After posting some of Emily's photos, I was getting a lot of people asking me how I processed the photos.  Although, not every one of her photos was processed like this exact tutorial. I will help explain how I did two of my favorite images from her session.  I like to process a lot of my photos with a vintage/retro/old poloraid feel to them.  I enjoy that style, and I feel it helps convey certain moods in photographs.  Without this type of processing there would of been nothing exciting about the image.  The original image is fine SOOC (straight out of camera), but the mood is created by the tones and final post-processing I did to it.  Not every photo will come out like the end result in this tutorial.  A lot of factors depend on how the end result will look.  For example how well the original image was strobed, your scene, and original tones in the image.

You need a well lit image to begin with.  It doesn't matter how good your post-processing skills are, you will need a good SOOC shot to begin this process.  A lot of people don't understand the importance of lighting in your image (this is whole other topic).  If your image isn't well lit, your image is broken.  Always think ahead when you are on a shoot for how you think you will be processing the photo.  This will help with model placement, poses, lighting, and other things to make your post-process (PP) easier and quicker.  My workflow is always Camera>Lightroom>Photoshop.  I split my editing almost equally between lightroom and photoshop now, but that also depends on the type of photo concept I am working on.

Here is my original image.  It is a good exposure and I'm happy with it, but the mood just isn't complete.

Step 1

After you get it on your computer from your camera, import it into lightroom because we need to apply a preset to the image for the base effect.
Download Gavin's Old Poloraid LR Preset and apply it to the image.  Below is what the image now looks like with the preset applied.  Export the image from lightroom and open it up in photoshop.  The majority of the work is done, and depending on your tastes you might just want to keep the image like that.

Step 2

Begin cleaning your model's skin up. Get rid of blemishes or other problems on your model if she has any.  I am not going to walk you through how to fix or soften her skin.  Use the healing or clone tool to help do the majority of your work.  I also fixed Emily's boobs, because the dress or her bra was making an odd indentation in the upper part of her right boob creating a distraction (you can see this fix in the final edit as it takes a while to walk through it).  I used the liquify filter combined with the new puppet tool in CS5 to help fix that area. Make sure you flatten your image after you are done with any fixes.  Layer > Flatten Image

Now we are going to sharpen the photo a little.  I sharpen all of my photos even if it's already tack sharp SOOC.  Rule of thumb for sharpening is to not over do it, and to do it after you have re-sized your image to its final dimensions.  Most people will sharpen last in their PP because that is usually when they will have their final crop dimensions worked out for print or web submission.  It is up to you to make that judgment.

Duplicate your background layer, and set that layer blending mode to overlay.  Go to Filter > Other > High Pass.  You want to apply just enough high pass where the image looks a tad bit over-sharpened.  For me I use a radius of 1.5 pixels. Hit ok to apply the effect, and then flatten your image again.  Layer > Flatten Image

Step 3

We are almost there, but we need to make a few adjustment layers to complete the effect.  Make a new group by clicking on the little folder icon in the bottom of the layers palette and rename as adjustments.  That way we can keep our layers organized if you happen to have other layers in there, adjust the opacities of all the adjustments at once, and if you want to re-edit this down the road everything is where it should be.  Make sure the blending mode is set as pass through, and you can go ahead and adjust the opacity of the folder to 50%.  You may need to change this later on to better fit your desired effect.

In the bottom of the layers palette add a Hue/Saturation adjustment layer and set the saturation to +20.

In the bottom of the layers palette add a Brightness/Contrast adjustment layer and set the Contrast to +20.

Now go to Layer > New Fill Layer > Gradient.
Name the layer Fill - Blending mode overlay - 30% Opacity
Press ok.

Set your gradient to white/transparent.  Radial - 90 degree angle - 110% scale
Press ok.

In the bottom of the layers palette add a Curves adjustment layer and set the following settings.

Now set your curve points to these settings.
Red Channel:
Output: 0  Input: 0
Output: 46  Input: 84
Output: 187  Input: 176
Output: 255  Input: 211

Blue Channel:
Output: 28  Input:
Output: 223  Input: 255

Green Channel:
Output: 60  Input: 64
Output: 207  Input: 183
Output: 255  Input: 255

In the bottom of the layers palette add a Hue/Saturation adjustment layer and set the following settings and change the opacity of this layer to 50%.

In the bottom of the layers palette add a Solid Color adjustment layer and set the following settings.

