VSCO, Mastin, and other preset brands have been making a killing bringing the film look to photographers who use Lightroom for years now, but what about those who don’t have Lightroom or prefer to do their processing in Photoshop? What is the simplest, most straight-forward way to get that black and white film look in Photoshop? Continue reading…
With RNI All Films 4, photographers who don’t necessarily want to take the risks involved with film photography can enjoy something close to the emulsions–though no the experience. Really Nice Images has created one of the best film mimicking presets for a while now. With the company’s recently announced the availability of RNI All Films 4.0, you get the ability to take 50 film stock presets and make them available for Photoshop and Lightroom users. Then you can combine this with 300 presets from various Negative, Slide, Instant, BW and Vintage film emulsions.
The update also includes customized camera profiles.
There are many schools of mind and thought when it comes to defining what a photograph is. Some say that a photograph is exactly what comes out of the camera and nothing more. Others tend to argue that using Lightroom is alright. Still others continue to say that the world of presets, HDR and other methods are untrue to what photography is.
Photography in its colloquial term basically means painting with light. It started with the obscura, moved onto things like tin types, then film, and now digital. For most of photography’s years, the darkroom was the king. We base a lot of what we do in Lightroom and Photoshop off of Darkroom methods.
But to this day, if you say that some concepts in Photography result in not an actual Photo being created, then there are years and years of darkroom photographers that would prove you otherwise.
In today’s world where we are constantly bombarded with photos of spectacular locations, it takes nothing to pull up a location search for an area you are visiting, find the shots that you want to take, and go shoot the same thing that a hundred people before you have taken. But that doesn’t mesh with me. As an artist, I hold my personal creative vision above all other things. It far surpasses the gear that I use as well as the locations that I visit.
The majority of the personal work that I shoot, I do so within 15 miles of my house. And I don’t live in a particularly “epic” location that is known for its scenery (i.e. the PNW or Cali). But even though I only live in the midwest, I still get to be an artist. I just have to try harder and put a ton of work in to my craft. A lot of that comes down to scouting my locations in advance, and waiting to shoot at the perfect time, with just the right combination of weather and light to add that dynamic mood and interest. I’m not saying that taking the iconic photos is bad, but it can put you in a rut where you are only going through the motions.
If you’re a portrait photographer and you’ve learned how to work with the color channels in Lightroom, then you’re probably aware of some of the potential problems that can occur when editing the channels and how they affect a scene. In some situations, editing skin can be simple enough. But unless you’re using a Color Checker of some sort then you know that it can become very complicated.
Before you go on, I strongly recommend not really taking this post in unless you’ve worked with the color channels and have advanced experience in portraiture. It will probably be very tough to process otherwise. Why? It’s cumulative. However, it’s only briefly touching on this as it can become very complicated.
All images by Mehran Djo. Used with permission.
Mehran Djojan is 21 years old and was born in Afghanistan but grew up in Germany. He’s studying Communication Design at FH-Potsdam and lives in Berlin. Mehran fell in love with photography when he was younger and finds inspiration in everything. The creme de la creme of his work is his portraiture, which Mehran says he does because of his fascination with people.
But beyond this, he finds that he loves to shoot in the evening and that much of his work is experimentation and expression–therefore releasing a part of himself into each image.
All images by Kalliope Amorphous. Used with permission.
“I have said that photography is a conversation between time and light as translated by a mirror. I love being part of that conversation.” says photographer Kalliope Amorphous in a very beautiful statement about the art form.
She’s a very unconventional photographer and uses alternative ways to getting her images. For example, she uses a lot of mirrors, lighting and in-camera distortion techniques to get a look that she creates in-camera instead of in Photoshop. Lots of her images are self-portraits, and she prides herself on doing this type of stuff way before the Instagram days. Lots of her work not only use reflections, but flur, multiple exposures, and other techniques. She explores identity, mortality, time, and consciousness through her work–and it’s earned her a number of awards.
All images by Michal Zahornacky. Used with permission.
When most folks think about surreal portraiture, they’re often thinking about lots of Photoshop work. But that’s not often the case with Michal Zahornacky. Michal is a professional fine art photographer from Slovakia. He draws his inspiration from various things in life and always keeps his eyes peeled.
Michal mainly focuses on portraiture, and to that end also does wedding photography. Overall though, his themes are to elicit specific emotions and atmospheres in his images. From his Behance, you can see that all this is clearly evident.