Creating Fantastical Worlds: My Journey Through Digital Collage in Photoshop with Nick Pedersen7/26/2024 Had a great time doing the online course Digital Collage in Photoshop: Composition and Visual Effects by the amazing photographer and digital artist Nick Pedersen. Nick Pedersen is a photo and illustrator digital artist who work focuses on nature and the environment issues in the world, I personally find his work very mesmerising the level of creativity I see in his digital collages are insane it borders on the level of fantasy even though the purpose is to raise awareness about the environmental issues happening in the world. The course had 4 units: 1. Introduction 2. Pre - planning 3. Compositing 4.Retouching Introduction: Creating a digital collage in Photoshop is a fascinating journey that blends creativity with technical skill. Recently, I took the Domestika course Digital Collage in Photoshop: Composition and Visual Effects by Nick Pedersen, which inspired me to craft an intricate scene featuring a lone knight encountering a menacing creature amidst ancient ruins. This course significantly enhanced my Photoshop skills and provided me with new ways to express my creativity through digital art. In this blog, I’ll walk you through the planning and execution of my digital collage. Starting with sketches and concept development, I envisioned a dramatic encounter in an overgrown, abandoned church. I faced challenges in sourcing the right photographs, especially finding a menacing snake, which eventually became a ghoulish monster. Utilizing adjustment layers, layer masks, and various Photoshop tools, I added depth and realism to the scene. Join me as I delve into the techniques and creative decisions that shaped this project. Whether you're a novice or an experienced artist, I hope my experience provides inspiration and practical tips for your own digital art endeavours. Pre - planning: During the planning stage I was tasked with making some sketches for how I wanted to compose my digital collage here I wanted to create a giant snake coming out of the window of an old abandon wooden church engrossed with bushes and have a lone knight walking down the ancient ruins of the church and encountering the giant snake, which would cause him to pull out his sword and defend himself from the monster. In background there would be a mountain or broken down ruins in the background to show how far the solider has travelled. Then add some statues and other items such as skulls and relics from a forgotten past. The trick part of doing this was honestly finding the photographs for this I did originally use a photo I took of St Dunstan church in London, as the historic ruins, I looked on various websites such as Unsplashed, pixabay and Adobe Stock Photos but I couldn't find a photo of a snake that really looked menacing. I did find statues and animals to add more life to the scene I was eventually going to composite. Once I got all the photographs I wanted I did created a mood board with all the photographs I created but I didn't like what I had when I put them all together in Photoshop so I decided to replace the snake with a ghoulish monster and searched up ruins on the internet until I got what I wanted. Compositing: I began by photographing the elements for the foreground and midground, including the ancient ruins, the knight, and the statue, as these were PNGs without backgrounds. Next, I moved on to the monster, hawk, and another ancient ruin in the background. For these, I needed to use a layer mask to separate them from their backgrounds without leaving sharp edges. To achieve this, I used the magnetic lasso tool and the magic wand tool to select the subjects. Once the selection was made, I applied a layer mask. In the layer mask menu, I adjusted the transparency to control how much of the image outside the selection was removed and used the feather option to soften the selection. This ensured that when the background was removed, the subject's edges remained smooth and free of jagged parts. After refining the selection to my satisfaction, I confirmed the changes and proceeded to enhance the images by adding lights and shadows to create depth and realism. Retouching: Retouching is my favourite part of the process. In this phase, I used adjustment layers to add light and shadows to different parts of the images, giving them depth. For instance, on the knight, I applied curve adjustments: one to darken the entire figure and another to lighten it. Then, using layer masks and the paintbrush tool, I selectively brushed out the areas of the knight's body where I didn't want the adjustments to apply, using the background light source as a guide to determine where the light and shadows should be strongest. When working with layer masks in Photoshop, I followed the principle "white reveals and black conceals." This knowledge was crucial when masking specific areas on the knight. Additionally, I used a gradient map on the mask to create a striking effect on the statue in the foreground. To finalize the collage, I used a colour balance adjustment to ensure all the colours matched harmoniously. Then, I added a fog effect to introduce an element of mystery. Using a fog brush, I covered the entire image and applied a Gaussian blur to soften and enhance the realism of the fog. Once satisfied, I used an eraser with a reduced density to gently remove fog from specific areas, such as the ruins in the background, parts of the monster, the knight, and the statue. Conclusion:
Participating in the Domestika, course, Digital Collage in Photoshop: Composition and Visual Effects by Nick Pedersen, has been an incredibly enjoyable and enriching experience. This course significantly enhanced my Photoshop skills, providing me with innovative techniques to elevate my photography and digital artwork. I highly recommend this course to anyone eager to delve into Photoshop or digital collage-making; it is well worth your time and effort. In addition, Nick Pedersen offers a more advanced course, Advanced Photomontage in Photoshop: Create Imaginary Worlds, which I have already purchased and look forward to exploring in my spare time.