Step 4

You are finally done!  Now you can adjust the opacities of the layers or adjustments folder depending on how strong you want the effect to be on your image.  Fallout, on flickr, has made this into an action so you can just run his action instead of having to go through all of the steps.  You can download the action.  However, I have tweaked his action set a little to my liking so it produces a nicer effect in my opinion.  Which is why I walked you through the steps.

PART 2

Now for Emily's Next image this will require a bit more work.  I am not going to show you how to add in the birds as I did in this image, but I will walk you through how to achieve the color tones I applied to the image.  I will provide the bird images at the end if for some reason you need them.

This is the orignal image SOOC.

Step 1

As I said in step 4 of the small tutorial up top about downloading fallout's action you will need it specially for this image.  You can download the action.  We will tweak the action a little, and add a few more things to complete this image to our liking.

Step 2

Now open your image in photoshop.  Sharpen it as we did in step 2 above in the other image of Emily.
Duplicate your background layer, and set that layer blending mode to overlay.  Go to Filter > Other > High Pass.  You want to apply just enough high pass where the image looks a tad bit over-sharpened.  For me I use a radius of 1.5 pixels. Hit ok to apply the effect, and then flatten your image again.  Layer > Flatten Image

You can also start cleaning up your image and your model's skin if needed.

Step 3

In the bottom of the layers palette add a Curves adjustment layer and set the following settings.
Set your curve points to these settings.

Red Channel:
Output: 0  Input: 0
Output: 28  Input: 55
Output: 176  Input: 167
Output: 255  Input: 250

Green Channel:
Output: 0  Input: 0
Output: 170  Input: 135
Output: 255  Input: 255

Blue Channel:
Output: 38  Input: 0
Output: 106  Input: 74
Output: 156  Input: 190
Output: 217  Input: 255

Now outline your subject and add a mask to that curves layer and fill the selection of your subject with black.  Change the layer to 80% opacity.

Step 4

Now add a new layer and fill it with a solid magenta color - #ff00e4.  Set the opacity to 18% and blending mode to soft light.

Step 5

Click on your background layer and now run fallout's vintage action preset, but you will need to change some opacities after it is done.  Once you have ran it on the image move the group folder on top of everything in the layers palette.  Open the group contents and you will need to delete the magenta cast layer, contrast, and saturation layer.  Now change the sepia layer to 10% opacity, the cross process layer to 10% opacity, the vignette layer to 5%, and the center fill light to 10%.  Make sure the whole group folder is set to 100% and pass through.

Step 6

In the bottom of the layers palette add a Hue/Saturation adjustment layer and set the saturation to -18.
Duplicate that hue/saturation layer we just made, and click on the mask next to the hue image to activate the mask.  Load the selection of your subject from the other mask we created in the first cross process layer by command+clicking the mask layer (ctrl+click for windows).  Invert your selection by going to Select > Inverse. Now fill your mask with black so your subject is white.  Change the layer opacity to 60%.  Check the image below if you get confused.

Step 7

In the bottom of the layers palette add a Levels adjustment layer.  This will be what pulls our dead gamma out of the image to make it pop.  Adjust the sliders so the far right slider (the highlights) are touching the first highlights in your image.  The way you can tell where your highlights start is to look at the histogram and follow the black curve.  Slide the far right sider to where that black curve comes to end.  Do the same for the far left slider (the shadows).  This pulls all of the dead gamma out of your image and brings it back to life.  Your histogram will vary.  If your image has extremes highlights and shadows or mid-tones adjust accordingly.

There ya go!  That should be it.  Adjust all your opacities on each layer to get your desired affect.  Like I said above your image will vary depending on your original tones and other factors.  If anyone follows this tutorial, I would love to see your final results.  Just post a comment with the link to your image and I will take a look at it!

If for some reason you want to add in the birds here is the image I got the birds from.  Just use the pen tool to outline them.  Right click and make a selection, featherd with .1 pixels, and then extract the birds out with the selection.

Download Birds Image (right click, save as)

©2010 Ryan O. Hicks. All Rights Reserved.

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Brian was kind enough to sit down and answer a few questions for us to enjoy.  Please feel free to check out some of his work below in the gallery and visit his links under the interview.

How did you get started with photography?  Was it something you always wanted to do?

I've always been interested in photography as a whole. Around 12 I got my first point and shoot and took it upon my self to take a whole lot of pictures of tree branches and rusty nails really close up... After I had that nailed down pat by 15 I decided I sorta liked it but wanted more options so I could controll how my close up of a rusty nail, rock, or leaf would come out so I got a Canon Rebel XT 8MP DSLR with a awesome 18-55 kit lens!!! From there I sort of just kep running around taking pictures of or with friends while we were out.

