Category Archives: Inspiration

Infinite Community Feature – August 2022

We recently asked to see some of your favorite images in our Facebook community. We wanted to feature some of our favorites from this month! We couldn’t possibly feature all of the beautiful work but you must see them all! Check out the post here in our group.

To see more of what our community is creating, please join our Facebook Group! You can also check out and tag our Instagram page as well! We’ll also be putting more call outs for future features on our social pages.

Under each photo you’ll find the name of each artist and the tools used to create each piece.

 

Photographer: Lara Giles 
Model: Vivien Sterk / Hair & Makeup Artist: Oksana Onischuk
Tool Used: Infinite Color



Photographer: Luca Storelli

“This is a recent picture I shot for a magazine editorial. In this example, I used Infinite Guide for retouching. For colour grading, I used Infinite Harmony applied with luminosity masks and then a level of Infinite Color Panel at low opacity for global color refinements. I love mixing different levels of color correction using luminosity masks. I love the new version of Infinite Color just because it’s enriched by Infinite Harmony which I find interesting for working with complementary colors.”



Photographer: Josh Beaton

“I used the Infinite Color Panel for this shot of Deepti from Love is Blind.”

Photographer: Wayne Denny
Model: Victória Valerian
“I took the background photo in downtown Orlando, and the model pic back in my apartment. Three different rounds of Infinite Color for the grade, and Infinite Unify on her skin to even out the tones. This was a part of 3 different shots I did with her from around the downtown area.”


Photographer: Simón Rafael Diez Tipa
“For this picture I was thinking on the 90’s type of magazine. I used Infinite Color, Unify and also Black and White.”

Photographer: Jordy Clarke
“Yeehaw 🤠 Shot for a feature on a western gothic clothing designer, Kassandra Love of Katakomb Clothing
Using Infinite Color for a little extra razzle dazzle ❤️”


Photographer: Menna Hossam
Tool used: Infinite Unify

Interview With Headshot Photographer Greg Thomason

We got to have a chat with someone that I highly respect in the photo community, Greg Thomason! He’s a headshot photographer based in Franklin, Tennessee and has some of the most engaging headshots I’ve seen. I absolutely love the emotion behind every photo and I’ve always been curious about how he is able to get the best out of his subjects! It’s a true mark of a professional, along with his impeccable choice in lighting and post production!

Recently we worked with Greg on our Infinite Skin launch to see if he was able to get the results he needed and save time in the process. We were thrilled with what he was able to do while still retaining his signature look at the end!

Here are a few images from Greg with either Infinite Unify and/or Infinite Skin used in the process.

 

Be sure to follow Greg by checking out his headshot and portrait site:  https://www.gregthomason.com
You can also follow his Instagram account: https://www.instagram.com/gregthomason
If you’d like to see more examples of his lighting, check out: https://lightninglink.io/gregthomason/

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One of the main reasons I come back to your work time and time again is your ability to convey a true connection with your subject. Could you paint a picture of how you’re able to bring out emotion in your client and also know when to hit the shutter to capture that? 

Thanks Pratik! I feel the connection with my subject is the most important part of my photography. A well known portrait photog has famously said making a subject comfortable is not her job. For me, it is as much of my job as knowing where to put my lights. Although how much time I have to connect with them isn’t always in my control, bonding begins the second we are together. I like to get to know the person beyond name, work, etc… What makes the person happy, what are their hobbies, do they have kids, pets? If they want to know about me I share as well. I am asking the person to be vulnerable for me, I should do the same for them. As we talk, I’ll get the person where I want them and do any final light adjustments. Only then do I even start talking about the photography, and I emphasize that we have a delete button for photos we don’t like. This conversation continues throughout the photo session. I try to keep their mind off the camera. Often, I will get a reaction by suggesting a certain look. For example, “give me a look like you just got home from a long day at work (person frowns)… but as you walk through the door your dog runs to you and showers you with kisses.” I will start shooting when the person registers what I’ve said, and starts changing expressions. Somewhere in the three or more frames I make will be the keeper. This continues for the shoot’s duration.

 

Lighting is a common thread between various genres of photography. Do different subjects require different light setups, or do you find that you’re sticking to similar setups for each person? How do you determine what direction to go in? 

