Category Archives: Uncategorized

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:
You can also follow his Instagram account:
If you’d like to see more examples of his lighting, check out:


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

Interview with Iceland Based Photographer Cat Gundry-Beck

I recently had a chance to come to Iceland and co-host a photography retreat with Cat Gundry-Beck. I somehow happened to make her acquaintance through seeing her comment during an Instagram Live I did a while ago. When I clicked on her work, I was immediately drawn to her pastel tones of Iceland and knew I had to be friends with her! It was refreshing to see this beautiful country from a perspective that I had never seen. It was so light and delicate where you usually see this place in a brooding and darker viewpoint. I wanted to see this country through her eyes, so we began planning a retreat. Through the process, I realized I became even more amazed at who she was; the person beyond the work was so inspiring. Cat is this wonderfully sweet and authentic creative who has such a lust for life and exploration. From the way she described the places we would visit together, I could tell that she was passionate about sharing her love of the things she had seen here in a way creatives would admire.

Cat is someone who moved here a few years ago and immersed herself in the country that she respects so much. She went through so much to establish herself, where she now thrives. Her can-do spirit and always optimistic attitude matched with her relentless pacing to get to her goals. It invigorated my own desire to create and pursue my dreams. I wanted to feature her because we all collectively agreed that she is someone every creative in my network and beyond has to know about. Her story is one I feel everyone can garner inspiration from!
To find more of Cat’s work please visit her Instagram and Website: and


Interview with Cat


Where did you initially move from and what type of photography were you doing when you got here? 

I grew up in Dublin, Ireland but emigrated when I was 18 to do a degree in photography in England. After graduating, I assisted in London for a year and then moved to Norway, where I worked in an ad agency and ran northern lights photography workshops. When I first got to Iceland, I worked for a tour company taking photos and video content for their social media and advertising. Alongside that, I was shooting outdoor elopements and proposals. Fashion and commercial work are what I’m most passionate about, though, so I moved into those after a year of being here, and now that’s what I focus on.

What are your go-to sources for inspiration? 

I love fashion magazines like Vogue and Image (an Irish magazine). For a long time my Instagram was only filled with adventure, travel, and landscape photography but I didn’t feel very inspired by it. I knew my visual diet was very important, so I spent some time training the algorithm to show me more fashion and beauty photography. I also very consciously look at the masters quite often – we are exposed to so much content every day. Still, I feel so inspired by photographic pioneers like Annie Liebovitz and Robert Doisneau.

As a creative, has there ever been a time when you’ve had to say no to a job?

A while ago, I was asked to shoot an event. I really didn’t want to do it, I love shooting events when they align with my interests, but I much prefer creating shoots to documenting. I was so scared to say no – it wasn’t too well-paid for the amount of work it was, but it was still more than the zero I was planning to earn that day! I knew I could spend that day working towards more long-term goals, and that was more important to me. So I said no and immediately after, called my mum and cried about it. It felt so wrong to turn down work when I was building a business, but I knew in my gut it was the right decision. Soon after, I was asked to do a fashion shoot that was in line with everything I wanted to do in life. It had to be on the same day as the event, so if I’d said yes to the job I didn’t want to do, I would have had to say no to this one! This fashion shoot led to another shoot that ended up being printed in British Vogue, so it was absolutely the right decision to trust my gut, even though saying no felt so strange.

How did Iceland change your style of photography or was it the other way around? 

I developed a very distinct style when I was in university back in 2013. Through a lot of different projects and research, I found that I really love creating bright, minimal, pastel images with an ethereal feel. When I first came to Iceland, I felt overwhelmed – I’d only seen dark and moody images from here, and I felt like I had to adapt to fit into this new country. The first photos I took here were not me at all, but after a while, I realized I had to stay true to myself and started to find landscapes and compositions that made me really excited. Winter is my playground – my favourite thing is a snowscape with a pink sky.

What was the hardest part of coming to a new country as a photographer? Were there any aspects that surprised you after coming here? 

