Category Archives: Uncategorized

Inspiration, Uncategorized

Color Conversations with Fashion Photographer Dae Howerton

Posted on by Pratik Naik
30
Oct

Written by Casey Cosley

Dae Howerton has worked his way with fashion and beauty photography like it’s going out of style.

The balance of striking color and clean composition, is further bolstered by his cinematic approach to imagery. From influence to vision, Dae gave us (and now you!) access to a deeper into his process and to detail how his work comes together.

Here is some imagery that Dae worked his magic and witchcraft on using Infinite Color Panel.

Tell us a little about your mindset going into how you decided to light the shots.

I’m a huge storyboarder. I knew for this shoot I wanted it to look cinematic.  

I watched a lot of women action movies: Atomic Blonde, Kill bill, Femme Fatale.

I knew I wanted everything to tell a story from the slit of light, to the spotlight in the corner.

I wanted everything to feel true to the story and the character.

Was there a storyboard/moodboard before the shoot?

Yes!!! With many many screenshots of movies. I can be a bit obsessive.

I always want for my team to be on the same page so I create a couple of mood boards.

How did the shoot come about, and how did you put it together (including location/model/team)?

I am a transplant from New York and moving to California, it is a completely different aesthetic.  In New York, you can walk down any street and it tells a story, however, living in Los Angeles, it’s not quite that way, so I had to make my neighborhood “magical”.  So working around my housing complex, I had to use creative angles and cropping situations so you would not see the “Desperate Housewives” homes in the background.

When it came to my crew, I have a roster of talent that I rotate through and once I gave everyone the mood board, they instantly knew my vision. It is a dream when you have a team you can show let’s say three images, and they totally get me. I felt like I was playing Pictionary and they got me, they really got me. Jessica Morrow from LA Models was cast perfectly (in look, in energy, in talent) and when I sent her the mood board, she instantly said “wow, this is so Atomic Blond”. She got it.  So when your entire team is in complete sync, all it does is elevate the project.

With your concepts, do you come up with them or work together with the team to do so?

I’m a dreamer and I fantasize a lot about photo shoots and I am inspired by everything around me.  I am inspired by paintings, television shows, and movies. Lots of times I would see a movie and I think to myself:  “how can I tell THIS story with my own twist?” and once a concept comes to mind I begin to obsess about it. I will go online and start looking at movies and from there it goes to hair, then makeup, then styling and before you know it, the story comes to life in front of me. I drive my friends crazy because then I would constantly talk about it and I would bounce ideas off of them and I will do this until I finally shoot it. Once it’s done, I am on to the next thing to obsess about.

What magazine were they in and how did you decide on it?

This spread is in Vulkan magazine. I decided to submit them to Vulkan because I really love their fashion stories. I follow them on social media and even buy the print magazine. When I submitted the images and they accepted instantly it was incredibly happy.

As it comes to the color grading, why did you choose to use ICP as a part of your process (thank you by the way!)

I knew for this shoot I wanted something refreshing for these images. I knew my lighting would be dynamic and I need the grading to be just as dynamic as the lighting. For me, ICP always sprinkles that final touch whether it’s drama or pop of color. It completely transformed the story from nice images to dynamic. It’s now apart of all of my fashion stories. It’s my GO TO.

For people who aren’t sure if it’s right for them, what would you say to recommend it to them?

I shoot beauty, fashion, and commercial work. I always get complimented  on my color grading or skin tones. It has been my secret not secret for about a year. I always recommend ICP to anyone that wants their images to stand out, to anyone who wants their images to jump off the pages of their portfolio, to anyone who wants that unattainable “PROFESSIONAL LOOK” that we see in magazines and in commercial photography.

Did you have a color vision in mind before you began working on these images?

I did have a color vision in mind. I wanted green tones with reds to pop out. When the ICP gave me the blue tint with the reds I said … THAT’S IT!!! It was perfect.

How hard was it to get to the final result for your colors on this set?

LITERALLY 2 clicks. I changed the opacity of a couple of layers. But for the most part, it was SPOT ON.

Check out and stay up to date with Dae Howerton’s work by following his instagram or 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:  https://infinite-tools.com/infinite-color-plugin/

 

And if you’re still here, here is a little bonus BTS video of Dae’s shoot for Vulkan Magazine.