My main genre is portraiture, and within that are two sub categories I shoot. I principally shoot commercial headshots and creative portraits. With both I have a couple basic lighting sets I start with, but I am not afraid to change. For example, for headshots the lighting is used to support the subject. I start with a flat light to flatter the person. With many headshots that’s as far as I need to go, lighting-wise. However, some folks, especially actors, want some depth or mystery is their headshots, so I’ll add shadows and maybe a kicker. Still, the subject remains the star, and the connection makes the headshot. The subject’s needs really determine any direction changes I make.

When I’m making portraits, the lighting often becomes a co-star. I start with my background or fill, and build from there. Given the time, I like to start simple and get a keeper in the can. Once that is done I can start having fun by adding lights, flags, atmosphere, etc… The client’s availability determines how much I can play with the looks we create. Direction changes are influenced by wardrobe, mood, and the amount of flexibility in our portrait end goals.

 

We love that Unify has been able to help you out in your workflow to correct skin tones and color casts. Where do you typically use it in your workflow and do you find most subjects have skin tone variations that are improved by evening them out? 

Unify has really helped me as a portrait photographer. I am an ok re-toucher at best, so having tools that help my workflow is critical. My work doesn’t require re-touching to a high-end standard, but it does require the photos accurately reflect the person I photographed. Small shifts in skin tones are one of the easiest corrections for a photographer to overlook, but something the client will notice right away. It doesn’t matter if they spent a day in the sun, or get flushed in front of the camera, they trust I will fix it. l use Unify to subtly even out spots on around 30-40% of the photos I deliver to clients. I usually use Unify after my basic skin clean up, but before any contrast correction.

 

Do you have any other tips for photographers who are looking to cut down on their skin retouching before a shoot begins?

My advice for photographers that get people in front of their cameras is to think like a film photographer. Get as much right before the shoot, and in camera as possible. Give yourself, or your re-toucher, the best file possible to start with. That sounds like a canned answer, so how do I do that? For starters, I’ll suggest the subject get plenty of rest the night before, and stay hydrated. Living in the Nashville area, my advice is often ignored. When I’m shooting someone from out of town, the draw of the honkey tonks on Broadway is often too strong, and I have to reassure them I can clear their red eyes! Everyone knows what Photoshop is. For the day of the shoot, the most important step a client can do for their skin is to hire a professional makeup artist (MUA). I have a couple I consistently work with that know what I like, which is usually a more natural look. When budget or time precludes a MUA, I’ll make suggestions on makeup. Things to be aware of include not using base that has sunscreen as it may reflect the lights in strange ways. Also, unless you are sure about a powder (another reason to have a go-to MUA), I stay away from using it to cut down shine. My headshots are really close up, and the powder becomes obvious. The solution is to use a mattifying cream or blotting paper before shooting. Some skin issues, like blemishes, may look worse if you try to deal with it. Knowing that’s an easy fix, even for me, I just assure the client I can make it disappear.

With the resolution of even entry level cameras, skin clean up in post is critical regardless of the level of re-touching your workflow calls for. For me, any tool that helps me achieve my desired final look faster and more consistently, is a godsend. Unify, and the other Infinite Tools, have made my life easier.

 

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Written by Pratik Naik

Using Infinite Skin To Retouch Moody Images With Various Skin Tones

See our video tutorial.

Describing an image as “moody” can mean a lot of things. Generally speaking, moody images tend to have darker tones, with heavy shadows and a lot of contrast. All of these elements can significantly affect your retouching, so in this video inspired by a question from community member Kait Nyutten we look at how the Infinite Skin handles images that embrace the darker side of things.

Infinite Skin is a plugin that aims to give you the ability to soften skin tone and detail independently in Photoshop while ensuring the settings respect the structure of the face. Working with these examples from Kait also gave us a chance to use the plugin on various skin tones!

In the video, we cover two approaches to using the panel; one with the healing work done before the panel was used, and another where the panel was applied first and the retouching done afterward.

Photo by Kait Nyutten
https://instagram.com/embraceboudoir 
Photo cropped in to be safe for YouTube.

Learn more about Infinite Skin here:
https://infinite-tools.com/infinite-skin-plugin-uxp/

Free Video Tutorial: Colors, Color Harmonies, and Photoshop

Through the course, we’ll take a look at understanding what happens when mixing colors in different color models. A big topic will be developing an understanding of what color harmonies are and how to find and apply them. We’ll take a deep dive into how the fundamental color tools in Photoshop work and make it so that you’re empowered to overcome any hurdle when it comes to color. These techniques and tools will aid in the process of both color correction and color toning. Finally, we’ll break down real-world images to show you how color is applied in various situations.

