Creative Light - Issue 46 by Guild of Photographers

Issue 46 - Creative Light Magazine :

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: November | December 2021 - Issue 46

CONTENTS 12

Emma Campbell Master Craftsman Submission

24 28

Rob Hill Marketing

Claire Osborne TW // Depression Master Craftsman Submission

42 50 56

Successful Qualification Panels Qualified Photographers

Callum Harrison TW // Depression Master Craftsman Submission

74 82 88

Tom Ormerod Landscape Photographer

Penny Hardie From Skye with Love Gold Awards September & October 2021

Gary Hill Modifiers Part II

Debbie Longmore TW // Depression Master Craftsman Submission

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Issue 46 - Creative Light Magazine :

EDITOR Julie Oswin

It’s the most beautiful time of the year...! I really can’t believe where this year has gone, and there are only a few weeks until Christmas and the New Year 2022! In this last edition of 2021, Creative Light shines a spotlight on two photographers. The first one is the wonderful photographer Penny Hardie who upped and left her life down south and moved to the Isle of Skye. She has built a new and successful Wedding and Elopement Photography business. The second is on the majestic landscapes created by Tom Ormerod. Tom is an Olympus OM Digital Solutions Landscape Mentor, Lenslight NISI Filters Ambassador, a Qualified Drone Pilot and a member of the Guild. Tom lives on the South Coast of England. Gary Hill completes the last of his articles on lighting with the second part on Modifiers explaining the different lighting effects they have on portraiture. Finally, we feature the remaining five of the successful Master Craftsman Panels judged in September 2021. Please note that three panels come with warning triggers marked TW // Depression CW // Violence. Last but not least, as we’ve all had our fair share of challenges this year, I would like to wish you all good health, peace, a white Christmas, and a New Year full of better days. And, if you run out of white, open a bottle of red! - Julie Oswin

Front Cover by Stuart Waugh My choice for the front cover for this edition is the fabulous winter scene of the Buachaille Etive Mòr Mountain, Glencoe, Scottish Highlands. This is one of the many beautiful landscapes in Stuart’s recent successful Craftsman panel. For more of Stuart’s work visit his website: www.jaggythistlephotography.com - Julie Oswin

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Patterns on the beach created by Sand, Seaweed and Seacoal

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EDITORS CHOICE Anneka Lewis Awarded Silver - September 2021 Issue 46 - Creative Light Magazine :

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Emma Campbell Master Craftsman | Equine Photography

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THE BRITISH THROUGHBRED & THE FELL PONY “ I see a rare breed where generations have struggled to keep bloodlines alive when I look at my panel. I see heritage and passions and the dreams of making champions. My memories are of the Lake District fells, the sound of the skylarks and through the mist, the thoroughbreds taking to their morning gallops. This is my home. My panel is a combination of two breeds that have touched my life and reignited an old passion, the Fell Pony and the British Thoroughbred. These photographs have taken me on a journey visiting remote Lake District farms and smallholdings, where I’ve experienced warm hospitality and forged lasting friendships. It’s given me a greater understanding of the heritage and culture of Cumbria. Through its colourful landscape, where some of these animals roam semi-feral, it also helped me develop my style further. Inspired by a talk in 2016 from Commercial Photographer Tim Wallace, who encouraged listeners to follow their greatest passions, I’d started to wonder why I’d stopped photographing horses or even being around them. Since the age of eight, horses had been my everything, and the local riding school had become my second home. I’d gained a BSc (Hons) 2.1 Equine Science and Business degree and was working as a riding school instructor as well as a freelance photographer for publications such as Horse and Hound magazine. But now, they’d not featured in my life for over 15 years.

Through Christine, I built a network of Fell pony friends and met with breeders who kept herds on the fells all year round. Families who’ve become custodians of the breed for over 100 years, passing down their knowledge and expertise to the next generation. The Fell pony can cope brilliantly with the wild Cumbrian winters and have been instrumental in its past. Records show the breed dating back to the Romans, while in the 18th Century, they worked as pack horses for the slate mines, as well as helping farmers herd their sheep. In WWI, the breed nearly became extinct due to so many dying, subscripted to the battlefield. Today they’re still regarded at risk, with only 300 foals born and registered each year. Her Majesty the Queen is the Patron of the Fell Pony Society and still rides out regularly on her Fell. She also loves her horse racing and holds the accolade as one of the most successful breeders of all time, with over 530 winners to her name. Close to home, in the village of Greystoke, is where I photograph my thoroughbreds. Initially, I started working with Rachel Bastow at a local training yard (a nursery for racehorses beginning their careers) to obtain images for competition. But similarly to photographing the Fell ponies, the experience has given me an insight into the local racing culture.