Credits:

Photographer: Dae Howerton @DaeHowerton | www.DaeHowerton
Models: Jessica Morrow @jjmorrow
Male Model: Jacob Sones @Jakesones55
Stylist: Monica Cargile | www.MonicaCargile.com
Makeup Artist: Hendra Nasril @makeupbyhendra | www.MakeupbyHendra.com
Hair Stylist: Shelli Mosley @shellimosley | www.Shellimosley.com

LOOK WINDOW HARD-LIGHT
Top & Pant – Symphony
Shoes – Marco Proietti Design

SYMPHONY
https://www.symphonyfashion.com/ @Symphonyfashion

MARCO PROIETTI DESIGN
http://www.marcoproiettidesign.com/en/ @marcoproietti_official

LOOK 2 HALLWAY CATSUIT
Bodysuit – Trend Haus
Bra – RAAD KERR
Shoes – Marco Proietti Design
Gloves – Vintage

TREND HAUS
https://www.facebook.com/trendhauslosangeles/ @thetrendhaus

RAAD KERR

MARCO PROIETTI DESIGN
http://www.marcoproiettidesign.com/en/
@marcoproietti_official

LOOK 3 RED DRESS
Dress – Michelle Hébert

MICHELLE HÉBERT
http://www.michellehebert.com/

LOOK 4 BALCONY
Jacket – Beyond Proper
Skirt – Syren
Belt – Vintage
Shoes – Marco Proietti Design

BEYOND PROPER
www.bostonproper.com
@Beyondproper

SYREN
http://www.syren.com
@syrenlatex

VINTAGE

MARCO PROIETTI DESIGN
http://www.marcoproiettidesign.com/en/
@marcoproietti_official

LOOK 5 CAR FIGHT SCENE
Bodysuit – Trend Haus
Skirt – Vintage
Belt – RAAD KERR
Thigh Highs – La Perla
Shoes – Marco Proietti Design
Gloves – Syren

TREND HAUS
https://www.facebook.com/trendhauslosangeles/
@thetrendhaus

VINTAGE

LAPERLA
www.laperla.com @laperlalingerie

RAAD KERR

MARCO PROIETTI DESIGN
http://www.marcoproiettidesign.com/en/ @marcoproietti_official

SYREN
http://www.syren.com @syrenlatex

LOOK 6 | THE CAPTURE
Coat – Nu
Pants – RAAD KERR
Panties – Oh La La
Shoes – Marco Proietti Design

NU
ww.shopsnu.com www.instagram.com/shopsnu

RAAD KERR

OH LA LA
ohlalacheri.com @ohlalacheriparis

MARCO PROIETTI DESIGN
http://www.marcoproiettidesign.com/en/ @marcoproietti_official

 

Inspiration, Uncategorized

Comparing Color Grading With Infinite Color Vs Raw Processing

Posted on by Pratik Naik
15
Oct

Photo by Nikita Kachanovsky

As a retoucher or photographer, it’s safe to say color is vastly important and we can all start there as our commonality.

Likewise, it’s important that we discuss just how Infinite Color Panel compares to color grading in the raw processing stage. Along the way, we’ll discover just how complimentary both are together, and how they also differ on their own.

Being that I truly value and am inspired by our amazing community, I wanted to give them an opportunity to answer as well. This will give a great perspective into what everyone thinks as to paint a picture that is more open than writing the article through my own words.

My own personal preference is using Capture One as my raw processor. The reason is because they have profiles developed for each specific camera on the market that is compatible with the program. The results produce a solid rendition of the raw file out of the box. But no matter what you use, this will all be relatable.

 

 

A non-destructive workflow allows for the pairing of beautifully processed files with detailed color grading for a superior result.

In actuality, my first reason insists on the inclusion of both in the process for the best overall look. Since the processor is there to set a great “base look”, ICP can be used to push colors in a way that can be modified. Since adjustment layers have the ability to be changed at any time, having them in layers at the end of your retouching workflow is the most non-destructive process. So you won’t have any regret tomorrow or 5 years from now in case your color vision has changed or becomes refined over time.

The difference is that you (or your customer) can change their mind. Doing the grading in Photoshop is non destructive, while RAW is destructive. RAW is closer to the source, so if you do really crazy grading with super strong saturated colors, then I would favour doing it in RAW destructively. For all other images, and especially if you work in 16-bit, there is no difference in quality between the two and as such I prefer doing my grading non-destructively.

Additionally, I have seen some people who apply grading in RAW using camera profiles. This is very bad since it removes the original color translation that every camera needs for the images to look good. This color translation is the whole purpose of a good raw-converter, and it is the main reason that Capture One is favoured among professionals. Simply because the camera profiles they have created are just that good. Meaning, since you can only use ONE profile, then if you apply grading this way you are throwing away the original mapping.- Conny Wallstrom

To me a great advantage that ICP has over toning in the raw editors is that it makes use of non-destructive adjustment layers to create the toning. The use of adjustment layers also allows for complete control and customization of each individual adjustment made by ICP, no matter what point of the process of finishing the photo you’re at. – Dan Ostergren

 

 

Manual Processing vs Intelligent Automation – Quality and Speed

The biggest advantage of the Infinite Color Panel over CO/LR is that it’s an intelligent automated process. In CO/LR you are manually adjusting each slider and sometimes are not sure what the results will be. ICP creates a harmonious color grading that would be difficult to achieve manually. It’s also so quick to run through many (infinite?) different color schemes that would take up an enormous amount of time manually. – Jay Coy

The layers in the panel are specifically designed to work together to be universally favorable. It was designed by studying the layers within the images that were submitted to high end editorials. I would dissect the adjustment layers and figure out the parameters that each adjustment layer should have. We tweaked them for months before coming to the right formula.