Part 1: Color Theory

RGB – Additive 

This chapter introduces the primary colors of red, green, and blue and the additive color mixing method. We will visually demonstrate what happens when you mix primary colors and examine the colors generated from the interaction using layers and channel adjustments. You’ll begin to understand how colors are connected and learn to mix primary colors to get to the exact color you are looking for.

RGB – Subtractive

Building off the “Additive” chapter, we’ll go the other way and talk about the Subtractive color model. For example, when presented with a situation where you can’t add more color, the subtractive mode allows you to understand what you can do to take away colors to get back to the primary or secondary colors.

Mixing Light 

We take a practical approach to the knowledge in the previous chapters by showcasing what happens when we take a two-light setup and gel them with various primary and secondary colors. Using a sphere as the subject, we can see what happens when the two light sources blend in different areas and the colors they create. This exercise will help you think about color and lighting when building your shoots.

Perception

A less commonly discussed aspect of working with color is the hues our mind completely makes up! In the presence of specific colors, we tend to imagine others that may not exist. This chapter will show you what that looks like and how to recognize them to help you in your color grading process. 

Color Harmony

What makes color palettes harmonious? This section goes over the main color harmony rules, what colors pair well with each other, and a simple tool to decide what works best on your images.

What Is Color? 

What sounds like a fundamental question gets broken down into explaining what a color is and the components that make it up! We analyze brightness, saturation, and hue and compare them to RGB values. This knowledge will further grow your ability to control any color for your images.

Color and Composition 

When looking at a color wheel, each color is equal in how much space it takes up on the wheel. However, these colors may come in different amounts across your image. There may be hints of blue in your subject’s dress, but orange dominates the background. This chapter outlines how to adjust the weight of each color to achieve visual balance. 

Part 2: Tools

Curves

Whether you’re a beginner or have been using Photoshop for a while, you’ll be surprised to find out how powerful the curves adjustment layer is. We take a look into exactly how it works on a fundamental level and what happens when you adjust the different points on the curve. Then we take a deeper look into how you can use curves to match two different colors to each other, an effective color correction technique whether the issue in your image is environmental or skin-related. 

Hue / Saturation

This robust adjustment layer in Photoshop has a lot of potential for manipulating color values. This section provides a clear explanation of what the sliders do, and what the numbers mean. You’ll get to learn how to use it in situations where trying to isolate a specific color is tricky.

Color Balance 

Modifying colors in Photoshop can be done in many ways, and the color adjustment layer is one of them. This chapter will help you understand where it works best and its effects. It will also demonstrate some of the accompanying settings that change the layer’s performance.

The Channel Mixer

Most users do not think of the Channel Mixer as a color correction tool. However, as this chapter outlines, using these sliders to adjust channels allows for really powerful color adjustments for specific purposes. You will learn how developing a stronger separation between colors can enable you to create precise masks that would otherwise be impossible with other adjustment layers.

Part 3: Working on images

Color Correction 

When you’re retouching an image, one of the fundamental steps is color correction. It is essential to understand how to look for areas that need correcting and what techniques will do it effectively. This section will apply the information in the previous chapter in a real-world example where many areas require correction using tools like curves, selective color adjustment layers, and blank layers. You’ll also see methods that do not work and learn why; helping you can avoid critical mistakes. 

Working with Color Schemes 

It’s one thing to pick a color scheme but being able to apply it to an image is essential. This chapter looks at a working example where we have a complementary color scheme in mind and apply it selectively across a fashion image. For added complexity, the example image presents a particular problem where the colors of the elaborate dress are similar to the skin. We’ll look at how we can apply previous techniques to isolate the dress from the skin and manipulate both separately to get closer to our final color scheme. You’ll also learn to use brushes in different blend modes to make the process easier.

Working with Color Schemes 2 

To build on what we learned in the previous chapter, we will work with a beautiful image that doesn’t require advanced selections. Demonstrating the process of fine-tuning with adjustment layers will explain how you can create pleasing results in very little time by understanding the fundamentals of color schemes.

Image Breakdown

In the final chapter, we go through a series of before and after images and examine the adjustments made to create the final image. You’ll get to see the shifts in each unique situation to get to an appealing color scheme. Seeing these examples should drive home all of the previous lessons and show you how you can use them to improve your images dramatically. 

