Posted on March 16, 2019
Homage or Plagiarism?
After a recent portraiture session in the studio, where I used a lot of masks I had made for the occasion, I was discussing how I might present them with Jan and she suggested combining several heads in one shot. Mulling it over, I remembered the iconic Queen album cover and decided on a similar treatment for Masquerade, as you see above.
It has now been suggested to me that perhaps I may have plagiarised the original artwork which, I hasten to add, was not my intention. In the past, I have often used Old Masters for inspiration, as in my previous post about Death of a Gangster, and considered it to be an homage. After all, as Picasso memorably said, “Good artists copy, great artists steal”. I don’t take this literally but interpret it as meaning that you should learn from those who came before you.
Perhaps I’m wrong …
Posted on February 19, 2019
This is one of the most frustrating pictures I have ever produced. I planned it meticulously, basing the central pose on Michelangelo’s statue, “La Pieta”, and researching Renaissance painting before translating the story into a modern setting. I organised the models into a classic triangular shape, and instructed them on how each one should react to my prompt.
There are a very few touches added to the original photograph, such as the hint of a storm in the top right of the frame. I loved the colour and the drama of it and couldn’t wait to enter it into a Salon.
Readers, it bombed.
For a whole year, I sent it out, both this version in colour and an alternative monochrome rendering. I was just about to close off my FIAP list at the end of last year, when its first acceptance ever crept in. So I drew a line under it after that and consigned it to the archives. I know when I’m beaten.
20th February 2019. In the light of the comments below, I have added the monochrome version for comparison. On checking my records, I see that the monochrome version was the one accepted into the Salon.
Posted on February 14, 2019
The mammoth task that is compiling records, creating proof sheets of the 55 images below and loading award-winning images on CD – all in pursuit of the accreditation EFIAP/Gold – is now finished. After I post it all off tomorrow, all I can do is wait, with bated breath (what is bated breath?), to find out if I have been successful. This will take a few months so, while I’m waiting, let’s see what the requirements are for the Platinum level …..
Posted on January 24, 2019
Although I spend a lot of time creating composites, I also enjoy portraiture work. On being asked recently how much work goes into a portrait, I replied, “Very little”. But, as often happens, that little question stuck in my mind and, conscious of how time can fly by when I’m engrossed in working on my computer, I decided to keep a record of just how many steps it required to move from “taking” a “photograph to “making” a picture.
This photograph of Mason, complete with clown make-up and wearing a bowler hat, had been lit in exactly the way I wanted it and then with the ‘right’ lens so, having ten minutes to spare, I thought I would just ‘tickle it up’ a little bit. Frame 1 in the screenshot below is the original RAW file in Lightroom, where I adjusted exposure etc fractionally. All other frames are either in Photoshop or Silver Efex. By taking a screenshot every time I made an adjustment, I soon realised that my spare ten minutes had stretched into an hour.
For a while now, I have been carrying out dodging and burning by using the Curves tool. For instance, to lower the whiteness of Mason’s shirt, adjusted in a Curves layer, reversed the mask and painted in the area required. By doing this, I accumulate quite a few Curves layers which require precise naming, if I want to back and adjust them. Frames 2 -8 are records of just such adjustments, as well as a mini crop, enhancing the black lines and painting in the rim of the hat. Frame 9 is a flattened layer, where I used the healing brush and the clone tool to neaten up the image. Frames 10 – 11 are where I copy-pasted a small section of the hat brim, reversed it and added to to the other side of the hat where there had been a break in the fabric.
Frames 12 – 14 are a series of small adjustments in Liquify where I gave Mason’s mouth a bit of a down-turn, narrowed his eyes a little and changed his jawline, all in pursuit of making him appear a little meaner. Frame 15 – 16 reflect an excursion into Silver Efex to render the image into monochrome. Once this had been saved back into Photoshop as a layer, I masked off all of it except Mason’s face, making the ‘whiteface’ more startling.
The strangely coloured swirls in Frame 17 are a picture of waste printers’ ink I took many moons ago when I was gainfully employed. I overlaid this as a layer, choosing Pin Light at 45% and masking off Mason’s face to give the effect you see in Frame 18. Mason’s eyes are heterochromatic (one is green, the other is brown) and Frame19 is a Curves layer to enhance the colour … Frame 20 is the finished article.
As I said, just a bit of a tickle up …
Posted on January 23, 2019
Jay is many things … an actor, a model, an entrepreneur, a man who makes things happen and a dead pirate captain. This is a small selection from a morning in the studio with Jay, some are composites and some are pretty well straight from the camera, and all are a reminder that you just never know what is going to happen in the next few hours.
Clockwise from the top: Haunted by the Past, Rings On My Fingers, Don’t Give Up On Me (with Amanda Sills), Looking Back, What Shall I Knit Next? and Born to Rock.
Posted on January 8, 2019
… well, there ought to be clowns, no?
Meet Martyn and Mason, admittedly not quite your usual fun-filled entertainers, and perhaps more the stuff of nightmares than likely to raise a chuckle, but – you know – I think they’re more likely to stick in your mind than the last time you saw clowns at a circus. Just don’t upset them …..
Posted on December 29, 2018
A recent shoot at Studio 3 by Severn … as well as being hugely enjoyable, it yielded an initial six acceptances into FIAP International Salons … and, hopefully more to come when I get my computer head back on in 2019.