Typically speed is a huge factor with processing you have to also consider. If you have the time and knowledge to manually create intricate looks yourself, that is wonderful. The panel provides you to be the most efficient with your time in crafting multiple looks instantly. Better yet, after you develop something you like, you can then save it so you get something that is yours, time and time again.

 

 

Inspiring Creativity For Any Level  – Suggestions In Color

I would say it allows people with little to no experience in color grading jump right in and take their creativity to the next level. I also feel like the tool encourages you to play when maybe you wouldn’t because you weren’t even sure where to begin. It makes creating more fun and less time consuming by popping in these powerful layers for you as if to say, here’s a pallet of amazing color, go forth and create! – Sarah Rocca Vento

Aside from the intelligent coding (thanks to coding master Conny Walstrom), it provides a sense of direction when you may not know where to push the colors in the raw processor. If you already have an idea of where to go, then at least the panel can also provide you with alternative ideas on where else it could go. Why limit yourself to just one direction? I’ve been surprised multiple times by the panel in training myself in seeing how else the colors could be pushed.

The biggest benefit for me, as someone who has no particular direction is the fortunate opportunity of being presented with a host of color combinations and being able to pick any one I want, or keep all of them. It gives me a palette of colors where I can tweak anything I want manually and build on them. I can also add in additional adjustment layers to complete the process.

Usually I have an idea where I want to go with the colour but sometimes I’ll have an image where I don’t have a clue. A few rounds of ICP and I’ll quickly realise whether I want it warm or cool, bring up certain colours in shadows or highlights and get pretty close to where I want to be. Then I can make further fine tuning adjustments. I think it would be impossible to play with different colour ideas manually in ACR or LR without knowing in advance what you want. ICP takes you to new colour-lands – Alex Baker

 

 

Advanced Masking Capabilities
You can mask the layers individually, or as a group using your channels, or even calculations. This makes a smart system even smarter. – Ben Heath

This is an important distinction. What I love about Capture One is the ability to use layers and masks. I use them all the time! Knowing that I have this capacity in Photoshop gives me a familiar workflow in the color grading process. It also takes it to another level combining channel masks and even calculations if that’s your jam.

Learning through osmosis
As a side bonus (a really great bonus), studying the color possibilities Infinite Color provides in each image will also serve as a tool to learn what you like and don’t like! I can tell you that just in the short few months of using the panel, I’ve surprised myself after seeing what direction my images have gone in. If you find that you naturally have a preference in certain directions, the panel will really give you ideas that you might not have thought of on your own.

JOIN THE COMMUNITY!

Have you tried Infinite Color 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:  https://infinite-tools.com/infinite-color-plugin/

 

Inspiration, Uncategorized

Michael Moon Shows Us What It Takes To Photograph The NFL

Posted on by Pratik Naik
21
Sep

We welcome one of our friends and community members, Michael Moon, to write about his experience photographing the NFL. Based in Houston, I love his work and have always been curious into what goes into it. It’s also great seeing how color grading plays a role in it.

Thank you Michael for this amazing post. be sure to see more of Michael’s work on his website and Instagram.

When you come from a portrait background, shooting sports isn’t as difficult as it may seem from a technical standpoint. You already know composition, story telling, and essential camera basics. Where the difficulty comes in is the pace of the game, being able to predict where the action is going, and maneuvering around other photographers, tv crews, and the packed sidelines. College football moves a lot faster than the NFL, so you don’t have time to look at the camera to make sure you’re getting great shots. Plays happen as fast as they end, so if you’re not focused on the action, you will miss the shot.



The first time you walk out of the tunnel and onto the field, it’s a rush of excitement and awe. The production level in college football is incredible, but there’s nothing quite like the NFL. There’s a level of theatrics that is undeniable and keeps you coming back for more. As photographers, we’re always chasing amazing images and when a 3rd down sack, interception, or a game winning touchdown happens right in front of your camera and you capture that moment, you feel like a kid on Christmas morning.

 

During warmups, you get a chance to catch the players in that “unplugged” stage. They’re goofing off with each other, with the crowd, and if you’re lucky they’ll even give you a quick pose. For me, the best part of the job is being on the field and part of that production as a whole. It’s pretty cool when people send you screenshots of you on tv capturing the action too.