Starting from scratch was a huge challenge. When I landed, I didn’t know one person here or have a house or work lined up. The first two months were very lonely, I found it hard to meet people, and all doors felt closed to me. But my gut told me I needed to keep going, so I stayed, and suddenly I started meeting creatives here and getting work; it was so worth a tough first couple of months! I joined a women in business networking group that really helped me to build a name for myself here, and I started running photographers’ drinks events.

One thing that surprised me was the strong sense of community and how everyone knows each other here. People really look out for each other – when the pandemic hit, I had so many of my clients reach out to me asking if I needed anything as they knew I was far from home; it was so heartwarming.

What is the most exciting part of the process for you? 

For me, one of the best feelings in the entire world is when I’m taking a photo I’m proud of. I’ll usually squeal and do a little dance! I really love it when planning and teamwork all come together, and everyone’s excited about what we’re creating. Usually, I shoot outside, so I really appreciate it when the weather and landscape are on our side. I also absolutely love when the team goes inside to warm up over a meal together and bond over what we’ve just created.

What role does color play in your work? 

Colour is probably the most important element to me. I have always been fascinated by how colour can evoke an emotion or atmosphere. I love having one dominant colour in a photo and then complementing it with other colours that create harmony with it. I see things in colour all the time, like days of the week, songs, or people I know – everything has its own colour when I process things in my head, so that’s how I’ve always approached my photography.

How important is color grading to the final look of your work? 

I’d say it’s almost too important! I can be a bit of a perfectionist; sometimes, I’ll spend way too long getting the exact right shade of blue for an Instagram post. But I adore colour-grading, so I find it really fun.

What is your usual approach to color grading and do you usually do that before or after retouching?

I usually do a quick colour grade first, just so I can see where I’m going with the image before retouching. Then after retouching, I’ll go back and do more in-depth colour grading. I usually warm up the midtones and make the shadows colder in the colour balance tool, then do more specific colour grading in selective colour. A lot of the time, I’ll add a cold photo filter on a low opacity and also pair that up with a curve adjustment layer, where I would pull down the curve in the red channel.

Are there any movies that you love and draw inspiration from for color? 

My all-time favourite movie is Donnie Darko; I find it so thought-provoking. In terms of movies that inspire me creatively, I came out of Cruella with my heart racing – the outfits and the elegance was mind-blowing to me. I find Wes Anderson’s movies to be stunning visually as well, especially The Grand Budapest Hotel.

What is your ideal photoshoot in Iceland? 

My ideal photoshoot in Iceland is to have a beautiful model wearing an unusual design in an epic Icelandic landscape. The shoots we did on the retreat with Pratik were exactly that – I was so in my element organizing this trip with him and getting to do these shoots! I’m really into futuristic vibes at the moment, the more extravagant the better. One of my dreams is to collaborate with a 3D fashion designer and put their digital designs over my photos.



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:

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!

Featured Project – Southern Hospitality by Wesley Jones


Meet Wesley Jones!

Website | Instagram

This shoot was planned at the last minute with my buddy Brandon Thornton(model featured in shots). I secured the location from some friends that own Tara Winery in Athens, TX on which the home is located. The home has a really classic Texas vibe. We had both been thinking a lot about the feel and mood we wanted to get, and Brandon fully styled the wardrobe himself.

As soon as he walked out in one of these awesome outfits, I knew exactly what needed to happen as far as my lighting, camera setup, and colors I wanted to achieve in post. We went through 3 or 4 outfits, and knocked the entire shoot out in a couple of hours.

I shot the set on a Sony a7riii/Sony 50mm 1.8/Sigma 35mm 14 ART, and did all lighting with an Orlit 601 strobe, which was modified with a Westcott large diffused umbrella.

My usual style is shooting wide open at a long focal length with multiple strobes, but i wanted to challenge myself and shoot opposite of my norm. I can always kind of see the colors I want to achieve in my head when it comes time to process. For the last year or so the Infinite Color Panel has let me have options I may not have originally went with. I get the images toned with my usual methods, then bring in the panel to start clicking away until my eyes say “YES!!!” and find what they love. Its a fun way to edit :).

 After editing this set I had the sudden urge to watch Fight Club and Fear and Loathing back to back!