EQUINE

Relocating to Cumbria, I was introduced to the Fell pony through a work colleague, Christine Jones. She owns ‘Haweswater Firecracker’ (stable name Jasper), a twelve-year-old Fell. I used him as a model, practising my light measurements and poses within a small stone Lakeland barn. I’m pleased he became my first Gold Award with the Guild of Photographers in their ‘Image of the Month’ competition.

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The yard is based at Spire House and run by Gale and Brian Harding. It’s a yard of hopes and dreams, as owners invest heavily for the next champion. Rachel works with the horses daily, and it’s her knowledge of each that determines how I’m going to capture them. The thoroughbred is an entirely different stature to the Fell pony. Tall, with long and powerful legs, bred for speed, not surviving on the Fell. They can be seen as ‘hot’, and at times their ‘flight’ can overpower all their other senses. You have to be conscious of how you interact with them so as not to cause any tension or injury. Like with my Fell Pony portraits, all are taken in natural light, as I want the horses to be relaxed as possible and encourage their personality to shine through. We use a barn for some portrait work, but if the light becomes too dark, I use an outside ‘schooling’ pen, where we can let the horse loose in a safe, enclosed area. Many of the youngsters are just visiting from France or Ireland and may have only had a few weeks to settle into their new home. This year I was diagnosed with osteoarthritis in my lower back, so I have to be mindful that I’m not as quick as I used to be and be very aware of how a horse may react. My style of photography over the years has developed from my experiences living in Cumbria, whether that’s walking the Cumbrian fells to photograph the semi-feral herds or absorbing sights on my daily drive to see my Fell Pony Lathomdale Louie and passing the racing thoroughbreds out on their morning exercise. “ - Emma Campbell MCr

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Rob Hill

(WHEN) SHOULD YOU WORK FOR FREE?

Rob Hill is a life-long photography enthusiast with a product / commercial photography business – Marketing Shotz as well as a successful technology marketing consultancy. He qualified as a Master Craftsman with the Guild of Photographers and is also a member of their judging panel. His commercial work can be seen at www.marketingshotz.com and his personal work is found at www.robhillphoto.com

There are few things that rile a photographer as much as their services being undervalued and being ‘asked to work for free’. But, is the ‘red mist’ that appears clouding our view and are we missing out on some opportunities to grow our businesses more rapidly? In this article, Rob Hill looks at how, while many opportunities should be discarded, through careful thought and investigation, sometimes ‘working for free’ may be a legitimate way to move your business forward. We live in rapidly changing times and, among many other things the world of work is changing. A career is rarely for life and more and more people are starting their own businesses, either for a better work / life balance, as a result of redundancy – or simply because they want a second career, often in an area completely unrelated to their ‘first career’. Coupling this with reducing barriers to entry when ‘photography went digital’, and it is no surprise that many people are choosing photography as their second career or supplemental income stream. The law of supply and demand starts to come into play and, as more photographers enter the market, so prices generally fall for the majority of photographers – while the established few with unique photography styles or services remain able to command premium pricing. It’s true that many photographers work below the market rate and while that may be for good reason (their mortgage is paid off, they have a ‘day job’, they lack confidence or experience) that is not the focus of this article. There are many areas where photographers may be asked (or offer) to work for free, or just for expenses. Speaking assignments offer photographers the chance to get in front of a large audience, whether at a convention or via an online webcast. In this case, the value of the opportunity depends very much on who is in the audience and how they fit into your target market. If you are a commercial photographer, the opportunity to speak at a local camera club is unlikely to yield much future work. However, for a photographer who provides training or photographic events for other photographers, this could be an ideal opportunity to meet a lot of potential customers – and maybe ‘plug’ some upcoming events or seminars. Many photographers are focused on a relatively narrow sector of the market; they are a wedding photographer or a commercial photographer and tend to stick in those areas. It can be hard to find the time to develop more skills in other areas, so an unpaid job may a way of developing a particular skill, or trying a new style of shooting that could open up a new sector of the market for the photographer without the pressure of paid work while inexperienced. Provided there is a clear understanding and expectations are set between all parties, this could be the start of a positive new direction for your business.