Let’s talk gear for a moment. I have a Pelican 1560 hardshell case with wheels that carries my Canon 1D X Mark II’s, 400mm f/2.8, 70-200mm f/2.8, 24-70mm f/2.8, Profoto A1, and all the other little things I carry with me. In order to compete at a high level in sports photography, it’s essential to have a fast camera body and fast glass. The 400mm is a huge lens, which stays mounted to a Manfrotto monopod during game time and the 70-200mm is on a black rapid strap for quick access as the action gets closer. My 24-70mm doesn’t see any action during the games, so I generally leave it in my case. After the game is over and we all pile onto the field to capture the players talking, swapping jerseys, or prayer; I’ll use either the 70-200mm or my iPhone X for the wide shots.




After the game is over, it’s back to the media room where I have my laptop setup and I’ll dump my memory cards while I’m packing everything up. Since I only shoot JPG for the games, I import everything into Lightroom. Generally, you’ll see sports photographers using Photo Mechanic but we all do things differently. The reason I use Lightroom is simple; I already own it and I have presets made that I can apply during import that cut my editing times down. The faster you can get your images out, the better off you’ll be because there are 20+ other photographers there trying to put out the same content. Like I said before, it’s very competitive but it’s also a very friendly environment.

ost processing sports images is relatively easy compared to portraits since you don’t have to worry about tedious skin and hair cleanup. My Lightroom preset for sports consists of exposure, contrast, highlights, shadows, and sharpening. I’ll go through the images, mark my selections, crop them and export them. Once that’s finished, I open Photoshop where my only stage of editing left is color grading. That’s where the Infinite Color Panel comes in. With a single click, you get something cool and professional. To take it a step further, I rename the group folder and hit Create again to stack color grades. One of my favorite things about this panel is how fast and easy it is to use. It’s like wandering through the Moors and stumbling across Willy Wonka’s factory. Once you’re inside, the Oompa Loompas do all the work to make something magical happen. You can touch all the things without fearing of turning into a giant blueberry. Another powerful tool is being able to save those color grades out to a LUT which I can then batch out via an action, which I highly recommend if you’re working on a large series of images. Remember, the faster you get your images out, the better.

JOIN THE COMMUNITY!

Have you tried Infinite Color 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:  https://infinite-tools.com/infinite-color-plugin/

 

Inspiration, Uncategorized

Frøydis Geithus Pairs Up The Profoto B10 And Infinite Color Panel

Posted on by Pratik Naik
18
Sep

Just recently, Profoto announced the compact and powerful Profoto B10. A simple an elegant wireless flash with remarkable power. I first came way of this from seeing Frøydis’s recent feature, where she took the B10 in the mountains of beautiful Norway. The images and video were just stunning!







Video


Images






Lighting Details

If you’re curious on how they were shot, here are the settings that went into it!







Follow

Be sure to follow Frøydis on all her amazing channels!

Website: http://www.froydisgeithus.com/
Instagram: https://www.instagram.com/froydisgeithusphotography/


Credits

Below, you’ll find the entire set of credits for the film.

Håvard Nesbø filmed, shot and made this movie.

Iselin Solbakken and Steffen Lægreid; the beautiful couple in this film. Iselin was also the MUA.

Elise Lillestøl, the wonderful hairstylist and assistant.

Angeliki Kontakioti sent the amazing wedding dress from Atelier Zolotas, all the way from Athens!

Nikon, sent everything for the movie, except for a few drone shots.

Rebecca Ahremark and Svein Bringsdal. Frøydis writes: YOU TWO ARE ABSOLUTELY AMAZING!!! Thank you so much for choosing me, and for helping me so much along the way.


Join the Community!

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:  https://infinite-tools.com/infinite-color-plugin/

 

Inspiration, Uncategorized

Color Conversations with Jennifer Tallerico

Posted on by Pratik Naik
14
Sep

In this color conversation, we had an opportunity to chat with scientist turned artist, Jennifer Tallerico. Her underwater photography is dreamy and spellbinding! Truly unique and absolutely lovely. We adore how Jennifer creates alternate realities through a brilliant intermingling of photography and post-processing. Fine-Art at, well, it’s finest. If you’re not familiar with Jennifer’s work, do yourself a favor and go check it out!

Firstly, your work is sublime! So surreal and dreamy. How did you find your way, as an artist, to underwater photography?

I was a scientist working with water quality on the environmental level for many years prior to my life in photography. Once I began my career in photography, water had to play a role  in some form or another. One day while photographing my daughter playing underwater (seen in many of my images) – the way her hair moved, the light danced around her, and the flow of that water surrounding her, I just knew I had to incorporate this kind of work into my photography. Since then it has become a blessing and a curse on how much I want to shoot below the surface.

