The world is sick, but we are the doctors. The basic plot is that the Nazi government has been hiding on the dark side of the moon for the past 70 years and is now ready to take over the world. It’s been described as Sin City meets Inglorious Basterds plus, I don’t know, some measure of insanity and a healthy dose of sci-fi Philip K. Dick extravagance, and I can’t wait for Iron Sky to be released in the Zurich area.

Viewing the teaser material triggers in my mind the pioneering work of Metropolis, a silent masterpiece that blends well with techno remixes and stands the test of time. I get that awesome visual feeling of a black and white silent masterpiece, but beautifully interpreted for the current century. Personally I’m looking forward to this new emergence, resurgence of the European-Germanic cinema, and hope some of the abandoned factories around Berlin get converted to studios instead of posh apartments (Fuck Media Spree).

Iron Sky isn’t a German film, but it sort of invokes the analogy in my mind, that Germanic cinema has had an interesting history, pioneering film production and then withdrawing into a troubled post-world war purgatory where it wasn’t possible to make movies because of politics, resources, money, or probably everything in between. Getting quality movies made in Europe seems to be generally difficult (near impossible to get funding in Switzerland), and what I love is that the funding model of Iron Sky is showing how movies should be made. This film couldn’t be produced in a Hollywood studio, it just wouldn’t have been given a greenlight. It’s not from one studio or country, it’s a total collaboration with funding also coming from crowdsourcing and individual support.  The film is a collaboration-production including Blind Spot Pictures & Energia Productions from Finland, 27 Films from Germany and New Holland Pictures from Australia, with filming in Germany and Australia.

Click here to view the embedded video.

I get a sense that the humor here is a sort of part of an evolution, it reminds me of TRaumschiff Surprise, an excellent mockery of Star Wars meets Star Trek meets the German form of the Love Boat (Traumschiff)...and the teaser for Iron Sky reminds me of that type of humor, but mixed with visuals beyond Aliens and violence beyond Inglorious Basterds. No doubt, countless youtube remixes of Der Untergang and Iron Sky will hit the internet when Iron Sky is released on DVD (actually they’ve already started).

Iron Sky is a cult success before the release, the trailer teaser stands on it’s own as the most unique and absurd plot I’ve ever heard of, and come next Halloween I foresee an pleathura of politically compromising Nazi space-trooper costumes heading to Berlin dance parties and filling in the dark shadows of the Cathedral (my favorite Goth club). The visuals of Iron Sky are almost more amazing than the plot. The released images of Nazi space ships, giant space Zeppelins rival the work seen in Aliens and in my mind near surpasses the cinematic visuals of HR Giger. If you’d like to learn more, buy war bonds or invest in the film, check out the main website, http://www.ironsky.net/.

The latest addition to the Web Portraits Zurich project is Pitor Soluch, he just opened his web design business in Zurich, and I photographed in my new studio space in Hedingen. I hadn’t worked many projects lately, between moving out and moving in and running a few marathons I didn’t find a lot of time to organize any shoots or projects this summer. I met Piotr at a few web gatherings in Zurich like Web Monday, and we also ran into one another at the 2011 Swiss Startup camp in Basel. He’s an intricate designer with that required attention to detail that makes the difference between a professional site, and the ones that I throw together. For the shoot be came by with cookies and Polish beer. This was a fantastic combination and the shoot went smoothly for both of us.

I wanted to get back to fine painterly shadows and images with a dramatic feeling. This included lighting Piotr with some CreativeLight strip boxes from behind either shoulder, a Metz MZ40 in a beauty dish from the front and LastoLite TriLite reflectors from the front. I then pulled in some textures from Rome and the abandoned hospital of Beelitz, just outside of Berlin. There’s no substitute for fantastic texture images. I’ll walk around a city for hours shooting walls and the streets and then maybe not use them till a year later. They add something you never expected when the shoot started.

Here I present a workflow for creating a dynamic image using layers in Photoshop. Why? Well, because I like to share and because I got some requests on my Google+ album asking how it is done. To illustrate the process, I’ll use a set of images I created for Scaramanga Bags, a cool company in the UK that sells vintage leather bags and other things like journals and vintage suitcases and trunks (see the Scaramanga Concept Images here). On their website Scaramanga already has nice urban portraits with their bags, so I wanted to go in a different direction. I wanted to create portraits that convey a feeling of abstract motion. Something to invoke a feeling of movement and action. I love photography and painting. I began with photography looking for image perfection, and then moved to painting after developing a color palette in Photoshop. I like to light an image in layers, and in Photoshop I layer colors and backgrounds to add a sense of visual movement to an image. I look at a scene, put on a pair of rose-colored glasses, and I have a layered image (because at the base, this is all Photoshop does). When you can do this in your mind you then just need to translate that to something other people can see, and for that we have Photoshop. The aim of this article is to show you how to combine images together to create unique, balanced color combinations, which add a desired character to the original image.