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Many of the ‘work for exposure’ (work for free) opportunities come from the so-called ‘internet influencers’ and, often, should be avoided. However, with careful research into the demographics of the audience and clear (probably best written down) agreement as to who will do what - and when, there may be the odd opportunity that has merit or value. When looking at these opportunities, don’t be dazzled by huge numbers of followers and, equally don’t dismiss bloggers with small followings. A blog that is read by 100 marketing managers in the local area (maybe a column in a trade magazine) could be far more valuable to a commercial photographer than an Instagram user with 10,000 followers on the other side of the world. There are times when the work is simply for free, such as for a charity. This is more a decision for your conscience and not really a business decision. If you can spare the time and it is a legitimate charity that supports a cause you believe in, then it may be a good thing to say ‘yes’ – you may even gain some new skills or have the opportunity to gain valuable coverage yourself through your own blog or local press coverage. It is important to keep an eye on the ‘big picture’; if you find that 80% of your time is devoted to

‘working for free’ then you are unlikely to be making a success of your business. However, if you are already achieving the goals you set in your annual business plan (you do have one, don’t you?) then that can be a good time to expand your skills or marketing reach in any spare time you have left. There are many, many scenarios – far too many to be covered in a short article, but there are a number of criteria to consider that are common to all – which may seem obvious to some. If the opportunity is about gaining exposure, then you must understand the demographics of the audience and their level of engagement. If the opportunity is about gaining skills / experience then you need to be sure that there is a demand for that skill in your area / customer base. In all cases, there must be a clear (probably written) understanding of each party’s responsibility to the other. Working for free is (and always will be) an emotive topic but by carefully considering each opportunity against your business (or personal) goals, asking a lot of questions, setting expectations and being very selective, you may just be able to add some value to your business. - Rob Hill

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TW: // Depression

Claire Osborne

ENDLESS

MASTER CRAFTSMAN Endless is the title of my panel, and when you get to image twenty, it is also the title of that image; I chose that title for many reasons. ENDLESS is the NHS waiting list for people living with Post-Traumatic Stress Disorder to get help. ENDLESS is the list of War Veterans suffering from Combat PTSD and getting little, to no help, from the Ministry of Defence. ENDLESS is my family’s journey as we live with my husband of 22 years and an 11-year long sufferer of Combat PTSD.

“The biggest killer in the World of Men under 45 is Suicide” Tom served with the 1st Battalion Staffordshire Regiment in Iraq in 2005 and then with the Royal Regiment of Fusiliers in Afghanistan 2009, where he fought front line combat with the Welsh Guards. Shortly after returning home, I started noticing changes in his behaviour; a few weeks after their tour ended, one of his friends from his regiment called Kyle, who was just 20 years old, took his own life, sat in his car with a tube running from his exhaust. On 16th July 2021, less than two months before I submitted my panel, a soldier called Pex, who served in Iraq in 2005 alongside my husband, was in a devastating explosion from an IED. He was the only survivor of four soldiers involved. He was left with life-changing injuries; he sadly took his own life on the 16th anniversary of the incident. Pex was offered no help, no support from the MOD and suffered unheard of for years. Not long after Kyles suicide in 2009, Tom, who was employed in a civilian job with the AA as an HGV driver, started to seek help. This was not easy; it felt like it was going to take forever. Everyday life had to carry on. Tom’s breaking point happened in 2014. After twelve months of paid leave and twelve privately paid CBT therapy sessions from his employer, he started to find his way back. The first thing you may notice about my panel when you view it is that it’s not laid out traditionally; either is it one that looks like it makes much sense. Still, as you view the images one through to twenty, this shows the progression of my husband’s struggle with his Combat PTSD and the path it has taken him. Every image tells a deep story and shows how this psychological condition took its toll on him, our family and almost took his life; it depicts each stage he fought and some, he still fights. Although my husband features in every image, my panel was shot about our journey; this isn’t just Tom’s story; it is for every soldier who is suffering and for everyone who can relate to the stories I am telling in each picture. The blank face in all these images represents those faceless men and women suffering with little to no help from combat PTSD.” So when you get to image twenty, you may view it as our sad ending, but for us, image twenty is “Endless” the falling is endless; it probably always will be. But now it’s controlled and with support. Every day that noose slips further out of Tom’s reach, and he now knows that it isn’t the solution or his salvation and that the endless falling is hope and it’s probably saving his life.” - Claire Osborne MCrGPP 28

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“The images in this panel are dedicated to all the serving soldiers and veterans out there that feel like their suffering is endless; I promise you there is hope, there is help, and life is worth living. I thank you for your service.” - Claire Osborne Issue 46 - Creative Light Magazine :

