Category Archives: Inspiration

Featured Project – Alex Baker: This Is Motherhood

We’re excited to share with you a brilliant photo series by the talented Alex Baker. In response to the Royal Dutch Airlines policy on breastfeeding while abroad their flights – Alex started a project where she photographs and interviews new mothers like herself that have been faced with guilt and shame while breastfeeding in public. We love how Alex uses the Infinite Color Panel to color grade and match the themes of invisibility and postpartum depression. Check out the story and Alex’s stunning images below!


“Although I came up with the idea when my son was three months old he was actually around 2 and a half years old when I finally started the project (he just turned 3!) Still I found it quite cathartic to do it.,” says Alex.

“After reading about KLM’s poor treatment of a woman breastfeeding on a flight I realized that it was important that my project needed to be released now.”

This Is Motherhood is an ongoing project; Alex plans to develop the series with further portraits of mothers feeding their children of a variety of ages. You can follow her project here.

Follow Alex on Instagram, or browse more of her work on her website.

Have you tried the panel yet? We’d love to see your creations! Get in touch on Instagram @infinitecolorpanel or the Facebook Infinite Color Panel group and show us your work.

If you haven’t tried the panel yet, get started here:


Featured Project: Creating “The Day Dreamer” by Joanna Claire

Guest Post written by Joanna Claire

I have always been a storyteller. Before I started photography, novel writing was my first ‘life long dream.’ I’ve also always been a dreamer. With everything I do, every opportunity I’m given, I think “Where can I take this? How can make this become more?”

This is really where my little The Day Dreamer series came from. Most days it’s fun to dream up different scenarios like, “What if I got to meet this photographer?” or “What if I got to speak at this event?” Sometimes my day-dreaming becomes a little more obsessive, to the point I can long no find myself happy with my current reality. Sometimes there is a blissfully happy period where one of my goals has come to pass, and I just get to sit back and revel in knowing that if I can achieve one, maybe I can achieve the next.

The set up for this was a really simple one. I trekked out with one of best photography buddies, @immysphotoss, to this gorgeous, if slightly creepy looking, woods. I only ever use natural light, but the gap in the trees was so perfect and the light strong enough that it almost renders a similar effect to a spotlight. The clouds are made from toy stuffing I bought from the internet… which fell apart almost immediately. It took ages to clean up! Normally, I would use a timer and remote to take the shot, but as I was lucky enough to have Immy with me, she was there to click the shutter.

The majority of editing takes places in Photoshop, which makes IPC such an amazing tool in my workflow. I usually go into a shoot with colour toning in mind. For The Day Dreamer series, I knew I wanted a blue colour palette, as blue has a lot of associations with dreaming. Once I’d played around with colour balancing and a few other presets, I was at a loss. I had the blue tones, but they just felt a bit lackluster…I needed a palette that made my images ‘pop.’

Enter, Infinite Colour Panel…


Before Color Grading

After Infinite Color

My favourite thing about Infinite Colour Panel is the intensity settings. I tend to hit the create button on the medium setting most often, which I find gives me an amazing amount of colour, with only a few opacity tweaks needed to make it perfect. If I feel an image is ‘almost there,’ I may play with the ‘light’ colour adjustments. The fact that every layer is adjustable makes it the perfect colouring tool – no look is ever the same!


Follow Joanna on her Instagram and see more of her work on her website!

Have you tried the panel yet? We’d love to see your creations! Get in touch on Instagram @infinitecolorpanel or the Facebook Infinite Color Panel group and show us your work.

If you haven’t tried the panel yet, get started here:


Featured Project – Music Video by Brandi Renee

Have you tried color grading video with the panel? It’s easy! Follow along with this next video if you would like to try and be sure to share with us what you create!

Have you tried the panel yet? We’d love to see your creations! Get in touch on Instagram @infinitecolorpanel or the Facebook Infinite Color Panel group and show us your work.