If you had to pick a specific style for your photography what would category would you fall into?

I would call my style very “run and gun” like the great Bill O'Reilly said "Fuck it, we'll do it live!" I come to each situation and try to take a new approach.

What is the most difficult part when working with a client, whether it is someone you are familiar with or have not yet worked with?  (ie. The business side, actually taking the photos, lighting setup?)

I have found the most difficult part would be getting your subjects to show up on time. People seem to be horrible at setting dates and keeping them. After that I would say the runner up for most troubling would be getting the person to come to terms with the fact they will feel rediculous but LOVE the results.

Where do you get your inspiration?  Do ideas just pop into your head, or do you have other artists you look to for that magical spark?   What sites do you frequent for inspiration?

My inspiration comes from my flickr contacts, magazines, and daily interations I have with friends. There is a photographer named Henrik Adamsen that constantly makes me feel worthless.

What is the one thing you most enjoy about photography?

I absolutly love being around people. Photography gives me an easy excuse to be out every night shaking hands and experiencing all sorts of fantastic events. I also like the feeling watching someone go through my camera after a shoot and seeing them excited and surprised at how well they performed. People just don't know how beautiful they are and I like being the one to prove it.

What type of hardware and software setup do you use for your work?  What kind of photography equipment do you shoot with?

I do my editing on a home made AMD based system running Windows 7. I do my photo management with Adobe Lightroom 3 beta 2 and all my editing with Photoshop CS5. I am currently shooting on a Canon T1i 15.1 MP DSLR and do my lighting with Alien Bees.

Share with us one of your favorite shots and give us a little background behind it.  Describe your lighting setup if you used any, and the technical aspects of creating the image.

http://www.flickr.com/photos/thestorey/3235419445/

I would have to say that one linked above. It was pretty much my first night with a studio light and maybe the third exposure in. When I snapped it I just loved the way the light fell and her expression. Melissa became a great friend of mine always lending her likeness to be my obliging muse. I love the girl to death for all the invaulable practice time she has given me. Not only did I take away an understanding on how to light a subject but I learned how to interact with a subject and that I feel is priceless.

Is there another other side to you that not a lot of people know about?  Do you have any hidden talents that are not showcased?

I am a very open person. I don't really have a problem with discussing or doing pretty much anything. People don't really think Im as accessable as I am. My “hidden talents” sort of shine through in my locations, I like exploring and often find my self on google maps looking for ruins in the woods or out driving around sketchy places lurking the scenery.

What advice or insight can you give other individuals wanting to achieve your level of work and status as a photographer?

Keep practicing. Find a muse and just fire away. Don't be afraid to use tinfoil and bed sheets in the beginning!! it's not what you use to obtain a shot it's the final image and that's that. If you come away from a session with dismall pictures don't get discurraged GET PHOTOSHOPPPING

What is your middle name?

Matthew, my fathers name.

You can find Brian’s flickr stream at the following link.
http://www.flickr.com/photos/thestorey/

Brian’s Portfolio.
http://www.bspixels.com

Brian’s Blog.
http://brianstorey.tumblr.com/

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©2010 Ryan O. Hicks. All Rights Reserved.

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Jason was kind enough to sit down and answer a few questions for us to enjoy.

Jason Morrison (dubtastic)

How did you get started with the type of career you are in now?  Was it something you always wanted to do?

Photography was not necessarily something that I had always wanted to do.  Something artistic was.  I have always been involved with art, as far back as I can remember.  I pursued it heavily in high school and even further in college.  The progression into photography for me has been gradual and began more so with graphic design, which I would say was the gateway to what I do now.

Describe for us what a usual workday would be like.

Right now, photography is a part-time venture.  During the day, I impersonate a graphic & web designer.  My daily routine, after coffee, consists of a variety of design and web maintenance. Since maintain a rather large site, the frequency of requests to the webmaster can be many throughout the day.  I also design printed collateral and logos for various initiatives. One great aspect to my job is that every day is different.  I can walk in the door expecting to work strictly on the web and end up working on a large printed piece.  So that part I enjoy.

What is the toughest project you have taken on?  What was your favorite one?  Any others that stick out in your mind that you liked more than others?

The toughest project was one recently where a client called and wanted a shoot in a studio.  It was a birthday party for her daughter and she was bringing several of her friends along for some studio fun.  I believe we had about ten 13 year old girls in the studio getting their pictures taken.  It was really tough for me and my business partner to keep the creative juices flowing but the challenge was actually a good one and kept us on our toes.

