Now, all of a sudden, things
are starting to look a little more interesting. Wouldn't you agree?

  Ride 'em, businessman. In this image, the model hams it up on board a playground rocking-whale. In the next spread's photos, his delivery is more deadpan. When it comes to photographing a person who is dressed for one activity and being photographed doing another, half the fun is exploring the effects your subject's facial expressions have on the scene's conveyances. Try out as many ideas as you can when shooting so you'll have a plenty of options to choose from afterward.

  A 12–24mm wide-angle lens was used to capture this photo and the first one on the next spread. If you're willing to accept some distortion in your images, get as close to the action as you can when shooting with a lens like this (the model's foot in the foreground of this scene was only a few inches from the camera when the photo was taken).

  A model willing to put on a business suit and ride a child's toy, climb a tree carrying a laptop and stand in the rain holding a tennis racquet in November is worth his weight in gold. I ran into this fellow at an airport in 2007 and ended up asking him if he'd work with me on this project. A lucky find indeed. Are you the kind of person who finds it easy to approach strangers and ask if they'd like to be in pictures? I'm not(!), but so far I have yet to receive a “no” from anyone I've been brave enough to ask.