Successful Qualified Panels October| November 2021 “An excellent reason for joining the Guild is to submit your work for assessment and progress through our membership levels. It is a way to measure and evidence your skill level, as well as show your customers that you are committed to providing them with the very best service. Whilst photography-related qualifications have always been a controversial issue, how do you judge an art form? Our ‘Qualified’ status aligned to the standards of competence that reflect a level where the customer should be ‘pleased with the results’ when employing the services of a skilled tradesman (the photographer). In other words, ‘Qualified’ indicates professional ‘competence’ to a level where the Guild is willing to recognise the photographer as an ambassador of the association, so those who achieve that level should be proud of doing so”. - Steve & Lesley Thirsk

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Whitney Scott Photography

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: November | December 2021 - Issue 46

Issue 46 - Creative Light Magazine :

Penny Hardie

FROM SKYE WITH LOVE

“ I am a Wedding and Elopement Photographer based on The Isle of Skye, Scotland. I have always loved taking pictures of people. I came to make a business of it as many do, taking photos for friends, realising that it took up all my spare time and eventually gaining enough courage to ask for money. I invested a lot of money in training and set up a small studio in my garage in Hampshire. My business was mostly portraits, but I started to do more and more weddings and really enjoyed the variety. My business was all word of mouth and growing nicely when I had a mid-life crisis and moved to The Isle of Skye. I suddenly had to grapple with attracting customers via Google, and Social Media which was a steep learning curve. Portrait photography is a tiny part of my work now and my photography is now almost all weddings and elopements and I get to work with clients from all over the world. I am very lucky that I have the most amazing scenery as my backdrop. Every day is different and it’s not without its challenges. Recently I changed from Canon DSLRs to Sony mirrorless cameras to make running about the hills a little easier, and I’m loving the results! “ - Penny Hardie CrGPP Website: www.pennyhardie.co.uk

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Q: Penny, how did you first get interested in photography? I have loved taking pictures ever since I was about seven. My father gave me a very old film camera, a 1950s Ensign Full-View (which if you look it up will make you laugh!), I loved it. We took pictures, developed and printed them together in the blackedout kitchen, which was magical.

Q: What do you specifically look for first when creating your images? The location. Couples come to the Isle of Skye for the scenery, so I ask them where they are getting married. There are so many wonderful places here that I don’t think there is such a bad location, but I look for places to take them that fit with the landscape to feature both them and their surroundings. I use rocks and other geographical features to create structure in their pictures.

Q: What is the most challenging area of your photography? Many couples come to Skye to marry at one of the main attractions on the island. My biggest challenge is that I can’t move the location or the sun, so the best I can hope for is some input into the time of their ceremony and good weather. Good weather doesn’t mean a hot sunny day. There is very little shade here, so I use lighting whenever I need to overcome the sun, to provide drama in the sky or to pick the bride and groom out.

Q: What motivates you to get up in the morning? Every day on the Isle of Skye is different. No place on the island looks the same from one day to the next. My work here is challenging but incredibly rewarding when couples love their pictures and say that their time was more of an experience than simply a photo shoot.

Q: How has your style of photography developed or grown since you first started? I started just trying to get to grips with everything being in focus and well lit. My current style developed whilst I was shooting for my Craftsman panel for the Guild of Photographers. I started photographing models outside using offcamera flash. I use all the techniques and skills that I learnt shooting for my Craftsman with my couples on Skye. I have been working recently on introducing movement into my photographs, so I think that I am still a “work in progress” regarding my “style.” I try to avoid the latest trends as I want my photography to stand the test of time.

Q: One piece of equipment that you cannot do without? I can’t be without my trusty Godox AD300. It gives me an edge from other photographers on Skye who only use natural light. the Godox helps combat the harsh sunlight and is light enough to carry up the hills without too much effort.

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Q: Best buy for under £50? Brightly coloured silicone covers for my cameras! They look terrible but help weatherproof them, save them from being bashed on rocks and prevent me from leaving them on a hillside by mistake. I don’t change lenses and have three cameras on me, and having them colour coded also helps me grab the right camera in a hurry.

Q: Favourite lens in your camera bag? I love my Tamron 28-75 F2.8. It’s light and perfect for wide shots or close-ups. Changing primes up here is hazardous as midges get into everything, and it’s not always possible to walk safely backwards. I would say I use it for 75% of my shots. I would prefer something more waterproof, but the lightweight makes all the difference when running about to get a shot.

Q: Apart from your camera, what is a piece of equipment you cannot do without and why? I cannot be without a good pair of waterproof walking boots. I can cope with being wet and cold, but soggy feet are just a ‘step too far!”