Where do you get your inspiration?  Do ideas just pop into your head, or do you have other artists you look to for that magical spark?   What sites do you frequent?

It really varies.  Some music does the trick.  There are times when ideas pop into my head and other times it takes combing the web looking at the work of others.  I have found it quite helpful to not look strictly at other photographers work, but all artists.  You never know where that spark might come from. I have learned to keep a small journal with me just in case something pops into my head that I want to keep for later.

As for websites, there are a ton: www.angryblue.com, www.damnengine.net, www.zarias.com, www.hydro74.com, www.fatoe.com, www.eyesuckink.com, www.scrapbookmanifesto.com, www.artcoup.com, www.deanzulich.com, www.digitalapocalypse.com, www.thefivemilegrace.com, and a slew of photographers on Flickr.  I am sure I am forgetting some.

What type of hardware and software setup do you use for work and home?  What kind of photography equipment do you shoot with?

I have a PC and a Mac setup in the mancave upstairs at the house.  Most of my graphic design work is done on the PC and all of the photography processing is done on the Mac.  The more I use the Mac the less I want to use the PC.  I use a combination of Lightroom and Photoshop for processing and organizing photos.

I shoot with a Nikon D700 and a variety of lenses. I have a Nikon D80 for a backup but it rarely comes out of the bag.  My business partner shoots with a Nikon D3 and similar lenses.  It is great for us on a shoot because we have a great collection of glass to select from.  When he is using one lens I dont have to worry about that shot, because he is getting it.  It frees me to think differently and work with another lens.

You seem to have a number of published works, articles, or photoshop resources in magazines.  Is there a secret to getting your name out to these magazines and getting one’s work published?

I think the two things that have helped me the most have been longevity and also putting free resources out there.  For my blog, dubtastic.com, I have had that site around for quite a while now.  I have always tried to put free Photoshop resources up there which helps drive traffic to the site.

What is the one thing you most enjoy about your career?

Photography for me is freeing.  I dictate whether I succeed or fail and make the decisions about the work.  I like talking with people during a shoot and knowing that my work is helping them pursue goals of their own as well.

Is there another side to you that not a lot of people know about?  Do you have any hidden talents that are not showcased?

I make the best breakfast.  Seriously.  Nobody even wants to test me on that for they will perish.  Aside from that, I actually enjoy writing but sadly I have done little to pursue that.  One of my goals before I die is to author my own book.

What advice and insight can you give other individuals wanting to achieve your level of work and status in the design community?

Be a nurse or doctor instead.

What is your middle name?

Frederick.  It was my grandfather’s name on mother’s side.  For the longest time I used to be embarrassed by it for some reason.  I guess it was not really common.  But I am proud of it.  My grandfather was a very kind and intelligent man.

What is the best way to survive a zombie attack?

Don’t get bit!  There is no one fool proof plan.  The best way to survive the coming tides of darkness is to continually run through scenarios.  If you are out to eat with your spouse or friends, think about what you would do if the zombies attacked.  How would you survive at work, at home, etc.?  Keep thinking through, stay armed, and stay alive.

If there is any more interesting details bout yourself you would like to share, please do.

For those looking to pursue this as a career, develop your own style.  Get comfortable in your own shoes.  Draw from inspirations that keep you going and keep you creative.  Do not be afraid of putting your work out there or getting negative feedback.  In the end, it is about what makes you happy and what makes your client happy.

You can find Jason’s flickr stream at the following link.
http://www.flickr.com/photos/soufwes/

Jason’s Blog.
http://blog.dubtastic.com/

JayMar Photography.
http://www.jaymarphotography.com

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©2010 Ryan O. Hicks. All Rights Reserved.

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Josh was kind enough to sit down and answer a few questions for us to enjoy.

Have you always been interested in art or was there a transition at some point in your life that you said, this is going to be my future career?

Both of my parents are very creative and artistic people. I believe that I inherited those traits from them and I don’t think there has ever been a time in my life where that creativity was not being put to work in one way or another. There was not a moment when I decided that I was going to be a professional artist, in fact quite the contrary. When I graduated high school, I really wanted to pursue a career as a musical theatre actor, but I also knew that I had expensive tastes and didn’t want to be a starving artist, so I did the exact opposite and got a degree in Computer Science. I figured a solid career would provide me with the income I would require to do all of the fun and creative things I would invariably get myself into- such as photography.

