Post-production lessons

1:
Our first lesson of post-production included revisiting programmes from last semester such as InDesign, Bridge (and Camera Raw) and Photoshop. We were given an example image to work with.

• Camera Raw:
• White balance: select the colour picker tool, click on a neutral colour (white/black), the colour balance will automatically set to what it should be. Sliders for hue/saturation, vibrance, etc. can be set to your preferences
• Sharpening: alt. key + 'masking' shows area of sharpening
• Select brush tool to add shadow to cheekbones or alter/brighten eye colours 
• Shift key > open object (in Photoshop)

• Photoshop:
• Image > image size > unlink width and height > set width to 97%(ish) to thin face slightly
• Liquify: (filter > liquify) use Bloat tool to enlarge eyes, use Move tool to make features even - use large circle brush sizes!
• Window > actions > [menu icon] > load actions > FMS404 > frequency separation > [play button at bottom] > continue, etc > Low frequency + high frequency layers > feather = 20px > filter > blur > gaussian blur
• Clone stamp tool

This lesson was a lot to take in after a few months without I.T. lessons! However I was really pleased with how the example image looked once I had applied all the filters and changes that we were showed. I definitely need to play around with the programmes again using my own photos, as there is a lot to remember and apply to my own work. Despite this, I am excited to see how my own images look once I work on them. 



2: 
The second lesson of post production was focusing on InDesign a little more. We got shown the templates for our brand images, so I downloaded the MAC one. 

• InDesign:
• By going to templates > links > layers, the visible layers were shown, and could be selected or deselected to display the layers that were wanted. For example, various pictures of make-up products, or placement and colour of the brand name. 
• To insert my own image instead of the example one, file > place > image
• Set frame to fit content
• Pages > insert 4 new. This creates the five page document needed for the hand-in. To create landscape pages, right click on 'A-master' > create new master > landscape > drag 'B-master' to where landscape pages are wanted
• To change the colour of the product to suit the product I am promoting: Select image > edit > edit with Photoshop > adjustments > hue/saturation > change 'master' to 'reds' > slide hue bar
• To save all: InDesign > links > relink button > select edited image

3:

In our third lesson we learnt about typography in InDesign, preparing us for the evaluation page. We learn how to insert columns to make the writing more readable, how to change the font and writing size, how to use 'paragraph styles' to create different bodies of text, how to make sure no text is lost off the page, how to remove hyphens, how to move a title to the centre of the page, and how to widen line spacing. We touched on SWOT analyses, and also inserted a box at the bottom of our page for a hyperlink to our blogs, which we were shown how to create.  

Making back shots interesting

I researched some portraits taken from behind, and analysed what makes them interesting to look at when the face is not visible. Usually, the hair would be eye-catching, of the model would be wearing a bright or interesting outfit. Also, the choice of background colour could contrast with the model or lead the viewer to consider the mood and story behind the image. Alternatively, there would be a more sensual vibe, where the model is not fully clothed, bringing focus to the curves of his/her body. Lighting would be used to accentuate this, as well as softening their skin. 

My concern with needing to submit a front, side and back shot was that without the face and make-up being visible, the back image might be a little boring, especially when the hairstyle I wanted to use was not an intricate one. Therefore, I thought about my composition and my model's poses - I wanted to keep the childlike concept, so I thought initially of my model playing with her hair with her fingers. I liked the simplicity of the first image. I then wanted to incorporate shadows, in theme with my word 'penumbra.' So I directed my model to create a heart shape with her hands, and made sure the image was taken at the right angle so that both her hands and the shadow created on the wall behind could be seen. This shadow helps to fill what would otherwise be a large blank space. I loved this second image - it maintains the youthful vibe, while also incorporating 'penumbra.' I am pleased with how my back images came out, and think I have avoided them looking too plain. 