Q: How do you proof your work? When I get back from a shoot, after uploading the pictures, the first thing I do is select a few obvious highlights that tell the story of the day and edit them. Couples are often eloping, and I love them to have some pictures to share the news with family and friends that day. Then I don’t look at them again for a couple of days so that I can choose the right images for editing with fresh eyes.

Q: What is your turnaround from photoshoot to supplying your images to your client for proofing? I aim to have my images to clients within two weeks. I often get them done within a week. I know I am unusual, but I don’t like having a backlog of shoots, and I like to edit while the day is fresh in my mind. Most of my weddings are small elopements, and I am not with the couple for long, so this is not as difficult as it sounds.

Q: Do you use a tripod? If so, how important is it for your photography? I rarely use one. I can’t be bothered lugging it about up and down hills along with cameras and lights, and the wind can undo all the benefits. I only use one for proposals, where I am incognito pretending to be a landscape photographer!

Q: What advice can you share for people interested in taking up photography? Invest in good quality training and make sure that you have someone whose work you admire and will give you honest feedback about your work. Don’t be disheartened if they don’t tell you what you want to hear; family and friends will tell you are 50

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wonderful whatever you produce; however, if you are serious, try and be objective about your work.

Q: How important is post-processing for your photography? I edit most of my work in Lightroom and flip over to Photoshop for ‘emergencies’ or removing blots on the landscape. I prefer to get it right in camera and only crop and straighten. I use presets to enhance the colours of the landscape, and apart from removing the odd spot or person in the background, I do very little.

Q: What is your favourite place or subject that you have photographed, and why? I honestly don’t have one place here on the Isle of Skye that I love above the others. If pushed, I would say that I love shooting at a little beach near me as it has so much to offer - sea, sand, rocks and mountains in the background. It’s also very quiet compared to the main attractions. I also love working at Eilean Donan Castle, which I get to do often. It’s a magical place and the staff there are lovely.

Q: Developing your marketplace, how important was it to create your brand on the Isle of Skye? One of the biggest challenges I faced when I moved to Skye was going from word-of-mouth recommendations to having to rank on Google for the work. Clients come from all over the world, and with so much competition here, it is vital to stand out from the crowd.

Q: Who inspires you? I am inspired by some of the great photographers that are local to me. Seeing some of the incredible wedding images they produce make me push myself to try new

locations, poses or approaches. I train regularly with Gary Hill, who keeps me on the right track and has been a great influence in creating my style.

Q: Favourite food? Seafood, except whelks! Whelks are the work of the devil.

Q: If you were to be on a desert island and only take one item, what would it be? That’s not a fair question! I have three dogs - I couldn’t choose between them, and then I wouldn’t be able to leave Sid, my cat, behind, or the chickens for that matter! If they don’t count, I suppose it would be a comfy bed. I like my sleep.

Q: How do you relax? I am so lucky to live somewhere that other people come for relaxation! I like to explore Skye or just sit on my deck looking out to sea, surrounded by all my creatures.

Q: Three individual words that describe you? Bouncy, impatient, and kind.

Q: Favourite place in the world and why? Positano in Italy. It’s a magical little village with character, sunshine and great food. I have had my best holidays there.

Q: Where next? That’s a big question just now. I am starting to feel old when I am charging about the hillsides taking photos, and my body is beginning to feel it. Hopefully, I have a few more years left in me, but then I might look to taking on something less physical in the wedding industry, such as being a Wedding and Elopement Planner or a Celebrant, or both! Issue 46 - Creative Light Magazine :

Penny’s Effective Business Model

“With its jagged mountain peaks, sea lochs and deep forests, the Isle of Skye is one of the most beautiful places in Sc elope, and the best way to experience this unspoilt land of romance is through photography. Renowned for the chan can often persuade couples to stand out in the rain or paddle in the freezing cold sea for the wild romantic shots! Co uncomfortable in front of the camera and choose to have landscape shots of the environment and, for them, be som Penny markets herself purely to couples looking for a simple ceremony and a few portraits afterwards; something a b looking to make a day of it. Working primarily as a Wedding and Elopement Photographer; Penny is one of the few photographers on Skye who o two-hour package. The clients who book her enjoy the two-hour package; although booking Penny isn’t a cheap op peoples budget. To that end, she has built a niche Wedding and Elopement Photography Business focussing on good quality, affordab clients love it!”