Tell us a little about what exactly you do or whom you work for?  Do you mostly do freelance work, or do you work for a firm?

My main source of income is still my career as a software engineer. I work for a small firm in Northern California called Interbill where I develop software for the legal billing market. Outside of Interbill I work primarily as a freelance artist taking in projects as they become available and when I have time. However, for the last year I have been working with a boutique branding firm called Branditecture, on retainer for a single client. The work I do with Branditecture is all design, photography and illustration based creative work like packaging design, advertising photography, photo illustration, etc.

What is the toughest project you have taken on?  What was your favorite one?  Any others that stick out in your mind that you liked more than others?

They are one in the same. I did a 2 page photo illustration spread for the May 2009 issue of Playboy magazine. I had just 5 days to complete the illustration. It was really the first time that I worked under an art director and with a tight deadline for a major publication so that was a new and daunting experience. The first three versions of the illustration I came up with were partially rejected by the Art Director, something that was also new to me. Up to that point my art had always just been my art- I never had to go back to the drawing board to make sweeping changes. But because of this art direction, the final image was much better than any of the earlier versions. Of course the fact that I now get to say that my work has been published in Playboy contributes to making it my favorite project to date.

Where do you get your inspiration?  Do ideas just pop into your head, or do you have other artists you look to for that magical spark?   What sites do you frequent?

It comes from all over. Sometimes an idea just pops into my head. Sometimes I am inspired by the work of others. Sometimes a random doodle morphs into a creative concept. I find plenty of inspiring work on flickr, though I’ve been known to poke around DeviantArt as well. In general I don’t go looking for inspiration but I can’t help but be inspired by great work.

What type of hardware and software setup do you use for work and home?

I’ve got pretty similar setups at work and home. Windows Vista, 24” LCD monitor (dual at work), external RAID array for redundant data backup, Wacom Intuos3 tablet. Photoshop CS4 is the main program I use for photo manipulation/illustration work. Others include Illustrator, Photomatix, Hugin, PTGui, Artizen HDR and Flexify.

You seem to have a wide range of skills making you versatile for any employer.  If you had to choose one side of you that you favor the most what category would that be?

This is a difficult question because I don’t really see these things as different sides of myself. The thing about me is that when I do something, whatever it is, I put my all into it. This is often perceived by those on the outside as obsessive, and perhaps to some extent it is, but ultimately it is that to which I attribute all of the various successes I have had in my career and in my life. When I was a student, I gave it my all and was successful. When I am writing legal billing software, I give it my all and have found success there. When I got into photography, I once again was obsessed with it, and gave it my all, my whole world revolved around it. The same cycle has repeated many times in my life from job to job, hobby to hobby the obsessive drive to be as good as I can possibly be at whatever it is I am doing is the one thing that has remained constant. That being said, I also view this as one of my biggest weaknesses. For all of the various interests that I have focused so intently upon, there is not one that has raised to the top to be the one that I truly master. I consider myself a jack of many trades, but a master of none. At least not yet.

What is the one thing you most enjoy about your career?

Well, making a consistent living is certainly high on my list, but being able to earn an income doing something that I enjoy doing- which is the case for both art and software engineering, is the most enjoyable aspect of my career by far.

Is there another other side to you that not a lot of people know about?  Do you have any hidden talents that are not showcased?

It all depends upon the context of how you know me. Many people I work with in the software field have no idea that I am an artist. Most of my flickr fans have no idea that I am a software engineer. Most people from both camps have no idea that I am a classically trained vocalist and pianist. But most people in general don’t know that I am also an avid Texas Hold’em player and have a lifelong love affair with video games, from Super Mario Brothers to Call of Duty Modern Warfare.

What advice and insight can you give other individuals wanting to achieve your level of work and status in the design community?

Always believe in yourself and set high expectations of yourself. Always seek perfection in all that you do and success will find you. As cliché as it is, aim for the stars and you’ll reach the sky. I also think it is very important to remain humble, gracious and thankful when success does find you.

What is your middle name?

Paul

You can find Josh’s flickr stream at the following link.
http://www.flickr.com/photos/joshsommers/

©2010 Ryan O. Hicks. All Rights Reserved.

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What is the EG-S screen?

(as Ken Rockwell explains)

These precision surfaces simulate ground glass and greatly increase brightness for f/2.8 and slower zoom lenses so popular today. They are designed to be bright and contrasty with these slow lenses.