If you haven’t tried the panel yet, get started here:


Infinite Insights with Rob Domenech

Insights curated by Pratik Naik & Brandi Nicole

We’re excited to introduce a brilliant artist, and recent addition to the Infinite Color digital community, Rob Domenech. His emotive color toning, shooting style, and compelling storytelling is so distinctive. We think that you’ll enjoy Rob’s work as much as we do!

With Color Grading

Four years ago, I found myself at an electronics store, shopping for nothing in particular. I had wandered into the camera section and, on impulse, decided to buy an entry level DSLR. I believe it was the Nikon D3100. Up until that moment, I had never owned a camera and, still to this day, I don’t know what possessed me to make such a random purchase. I sat down with the instruction manual and learned the function of every button and knob. I told myself that I would keep the camera in manual mode until I understood what was going on. I taught myself about exposure and how the ISO, aperture and shutter speed all work together. With this new knowledge in mind, I felt ready to take some pictures, but I had no idea what to shoot. I’ve always been a very imaginative person and had some prior experience with graphic design, so I was comfortable behind the wheel in Photoshop. I thought I might be able to put the two skills together to translate the thoughts in my head into images. I didn’t want to just create visually appealing pictures. Rather, I wanted my work to tell stories. Stories that have real meaning. Stories that have a real message.





With Color Grading

My work has been described as many things, ranging from beautiful to creepy to surreal and everything in between. None of these descriptions are wrong, because art is a very personal thing. Symbolism plays a huge part in my work. I like to think of my images as a type of Rorschach test where the viewer is given a glimpse into a story and must project a piece of themselves into it to make sense of what they see.

My work begins its life as a story in my head. These are often stories that come from personal experience. I’m a visual person that thinks in pictures, so these stories play in my brain like a short film. I choose a scene that best tells the story, then sketch it out on paper. With the image pulled from my mind and materialized on paper, I then begin to plan out how to shoot the image and what is needed to make it work. Once I have a plan in place, I begin looking for a model that best suits the image and we get to work. I shoot tethered in Capture One, do post-processing in Capture One, then do the heavy lifting in Photoshop.

With Color Grading

One of the things I have always struggled with is color. It’s funny because, on the surface, color seems like such a simple thing, but the reality is that color is an extremely complex monster! I would spend countless hours tinkering around with adjustment layers just trying to get something that feels right. Honestly, this was always my least favorite thing to do, but then one day I came across an ad on social media for Infinite Color Panel. It looked too good to be true! I decided to take the plunge and it has become an invaluable tool in my workflow.

With Color Grading

What I really love about the Panel is the randomness of the tool. This is great because I can use it as a springboard for colors that I would’ve never considered and it’s all done with the press of a single button! The customization of the layers it creates is amazing! For example, let’s say I love the color tones, but I’m not fond of the contrast that was added. I can simply go into the created curves adjustment layer and change it to better fit the image. With infinite color and tone combinations at my fingertips, I am only limited by my imagination.

Follow Rob on Instagram or browse more of his work on his website.

Have you tried the panel yet? We’d love to see your creations! Get in touch on Instagram @infinitecolorpanel or the Facebook Infinite Color Panel group and show us your work.

If you haven’t tried the panel yet, get started here:


Featured Project – Glamour South Africa by Shavonne Wong

We would love to share with you the latest project from fashion photographer Shavonne Wong. She sits down with us to discuss planning photoshoots while traveling and gives us insights on her post production and color grading process as well!

I love shooting whenever I’m on holiday somewhere beautiful. It’s something my wonderfully supportive husband has gotten used to. So when we planned our holiday in Barcelona, I naturally planned a shoot along with it.

Before the trip, I started emailing makeup artists/stylists based in Barcelona to see who might be interested to work together. From there, the people I talked to also helped coming up with location ideas since they were the locals and knew better. That was how I found out about the cactus garden there. I also told the editor of Glamour South Africa that I was going to be in Barcelona and would love to shoot for their magazine if they were up for it. I sent my proposed team and concept over and they agreed to it.