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cotland to get married or ngeable weather, Penny ouples are often shy and mewhere small in the frame! bit different and not

only offers her clients a ption, it is within most

ble photography, and her

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: November | December 2021 - Issue 46

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SEPTEMBER | OCTOBER 2021

Sharon Bolt

Rob Howarth

Andrew Ford

Laura Galbraith

Adrian Hughes

: November | December 2021 - Issue 46

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Andrew Ford

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: November | December 2021 - Issue 46

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Issue 46 - Creative Light Magazine :

Getting Backdrops Right Hi—I’m David Shoukry, a studio portrait photographer and educator based in the UK. Everything I use in the studio, whether it’s the camera system or an A-clamp, has to be either useful or beautiful (to paraphrase John Ruskin), and I’d like to show you some of the ways that I’m using my Hand Painted Backdrops in useful and beautiful ways! I work in a small studio, so being imaginative with that space is a key factor in getting things right. There isn’t the luxury of having several sets standing by all the time, but I can transform the studio by stacking up several backdrops or arranging them to make new ‘rooms’. This creates the illusion of space—I can make ‘corners’ with a large and small drop, create three ‘sides’ to a room or simply pile them up to give a riot of textures and tones! The ‘problem’ of space is taken care of, and I can set up scenarios with warm and cool shades, whether I’m shooting a corporate headshot or an editorial.

Let’s look at some of the ways that you can make backdrops work for you. In the first image above I’m using the backdrop in the most straightforward way; it’s a traditional portrait on a neutral grey. By the way, the mid greys will work well with almost any portrait subject. Let’s see a yellow backdrop paired with an old-fashioned room divider as seen in the middle image. You could replace the room divider with a piece of fabric and still get an interesting balance of textures. One of the most enjoyable ways for me to use several backdrops is to hang them in unconventional ways, keeping an eye on the colours used. In the third image, I chose a kind of autumnal palette designed to match the model’s warm red outfit. The key light was a 150cm Octabox on the left—on the right-hand side, I was firing a CTO-gelled strobe through a gobo to create the ‘sunlight’ effect. The idea here was to accent the folds in the backdrops and make the most of the dappled effect. As photographers, hopefully, there’s plenty of variety in the kind of work we do. Sometimes it’s formal and low key, but sometimes we can get more colourful and creative. Hand Painted Backdrops made me a collection of small (100x130cm) backdrops that I call my Pop Drops —they’re brightly coloured (image 4), some with abstract patterns that remind me of a piece of modern art. I pair these up with a larger, more neutral backdrop shade, and it’s a great combination for more extrovert shoots. One final way to bring things together is to use several different backdrops that all share a similar shade but with variety in the textures. I love muted greens on all kinds of portrait subjects—in this image you can see how the different textures come together to create interest across the green set - (image 5). If you’re uncertain about combining colours effectively, a good way to start is simply by having several different shades of a single colour and working from there. 60

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The portraiture scene is a crowded marketplace, and it’s important to have features in each image that are recognisably yours. Hand-Painted Backdrops provide just that: each one is unique, whether you have an ‘off-the-shelf’ drop or have it made up to your specifications. The bespoke service starts with a consultation; you’ll receive progress images to review, adjustments can be made as needed, and you finish up with a backdrop that’s perfectly suited to your requirements.

So what do I get from Hand Painted Backdrops when there are other choices available? First and foremost, I always receive products that are amazingly made for the job they are designed to do. Secondly, the attention to detail at every stage of the process—planning, manufacture and shipping—is just consistently excellent. The results speak for themselves in my work and allow me to put my portrait clients front and centre, where they should be. - David Shoukry If you’d like a free consultation to discuss backdrop options for you, please contact Hand Painted Backdrops at hello@handpaintedbackdrops.co.uk or call 07883 341365—Slav will be glad to talk you through the process and show you potential designs. Alternatively, you can check out current stock and previous commissions by going to our website:https://handpaintedbackdrops.co.uk

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Peter Li is an award-winning photographer based in London. His architectural artwork received 1st place in the Architecture Category at the Epson International Pano Awards 2018 and was Commended at the Sony World Photography Awards 2018. His work has been featured in The Times, Time Out London and in various photography and art publications.

How did you get your start in photography? I started shooting with a DSLR camera back in 2013 when my first child was born. Like many dads out there, I wanted to document my growing family. Having a wife who studied art, she has a very artistic eye and I am very lucky to have someone who would give me an honest critique. In the early days, I was independently studying/self-teaching photography every day and practising on a daily basis.