Oddly, these modern screens get no brighter when you're using a lens faster than f/2.8. Try it: put on an f/1.8 or other fast fixed lens and flick the depth of field button. You'll see no change in anything until you stop down to about f/2.5!

Still think I'm making it up? Look through the front of your fast lens at the focus screen. It's black outside the area of the lens that corresponds to f/2.5!

Standard focus screens see nothing coming from the lens at annular angles faster than f/2.5.

If you're using a fast lens and want to see the real depth of field or want to focus well manually at large apertures, you need a different screen.

The standard screen with which the 5D ships is the EG-A. The same screen with a grid is the EG-D.

For optimum use for manual focusing or seeing depth of field with the 5D and fast lenses, use the EG-S screen. Sadly of course this screen is great for your fast glass, but dim with slow lenses. Digital hasn't fixed this yet, sorry - you might wind up having to swap screens.

Since they differ in brightness, the 5D's meter needs to know what screen you're using. You set this in Custom Function 00.

Now I haven’t had this screen for very long, but I can tell it really does do the job when used properly.  The real test will be when I get to use it for my portraiture work.  It was amazing using it the first time, and I wish I could just leave it on all the time, but realistically I can’t.

Removing and replacing the screen is quite easy; I’d say it is just as easy as taking a lens off or putting it back on.  They provide a tool that allows you to pop the little plastic release that holds the screen's frame in place.  Once that is popped the screen frame will fall down, and the screen will be inside that frame.  Pop out, put your other screen in, and push the frame up so it clicks back in place.  TADA!

Here is what the screen looks like inside the package when you receive it.

First Test

For all of these shots they had the same settings and is straight out of the camera.  There was some exposure compensation and white balance adjustments in post, but that is it.  No sharpness other than what my camera is set at.

These following images will go through the standard EG-A and manual focusing EG-S screens with and without the custom function enabled, to show you how much of a difference it makes.  I will also show you the difference between the auto focus and manual focusing with the screens.  You do need the custom function enabled to fully use this screen, as the camera needs to know it has to compensate for metering.

1.  Auto focus with the standard EG-A screen.  Focus point is located on the bottom right corner of the screen, with the custom function set to EG-A mode.

100% crop

2.  Auto focus with the manual focusing EG-S screen. Focus point is located on the top left corner of the screen, with the custom function set to EG-A mode.

100% crop

Full Resolution (re-sized to 1000 X xxx)

3.  Manual focus with the standard EG-A screen.  Custom function set to EG-A mode.

100% crop

Full Resolution (re-sized to 1000 X xxx)

4. Manual focus with the manual focusing EG-S screen.  Custom function set to EG-A mode. (2ND SHARPEST IMAGE OVERALL)

100% crop

Full Resolution (re-sized to 1000 X xxx)

Second Test

1.  Auto focus with the standard EG-A screen.  Focus point is located directly on the highlight of the cup where the rim is, and with the custom function set to EG-A mode.

100% crop

Full Resolution (re-sized to 1000 X xxx)

2.  Auto focus with the manual focusing EG-S screen.  Focus point is located directly on the highlight of the cup where the rim is, and with the custom function set to EG-S mode.

100% crop

Full Resolution (re-sized to 1000 X xxx)

3.  Manual focus with the standard EG-A screen.  Custom function set to EG-A mode.

100% crop

Full Resolution (re-sized to 1000 X xxx)

4.  Manual focus with the manual focusing EG-S screen.  Custom function set to EG-S mode.  (THE SHARPEST IMAGE OVERALL)

100% crop

Full Resolution (re-sized to 1000 X xxx)

Final Thoughts

As you can see from the sample shots; the final image in the second test with manual focusing of EG-S screen set to the custom function mode of EG-S, is the sharpest of every image in both tests.  The second sharpest image is the image used with manual focusing of the EG-S screen set to the custom function of EG-A (which is the incorrect custom function, but still the second sharpest image).  I was surprised to see how awful the auto focusing performed on these shots.  The cup faired better than the screen shots, but still was terrible.  This would not suffice for my portraiture work.

This screen is great for me, as I have always had a problem manually focusing on subjects.  I also adjusted my diapter a couple turns to make sure the eyepiece was sharp with my eyes as well.  For the screen being a merely 40 dollars and free shipping (from BHP), I think this is some money well spent.  Especially having the piece of mind knowing my images will be more detailed than what I originally was shooting.  This will enable me to enjoy manual focusing more often, and allow me to maximize my camera’s ability.