While I was there in Barcelona, everyday had gorgeous, beautiful light. It was so amazing and I really loved it. Of course on the day of the shoot, it became cloudy and overcast. Asshole weather. The show still had to go on, so we proceeded with our shoot anyway. For majority of the shots, I had my Profoto A1 with a white umbrella to add a pop of light into the images.

In post, after a slight color grade in Capture One and editing in Photoshop, I used ICP to help bring the colors of the images together. It helped to make the whole spread more unified while bringing a it to the next level.

Team Credits:
Photographer: @zhiffyphotography⠀
Model: @melissa.nolet, @taralazic (@avemanagement)⠀
Makeup: @aclairebeauty
Makeup Assist:
Retouching: #alexgrowdstudio

Be sure to follow Shavonne on Instagram or browse more of her work on her website.

Have you tried the panel yet? We’d love to see your creations! Get in touch on Instagram @infinitecolorpanel or the Facebook Infinite Color Panel group and show us your work.

If you haven’t tried the panel yet, get started here:


Infinite Insights with Cinematic Master Aakaash Bali

Interview curated by Pratik Naik

I’m so excited to be welcoming guest Aakaash Bali on our platform to talk about his work! He is a great artist in our community and he’s been producing eye-opening concepts that we think deserves to be noticed! Have a read and learn about what inspires him, his history, and where color plays a role in the final set of images!

Follow Aakaash on Instagram at both of his accounts (personal, the shadow district) or browse more of his work on his website.

My name is Aakaash Bali. I’m a 28-year-old conceptual photographer based in New York.

When I was much younger, my father brought home a 35mm Minolta camera, which I proceeded to steal and never give back. Since that day, maybe 15 years ago, I’ve had a hard time putting the camera down. While my family had tried to get me into music (playing the piano in this case) as a kid, I kept gravitating towards the camera. It became the only thing I enjoyed, and the one thing I was passionate about at a young age. Soon after that, I started teaching myself an early version of Photoshop.

I started off photographing just about anything I could. Abstract pieces turned into portraits, and portraits turned into weddings and events. One day, I discovered a love for cinematography, filmmaking, and just watching movies in general. From then on, I fell in love with storytelling, how a film set operates, and the distinct mood and “feel” that movies had. While I did not want to make films of my own, I wanted to somehow translate that storytelling structure into my photographs.

I learned to love “less than perfect” lighting, such as hard, harsh light. I learned to love the use of practical light. Haze, fog, and texture have become immense parts of my work. When I create a piece, I try and simulate as many real-world scenarios and light/color/texture applications as possible in-camera, rather than in post-production. I dont always have access to a location to shoot in, or a planned set, so I occasionally turn to abandoned places and outdoor locations.

I would describe my images as emotional, cinematic, and sometimes just plain tragic. I enjoy telling stories that are thought-provoking and intense. Sometimes they may not make literal sense, but they evoke an emotional response in the viewer. Sometimes, they’re quite literal, and feel like you’re watching over a scene unfold in a film, waiting to see what happens next. I do my best to either leave my images up for discussion or questioning, or I try to answer any potential storyline questions visually to “bridge gaps” in my narrative. I also try to connect my photographs with creative writing to put my work into perspective.


One of the most critical parts of creating a solid image is color. While I generally pre-plan my color schemes on set, finding the perfect color grade in post doesn’t always comes naturally to me. I may know I want shades of red and cyan, but I never quite know which specific shades.

The Infinite Color Panel has helped tremendously with achieving a perfect color grade. Once I color-correct and balance an image, I like to use the ICP in multiple groups, masked into certain areas. Sometimes, a few clicks may produce the perfect color for a wardrobe, so I’ll mask it in manually and work on other sections (like skin tone or environment) separately. The ICP has also created perfect color grades off the bat, with no masking necessary within my images. I also really appreciate the flexibility of the adjustments it creates. Everything remains non-destructive, and everything can be further tuned to your liking.

I’ve found that after correction, even if I manually apply a grade, the ICP can enhance/build on top of it. It can add that “missing touch” that an image really needs.