What type of photography are you shooting and what motivated you to focus on that genre? In 2015, I met two aspiring photographers who shared their passion for architecture photography with me. Through their inspiration, I have learnt to be attentive in achieving symmetry and am mindful in my composition and line work. Living in London, we have all sorts of architecture; we often find a classic gem nestled amongst modern skyscrapers. I owe London for fuelling my passion for this genre.

What has been your biggest achievement or obstacle along the way? One of the biggest challenges is to photograph a space completely empty, and often it’s the hardest thing to do, so to prep for the best conditions I try to plan my visits on the days that are least busy, and getting up early to be the first person there. In London, interiors can be tricky because often they would not allow the use of tripods. But on the positive side, photographing around London I had trained myself to have a steady hand for a slow shutter exposure. 62

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‘Megamind’ Royal Albert Hall, London. The auditorium of London’s Royal Albert Hall during lighting preparation for an upcoming show. It is fascinating to see the hall from floor to ceiling in such flying colours. The stage spotlight cast such dramatic shadows across the seating area and transforms the space into something quite otherworldly. It is a difficult scene to photograph, but challenging conditions often make great photos.

Who and/or what inspires you most? I often look for inspiration from paintings, movies and games. I started gaming from a very young age, and I think it has impacted my photography more so than any other art form.

What is your approach? Is there anything in particular you try to achieve during a shoot (for example triggering certain feelings, etc.) or are there any specific techniques you use? My work sits between realism and fantasy. Historical buildings such as Cathedrals or music theatres are often reminiscent of our history - they are intrinsically timeless and, in many ways, otherworldly.

‘Chessboard’ St Paul’s Cathedral, London. St Paul’s Cathedral is one of London’s finest Classic architecture gem, a masterpiece from Christopher Wren’s creations. My St Paul’s series has 3 parts, each section of the Cathedral has its very own style but marries seamlessly together. The chandeliers brighten the space evenly across the Nave, while the lack of deep shadows creates a minimalistic elegant scene.

With vertical panoramic photography (Vertorama), we are able to observe a three-dimensional space in its entirety, giving us a view/perspective beyond what the eye can see. It breaks us from reality, plays with our perception of shape and form and creates a sense of another world. Through my photography, I hope to impart fragments of fantasy to the viewer and encourage them to take a momentary step out of their reality

Why is accurate color important within your workflow? I print my work regularly, colour accuracy is very important, having a screen that could accurately render the colours will make the process much easier to manage. The subtle tonal difference of an image can convey a very different mood and message. https://amzn.to/2wDin8e Issue 46 - Creative Light Magazine : 63

Callum Harrison

THE PLANNING MASTER CRAFTSMAN The planning of my Craftsman Panel and how I became a re-enactor whilst shooting for my Craftsman. ...after months of racking my brain, with questions like “what is it I like?” “What story do I want to tell?” “What emotion and messages do I want to convey?” Typically as a young boy, soldiers, guns, tanks, planes, battleships, goodies and baddies are part of growing up, but as I got older, I got more into the strategies and specific battles. I grew up watching WWII documentaries with my dad from a young age, so I naturally inherited a fascination for World War II. So when it came to creating my qualification panel around the subject of WWII. The first thing I did was to draw the images on a piece of paper and then lay them out to create a storyline and emphasise the individual stories. On the second stage of the planning, I met a few brick walls trying to find models to photograph wearing WWII German uniforms, which in itself doesn’t sound too hard, but it was. It turned out to be probably the most challenging issue to overcome. I had responses such as, “I’d rather wear nothing than wear that uniform!” and “I don’t think I could be seen like that!” ... ... the reactions I received grounded me to a halt. I had to have a rethink and try to overcome the issue. I asked local Facebook Groups for any German re-enactors. Eventually, I was directed to a very helpful chap who was part of a larger group. To cut a long story short, he said that because of the strict criteria, I could join them whilst creating my Craftsman panel as long as I wore a uniform and looked the part! Re-enactors take their re-enactment very seriously; they purchase original items from 1939-45; history has to be told so that it’s never forgotten, And it has to be told correctly and as authentic as possible. As a photographer, my research led me to look into “kreigsberichter” (war reporters), which were made up of photographers, filmmakers, and artists. They were conscripted by the German Propaganda Ministry and made to do basic military training; then, they used their skills taking images on the vast and various war zones and numerous fronts. This appealed to me as a photographer and a perfect cross-point between WWII German re-enacting and photography. Most of the time, these German War Reporters were only armed with a film camera and a bayonet, which for me takes a whole another level of bravery. Taking pictures in a war zone and not shooting back at your enemy takes nothing but pure courage, regardless of nationality or beliefs. I soon realised that I was amongst a community of people who had the same attention to detail I have, only mine is with photography, which made my life easier. When I was organising and constructing specific images, I knew the right people for the right place. They were more than happy to help me because not many people take photographs of the German re-enactors. The group were incredibly grateful for some high-quality images of themselves. The group used the pictures I gave them for their event programmes; very few photographs are available. During this time, I helped guide a handful of re-enactors to use period-correct vintage cameras competently, which helped keep the photographic authenticity going. So I like to think I’ve helped them as much as they helped me in this area. This is how I accidentally became a German re-enactor and created the images for my Craftsman Panel, which was upgraded to Master Craftsman. - Callum Harrison 64