©2010 Ryan O. Hicks. All Rights Reserved.

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This was shot for the Monticello (Indiana) Fire Department Calendar that I am currently finishing up.  It was originally scheduled as a 2010 calendar, but I think it might end up being their 2011 version.

Case Study

Final Image

Trevor Stinson: Monticello Fire Department

©2010 Ryan O. Hicks. All Rights Reserved.

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Uprinting.com was kind enough to send me 250 free business cards of my choice.  Huge thanks goes out to Rachel in the customer service department that put up with my multiple emails, letting me have the 250 free prints, and getting the job paid for me.  Much love.

I choose the uv-gloss and rounded die-cut corners.  Came out perfect and printed exactly how i proofed them.  Took a little while to get here because the proofs were approved just before Thanksgiving, but all in all Uprinting.com gets a big thumbs up from me!  Will do business with in the future.

©2010 Ryan O. Hicks. All Rights Reserved.

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I would like to give some insight on how I devise my contracts. This will probably be more catered to the photography side, but you can take this and twist this to other areas of the design world. We will be putting together a basic contract for a photo shoot. Now I must use this time to make my disclaimer, as I am not a lawyer and I have limited legal knowledge when it comes to offering advice about contracts. I have read books, I have hundreds of copies of different kinds of contracts saved on CDs, and even took a law class last year, but that still does not make me an expert on the subject. Everyone should seek proper legal advice about his or her contracts if you plan to get serious about freelancing, and you cannot hold me liable if you plan to use anything in this article for a contract. I have pieced together my contracts from numerous sources of information and advice given to me from other individuals.

This contract contains everything in a single form from the description of the assignment with an estimate of the photographer’s fees, terms and conditions, and defined terms. Below each section contains a sample in .pdf form that you can click on and download.

Assignment Estimate Worksheet –

I always include this as the first part of my contracts. This is where you break down your fees, expenses, assignment description, and have areas for the client’s information (name, address, number, etc). Being the easy part of devising the contract I have included a very basic break down of what this could look like below. You can create the layouts in Microsoft word, Photoshop, or Illustrator and export them as .pdf files.

Terms and Conditions –

This is the most difficult part of the contract. When it comes down to what saves your ass in the long run, this is the section where you need to be particular about what is typed out and how it is typed out. I am going to list some of the more general terms and conditions (T&Cs). There are numerous T&Cs that need to be applied to different assignments. For instance, there is a big difference when you are putting together a portrait contract and when you are putting together a contract license for merchandising some of your images. I am not going to go through every situation. That is where you can sit down and do some research on your own; so lets begin with some T&Cs that will apply generally to all shoots. These are listed in no particular order and I have italicized and underlined the areas that need to be customized by you.

1. Retainer and Payment.

A non-refundable Retainer of half of the Agreement price shall be paid to the Photographer by the Client to perform the services specified herein 30 calendar days before the Assignment’s scheduled date. The Retainer shall only be refunded as specified in paragraph 2 and 3. At such time the Photographer has completed the Assignment, the Photographer shall send proof copies of the media as an appropriate medium for the Client to choose quantities and sizes of reproduction in print or other media specified herein. Client shall make choices and notify the Photographer within fourteen (14) calendar days upon receiving proof copies. Photographer shall notify the Client within 30 calendar days of Client having made the choices for delivery of the media. Client shall pay the Photographer the balance due by the reduction of the retainer from the total cost within 21 calendar days. If Client refuses to pay balance in full within 21 calendar days, the Client shall be in default hereunder and shall pay (ENTER PERCENT # HERE) percent interest on the unpaid balance until balance is paid in full. Media produced from the course of this assignment shall not be passed to the Client until payment of the Agreement balance has been paid in full, any interest accrued, and/or late fees.

2. Cancellation.

The Client may cancel this Agreement without penalty, thirty (30) or more calendar days before the scheduled Assignment date and the Photographer will refund the retainer fee in full. If Client cancels this agreement within thirty (30) calendar days of scheduled Assignment date and if the Photographer does not obtain another Assignment for that date, liquidated damages shall be charged in a reasonable amount not to exceed the Retainer.

3. Force Majeure.

Neither party shall be liable for any breach of its obligations resulting from causes beyond its reasonable control. Each of the parties agrees to give notice immediately to the other upon becoming aware of an event of Force Majeure; such notice to contain details of the circumstances giving rise to it. In such event of Force Majeure the Photographer will refund Client’s Retainer in full. Causes deemed to be beyond control shall include:

.1 Death or serious injury of illness of a close family member.
.2 Injury to or illness of the Photographer personally.
.3 Acts of God (including fire, flood, earthquake, storm, hurricane, or other natural disasters).

