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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Online Poster Printing and I have teamed up to offer you a great opportunity to win a poster print for FREE!
Online Poster Printing is offering this prize up to one lucky winner. Check out the details below on how to get a chance to win this cool prize!

About OnlinePosterPrinting.com

Online Poster Printing is all about combining great quality prints with outstanding service!  Powered by a brand new fleet of HP 9000 digital printers and a well trained team of printing experts, they are equipped to offer their customers the best in large format printing. They strive to keep our company on the cutting edge of printing technology. Who else can offer you a 1-Day Turnaround on rolled prints, competitive low prices and an astounding Money Back Guarantee to ensure your satisfaction?

Their goal is to provide outstanding customer service and amazing prints at an affordable price! They believe in professional quality printing that shouldn’t cost a fortune.

Prize

18" x 24" Rolled Poster
- High Gloss
- 18" x 24"

How to Enter

1. Leave a comment below describing how you would use this free poster print.
   
2. *(optional) ReTweet this post on your twitter account with the following text ...

RT @rohixx: Enter to win a Free 18x24 Poster Print - http://bit.ly/bpFoHz

Rules

1. Specifications: 1 Business Day Turnaround
2. Shipping: FREE UPS Ground Shipping
3. Eligibility: Limited to US Residents only. You must be 18 years of age or older to be eligible for this giveaway.
4. Entrants must specify a valid/working e-mail address in order to be contacted for their prize.
5. This contest ends on May 11th, 2010. Only entries up to this date will be accepted for the giveaway.
6. The winner will be notified on May 14th, 2010.

*Contest is now closed.* - 5/11/10

©2010 Ryan O. Hicks. All Rights Reserved.

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This session wasn't something I scheduled, nor was it really something specific I wanted.  We were just hanging out, and there was some stellar natural light coming in from my window.  She had my awesome shades on and decided to bounce around like a lunatic on my bed.  I saw the fun in this, and immediately knew this would be a great photographic opportunity to show her personality.

[View with PicLens]

©2010 Ryan O. Hicks. All Rights Reserved.

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Here are the stock images that were used or partly used somewhere within the photo.

Below is the shot I used of Amanda from our recent shoot at the Fashion Show.
C.T. Pham and I both shot the same event.  This specific photo was from his camera, as all of my poses for Amanda just wasn't anything that sparked much interest for my vision.

Strobist:

Canon 5d2

85L f/1.2

1/160s - f/9.0 - ISO100 - 85mm

Boomed AB1600 gridded in Beauty Dish, camera left

Boomed AB1600 into 69" silver diffused PLM, camera right for key

My vision for this photo was rather simple, but I wanted her surroundings to seem vast and with a fantasy feel to it.  Right away the logical thing to do was to immerse her in a vast forest becuase of her grass dress.  After extracting her body and fixing some bare patches in her dress and other small things.  I began to work on compositing the background.  I already knew where I was going to place her in the photo so I began working around her body.  That is why you see a random spot in the middle of the photo that has not been worked on.  I started on a 16x20 print, so that if I needed to print this bigger down the road I could. I left a lot of space above her to emphasize the size of the trees. I want it to look like she was up against two big trees in this huge forest, that just reaches out over her in all directions. I am not sure about anyone else, but when I think of far off enchanted forest; it is over saturated with greens, yellows, and browns. It is warm, fun, vast, and everything is oversized. I wanted to try and convey all of that that with this piece.

Final image.

©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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It has a lot of features facebook has, but yet is catered to photographers.  It is not an exact copy of facebook, but contains some base features that has made facebook popular and unique.

Below is a screen shot of what shuttrr looks like after you log in on the homepage.

If you are a photographer, I suggest checking this site out.  It is fun and a great way to meet and network with fellow photographers!

SHUTTRR.com

©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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Client: Monticello Fire Department – 2010 Calendar
Photographer: Ryan O. Hicks (me)
Model: Matt Schroeder

Strobist Settings:
Canon 5d2
50mm f/1.4
1/200s - f/5.6 - ISO200 - 50mm
580ex2 shot into 28” Apollo Wescott softbox camera left

Click to enlarge images.

©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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