The Basic Recipe

I generally apply this concept to portraits, where I want to add a certain character which complements the person photographed. First, begin by realizing that the person is a person, not simply a subject (A Person is not a Subject) for academic study. I start out with a base portrait image, generally shot in a studio environment with a two or three light setup using softboxes and maybe a beauty dish. Why? Because we need a decent (well exposed) portrait to start with. It should be something that speaks to you and has the look and pose you want. The layers in Photoshop are just there to modify the intention of the original image (otherwise just go ahead and create an image from scratch and render it in 3D).

I always start with a well-exposed base image that defines the main textures, tones, and colors of the person. In the Scaramanga Flight Bag images I used a Sony A900 and Elinchrom lights with a CreativeLight softbox. You don’t need an expensive camera and equipment, but you do need to know that a properly focused image with proper exposure will give you the largest amount of information to work with. If your initial image has high contrast or deep and dark shadows, then you just need to know that you can’t modify those areas of the image very much, and they will not blend so well when we layer a new image on top of it, since the very dark areas contain very little color to modify. So, let’s start from the base image.

The Base Image

In reality we’re mixing static image layers one on top of the other. In my mind I’m painting on layers of color movement to complement a portrait. I began with images produced in my apartment studio, and posed in such a way as to communicate the idea of running or of standing still, with motion in the background. This is my base, a strong pose which will be modified (enhanced) by a new layered color environment. For more info on creating a dramatic pose portrait check out my post on this subject (Urban Ninja – Dramatic Pose Tutorial). In short, I take my inspiration for poses like this from comics and graphic novels such as Conan the Barbarian, 300 and Watchmen.

After importing the images into Lightroom I chose the best and then increased the Fill Light to reduce the contrast in the image, and then exported to Photoshop for layering work. When exporting from Lightroom I don’t want deep and dark shadows, but rather a lot of information to work with and which will respond well to layering. Once in Photoshop I will often start by adding a Black and White and High Pass layers to the base image (although I didn’t need to do that for this image set). I first copy the original layer, add a High Pass filter, and set the blending on that layer to Soft Light. This has the same effect as increasing Clarity in Adobe Lightroom, but in a more controlled way. I reduce the Fill value on this layer so that everything blends well together and the image doesn’t look gaudy or like it was just run through an actions industrial meat grinder. I will often also create a Black and White adjustment layer, and then set the blending to Multiply. You can then adjust the values for reds and greens and blues. This desaturates the color while intensifying the shadows of your base image. It can darken the image a lot, but the goal here is to modify the tones of different parts of the image (such as skin tones). Again, I will often reduce the Fill of this layer so as not to totally kill the base colors.

Choose Layers

I always start from the base portrait and then choose layers on the fly. For the Scaramanga images I wanted a lot of bright colors with movement. So, I opened up Adobe Bridge and looked for long-exposure night scenes with lots of color and light streaks. To achieve this abstract motion goal, I picked a few images that I had shot in New Orleans, Zurich and Berlin. The key here was to have images with long light streaks and pockets of intense color, which would blend in with the form of the person in the Scaramanga portraits. By blending well I mean that the lines of the night scenes would coincide with the lines of the runner (think of drawing lines over his body and comparing it to the flow of the layer images – check out my Dynamic Pose Tutorial for clarification). There’s no formula here, you just need to pick images that work well together. Aside from light streaks, these images also have very interesting pockets of color, and also recognizable object elements such as a tram or street scene, which then defines the background environment of the final image. The night images from Zurich give the feeling of running through a city of lights, while the one of Bourbon St. gives the idea of a person standing still while the environment is exploding in color around him. Now that I have chosen the layer images, I just need to blend everything together.