4. Photographer’s Obligations.

Photographer agrees to devote his full time, attention, and abilities for the duration of the Assignment. Photographer may substitute another photographer in the event of Photographer’s illness or of scheduling conflicts. With the event of a substitution, the Photographer warrants the substituted photographer is a professional.

5. Client’s Obligations.

Client is obtaining media from Photographer for personal use only and shall not reproduce, sell, or authorize other parties to reproduce the media. Written permission shall be required by Client from Photographer to reproduce any of Client’s media that is not directly reproduced from Photographer. In such event Photographer gives permission, Client is required to give credit on or near reproduced media to Photographer. Client shall pay Photographer balance due for services requested herein as specified in paragraph 1. Client may not use or have access to any media in any medium in respect of which payment has not been made to Photographer.

6. Copyright.

Photographer shall own the copyright to the media in any medium produced from this Assignment and shall have the exclusive rights to all media unless specified herein. Photographer reserves the right to reproduce the media for Photographer’s portfolio, marketing, samples, entry into photographic contests, art exhibitions, editorial use, or for display in and outside of Photographer’s studio.

7. Inherent Qualities.

Photographer assumes no liability and is released from any color dyes and/or inks in Client’s media that may fade or discolor over time.

8. Governing Law.

This Agreement shall be construed in accordance with the laws of (ENTER STATE HERE) of the United States of America. Client consents to the jurisdiction of the courts of (ENTER LOCAL COURTS HERE).

9. Addresses.

All notices, demands, payments, and statements shall be sent to the Photographer at the following address (FILL IN ADDRESS HERE).
and to the Client at (FILL IN ADDRESS HERE).

10. Modifications in Writing.

This Agreement constitutes the entire Agreement between the parties hereto and shall not be modified, amended, or changed except by a written Agreement signed by both parties hereto.
IN WITNESS WHEREOF, the parties have signed this Agreement as of the date first set forth above.

________________________               _______________________
PHOTOGRAPHER                                               CLIENT

Defined Terms –

Usually a contract or an agreement will contain terms that some clients might find hard to read and/or understand. Your contract should contain what is called a form of defined terms to maintain consistency throughout the contract, and allow the drafter (you?) to use shorter defined terms instead of the longer definitions. Defined terms are usually typed with “Initial Capital Letters” to help distinguish terms from words that are not defined. As you read through some of the T&Cs above you might of noticed me capitalizing a few random words in the middle of sentences. That is because I was setting those words up to be defined later on below. I have read that a lot of times you will see the defined terms within the body of the contract and sometimes at the end of a contract. For me I like to keep it simple and put all the terms on a blank paper for referencing.

Agreement – Oral or written exchange of promises.

Assignment – An undertaking that an individual has been assigned to.

Client – Someone who pays for goods or services.

Copyright – United States governed law legally enforcing creative and artistic work(s) for the creator of the original work(s) who have exclusive rights for a certain time period in relation to the work and publication of the work.

Exclusive Rights – Permits other parties from having any rights to perform the same action with the work or to acquire any benefit from the work.

Force Majeure – A natural and unavoidable catastrophe that interrupts the expected course of events.

Nonexclusive Rights – Leaves the rights to the creator permitting him/her to gain profit from their work by other means.

Photographer – A professional person who takes pictures with a camera and intends to make a living off of his/her work.

Retainer – A fee charged in advance to retain the services of someone.

I hope this helps a few individuals in getting started or even improving some of their contracts.  Feedback is welcome.

©2010 Ryan O. Hicks. All Rights Reserved.

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My name is Ryan O. Hicks and I am a creative graphic designer and photographer based out of West Lafayette, Indiana.

This blog will be a source of inspiration for some, a source of tutorials, a place for designers to gather and exchange information, and a place for photographers to explore different ideas and techniques. I will do my best to keep this blog updated as my time allows. If this expands beyond my control I will look to the community for support in putting a staff together to run the site for me when I can not be of service.

I'm currently still getting all my quirks worked out on this blog, so if something does not work or does not seem right do not fret I will get it fixed ASAP. However if you see something and I am not getting it fixed or it bugs you feel free to drop the admin an e-mail about the problem.

Please feel free to subscribe to our feed to stay updated about what is going on.

Thanks.

©2010 Ryan O. Hicks. All Rights Reserved.

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