 

Have you ever found yourself in any type of trouble or predicament(s) when photographing underwater? I imagine there are singular safety and legal considerations?

I always have a trained lifegaurd with all certifications on location for my clients safety. He can tell signs of distress above and below the water when I may miss it while capturing the image. If we are in the springs there are also concerns for wildlife where he is my look out as well. If the client brings long flowy dresses he is there with the rescue equipment to help her for periods of rest in between shots.

I’m really curious, as are many I’m certain, what unique challenges do you encounter, when photographing subject underwater?

Each session comes with its own challenges. Some clients do amazing naturally  underwater while others need to be coached a bit more on how to stay under and have control over buoyancy. Other issues that come into play are with the water quality itself. While I try to always use the competition pool or the springs, many times I am hired to shoot in a private pool which comes with color balance issues, clarity issues, and size of the location. The smaller the pool the quicker it will fog up with the activity underwater so I need to be able to work in a way that allows the water to have time to settle in between.

 

More specifically, in terms of color, how is underwater photography dissonant from creating on land?

Red wavelengths are lost quickly under the surface so understanding how to bring that back into you image is important. Use of colorful wardrobe can be helpful. I shoot in kelvin as well to help bring it a bit warmer, use of strobes under and above the surface will also help to bring back color. The major time I am working with color is of course in post and layers play a big role there.

In a similar vein, what role does color play in your creative process, both during a project and in the post-processing phase?

I know ahead of time how I want to combat the color loss issue in the water so I can spend less time on color and more time doing fun composite work in post. I love working with adding in other images to give that surreal and fantasy look to my images. My clients adore having another world hanging on their walls.

 

Has the Infinite Color Panel impacted or bolstered your artistry or artistic approach? If so, please elaborate.  

The ICP has helped in so many ways. It was difficult at first when I was playing with the panel as most images coming in from the camera are on the bluish hue only. Once I got a workflow going and knew when to apply the ICP it was amazing from there. It not only helps a image that is just a client on a plain backdrop and adds that boost, but it also helps to blend a composite.

 

Are there certain scenarios where you find the Panel to be most relevant and useful, in terms of your respective workflow?

Yes! I use it in two scenarios. If the image is from open waters, I can apply it directly as the color balance in the freshwater springs is more natural than in the pools. If the image is in a pool setting, I will apply it to the end to give it a boost in color. My favorite setting is the harmony as it truly blends the image overall.

Thank you to Jennifer for taking the time to give us an insight into her life! Be sure to see more work on her Website, Instagram, and Facebook!

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:  https://infinite-tools.com/infinite-color-plugin/

 

Inspiration, Uncategorized

Unmesh Dinda Of PiXimperfect Gets His Hands On Infinite Color Panel

Posted on by Pratik Naik
10
Sep

Let me tell you, Infinite Color is my baby and I really put a lot of thought into the idea of it. I’ve seen first hand how many epic creations have been made by some bad ass photographers and creatives around the world. However, I really wanted to see it reviewed by someone who has a serious fundamental understanding of Photoshop to see what they would think of it.

Here comes Unmesh Dinda of PiXimperfect. He’s one of my favorite instructors because I relate to the same fire he has in him about Photoshop! We have the same unexplainable obsession with pixel pushing! So I threw the panel his way after bringing it to his attention and he came up with this epic review.

He really surprised me.

What I love most about this review is not just the production, but the sheer depth that he went to. I learned ways that I would use it that I never imagined. For instance, combining the color range feature to create masks on your layer stack so you can color grade a specific range of objects. He color grades the leaves in a bush to completely change the feel of it. Also, he uses ICP to change skin tones! He even goes into luminosity ranges with ICP.

Genius.

It just gets better and better the more you go into it. Unmesh has a style that has no fluff at all and pure information. I dig it, and I love this video and think everyone should check this out if you have the panel or are considering it. This video does my panel justice and hope you enjoy checking it out!

As a bonus, in the description of the YouTube link, you can grab a free download to all of the finished PSD files!

Thanks for doing the panel justice Unmesh. You can also support Unmesh through his awesome Patreon page (link) and by following his YouTube channel!

 

If you haven’t tried the panel yet, get started here:  https://infinite-tools.com/infinite-color-plugin/

Inspiration, Uncategorized

Color Expert Mezame Takes Infinite Color Panel For A Spin

Posted on by Pratik Naik
23
Aug

Mezame is the type of person you never forget. He’s witty, hilarious, and down-right entertaining. A bonus is his wonderful photography. I remember following him for his cosplay work and began to realize how great he is with his portrait and other conceptual work! I think the cohesive factor through his work is his intensive use of color. It’s deliberate, appropriate, and he knows how to evoke mood in his work that has his signature style present.