I’m located in Athens TX and shoot mostly dramatic portraiture. I’ve been shooting for 3 years.

Featured Project – Adapting Lighting for Unique Situations with Irina Jomir

Portrait of Irina Jomir

Irina Jomir is an amazing photographer in our community. We’ve been following her work closely and she recently had a challenge where she had to adapt in order to create the imagery that she was proud of. She integrated Infinite Color beautifully into the shots! We had to know more about the shoot itself and Irina shares her story below.

Be sure to follow her Website and Instagram account!

I´m a photographer that shoots majority of work at studio. I love the comfort it gives, the control over light. I rarely want to shoot anywhere else.

The project I and my MUAH came up with was a challenge – new, unknown space, unpredictable lighting scenario and new genre. We´ve decided to shoot boudoir in a hotel room. The team was small, just me and MUAH as model which perhaps was a challenge too for both of us. We booked a room, prepared a mood board and were ready to experiment for as long as possible.

I remember coming into hotel room where the shoot was going to be taken place at, being completely terrified – narrow room, no white walls or white ceiling to bounce my strobes from, last hour of day light to use as fill light and mix with strobe… nothing I’m used to at all. Harsh light is not my thing and strobes are soon the only source of light in pitch black space with red walls. Basically that moment was a moment of regret and if could get the refund I would absolutely leave.

I kinda felt like an amateur in that situation and the only solution was to experiment. As we started to warm up and I let my creative part take over. My fear of failure faded and all of a sudden I learned knowledge of light that naturally mixed in. By the time there was no more day light the only option was to soften the strobe as much as possible and the further we were moving into the room to change the set up, the darker and narrower it was. I decided to use the Photek Softlighter with one strobe and double diffusion plus an extra large diffuser from the largest reflector I had which I placed in between the model and the strobe. The distance between model, diffuser and strobe varies from picture to picture.

Our shoot started at 6pm and we finished 6am, 12 hours straight with one break only. It´s so far the longest I had and perhaps most fun as well. We tend to forget how much we learn when we experiment. If I may draw a conclusion and give my recommendation, that would be to experiment more and challenge yourself more.

To see more from this set, be sure to visit her Instagram!


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 Color Challenge Winners: Our First Big Contest Comes To An End

We had an amazing array of entries for our first Infinite Color Contest! If you somehow missed it, you can see all the details and entries here.

I wasn’t sure what to expect because this was our first biggest contest with an amazing number of prizes and options people could pick from!

I just want to thank everyone that took part because without you, this wouldn’t have been possible. It really showed me that you all really did enjoy this and I can tell how much fun everyone had being creative! Often that is really difficult to find the time to do work we actually have fun with!

We had a group of people who helped me decide on the winner(s). I spent some time really going through each one to ensure that everyone got a fair shot and it was really tough. I didn’t want to mess up and truly give the right person an opportunity. I would want the same if I entered a contest like this. But then I realized everyone was deserving, truly!

And the winner is…

Now with that said, I would like to announce our winner as photographer Leigh Schneider from Germany!

Her entry can be found here: LINK

She decided to take advantage of being a part of our future Retouching Retreats, where she will spend up to a week with a group of creatives. Her flight and room are all compensated including a spot at the event (collectively priced higher than our prize giveaway of $4,000). And she will receive the personalized training that comes with it!

Leigh had a really great before/after image but also a great entry and is a wonderful part of our community. I know she’s been creating for years and really is a great person who is a creative at heart. I am proud that she won this and hope she is excited to use this time to take her work to another level!

Second and Third Place Winners

Our second and third place winners are JoAnna Claire and Tiffany Tran!

They will receive:
A full reimbursement of the Infinite Color Panel
A personal critique session of your portfolio
Retouching credit from Pratik Naik for 4 images
A one on one online tutorial session on anything regarding post production with Pratik Naik.
$200 credit to a future Retouching Retreat

See all of the entries to the contest by going to the challenge page.

Thank you to everyone who took part! I really can’t tell you how fun this was. I can’t wait to do more and host more fun opportunities for the community! There’s nothing more fun than getting creatives together to do fun things like this!