Download the Practice files

Infinite Community Feature – April 2022

We recently asked to see some of your favorite images that you recently featured in our Facebook community. There were so many impressive images and we’re excited to share many of them with you!

To see more of what our community is creating, please join our Facebook Group! You can also check out and tag our Instagram page as well! We’ll also be putting more call outs for future features on our social pages.

Under each photo you’ll find the name of each artist and the tools used to create each piece.

 

Tools Used: Infinite Guide and Infinite Color
Credit: Luca Storelli

Tools Used: Infinite Skin 
Credit: Lillian Liu

Tools Used: Infinite Color and Infinite Looks
Credit: Ashley Marie Photo
Model: Bella Kotak 

Tools Used: Infinite Color Panel 
Credit: Brett Seeley 

Tools Used: Infinite Skin, Infinite Radiance, and Infinite Looks
Credit: Image – Robert Buchanan ; Model – Cassandra Cosplays 

Tools Used: Infinite Texture, Infinite Unify, and Infinite Color 
Credit: Sarah Rocca, Sarah J Photography

Tools Used: Infinite Luma and Infinite Color
Credit: Réjean Brandt

Tools Used: Infinite Color
Credit: Ore Adesina

Tools Used: Infinite Retouch, Infinite Unify, and Infinite Color
Credit: Michael Christopher

Tools Used: Infinite Unify and Infinite Luma 
Credit: Menna Hossam

Tools Used: Infinite Retouch, Infinite Texture, and Infinite Color
Credit: Rachel Langlois

Tools Used: Infinite Color
Credit: Piotr Bieniasz

Tools Used: Infinite Color 
Credit: Tanya Daniel

Tools Used: Infinite Unify and Infinite Color 
Credit: Szabi

Tools Used: Infinite Color
Credit: Kathryn Stabile

Tools Used: Infinite Skin
Credit: Olga Tenyanin

Creative conversations: Capturing expression with Jad Warde

“Every photographer has different experiences than the other. When you look at my images you will see what I went through before – happiness, sadness, anger.

When you look at Jad’s work, the first thing you notice is expression. Intense eye contact, powerful gazes, along with impeccable lighting and photographic technicalities. Jad Warde’s photography stands out from the crowd, and we just had to know more about his story.

First of all, we’d love to know how you got into this style of photography! Can you give us a run down of what your photographic journey looked like?

My journey in Photography started in 2015 during the war in my country Syria, where I started capturing children’s suffering and moments through the war there (happiness, sadness, and all kinds of emotions).

After that I moved to Lebanon and from there I immigrated to Canada. I couldn’t do the type of photography I love to do there, which is portraits, because of the lack of English and communication I had, so I decided to turn to landscape photography and shoot nature. I did that for 2 years and got published in National Geographic Arabia.

My sponsors in Canada realised that I had a good eye for photography so they took me to a photography school where I found my love for fashion and beauty photography. I studied there for 1 year and throughout that time people started to see that I had something special in my images. Lots of modelling agencies and companies started hiring me while I was still student.

I have been doing fashion and beauty now for almost 3 years and I absolutely love what I’m doing.

Your portraits all have one thing in common – emotion. Can you tell us about how you capture those expressions in your models?

I feel like that comes from an experience in your life and that’s why we are all different from each other. Every photographer has different experiences than the other. All that I went through and all that I photographed before starting fashion and beauty helped me today in capturing these emotions and moments. It even helped me to know when to click the shutter.

When you look at my images you will see what I went through before – happiness, sadness, anger.

We absolutely love your color palette. It’s super cohesive between each set. What is your preferred method for color toning, and how do you come up with your color options?

Most of the time for color grading I have my own workflow that I keep using, starting by adjusting the colors using Capture One at the RAW stage and ending in Photoshop, using adjustments layers mixed with the ICP.

Because I do both fashion and beauty it’s kind of hard to work on the same colors for both, as beauty is mostly all about keeping the skin colors looking natural and not fake, so I try to keep it in the red and orange zone. For fashion I experiment more with colors depending on the project and the mood in the shot!

In both cases I love starting with the ICP when I can’t decide in which direction to go. I run the ICP first to get an idea of the possibilities for the image I’m working on. However, my favorite method is mixing the ICP with luminosity masks, where I can add colors for the highlights, midtones and shadows separately.