After releasing Infinite Color Panel, he began using it and I honestly wasn’t sure what he’d think of it. He started sharing his work with the color panel in our Facebook group and I had to reach out and ask him what his thoughts were after using it for a couple of months!

Mezame writes below, coupled with a few of his images with the panel we wanted to share!

 

Infinite Color Panel by Concept and Portrait Photographer, Mezame

I’ll be honest – I did not read the instructions, nor did I catch any tutorial videos prior to getting a copy of Infinite Color Panel. All I know is that it is a color-grading plugin that has an intuitive UI which promises limitless possibilities for color-grading in Photoshop. My workflow involves Capture One and Photoshop and I wonder how this plugin would fit in.

I decided to just let curiosity run its course and dove straight into the plugin on a journey of discovery, and I realized it was the missing piece of the workflow all along!

Following an easy installation process, I started retouching my first image and played around with the plugin. And when I meant “playing”, I really meant it! Instead of cumbersome plugins that put the word “work” in “workflow”, the process of discovering colors made the whole process more fun and engaging. I found myself wondering what would Infinite Color Panel surprise me with next! The plugin ultimately allows me to bring up possible tones and color-grading that I would have otherwise not thought of.

Instead of referring to color charts, or implementing tried and tested presets, or be encumbered by current visual trends, I let myself be free and let the plugin take me on a journey of discovery. The randomness made me realize there are so many possibilities out there! The fact that I can toggle certain aspects of the plugin on and off also made customizing possibilities possible. The fact that I can save these colors in Library also assured me that I would not lose certain looks that I love.

My concept portrait photography and cosplay portrait photography works were given fresh looks in a few easy steps that I would otherwise would probably struggle on for quite a fair bit to achieve using traditional methods. I can’t wait to try this on my toy photography projects too!

I highly recommend this plugin to anyone who wishes to take color-grading to the next level! Whether you are a professional or a hobbyist, this is something you should have as part of your retouching workflow.

Credits

Photographer: Mezame (www.theartofmezame.com)
Makeup/stylist: Hana L Makeup Artistry (www.hanalmua.com)
Assistant: Racife (www.facebook.com/racife)

Gear used for the shots in this series:

Sony A7RII mounted on a Gitzo tripod
Sony SEL2470GM lens
2x Broncolor Siros L 400 triggered by an RFS 2.2 for Sony
Broncolor Silver 85cm umbrella
Broncolor Focus 110cm umbrella
Broncolor L40 standard reflector
Honeycomb grids
LEE Filter color gels
MacBook Pro 2015 15” with Capture One Pro 11 for tethering and retouching
Tethertools Pro cable
Adobe Photoshop CC + Infinite Color Panel plugin
A studio fan

Be sure to check out more of Mezame’s work and follow him on his social media channels:

Website: http://www.theartofmezame.com
Instagram: http://www.instagram.com/theartofmezame
Twitter: http://www.twitter.com/theartofmezame
Facebook Page: http://www.facebook.com/theartofmezame
Email: [email protected]
Twitch: www.twitch.tv/the_art_of_mezame
Soundcloud: www.soundcloud.com/theartofmezame

_

If you’re interesting in checking out our community, come join our Facebook group!

If you haven’t tried the panel yet, get started here:  https://infinite-tools.com/infinite-color-plugin/

 

Inspiration, Uncategorized

Color Conversations with Lillian Liu

Posted on by Pratik Naik
16
Aug

Lillian Liu is a Fine Art Photographer based in Vancouver, Canada. Although she first picked up a camera at the age of 16, Lillian didn’t properly find her passion until 4 years ago. And boy, does this passion shine through her work!

Lillian’s work reflects her insatiable curiosity and hunger for creativity.

This week I had the pleasure to sit down with Lillian and chat about the inspiration behind her work, her creative process and color management.

The stunning images Lillian kindly allowed us to showcase in this article are all toned using the Infinite Color Panel.

1. Your images are a work of art Lillian, each one rich in details, stories and imagination! What made you take up photography?

Being an art enthusiast, I was fascinated by the concept of creating a piece rather “instantaneously” with the click of a shutter button. I realized (very, very quickly) afterwards, how utterly wrong I was about the instantaneous part, and that the process runs extremely deep.

2. Many people struggle to define their own style in words. Often they aren’t even aware they have one. I’m going to put you on the spot, how would you define your “style”?

I think my style is a deliberate marriage between creative post processing and fine art photography! I try other styles when possible, of course, but my personal work most often meshes with fantasy themes and conceptual ideas.  Nerds have been liberated in the last 10 years…no need to hide geekdom anymore!

3. What inspires you in your photography, what are the “sources” for your inspiration? Could you give us a specific example for something that inspired you for one of your images?

My sources of inspiration are generally other things that excite me- history, fantastical literature, beautiful cinema, folklore, soundscapes, great painters, and stories.  I enjoy things that poke at my imagination, and mostly draw my creative energy from these elements.