My favorite part about the Infinite Color Panel is the sheer number of options it feeds you at the touch of a button. While you can click “Create” for hours, you’ll ultimately land on a color grade that makes you feel the way your image is intended on making viewers feel.

Have you tried the panel yet? We’d love to see your creations! Get in touch on Instagram @infinitecolorpanel or the Facebook Infinite Color Panel group and show us your work.

If you haven’t tried the panel yet, get started here:


Featured Project – Beauty with Shavonne Wong

Shavonne Wong is a photographer out of Singapore that always does phenomenal work. This time she’s produced a beautiful set that is both bold and full of energy. The palette of metallic tones really brings out of the depth in the feel! We knew this was immediately a featured project the second we saw the set.

Photographer: Shavonne Wong
Model: Melissa Nolet and Tara (Ave Management)⠀
Makeup: Andrea Claire
Makeup Assist: Zoel
Retouching: Alex Growd

Infinite Insights with Erika Barker

Insights curated by Pratik Naik & Brandi Nicole

We’re happy to introduce a brilliant artist, and recent addition to the Infinite Color digital community, Erika Barker. Her fearless use of color and coloring, and story from combat photojournalism to fashion photography is so inspiring to us! We think that you’ll enjoy Erika’s work as much as we do!


With Color Grading

I started photographing as a hobby when I was in my Video Production class in 1996. Honestly, my passion at that time was behind a video camera. I, however, had a generic Kodak point and shoot camera, and had to practically beg my parents to pay and have the film developed at our local K-Mart or Eckerd’s drug store (Now known as CVS). By 1998, my young ADHD mind shifted focus toward the internet, and I started designing websites on the side. At this point, I just kept photography solely as a hobby. It was not until I joined the military in 2004, where I would learn photography as a profession, and have a wonderful mentor who would show me how one powerful photo could change the world.

I would describe my style as shamelessly nostalgic, consisting of a tribute to my childhood in the 80s and 90s, painted with an array of vivid colors and composed of moments that tell a compelling story. In other words, I really like colorful photos, and I find great inspiration from great photographers such as Mert Atlas / Marcus Piggot, Ben Hassett, Steven Klein, and Mario Sorrenti.


With Color Grading

When I first came to Combat Camera, I had a bit of an ego because I was a bit of a Photoshop prodigy compared to these old salty sailors who were photographing on film and bickering about the movement to digital. In my young egotistical mind, I thought photography was a piece of cake, yet, I had no idea how to shoot outside of Program. I honestly just thought it was taking photos with sleek angles, and photoshopping the crap out of it. My mentor, Bobby McRill, who was also my boss, slapped me (metaphorically) behind the head and called me a shit-stick. He spent months mentoring me and made me cry at one point when I finally learned what the art of photojournalism really was. He introduced me to legendary photographers like Eddie Adams, Robert Capa, and Joe Rosenthal. To go through their photographs, read the captions, and learn about the outcome of millions of people around the world seeing these photos is breathtaking… It’s incredibly powerful, and it’s storytelling at its finest.

We, unfortunately, lost Bobby July 6, 2007 to an IED in Iraq. He died doing what he loved most. From the moment I carried his casket to the church service, I decided to tribute my career to him. He is the reason I pick up the camera, and he is always kicking my butt and pushing me to be better. If it was not for Bobby, I would more than likely be a UX designer today (No offense to UX Designers).


With Color Grading

I transitioned from photojournalism to commercial when I left the military because I have always been fascinated with blending photojournalism with my love of art and design. I wanted to see if I could bring something new to the table with lessons from my past. Why choose one path when you can walk several at the same time?

I do a lot of personal projects with my good friends Charlie Riddle, and Henry De Lapaz. Charlie and Henry have worked on everything from Vogue Editorials to Tom Ford and Gucci ads I believe. The three of us make up a team we call Team Fabulous (It’s a silly nickname I came up with while drinking martinis). We work together and create editorials for fun, just to push the envelope a little. I can honestly say without them, my portfolio would be nothing. We all bring something unique to the table. I want to tell you more about what we have coming up, but you know the old saying “Loose Lips Sink Ships.”


