Guest Blog: Creating Versatile Images for Multiple Uses

When it comes to commercial applications, the creation of an image often takes place before a camera is even touched. From the standpoint of the person capturing the image, one of the most important factors, beyond the message, is how the image will be used.

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By Pete Wright

Whether you are on the front end of the process creating the concept for a campaign, in the middle capturing the images, or on the back end creating the finished work, it’s important to be clear on the overall vision of what the final presentation will be.

Many times, a company may decide they’ll be using an image that will cross many different media platforms: print (direct mail, pamphlets, magazine, billboards, etc.), social media or broadcast. Versatility is important for images like this. In other words, consider approaching an image so that it has a good amount of negative space for text and will work equally well if cropped vertically or horizontally.

Prints That Win: And They Left Their Boats in Search of Him

When New Orleans photographer Yvette Ponthier first learned about print competitions, she was initially turned off by what seemed to be subjective judging and nitpicking. “I saw these beautiful images just being picked apart,” she says. “So I said, nope, not doing that. That was the biggest mistake I ever made.”

yvette Ponthier And They Left Their Boats In Search of HimFour years ago, she changed her mind and began competing with images like “And They Left Their Boats in Search of Him,” at left, which won the Sunset Print Award at the 2015 Southern Pro Exposure Competition sponsored by Professional Photographers of Louisiana.

“Print competitions totally make you more creative in every aspect,” Ponthier says. “I should have stuck with competition because being an active participant has taken my photography skills to levels I never thought possible.”

Prints That Win: Mirror Mirror

mirror mirrorPhotographer Ben Shirk isn’t afraid of a challenge. In fact, when considering what to shoot for this year’s print competitions, a friend dared him to created an award-winning photograph in-camera, rather than relying on his advanced Photoshop skills for creative editing.

The result: Mirror Mirror, pictured at left, which won the Sunset Print Award during the Professional Photographers of Iowa’s annual competition earlier this year.

“It took a great deal of planning and preciseness to get it correct,” Shirk says. “I had to get the wig, the eyelashes, the lighting, everything just perfect. It probably took me 15 hours to go out and get everything and get it all ready. If I’d have done it in Photoshop, I could have done it in an hour.”

Prints that Win: Waiting for You

Waiting for You

Each portrait Kristi Elias creates is a unique work of art that is relevant and appropriate to its subject. Last year, Elias won a Sunset Print Award at the Professional Photographers of California state competition for You Won’t Bully Me, a grungy portrait of a young martial arts competitor.

Elias followed up this year, taking home another Sunset Print Award at the California competition for a decidedly different subject, entitled Waiting for You. This portrait purposely evokes Renaissance art.

“I wanted a painterly feel with a lot of detail in the props, like the bottle. There’s note in the bottle, and you can see the contours and the detail. There was a lot of time put into those details of the portrait. You can see even the music on the floor, and all the shading and detail in it. I did it just like it would have been as a Renaissance painting, and how they paid so much attention to detail on all the props,” explains Elias.

The portrait of her client, who also poses for Elias to spark modeling ideas, was captured in the studio. Elias purchased a custom dress from Bulgaria for an authentic touch.

Elias added a new background, a photo she took of a Gothic cathedral in Tuscany. She used Photoshop, Nik Software and Alien Skin to edit the image.

“When I edit I don’t use the same actions every time. I look at each portrait as its own piece of art. Some of it is my own custom actions, and some of it is edited with Nik Software to bring out the detail in the shadows. I like to put a lot of detail in the shadow for that hopeless romantic look. I took any painterly effect off of her skin so there’s no texture on the skin, because that doesn’t go well with judging,” says Elias.

Master printer Jonathan Penney, Center Moriches, N.Y., printed the image on a fibre-based paper to complete the beautiful, Renaissance-style portrait.

Prints that Win: Chaotic Profiling

Sunset Print Award“I like surrealism,” says Elaine Hughes. That much is evident in Hughes’ Sunset Print Award-winning piece entitled Chaotic Profiling. Hughes also won a Sunset Print Award in 2013 for the surreal and aptly titled Dream World.

Chosen by judges at the recent PhotoPro Expo 2015 Print Competition in Covington, Ky., Chaotic Profiling was hard to overlook, and look again to catch all the subtleties in the dreamlike world Hughes created.

“There are many ways to interpret life. In this image we see the profile of the main subject intertwined with a secondary version of itself. This way of looking at things can create chaotic thoughts. The concept of my image is the end result,” says Hughes.

Note the child enjoying his time by the ear of the main figure. “Maybe he lives here in this strange, chaotic and magical place,” adds Hughes.

Hughes’ surreal dreamscapes take months to create as she gathers photos she takes on her travels with her husband and former Sunset Print Award winner Robert Hughes and combines them into one cohesive (or chaotic, as the case may be) image.

“I take photographs everywhere I go. It could be something in the hotel room, outside the door, or anything I find interesting that I might be able to use. I also study a lot of animated films and art for inspiration,” she says.

All the photographs are combined in Photoshop and blended in multiple layers. With hue and saturation Hughes finds just the right color scheme to convey her concept. For this one, the plays on blue seemed just right to her.

Prints that Win: Kung POW Chicken!

Tracye Gibson Sunset Print Award

For the second year in a row, Tracye Gibson, M. Photog., won a Sunset Print Award for her artistic flair and masterful use of Photoshop and Corel Painter.

Last year’s winner, Little Miss Muffet, combined Gibson’s portrait photography with digital paint. This time around Gibson had an idea featuring fighting roosters, but didn’t have any roosters nearby to photograph.

“For the Master Artist competition category at the Southwest PPA you don’t have to take the photo yourself; you just need to show how you put the elements together,” explains Gibson. “I usually shoot my own photography for that category, but I don’t have any roosters in my backyard here in Fort Worth. I know I’m from Texas, but… I’ve been obsessed with roosters and chickens lately because I like trying to figure out how to paint all the different feather textures.”

Gibson bought stock rooster illustrations (the four images at the bottom of the panel) as the basis for the image she had in mind and went to work with Photoshop and Painter.

“I composited different parts of the roosters together and positioned them in Photoshop. Then I took it into Corel Painter and painted in multiple layers. I like to add colors with pencil on the print, but I didn’t have time for that,” says Gibson. “For the background I went in and grabbed some colors from the roosters, drew some oval squiggles and overlaid them over each other. I took that into Photoshop and put a motion filter on it – zoom, I think – so that it gives it that center pow look. I did some cloning with different brushes, did a lot of dodging and burning, and always take it into Photoshop and apply other filters and layers as well.”

Gibson framed the final print with two layers of plain white mat. Though Gibson says she normally uses Sunset inkjet paper for her competition prints, she used Hahnemuhle Torchon for this image because she thought the texture of the paper complemented the image. Gibson floated the mats a bit, added a bevel to the outer mat and colored the bevel with a burnt-orange pencil.

“Presentation is very important, especially in the Master Artist category, because they want to see the before images, and sometimes it’s hard to get them on there without being distracting,” says Gibson. “I laid the before images on top of the top mat, backed everything up, photographed it, and sent the file in digitally just in time for the deadline.”