I enjoy having my subjects styled in a way that reveals a greater narrative- an example of that could be a recent I took featuring a silver Hogan Mclaughlin gown. The aesthetic…from the androgynous look, to the colour palette, to the helmet hair…it all rings as a tribute to Joan of Arc and her mythos.

4. What role does colour play in your imagery and story telling? At what point in the creative process do you decide on a colour scheme?

Colour is especially important in my images, as it contributes heavily to atmosphere.  I tend to decide on my colour palette during processing as opposed to during the shoot.  This allows me to see how the images speak to me on an emotional level during the selection process, in which I then decide how to proceed with colour toning.

 

5. For the incredible set you’ve sent us, how did you come up with the concept? Can you tell us a little about the day? Who was involved?

Of course! This photo features one of my most beloved friends Maria Amanda, taken when we were on a hectic road trip that brought us down to designer extraordinaire Fairytas and her magical studio.

This angel outfit was actually the first look of many- and we were more or less given preselected garments to work with in our own style.  Taking the garment, I would then try to convey how an angel would feel to me- how they would move, carry themself, etc.

Through directing the model with movement with some hilarious demonstrating on my part and verbal communication, I would then try to capture the image in hopes that my mind’s eye would be satisfied.

I felt like the set was overall a little somber as opposed to airy and purely angelic, so I decided to go with shadowy tones in post, removing most greens and focusing on earthy, dull colours.

I was thinking of an innocent, pure spirit in contrast to the corruption in a corrupt world. Hopefully, some of that comes across!

6. Has the Infinite Color Panel changed the way you approach colours or your decisions? How has it helped your process?

Definitely! It has given me the freedom to brainstorm with ease, and also yields quick results with the deliberation process.

The most time consuming part of editing is definitely the experimentation to see what looks and feels right for the final product. ICP gives me the tools to click and rotate through multiple potential directions without having to sacrifice hmm-ing and humm-ing and lots of trashed psd files!

It also can inspire new ideas and perspectives!

More of Lillian’s work can be seen on her Instagram, Website and Facebook Page.

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:  https://infinite-tools.com/infinite-color-plugin/

Inspiration, Uncategorized

Color Grading The Dolce & Gabbana Fashion Show With Infinite Color

Posted on by Pratik Naik
29
Jul

Hello, I’m Natalia Feliú, I’m Venezuelan and currently living in Mexico City. I work as a freelance portrait and event photographer and I’m really enthusiastic about retouching!

I had the chance to work with one of the best production houses in Mexico, Curiosity Media, and was commissioned to photograph the amazing runway for Dolce & Gabbana and their Mexican inspired collection. I collaborated before with Curiosity in commercial work and as a photo assistant, but this time it was really exciting for us all to be part of the first show D&G had in Mexico.










It happened at the Soumaya Museum, one of the most amazing venues in the city, where the art collection of the super millionaire Carlos Slim is displayed and where people like Sofia Loren, Diego Boneta, the first lady of Mexico and important celebrities gathered to experience this tribute of the Mexican culture and aesthetic.

I photographed backstage before at Mexico Fashion Week, but this was a totally different experience since it was a world wide recognized high couture brand. Also, because my pictures were going to be used the next day. My main job was to photograph finishing and details of the clothes. At the same time, the designers (Mr. Dolce and Mr Gabbana) wanted pictures of the models getting out of the elevator when the models went up to form in line. It was incredible to see these outfits up close, because it is not like I get to see high couture everyday. The dresses had so much detail. Everything was cluttered in beads, crystals, flowers, lace, colors and Mexican motives such as Virgen de Guadalupe. It was just stunning and I would define the designs as art pieces.











Everything happened so fast. The final touch ups, makeup, headpieces, and getting dressed. Everyone was running around and there I was, shooting everything I found interesting. But I got to shoot the main picture the designers wanted, which was the pink dress in the elevator. I was relieved and excited when I saw it being featured on their Instagram account.

It was one of the best experiences I had in my photography career, and I still am amazed I had the chance to be part of such and amazing event.

When I started to processes the pictures, I noticed how different the light sources were throughout the whole event. So I wanted to make them cohesive and find a color grade that helped to emphasize the skin tones and add a lot of pop to the most important details of the clothing. I used the Infinite Color Panel to help me get the results I was looking for.

I’ve made about 25 combinations to see what was more flattering for ALL of my pictures, and the main problem was I liked them all! I played around with all the options, until I found a combination of colors that suited all of them in the best way possible. Honestly, I had the best compliments ever about how “creamy and warm” people think they look. I loved the results and I’m just happy about the whole experience, it was just incredible.









Be sure to follow Natalia’s work on her website at http://www.nataliafeliu.com/.