With Color Grading

I first learned about Color Grading while watching the DVD extras for the Cohen brother’s film, Oh Brother Where Art Thou. The production filmed it during Spring and Summer, but the Cohen Brothers wanted the film to have an old-time gritty-depression look. They shifted all the bright greens to yellows, browns, and reds, and gave the film its signature look. The film would definitely not be the same story, without the incredible artists who color graded it. It leaves you to conclude that the right color combination is really powerful stuff. It’s like Dynamite, but you got to know how to handle it. It’s honestly not something you can wing, and an intuitive understanding of color harmony is a must.

These days I try to keep my hands off of retouching and focus on being a photographer and videographer. I’m someone who has a hard time sitting in an airplane seat for two hours, let alone sit behind a computer for hours at a time. I’m not sure how brilliant photographers like Julia Kuzmenko photograph and retouch. Not me, I’m too antsy. It tests the limits of my sanity. Perhaps I should slow down on the caffeine a bit.

I, however, do need to be involved with the final touches of the photo. Before the Infinite Color Panel, I would sometimes spend 2-3 hours just playing around color grading a picture, going back and forth, and the indecisiveness was just not healthy. That’s time I could spend with my family, in a gym, or blissing out watching Netflix on my fantastic couch. Time is such a valuable thing and it does not really hit you on how precious it is until you are in your mid-thirties. Anything I can do to optimize my workflow, and deliver stunning visuals is a must. Infinite Color Panel helped me do just that.

My new workflow with Infinite Color Panel consists of the following:

1.) Receive TIFF or PSD back from the retoucher
2.) If using gels, I will more than likely create a Vibrance adjustment layer and pop the colors everywhere except on the skin, eyeballs, and teeth. Adjust Vibrance at your own risk.
3.) Use the Harmonize feature on Infinite Color Panel
4.) Tweak the opacity of the Midtone, and/or Shadow Harmony Layer.
5.) If suitable, I will play around with Light Color Grading options from the Panel, but this is very rare for my photos where I use gels. This is more for shots with natural light or lighting with no gels.
6.) From here, I will merge all visible layers into a new layer and converting it into a smart object. (Note: that I am not flattening my image.)
7.) While selecting the new smart object layer, I go into the Camera Raw Filter, slightly increase Clarity to about +8, and adjust and make some very minor exposure adjustments. Since it’s a smart object, I can always go back in and change my settings.
8.) Finally, I sharpen the image if needed, and off it goes.

Boom! this process takes about 15 minutes or less.


With Color Grading

Follow Erika on Instagram or browse more of her work on her website.

Have you tried the panel yet? We’d love to see your creations! Get in touch on Instagram @infinitecolorpanel or the Facebook Infinite Color Panel group and show us your work.

If you haven’t tried the panel yet, get started here:


Infinite Integration with Maxim Vakhovskiy

Insights crafted and curated by Pratik Naik and Jonny Edward

Maxim’s work is altogether mesmerizing. Whether commercial or personal, in origin, his use of light and color, combined with keen attention to detail, results in genuinely entrancing photography.We’re honored to share imagery, and a brief breakdown of the project, from the artist himself. Enjoy!

Also, If you haven’t seen Maxim’s contributions to Photo Vogue’s “Embracing Diversity” exhibition; please, we implore you, go check out the beautiful, powerful photographs that he created for the showing!

Be sure to follow Maxim on Instagram, and explore more of his spectacular photography on his website!


Agency: Mode (@madebymode)
Art Director: Ian Varrassi (@ivarrassi)
Producers: Nicole Reyes (hey_heynic)Karla Cruz (@karladcruz)
HMU: Rebecca McMahon (@rebeccamacmahonmakeup)
Wardrobe Stylist: Alexandra Munzel (@alexandra_munzel)
Photographer:Maxim Vakhovskiy (@maximushka)

This is the final image of his masterpiece. Believe it or not, it was NOT shot on location!