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Discovering a Golden Opportunity: Work experience for a job can be tough to find, but I was fortunate to find it through a flyer at a Jamaican takeaway shop. After a hard gym session, I decided to get some food at a shop called Patty Island. While waiting in line, I noticed a flyer for a Summer Cultural Market sale. Excited about the potential for event photography, I examined the flyer thoroughly, noting the Instagram link and a phone number. I checked their Instagram to see what I might be working with if I got this freelance job opportunity as an event photographer. The photos on their feed were poorly composed and the lighting was too dark. Seeing this as a golden opportunity to create value for them and gain testimonials, exposure, and credit, I collected my food, rushed home, and devoured my rice and peas with jerk chicken. Then, I called the number on the flyer. I was filled with anticipation and worry, expecting possible rejection because they didn’t know me and might assume I wanted to be a vendor. Making the Call: Eventually, someone picked up. I introduced myself as Ahmed, explaining that I was an aspiring photographer seeking free work experience. I offered to photograph their event in exchange for high-quality photos and credit for my work. The person liked the idea and said they would get back to me, but I didn’t hear from them later that afternoon and evening. Taking Initiative: The next day, I texted the event organizer on WhatsApp, assuming the person I spoke with yesterday was different. I repeated my offer in text format, and she responded with a thumbs up. Unsure if this meant I could come in that day, I decided to gather my camera gear and go to the event location. Feeling a mix of excitement and fear of rejection, I took the bus, knowing that showing up in person could demonstrate my seriousness. Presenting My Proposal: The event was held in a big hall with tungsten lights, off-white brick walls, and some exposed electrical systems. The venue was bustling with vendors showcasing African and Caribbean cultures. I asked around for the event organizers and met Rudy and Joana. Joana recognized my voice from our phone conversation and explained she had been too busy to get back to me. She asked me to remind her of my proposal and how it would benefit their business. I reiterated that I wanted to take photographs of the event for my portfolio, in exchange for high-quality photos and credit for my work. They were happy with the offer and allowed me to take photographs of the event, with the understanding that I would show them the photos afterward so they could see what I had produced. The Event Experience: I didn’t have a detailed plan, but I knew to respect people’s right to not be photographed if they didn’t want to be. While photographing, I tried to engage with the vendors about their products and asked questions about marketing and outreach—important skills for getting more job opportunities in photography. I took a variety of shots: portrait shots of the vendors, product photography of items related to the event, and candid shots of people interacting. I aimed for great candid shots because they capture people living in the moment, but my 18-55mm lens limited my ability to zoom in on interactions and centre them in the shot. Reflection and Lessons Learned: I really enjoyed my time as a freelance event photographer. Interacting with people and taking their photos was fun, and the event was rife with networking opportunities. Several people asked for my business card for future photography work. I learned that I need a better zoom lens and should avoid looking at my camera after each shot, instead actively engaging with people at the event. Maintaining a positive vibe is crucial; taking photos and then walking away gives off a bad impression. Planning for Future Events:
Before attending an event, thorough planning is essential. Visiting the venue beforehand to note key factors such as weather conditions and event start times is crucial. Arriving early allows for equipment setup and test shots to determine the best settings. Observing other event photographers such as Jesse De Young, can provide valuable insights and help improve my techniques. Mastering Camera Settings: Mastering camera settings is paramount for capturing high-quality photos. I aim to create images with sharply focused subjects and beautifully blurred backgrounds. Practicing and learning the appropriate settings for ISO, shutter speed, and aperture is essential. Keeping a notebook with these settings and making adjustments based on the environment will help ensure consistently good results. Inspiration and Future Goals: Overall, this experience was wonderful and has inspired me to develop and improve as a photographer. I truly love taking photographs and aspire to make a living from it. This motivates me to gain as much experience as possible to pursue photography full-time. The event taught me new technical skills for controlling exposure and depth of field, as well as how to conduct myself professionally. Most importantly, it reminded me to have fun and promote good vibes at events. On Saturday, 13th July 2024, I attended a Wildlife Photographer Workshop at St John’s Waterloo Church. The workshop was hosted by British fine art photographer Racheal Wegh, known for her photos and films that focus on subjects often unseen and marginalized, portraying them as both vulnerable and resilient. I arrived at the church via bus and entered the garden, the primary location for our photography session. Inside the church, I met two fellow participants: a tall, lanky man with dark brown hair and a petite woman with dark red hair. After briefly introducing myself, I waited for the rest of the attendees. The turnout was modest, with only six participants, which was expected given that the event was free. Once everyone arrived, we introduced ourselves and received a brief overview of the day's activities. We were to explore the garden and take photographs. I was particularly excited to talk to Racheal Wegh, as it was my first time meeting a professional photographer in person. I asked her