Throughout your portfolio, the lighting set up appears to be changed up depending on the look and feel of the shoot. How do you choose which set up to go for, and do you have a favourite?

I am a big big fan of hard light! I just love the contrast and the depth that hard light adds to the images, especially in fashion photography. In beauty photography, hard light is amazing if you want to show more details in the skin and makeup, however, hard light can be tricky in many cases and not flattering to use for all kinds of people.

For me I choose the lighting setup depending on 3 things:

  • The purpose of the shoot (beauty, cosmetic, skin care, eyelash campaign, edgy fashion, lifestyle fashion, etc.)
  • The idea (the story of the shoot)
  • The model (the face and body shape, what the model can add to the mood)

Example: Skin care beauty can go in both directions – hard, edgy light, that still shows the products applied on the skin, or soft light for playful skin care images with a colorful background.

My favorite lighting setup that I use most of the time is using a large silver deep umbrella with diffuser straight in front of the model. This creates a middle ground between hard and soft light that can work in most cases and for most people.

When planning a shoot, the model choice is always a key element. What do you look for when selecting models?

For selecting models, again it is depending on the idea and the mood I’m going for. I do believe that not all models are able to do beauty and not all are able to do fashion, and only some of them can do both. For beauty, most of the time I search for big eyes, big lips, small nose and good skin, as it’s all about showing the makeup in this case.

For fashion I mostly look for edgy models who can pose and move nicely while still keeping a strong expression on their faces. But sometimes we don’t need all of that if the story doesn’t need it!

Check out Jad’s portfolio and give him a follow on IG to stay up to date with his amazing work:

jadwardephotography.com

instagram.com/jad.warde/

Creative conversations: Raw emotion with D’artagnan Winford

“I would create if I didn’t have a camera. I’d create if I only had a stick and mud.”

It’s not often you come across work like D’artagnan Winford’s. Everything from his cinematic, earthy color palette to the emotive subjects is executed in an exquisite and profound way. We are so proud to have D’artagnan be part of our color community, and wanted to dive deeper into his work and process.

 

Your work is so raw and authentic, can you tell us how you found your style?

A: I’ve always loved that raw film look so I’ve always wanted to include it in my finished work. I would say my style is a result of constant working at letting the image dictate the final look.

What is your motto when going into a shoot or project?

A: My motto, if I had one would be “I’m gonna learn something new today.”

Does your post-production workflow differ from shoot to shoot? If so, how?
A: It’s pretty much the same however some images call for a different look.


What drew you to creating images at the beginning?

A: I’ve always been an artist. Photography is my current medium. I would create if I didn’t have a camera. I’d create if I only had a stick and mud.

Your color palette is so rich and filmic, can you tell us about how you achieve these gorgeous tones?
A: They usually start off with one of the many presets that I’ve built in Lightroom. From there I go into photoshop and make changes and adjustments. Then I use Infinite Color Panel to set my mood.

Can you show us your favourite photo you’ve ever taken?

A: See below.

What is your favourite part about creating?

A: Creating lets me express myself and my thoughts. It’s therapeutic for me. I get to get away from all of life’s problems and just be free.

Do you have any exciting projects coming up in the future that you can share with us?

A: I’m working on a series called “Masked” it’s a boudoir series that’s a play off of the masks we had to wear during the pandemic.

To see more of D’artagnan’s incredible portfolio, head to his Instagram and don’t forget to give him a follow!

Creative conversations: Photography by Irina Jomir

Light is a silenced music that you can only hear in your heart. It’s a synonym for mood.”

Irina Jomir is a fine art, fashion and portrait photographer based in Oslo, Norway. If you haven’t seen her work yet, be prepared to be stunned! Irina’s compositions are so captivating and awe-inspiring, and left us wanting to know more about her work flow. We are so excited to share a new creative conversation with Irina about her artistic process!

Trinity by Irina Jomir

With the styling and poses, your work is very reminiscent of classic paintings. Can you tell us about where that influence comes from?

I don’t think I have a particular source of influence, or maybe I’m just not aware of it. However, I’m inspired by many artists in different areas of art. My source is very global, and the choices are somewhat intuitive.

What does your creative process look like, from initial idea conception, to final realised image or series?