Blending Layers

After picking the layer images in Adobe Bridge I opened them in Photoshop, and automatically set the blending mode to Overlay. This allowed me to preview how the different light and color elements of the layers would work together, and how the flow of the lines of the layers would mix with the base portrait. At this point, the image just looks like a couple of images stacked on top of one another, and that lazy sort of image production just doesn’t do it for me. To properly blend the images you need to play around with the blending modes, like Overlay, Softlight, etc. and also change the Fill and begin masking individual areas with a paint brush or gradients. To mask a layer by painting simply select the layer and then choose the layer mask icon. When you now paint with black, the layer will be masked (or hidden). You can change the Opacity of the brush to mask the layer gradually with each new brush stroke (the recommended method). When masking in this way I usually use a brush Opacity between 3-20 with a soft brush. This is where I act more like a painter than a photographer, masking and blending the layers uniquely together. I rarely use the entire layer image. Often I use a gradient to mask out half of it, and also paint away most of the layer over the person. I will also add full Color Fill layers (usually set to Overlay blending) to tweak the overall color. Eventually, the final image will then start to come out. To illustrate this process, you find here the secret goldmine of any Photoshop artist, the screenshots of my Layers window on my two favorite images from this set, the Runner and Bourbon St. You can clearly see how the different layers were masked, and what the original layer images looked like before blending.

That’s All

If this sounds complicated don’t be deterred. Essentially all I do here is to mask out the parts of the individual layers which don’t flow well together, and in the end I have an image with all the flow and color vibrancy I desire. The main idea is that the character of the layers complements the base portrait. I save the image and open it up in Lightroom. From Lightroom I play with the colors further, adjust shadow and highlight colors, Vibrance, Clarity, etc. until the final color tones are correct and then I export.

For more info on layers and portraits, check out my Hyper-Realistic Portrait Photoshop Tutorial. This covers the main topics I addressed in this post, but you get to see a screen cast of the whole process.

Click here to view the embedded video.

Like many things on the net, I have no idea where I first heard about Cacoo (via a link from somewhere sent by a someone I suppose), but it’s one of the most uniquely useful websites I know of. A startup from Japan, Cacoo is like an online diagramming tool, like an online version of OmniGraffle, which is the best diagramming software for the Mac. With the free version of Cacoo you can create complex and beautiful diagrams, mindmaps, wireframes, page layouts, etc. and share them with a few clicks to people, and even do real-time collaboration. With the paid version, you can do exactly the same, just with more diagram pages (free version is limited to 25) and exporting options.

I started using Cacoo for photo shoot planning as a way to communicate with clients and collaborators. This seemed like an ideal use, as it allows the photographer/creative director to keep a history of project concepts to communicate directly to the client, and to be able to access and modify whenever desired. For photo shoot planning the workflow is like this: I have a concept meeting with a client where I get to know them – we toss ideas around, and basically just brainstorm. Then I take my notes from the meeting and create an idea map on Cacoo, detailing the type of portraits I want to create, and how the shoot will come together. You can view your diagrams directly on Cacoo, or export as a .png, .pdf., etc. The diagram can be shared securely with collaborators on Cacoo (with a Cacoo id) or via an open web link.

Why Plan?

For creative projects, often you want to communicate how an image will look like to show models/clients/collaborators what to expect during the shoot. With Cacoo clients can review your proposal, understand your thinking, and provide direct feedback on their desires. This allows photographers and clients who don’t have a lot of time to meet face to face to share ideas and give direction to a project any time of the day. It also builds confidence, because your clients see exactly what you want to do with them, and they’ll have confidence that you know what you’re doing. This helps to establish Trust - and there are few things more important during a shoot. If the MUA doesn’t trust that the photographer believes that the models know that they trust what they’re doing, then people become unsure of themselves and the end result can be lame. There’s nothing worse than going into a photo shoot without a clear idea of what to produce and just trying to throw something together in the moment under the guise of being creative. In the studio I create my decisive moments, I don’t wait for them to randomly happen. I find it’s 100x better when the clients, models, and makeup artists all know what will happen (or at least have a good idea) before the shoot starts. Photo shoots are collaborations, and the more input you have from the folks you’re working with the better the final images will be.

Planning With Cacoo

Cacoo is basically a large collection of wireframe objects and stencils that can be connected to one another while text and images can be easily added. With photo shoots clients often have an idea of what they want, and they can upload images that they’re inspired by via a weblink or direct upload to a Cacoo diagram. This makes it very easy to communicate with models or makeup artists so they know what will be expected of them for the photo shoot. Upload images of a shirt you want a model to wear, upload a hair or makeup style for the MUA/Designer to create, everyone can get everything ready before the shoot. I now use Cacoo anytime I need to communicate with models, clients, makeup artists, etc. It’s probably one of the most powerful free tools on the internet, and if you choose for a paid account, it’s probably the highest return on investment you’ll get anywhere on the web. Will Cacoo help your communication with clients? Hard to say, but it works brilliantly for me. Clients who are more web savvy will love it, and it’s a great way to get feedback from everyone involved in a potential photo/video project. Other folks, who aren’t so web savvy probably won’t be so into it. But, at the very least you can use Cacoo to show your clients exactly what you plan on doing before they step in front of your camera. Here are a few examples of how I used Cacoo on two different projects: Web Portraits Zurich and The Formers.

Case Study: Web Portraits

 With the Web Portraits Zurich project, I wanted to create cool portraits of people in the startup community around the Zurich area. I used Amazee.com to setup a group for the project and to communicate with members who were interested in participating. For each person we would have a brainstorming meeting, and then I would create a Cacoo diagram. This would often include sample images from my side so they could see what to expect from the shoot. Again, this gives people who likely have never been on a shoot before the ability to see what will be coming and to mentally prepare for the event. It also let them provide feedback to me on what they would like to have. On the main project page on Amazee (Web Portraits Zurich), I include Cacoo diagrams with portraits from each shoot, showing what we had in mind during brainstorming, and then you can check out the resulting images. Having these project diagrams also allows me to form a nice time-line, showing how the portrait project evolved. As a photographer it’s very helpful to look at what we had planned originally, and then compare it to what we ended up doing during the shoot, and what I ended up producing for the final images.

Case Study: The Formers

The Formers are a band from Zurich that I was contracted to do some portrait/video work for. They had some ideas for the overall feeling of the portraits they wanted, and we used Cacoo extensively in the pre-shoot planning process. First I made a Cacoo page for them and they uploaded imagery that they liked. Pictures from Johnny Cash and clowns, urban cityscapas, this showed me the way they wanted to represent themselves. This was a huge help for me as the photographer, because defined a direction, which was in line with the wishes of the band (we didn’t have time for meetings with the whole band before the first shoot). After our first portrait session Cacoo was used to get feedback on some composite image ideas I had, and also as a sounding board for new ideas. We liked the grittiness and sort of darkness of the images from the first session, and I dropped by their jam session to do another round of portraits. The results were tack sharp and exactly what I wanted. Cacoo allowed us to do a lot of this collaboration work on the fly, and reduced the time needed for organizational face to face meetings. I love meeting to brainstorm ideas, but it makes less sense when you’re just reviewing images or setting a date for the next shoot. Cacoo helps build trust with the people you’re working with, helps pre-visualize the results, it’s basically just awesome.

Amazing Value

Cacoo is really a fantastic value. By comparison, a standard license for Omni-Graffel costs $99 and isn’t on the web anytime you want to use it (although in a sense they address different user needs). The only drawback of Cacoo is that it’s not HTML5 based, and therefore doesn’t fly on the iPad (but I have high hopes it should work now or eventually on Android devices like an Asus Transformer). If a Cacoo app ever comes out for the iPad/iOS it’ll be a big hit. Aside from photo shoots, Cacoo is really great for anything where ideas need to be visually communicated from one person to another. For UX/UI design feedback it’s a great tool for creating wireframe designs of software or web applications. There are pre-made icons for Android and iPhone app design mockups, and you can now create your own stencil libraries for custom diagrams. For UX feedback, you can take a screen shot of a webpage and annotate it, showing what changes should be made in a conversation with your designer. Many new applications have been launched in the past 3 years, but Cacoo is by far one of the most valuable. I highly recommend it if you’re into online collaboration and idea sharing.

Voting is open on the video poetry creative invite at Talenthouse.com! To recap, I have a creative invite running on Talenthouse, where the winner will have the opportunity to work together with me on a video poetry series of short films. I wrote about the contest previously, and now this wonderful experiment in online collaboration and general creativity awesomeness is coming to an end. Well, the first part, then will come the video poetry series. For the contest, I provided some images of inspiration, including images of Bratz and War, and the participants then needed to create a music track to submit to the contest. The highest voted songs will get the first listens from me, and I’ll then work with the winner (whoever created the best mix in my mind) if they’re interested. For the video poetry part, I’ll create some poetry concepts and shoot the needed video, and the winner can have their music featured as a component of the final videos.  It’s all very non-linear and experimental, but when you challenge people, excellent things always happen. The voting is open here on Talenthouse:

Voting Open: Collaborate with American Peyote on a poetry short film series