Here’s a little screengrab of the BTS video Maxim took while shooting. It’s remarkable how they show it on location! If you’d like to see the video, please join Felix’s group here to check it out. The post is located here.

Maxim Writes:

Here’s a selection of imagery from a campaign shoot completed earlier this year in Las Vegas for our agency’s client, Las Vegas Market.

Firstly, when not shooting personal work, I am a photographer at Mode ( So, I want to note that this was a project with multiple folks involved — stylists, art directors, producers, crew. You may find my personal work on IG – @maximushka

This was a very different project for me and led me out of my comfort zone, but being the sole photographer at an agency, you end up working with different subject matter, styles, etc., and try to figure things out and make them happen, preparing/learning the best you can… While hoping to maintain a certain aesthetic caliber.

In my photography work, I barely do any actual retouching, other than working on color and some very light clean up. I’m drawn to raw, pure beauty and beautiful light. With this project, I had to do full compositing (second time I’ve done this in my life). It went against my preference for authenticity but was certainly an interesting challenge. Would have loved to shoot this on location, but many factors prevented the project from taking that direction.

This project was shot in a “studio” — a large pavilion on the grounds of International Market Centers in Las Vegas. After taking photos of desert scene plates first, we had a large white set in the pavilion and tried to match lighting to those desert landscapes, where the light was dramatically coming from behind. The white set allowed for the actual shadows to be preserved and carried over to the composite.

Lighting Setup, 4 Lights (rented Profoto Pro-8a):

– One light with orange gel pointed towards the white wall behind the model to create bounced glow, mimicking the glow of the desert sky.

– Another light, also with an orange gel, was pointed towards the back of the scene and facing the camera. This light defined the shadows more and also created some nice sun-like flares, so we kept moving it depending on where we needed the flare.

– Then, slightly in front of the camera, there was a 12×12’ ultra bounce with two heads firing into it for subtle fill and shadow detail, so we’d have a good tonal range to work with for compositing.

Regarding post-processing, I integrated the Infinite Color Panel, in the following way: After the base grade in Photoshop, multiple instances of ICP were used on Light mode at varying low opacities. The panel helped add further aesthetic complexities to the tones and hues of the images, better unifying the palette.

The project involved several of these different scenes as well as a later product shoot (that one was done without compositing). You may see some of the other images on my Instagram

Lastly, here is a shot of the brilliant, creative minds, and collective team, behind this project.


Have you tried the panel yet? We’d love to see your creations! Get in touch on Instagram @infinitecolorpanel or the Facebook Infinite Color Panel group and show us your work.

If you haven’t tried the panel yet, get started here:


Creative Conversations with Photographic Virtuoso David Shoukry

Article written by Pratik Naik & Jonny Edward

To us, David’s brilliant photographic art is reminiscent of the great masters of painting. Elegant, classic, and altogether cohesive. There is a strong sense of maturity, both in what he creates and how he approaches the creative process. We’re delighted to bring you this Creative Conversation, wherein we explore the man and artist behind the ever-growing collection of unique, modern-day masterpieces.

Do take a moment to follow David on Instagram. To see more of David’s spectacular photography, or learn about his workshops, head over to his website.

There is so much humanity in your images, how do you achieve such a relaxed state of emotion with your subjects? I know you personally, and you have an extremely warm and welcoming vibe. Do you think someone’s character plays a significant role in the emotions they’re able to evoke from their subjects?

Yes, I think that’s true. It doesn’t matter whether you’re shooting a seasoned model, performer or someone who’s never been in front of the camera: everyone feels vulnerable, to a degree, in the shoot. I think it’s pretty common for people to feel self-conscious initially, and part of my job is to help people feel at ease. I think a big part of that is just being natural, confident and taking control of the shoot. Once people can see that the shoot has direction, a plan and is moving efficiently, they become more at ease, and things generally work well. I always shoot tethered in the studio, which allows me to show the client how things are progressing through the session. Communication is key: even people who shoot often like to have feedback and reassurance that things are going okay, so I talk to people!