I focus mainly on an emotion every time I create an image and build everything around it. I don’t think emotion in an image has to be explicit in a subject you photograph, but can be expressed in other ways, like a choice of color palette, posing, lighting, editing, and tiny details you place in the frame that gives a slight hint of which emotion they depict. It’s like I have an inner library with multiple sections, and each of them contains a visual and acoustic representation of different emotions. So often, I start with deciding on that, first and foremost, finding the right sentiment. Then I search for suitable music – it’s the base of my building process; it gives me a significant drive and paints colorful ideas on a blank canvas. It also helps to keep my focus in one direction during the whole process. Once I find the visual elements, I decide on the color palette and lighting. I try to make everything simple and as minimalistic as possible.

Mai Soli by Irina Jomir

What are your favourite tools to create a new piece of work?

Lighting. Light is a silenced music that you can only hear in your heart. It’s a synonym for mood.

How do you decide which route to take your color toning?

It’s pretty simple. It has to follow the spirit of your idea because it enhances the message (if there is one); it has to be in unison with it. Very often, I know right from the beginning which direction to take, and at times I want to be more experimental and see if there is an option that is perhaps more interesting or I just haven’t considered. Then I turn to some help tools like Infinite Color Panel, Infinite Looks, and color toning actions from The Color Lab, for example. These are great tools to have in your retouching set that can help you to quickly find the right start point.

Is there a specific method you use to achieve your fine art aesthetic?

I think that would be my editing approach. I’m obsessed with transitions of highlights and shadows and in-between color tones. I make sure those transitions are very soft. But I also guess softness in just about everything else – movements, whether it’s a movement of hair or fabric, softness in posing and gaze.

What is one tool (physical or digital) that you could not create without?

Camera, definitely.

Angels by Irina Jomir

The work you’ve been releasing recently is much more conceptual than your previous maternity and portrait photography, which direction do you see your photography going in?

I started in one genre and went into another, and then another again because I don’t think I can ever stop exploring new ways of self-expression in the photography field. Conceptual storytelling has always been extremely attractive to me, but I haven’t felt strong enough and ready for it. In the future, I want to focus more on these types of projects because it’s more challenging to create and gives a bigger platform for expressing myself creatively. I feel like I have a lot to say, and I don’t know a better way than to do it through photography. Somehow it’s a release and compensation for what I’m not able to express verbally. What I’ve done so far is more of a careful walk around the subject I intend to hit in the future. I don’t think I’ll ever want to stop shooting portraits and maternity, but I feel like I’m ready for more.

Marie by Irina Jomir

What advice would you give to someone looking to get into photography or post-production?

Don’t let yourself get lost in the ocean of other artist’s work. Look for inspiration, but don’t let it consume you and affect your own vision. It’s only advisable to learn from those who inspire you, but remember it only has to give you a great start to your own path, not shape you. We often compare ourselves to others, and it’s very destructive. We go to Pinterest, Instagram, and such to look for ideas, and it is supposed to be helpful, but it often kills your uniqueness instead. Look for elements – lighting, posing, or styling perhaps – take away only one thing. If you follow this rule, it will help you build up your own style instead of copying someone else’s. Don’t do something because it’s trendy, but because it resonates with your aesthetics. Look for inspiration within yourself. You are like no one else, and neither are your own stories and experiences. Give yourself time. You’re gonna get there sooner or later.

Irina is releasing new inspiring imagery all the time! Don’t forget to keep updated with her work on Instagram, and her amazing website.


Be sure to follow our Instagram page to see all of our amazing photographers and creatives using Infinite Color! We love featuring our community on Instagram, FB, and blog posts! Tag us and showcase your work for a chance to be featured and get involved with our Facebook community.

Also check out our full line of other tools at Infinite Tools!

Introducing The Infinite Looks Panel! A New Way To Color Grade

The Brand New Infinite Looks Panel Is Finally Live!

My colleague Stefan Kohler and the entire team has worked so hard on this for many months!

You can grab Infinite Tools by clicking on this button:

Get Infinite Looks here

There’s currently a 25% OFF sale during our launch, simply enter VIP on checkout!

 

What Is Infinite Looks Panel?

The Infinite Looks Panel is another great way to navigate through a wide range of color palettes! You can explore over 1,000,000 intricate color options (LUT files) for every single image! It’s all organized in really fun and intuitive way I know you’ll enjoy.

This video will explain it perfectly!

Find or Refine Your Palette:

Whether you’re trying to shop around to see what color palette works best for your image, or you know what you’re hunting for, our two simple sliders for color and contrast will help you find and then refine what you’re looking for!