 

Inspiration, Uncategorized

Color Conversations with Photographer Jai Mayhew

Posted on by Pratik Naik
23
Jul

Fine Art photographer and artist extraordinaire, Jai Mayhew specializes in the realms of portraiture and and fashion. Her work walks the fine line between modern and classic, inspired by the greats of the Old World, infused by the likes of Vogue and Vanity Fair. The connection Jai creates and fosters with those who step in front of her lens is immediately evident. in the authentic emotion and vulnerability she is able to capture and convey. In this Color Conversation, we had the opportunity to chat with Jai and learn a bit more about her art, approach, and creative philosophy.

Be sure to check out her work on her Website, Facebook, Instagram, and Pinterest.

 

Your photography has a classic, timeless aesthetic that is unique and recognizable. Please, tell us a bit about your influences and journey as an artist, and how you arrived at your signature style

Thank you! My aesthetic was carved entirely out of old Hollywood movies, from film noir mysteries to bright and colorful musicals. I grew up in Germany on a military base with one TV station and shaky reception. This led to renting lots of movies from our small base library. I grew up on Fred and Ginger musicals, Hello Dolly, Gentlemen Prefer Blondes and Singing in the Rain (the “Beautiful Girl” fashion montage being my absolute favorite part). When I got a little older, I discovered classics like Casablanca, Laura, and Rebecca. Those movies were all about style and dramatic lighting and this classic, feminine elegance and all that made a lasting impression. I have tried to be edgier, to shoot a harder style, but my aesthetic has a softness to it and once I was willing to embrace that my work really changed. I am always learning and trying to grow, but I’ve come to appreciate what makes my eye unique and stopped fighting my instincts.

 

It’s clear to us that you have a commendable ethos, in regards to the connection you strive to create with those you photograph. If you don’t mind, please elaborate on what it means to you to have someone in front of your lens.  

Photography is, for me, an empowering responsibility. Whether it’s a fashion editorial or a client session, for me it’s all a degree of portraiture- the art of showcasing a beautiful woman in a beautiful way. I love what I do and that women trust me enough to step in front of my camera. But I also know that a portrait is more than photo, it’s a validation of the best or worst things you think about yourself. I take that responsibility seriously and it is with a passion that I strive to show women the most beautiful and authentic sides of themselves. It’s an honor every time I get to be a part of that.

Moving on to the realm of hue and tone, what role does color play in the scope of your work and how important is color to your creative process?

I give Bella and Pratik full credit for introducing me to color grading. A few years ago I was struggling to get to that ‘next level’ (a continual pursuit), when I began experimenting with Fine Art Actions, I was amazed at how much impact could be added in post to enhance a theme or emotion. Color grading has become more and more an integral part of my work whether it’s still life or portraits. Kate Woodman’s beautiful approach to color changed how I viewed the color wheel (am I now reading books about color theory? Yes, I am.) and I love Bella’s PSD files that break down her editing layers.  Color is a language and I love learning to speak with it.

 

Are there a certain set or combination of colors that you are drawn to, when editing, or is your approach singular and unique to each subject or project?

I’m usually drawn to warmer tones and palettes, though there are always exceptions. I once had the pleasure of hearing Lindsay Adler speak and she gave an insightful suggestion to photographers struggling to find their style. She said to go through your portfolio, find the 5 pictures you love the most and then figure out what they have in common. At the time I heard this I was really struggling to find consistency. I felt like every shoot was different, but not in a fun way, in a frustrating way. I went home, studied my portrait portfolio and found the 5 images I was most drawn to. They were sensual, classic, feminine and warm. That’s when I realized I’d found my style.

We’re curious, how has the Infinite Color Panel impacted the way(s) you interact with, and apply, color in your work?

Oh it is like a color cheat sheet, it’s fantastic. There are an infinite combination of curves, levels and adjustments you can make in photoshop. That variety is both incredible and overwhelming. The ICP offers you unlimited and instantaneous glimpses of the directions in which you can take your image. Sometimes I know what I want and click through until I find a great jump off point, sometimes I have no idea and start clicking until I find something I love, and other times I think I’m done with an image only to find adding a few ICP layers (at different opacities) really polishes the final product.  ICP takes hours of guesswork out of color grading and shows me combinations I may have never through to try. It’s remarkable.

 

What is your favorite aspect of the panel, and how do you feel creatives could potentially benefit from integrating the panel into their respective workflow?

It’s so adaptable. You can choose which components you want it to adjust. You can choose a light to heavy effect. You can individually adjust each layer of the action, then layer more and more ICP actions until you’re satisfied and copy the whole work flow onto each image in that set. No matter your experience level, it’s so easy to use, but adds so much to your work.

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:  https://infinite-tools.com/infinite-color-plugin/