A professional retoucher does so much more than just pushing pixels about. To say the least there is a lot of artistic interpretation, collaboration, technical understanding and skill involved. Then there are master retouchers like Becci Manson who go even deeper, show us the nonsuperficial side of the industry and help restore pride in a profession that has gotten a bad rap over the years. This video will give you some understanding of what it means to work as a high end retoucher but more importantly it will show you that, being a retoucher doesn’t mean you don’t have a conscience or something important to offer.
As I spend more and more time around other photographers, I’ve had the opportunity to sit back and listen to everyone’s take on what makes a retouched image successful. Some photographers spend minutes retouching, while others spend literally hours on an individual image. Regardless if you spend 15 minutes or 3 hours retouching in image, it’s important to have a strong workflow so that you maintain your sanity.
Video is booming. Facebook is apparently in talks with several partners for it’s “Anthology” project – higher quality video produced by dedicated market-leading media companies. Adobe found unique visitors to video sites grew 146% in June 2014 year to date, and advertisers shelled out 28.5% more on video ads than they did in the same period. But what does this all mean to those in the photography business and (more importantly) how can you take advantage of it?
On Fstoppers, we’ve long been fans of quality behind-the-scenes video counterparts to an interesting photo or video project. They are great marketing tools for us as creatives searching for more work, but they also help promote the primary business or product. This means we can justify pitching these videos as an add-on service to our clients.
The Oscar-nominated documentary “The Salt of the Earth” focuses on photographer Sebastião Salgado’s remarkable life as an artist. Described by director Wim Wenders as a “social photographer and a witness of the human condition,” Salgado’s life's work is truly larger than himself.
In a dramatic scene from "Interstellar," the space crew was nearly overcome by a massive wave on a distant planet. Take a look behind the scenes to see the filmmakers and actor Wes Bentley discuss the lighting and composite work required to produce this daunting visual effect.
It's always a treat to find a Photoshop feature that you didn't know existed. I was recently introduced to the "render flame" filter in Photoshop CC 2014. Using fire in images or composites isn't anything new, but creating fire elements from scratch is. With this awesome feature, anyone can now create custom flames to be used alone or in coordination with other real fire elements and photographs.
In many cases the difference between the first and last frame of a film can be the evolution of a great adventure, while other times it can be the bridge of similarity between a characters development. Like bookends to a journey through cinematic storytelling, the beginning and end of a film can tell so much by their side-by-side comparison. In this short video, first and last frames of a handful of films are compiled together to showcase the evolution of storytelling in cinema.
One of the most powerful, but often misused tools in Photoshop is the liquify filter. The liquify filter can help you restructure a subject’s shape, hair, or attire. In this introduction to using the liquify tool, I’ll cover ways to enhance your subject’s features so that they maintain natural body proportions.
It goes without saying, Photoshop is one of the most complex and difficult programs in Adobe's arsenal. I have been a designer professionally for over six years and used it for almost ten. I am far from a master and find myself constantly searching for foreign features that I can use within the software. It comes with great pleasure to bring you this hilarious video of eight legit Photoshop masters attempting to use Version 1.0 in all its glory.
Remember watching the trailer for "Fast and Furious 7" and chuckling to yourself about how unrealistic, improbable, and over-the-top it was to be air-dropping sports cars from a cargo aircraft thousands of feet above the ground? Me too. Just 24 hours after the release of the trailer, the filmmakers put out this featurette to prove us wrong.
Famed Magnum photographer Elliott Erwitt, known for his powerful black and white work and mastery of Bresson's "decisive moment," sits down with Gaia Squarci and Edoardo Mari for a rare brief interview. In it he discusses his immigration to NYC in 1939, his alter ego (André S. Solidor), and life as one of the most impactful photographers of the 20th century.
We’ve heard plenty about the death of the humble photo as video proliferates. But photography is still far more accessible than video, often because video editing is still so time intensive. Instagram introduced video more than a year ago yet it is still predominantly a platform for sharing still photographs. But all that could be about to change. Last month I shot video as Flixel partnered with Lindsay Adler and saw something very interesting take place that got me thinking - could we be about to usher in a completely new era for photography?