Protect Skin Tones:

An advanced algorithm also helps protect skin tones to saves hours on masking! All this magic happens non destructively in one panel!

How Is It Different Than Infinite Color Panel?

Infinite Color creates one look at a time for those who may not know what direction they want to go in. Also, Infinite Color provides you every layer for each color grade it generates. So you can adjustment the nuances of each color grade in case you would like to modify certain layers that make it up! It also has a truly infinite number of options, exceeding in the millions.

Infinite Looks on the other hand provides a different flow to exploring color, but it provides you with a single layer so you are unable to tweak individual layers. However you can browse through more looks at a time and use the sliders to get variations of each look as well! You have a million options to play with including a skin tone slider!

Each of the panels have their own strength and they are best used together! We wanted to fill the gaps that Infinite Color has so they work harmoniously together.

Here’s a video showing just how they are used together showcasing each of their strengths!

We’re so excited to expand the “Infinite” family and hope you are a part of this community!

Taking Color Grading To The Next Level With Advanced Selections

I’ve been using Infinite Color in my own work for a couple of years now and it still fascinates me seeing what I get with every single image. I love stacking the colors to really make things intricate. I really enjoy what it creates! What if we could take that to another level?

What if we had the ability to take the color grading and actually apply it to a specific region, say the shadows, highlights, midtones, or something in between? So you could have warm intricate midtones and highlights, and a complex cool tone for the shadows. The idea really opened my mind to what could be possible and how it could elevate any image.

If you aren’t familiar, masking specific regions of the image is called luminosity masking, and Lumenzia is a tool I’ve been using for years because of all the control it has. After realizing that I could actually combine Lumenzia and Infinite Color, I had to see what was possible! So I reached out to Greg Benz (founder and mastermind behind it) and asked him to see what he could do with ICP with Lumenzia. He’s a brilliant landscape photographer and I knew the way he would use ICP would be different to me as well!

Here’s a video where I walk through how to use both of them in a workflow to show off the capabilities of each.

In this video, we cover color grading shadows and highlights separately using two ICP groups, and Lumenzia to make that happen. We also look at blend-if modes in place of masks. It makes a great free educational video aside from the tools themselves!

 

 

Check out Luminezia

Special Discount

I asked Greg if he could offer a discount to our community for Lumenzia You can use the code ICP25 on checkout for 25% off Lumenzia (as well as Greg’s Master Courses on Exposure Blending or Dodging & Burning, which are designed to help you make the most of Lumenzia).

 

Check Greg's Video

Greg Benz made a video showcasing how he uses it in his landscape workflow. It’s fascinating since he has a very unique thought process and approach! I would encourage everyone take a look just for the sheer sake of curiosity and seeing a master of color and selections at work!

 

In This Video

We start by using ICP to show the general color grading across the image. Then we begin introducing selections using Lumenzia and give you an idea of just how and where each mask works. After selecting the specific zone we’re looking for with the panel, we attach it to the ICP group to really narrow down where the colors are being applied in the image.

We continue by using Lumenzia to pick another tonal region and combine that with another ICP group in order to show you how to color grade shadows and highlights separately. It goes to show just how detailed you could get with it!

Better yet, the slider Lumenzia has on the right can really help narrow down the selection so you get as precise or as wide of a selection as you like!

So far, we’ve been using masks as a way to control each region, but Lumenzia can also make a selection using Blend-If modes instead! We take a look at how that can be applied to the layers ICP generates. If you’re completely new to the concept, this video gives you an idea of what Blend-If modes actually are, and why that can be really powerful in a workflow with color grading instead of just masking! So even if you may not even be interested in the extension itself, it’s a really great educational video to give you a few ideas.

 

How This Idea Came About

I always love collaborating with creatives and showing off their work to others, especially when I believe in them and what they can produce! Greg Benz is someone I’ve known for years and someone I admire. His tool has been one in my arsenal for years and something I wanted to really show to everyone. So we decided it would be really fascinating to come together to see what we could both create and show both of our audiences!

With full disclosure, Greg gave me his panel years ago, before our collaboration, and in return I gave him mine recently when approaching him in return. I did sign up for his affiliate network when promoting his product and always believe in full transparency! The reason is simple, it’s a damn good product and once you see the video, you’ll see for yourself.

I can’t see what everyone creates and I hope this inspired you!