Penumbra shoot - favourite images

In terms of post-production, I will focus on parts of the images that look a little blank - e.g. any wall space where there is no shadow. I will crop the images so that the face and hair fills more of the frame and there is less negative space such as my model's body or the dark area of the wall around the top. I will lower the warmth slightly as I feel a cooler tone will tie in with the darker theme and lighting set-up, and I will subtly lighten any facial lines such as on the chin, cheeks or under the eyes, just to make them less harsh. I will darken any shadow on the hair to avoid them blending and becoming almost unnoticeable, and I will add volume to any parts of the hair that look flat or uneven. I may need to fill in any sections where the scalp shows, as well. The focus of this project is on beauty, and so I want my images to look as 'perfect' as possible. 

Penumbra photo shoot call sheet

My editorial shoot model - Marianne

My editorial shoot, based on the word 'penumbra', was all about the idea of light meeting dark, good meeting bad, and the grey area in between. To illustrate this visually, I wanted to portray a young, innocent, sweet girl, but with a juxtaposition of darkness. Therefore, it was important that I found a model who would look youthful, with characteristics of 'innocence' such as big eyes and a lovely smile. 

My friend Marianne fitted this perfectly, and has long hair which meant I could style it in bunches like my design. Her full lips furthered the doll-like/young effect also; not forgetting that she is very comfortable in front of the camera and easy to direct. 

Lighting set-ups

Following inspiration from Pinterest, such as images like the ones above, as well as my research of Film Noir and German Expressionism, I have considered the lighting set-ups I want to use for my projects. I definitely want to use a gobo and a spotlight, to cast patterned shadows over my model, fitting perfectly with themes of 'light meets dark,' and also because I love the Film Noir feel of it. On a more conceptual and emotional level, I want there to be heavy contrast between black and white, furthering the light/dark, good/evil ideas. I also want my model(s) to appear beautiful, strong and seductive, as these types of women seem to go hand-in-hand with the shadowy style of art. 

Film Noir and German Expressionism

Noticing a slightly 'Film Noir' aspect in my project ideas, I decided to do some research. I was fascinated to discover the emotional connotations that can be communicated through something as simple as lighting...

film noir

noun

1. a style of cinematographic film marked by a mood of pessimism, fatalism, and menace.

 - 'Used primarily to describe stylish Hollywood crime dramas, particularly such that emphasise cynical attitudes and sexual motivations' -

Extending from the early 1940s to late 50s, Film Noir originated partially from German expressionism (1). It was a greyscale visual style of film, given its name when French film critics noted the dark themes and appearance of many American crime movies at the time. Often, through tones of fear, mistrust, injustice and paranoia, and main characters portraying violence, greed and crime, these films mirrored social tensions and issues that followed the war, contrasting the other height of entertainment at the time: Hollywood's comedies and musicals (2). Plots of Film Noir often grew on the idea of a cynical, broken male character meeting a beautiful, seductive, manipulative and conscience-lacking female. This encounter would lead to crime and betrayal, choices and desire, and the female character was frequently killed at the cost of the male's life too, after a story of twisted and passionate love (2). Some argue that because women, at the time of this film style, discovered independence and power during the war, they would suffer, instead, on screen.  

German Expressionist Cinematography:

This style of filmmaking came from the German Expressionist movement of the first world war. Artists began to illustrate the destruction and pain of the war, blurring the lines between good and evil and reflecting the insanity and darkness of war and the brokenness of the soldiers who returned with shattered and ruined bodies and minds (3). Soon, producers were pumping out many movies in the same style, dealing with heavy contrasts of black and white, light and shadows, and their connotations of good and evil. The work of some directors, like Tim Burton, still displays traces of German Expressionism today (3). 
The skewed walls, unsettling angles and flashing colours of the settings in the images below visually portray insanity; and the enlarged silhouette of a vampire climbing stairs effectively showing a great contrast of light and shadow. 

I find it interesting how a lighting set-up can portray so much, and evoke so many thoughts in a viewers mind. Something as simple as light and shadow suddenly becomes associated with mystery, seduction, lust and manipulation - emotions like paranoia and fear are instilled. It fits perfectly with my 'penumbra' project; from the beginning I wanted to incorporate themes of good and evil, beauty and horror, etc. I now feel inspired to use lighting to really push the emotional side of my photography work. 

1: https://en.wikipedia.org/wiki/Film_noir

2: http://www.filmsite.org/filmnoir.html

3: http://centerforcreativemedia.com/index.php/german-expressionism/