I love the elegant simplicity in your work; although it’s mainly just you and the model, the final product looks so regal. Are there certain choices you consider before making your background, styling, and floor/chair choices for each shoot?

The inspiration for much of my work is old painted portraiture, whether it’s in the posing, furniture or colour schemes. My feeling is that the old masters’ pictures have survived and been revered for very good reasons, and I’m able to tap into that and be creative! We stand on the shoulders of giants in the history of art and design, and I’m happy to learn from the masters. I have a pretty decent selection of furniture, almost all of it thrifted, and I just try and match that up as best I can with wardrobe, styling, etc. Although I like to approach shoots with a good general plan, I can’t do it all myself, so I’m lucky to work with four hair & makeup artists, all of whom have a good eye for wardrobe, styling, colour choices etc. Over the years I’ve amassed a pretty good stock of backdrops, floors etc, so there’s a degree of flexibility and potential for plenty of variety.

When it comes to posing, many people find it difficult to position, and direction, people’s hands. It’s usually an indication of how comfortable someone is, and heavily influences how at-ease they seem. Do you provide much guidance when it comes to posing people’s hands or do you let them do what they want?

This is a, really important point, and people definitely communicate any kind of discomfort or self-consciousness through their hands! I photograph mostly professional performers (singers, actors, models etc.) so they’re generally used to thinking about hands, and know their angles. For clients who aren’t used to being photographed much, they do need help with how to place hands. I keep any posing direction simple, and with hands, I try to limit it to positions that people would do naturally (outside of a shoot situation), and make sure that they don’t have any ‘defensive’ hand posing.

Your color choices seem very deliberate on set, is it the same in post-processing; do you always know where you want to go? How do you decide?

Yes, the colour schemes for my shoots are almost the first thing I think about. I try to have as much input into wardrobe choices as I can (not always possible with clients, but it’s generally not an issue). Clients will often have a range of choices which I can help them narrow down, or in some cases, they’ll be purchasing wardrobe especially for the shoot, in which case there is even more freedom. My colour schemes are based around old, time-honoured methods: mostly via a cardboard colour wheel (like the ones they give you at school). I most use triadic colour schemes, a single dominant colour, or complementary colour pairs. I also like to consider fabric textures. If you’re shooting a set which is mostly a single dominant tone, breaking up the textures is an important way of avoiding a ‘mushy’ and indistinct look.

As a part of our community, what are some of the reasons you use the Infinite Color Panel? Has it done anything for you that you wouldn’t have expected, prior to integrating the Panel into your workflow?

I’m pretty much obsessed with colour and feel that it has the potential to inspire an almost limitless range of emotional responses! With the colour grade in all my images I like to begin with a broad tonal palette and decide if I’m going for warm or cool tones – I’m naturally drawn to a cooler palette, but that’s just personal preference. With Infinite Color, I’m able to really refine the grade and produce a unique look for each shoot. I love the fact that I’m able to save ICP layers stacks within the Photoshop Library: it means I can bring the ‘vibe’ of one shoot to something else later on. An area that I always have to be careful with is colour saturation: if I’m not careful I have a tendency to over-saturate at times. The ‘Harmonize’ feature of ICP is a very good way of pulling me back from my worst saturation crimes!

What is your favorite feature of Infinite Color?

The thing I find amazing about it is its ability to randomise parameters in Photoshop, and actually return usable results. I like to use it as a final polish to my work. I find that, if I’m not careful, I can slip into making ‘habitual’ decisions about colour work. Infinite Color helps me to avoid that by providing me with a wide selection of other choices.

Do you a favorite adjustment layer that you like using a lot? If so, why?

For colour work I tend to make most use of the Selective Color and Color Balance layers. Selective Color is very powerful for working with skin, so I add and remove tones from the reds and yellows to get the desired skin tone.


Have you tried the panel yet? We’d love to see your creations! Get in touch on Instagram @infinitecolorpanel or the Facebook Infinite Color Panel group and show us your work.

If you haven’t tried the panel yet, get started here: