Since returning from NY I have felt creatively inspired and I've been trying to shoot everything with new techniques in mind. So from a logistical approach everything needs to be planned out to greater extent and I really am forced to think in new and different ways. It's challenging but really rewarding.
Instead of shooting single frame images I've been shooting almost everything as large, multi-frame photomontages. I really want to see my work in huge print at the highest quality possible. As an artist it is a beautiful thing to see your work the way it is intended to be experienced. A filmmaker prefers to see his work on the big screen and a musician prefers a live performance or using a great pair of headphones. I prefer a big, beautiful print.
As things go increasingly digital, the average photographers end product may differ. For some they will never leave the computer. They work for websites and only view their work on the computer. Some work solely for print in magazines. But for me it's large, high resolution prints in a frame on the wall. I find that is the most rewarding way to view your work. Once on the wall it evolves into something greater. It is not just an image on a screen that can be turned off and forgotten. It takes up physical space in the world. It can't be shut off and shut out. It is meant to be seen, and ideally meant to help create an atmosphere and energy in a room. It contributes to the overall feeling a room has if it's big enough. And that is what I strive for.
The problem so far, is that with my Nikon D300, I can only print a 240dpi print at less than 24 inches at the largest size. And I really want to see my work printed at least 3-4 feet wide. So lately I have been making these massive panoramas and experimenting with stitched images using 2-12 frames. By doing this you have to deal with a number of other logistics to make it work and have a vision from start to finish. This is where I've noticed my photographic eye has evolved. When shooting 10 frames you look at each individual area with more importance because you shoot it as it's own image. So I've used the opportunity to use my own flash and softbox to light individual areas in each frame I do, just to take advantage of repeated use in what will be one photo(a final product that appears to have been lit with way more than one light).
For these reasons I've been doing more compositing in Photoshop. Previously I had worked with only single frames and preferred a more natural look with a heightened atmosphere through toning and playing with the lights, darks and color. Now I've chosen to add elements not originally there, or changing them out with better counterparts from other frames. I've begun to take notice of the influence each individual element has in regards to the end goal and story I'm telling. It has been a massive learning process and I'm producing some images I'm really excited about.
-Photos that are more narrative based and were planned with concepts, styles and moods produced. Not captured moments of actual existence in the world.
-Photos that can be printed up to 80x60 inches at 300dpi
-Photos with more compelling lighting effects and moods applied through dodging/burning and using lights and darks to pull viewers through the image and direct their attention to strategic areas of intrigue.
For me it was nice to take this step. I always respected and was amazed at what some photographers could do with massive montages and just never had an interest to try. I knew it was a lot of practical knowledge necessary for being an advertising photographer so I'm glad I was finally drawn to it enough to explore it.
Pack of stray dogs at Valle Nevado
Snowboarder in downtown Santiago
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