whether one should study photography at university or learn from online resources and opportunities like free workshops. She suggested doing both to maximize one’s potential as a photographer. We then went outside as a group and began by standing still, closing our eyes, and taking in our surroundings for three minutes. This exercise brought a wave of calm over me, making me feel relaxed and attuned to the environment. We then explored the garden, observing the various elements before returning to our meeting point. To me, the garden was an adventure. I noticed the sculptures contrasted beautifully with the foliage, and a particularly vibrant dark magenta flower stood out among the plants. I was also drawn to an entranceway leading out of the garden, where the light directed my eyes to a gate with the Shard visible in the background. The best photo opportunity I found was of bottles hanging from a tree, which inspired me to create a depth of field effect by focusing on the closest bottles and blurring the rest. After thoroughly exploring the garden, we reconvened to further the workshop. Racheal assigned us themes for our photographs: Beauty, Juxtaposition, Abundance, Three of a Kind, and Standout. For Beauty, I photographed a stunning purple flower and another shot of a bee collecting pollen. For Standout, I captured the hanging bottles by the tree. For Three of a Kind, I used the entranceway scene, including the bin, bench, and gate. Juxtaposition was illustrated by a sculpture intertwined with plant leaves, and Abundance was depicted by a cluster of similar plants. After completing our tasks, we gathered indoors for tea, coffee, and biscuits while discussing and showcasing our photographs. I proudly displayed my photo of the hanging bottles, taken in manual mode, which was a significant achievement for me.
The workshop concluded with a visit to an exhibition downstairs in the church, featuring works by various photographers and artists, including Racheal Wegh. The black-and-white photography was captivating, with my favourite piece being a digitally collaged image of a dolphin balloon. Overall, the workshop was an enriching experience, allowing me to learn from a professional, practice my photography skills, and connect with fellow enthusiasts. It reinforced the importance of both formal education and hands-on experience in pursuing a career in photography. Architectural photography is one of my favourite niches, and it’s no surprise given my background in architecture. My studies have provided me with a unique perspective on how to frame and compose images, as well as the best times of day to light a piece of architecture, whether it’s a building or a monument. Living in London is a literal goldmine for architectural photography, with historical icons like St Paul’s Cathedral and Tower Bridge, contemporary buildings in Canary Wharf, and modernist structures in Primrose Hill. I find immense joy in photographing historical monuments because of the rich history evident in their ornate details. These buildings shine especially well in direct sunlight during summer, as well as during the Golden Hour and Blue Hour. Contemporary buildings, with their sleek sapphire glass and steel structures, also offer compelling subjects for my lens. For the best results in architectural photography, I recommend using a camera with a lens that can zoom up to 55mm and a tripod for stability, although I rarely use one in the field. A tilt lens is particularly useful for keeping images straight, as even the steadiest hands can introduce a bit of camera shake, But if you don't have one it is fine because a lot of image editing software has cropping features that can straighten the image.
In conclusion, architectural photography offers a unique way to appreciate and document the built environment. Whether capturing the grandeur of historical landmarks or the sleek lines of contemporary structures, the key lies in understanding composition, lighting, and the architectural elements themselves. With the right equipment and an eye for detail, anyone can explore and document the architectural wonders around them, creating images that inspire and captivate.
Recently, I have been experimenting with black and white photography and have discovered that converting my images from colour to monochrome adds a unique depth that often goes unnoticed in colour photographs. Black and white photography mutes the colours, bringing out the textures, volume, tonality, and enhancing the shadows. Take, for example, two photographs I took along the Thames with the Walkie Talkie in the background. One is rich with warm colours, capturing the essence of the time it was shot, while the other is the same scene in black and white. The black and white version reveals more volume and enhanced shadows, offering a more contemplative experience and inviting viewers to explore various parts of the image. I drew inspiration from several artists known for their black and white work. Giovanni Battista Piranesi, an architect and engraver, uses axial compositions to create simple perspectives rich in detail and context. His work influenced my approach to composition in black and white photography.
Martin Lewis, an etcher, and illustrator, masterfully uses light to guide the viewer's eye through a scene. In my urban oasis scene for UAL, I applied his technique of using bright light as a visual guide. Similarly, in my trash alley scene, a black and white filter emphasized the lights, directing the viewer's attention through the scene to the pub's name. Hugh Ferriss, known for his work in "The Metropolis of Tomorrow," demonstrates exceptional control of tonality to create dramatic renderings. His ability to balance light and shadow influenced my own efforts to achieve a similar effect in my photographs. Overall, experimenting with black and white photography has been a rewarding experience. I plan to use this technique selectively, particularly for night shots where the strong lights during the blue hour can be beautifully highlighted with a black and white filter. |
Ahmed KamaraHere is a documentation of photography journey. ArchivesCategories© KAVIZ 2024. All rights reserved. |