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CW: // Violence or TW: // Depression

Issue 46 - Creative Light Magazine :

THE FALL & RISE OF THE THIRD REICH After gaining my qualified status, I wanted to set a challenge that would drive my technical ability and creativity forward. I was keen to find something different. An idea, a concept or a theme that had not been done before – but, as we all know, it is almost impossible to find something original. I have always been fascinated by World War II – a real-life event that affected men and women worldwide; hugely documented, almost unimaginable by today’s standards. My original idea was to find an aspect of the conflict that I could explore in this project and learn about both subject matter and photographic styles of the era. I chose to present the ‘Third Reich’ story, from initial pride and belligerence to their humiliation and defeat. It was a deliberate decision to tackle a controversial subject – rather than shy away from the darkest aspects. I want people to talk about it. I wanted to create some discussion through these images, evoke emotions, and encourage people to remember the catastrophic loss of life on ALL sides. We must keep history alive. If we allow it to be forgotten, then we are destined to repeat it. While creating my images, I had to tread a fine line, which has caused me no end of photographic dilemmas. I have strived to ensure my photographs have an authentic vintage war-time look by researching and using the common focal lengths and settings from the time. The raw, ramshackle nature of the framing and composition of the images is a deliberate attempt to recreate the grim spontaneity of war. Looking at authentic photos, I realised that the impact is lost if the pictures are too orderly. The same is true for the panel as a whole. The limited viewfinders on vintage cameras and the lack of consistency in the film-developing processes and labs (due to their limited resources) often meant that the exposures and resulting prints varied quite drastically, suggesting minimal standard or cohesion at the time. The variance between my images is a deliberate attempt to reflect that. At the same time, I have taken great care with the details within the pictures, and I hope these are apparent to the Judges. The project involved many months of intense but fascinating work, with mood boards full of ideas, inspiration, drawings, sketches before I even created a single image. The uniforms, media, insignia, weapons, tools, equipment and vehicles have all been carefully researched and chosen to fit with the period, and where possible, are authentic items rather than replicas. In all of this, I aimed to make the images look as accurate as possible. When tackling a subject like this, I firmly believe that it is vital to treat it with the utmost respect – partly to ensure that the viewer can appreciate the story being told and honour the people caught up in these events and the memories of the fallen. - Callum Harrison MCrGP

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: November | December 2021 - Issue 46

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: November | December 2021 - Issue 46

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: November | December 2021 - Issue 46

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Tom Ormerod

LANDSCAPES Olympus OM Digital Solutions Landscape Mentor Lenslight NiSi Filters Ambassador Qualified Drone Pilot “Family man Tom lives in Bournemouth on the south coast of England. He works in a university leadership role when he’s not standing knee-deep in water or doing an impression of a mountain goat on the side of a cliff! He has always been around cameras but found his niche in 2017. Over the years, Tom has had all kinds of cameras, such as a hand-me-down 35mm SLR, early digital cameras, bridge cameras and DSLRs. Still, the purchase of his Olympus OM-D E-M10 Mark II sparked his interest in the landscapes around him. The portability of the OM-D system meant that he could always have a camera with him, which renewed his passion for photography. Tom started working with Olympus in 2019 and is excited to work closely with the new OM-System brand and the OM Digital Solution company. He currently uses the Olympus OM-D E-M1 Mark III & OM-D E-M1 Mark II with an array of M.Zuiko Pro lenses. Tom particularly enjoys Seascape and Nightscape photography as well as more traditional landscapes. He has recently branched out into Drone photography which offers a whole new perspective. He is well known across the South Coast for his enthusiasm and friendliness. He is always willing to stop and chat with others, encouraging the social side of photography as much as the creative and technical aspects.”

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Q: How did you first get interested in photography? My dad has been a wildlife photographer ever since I was young (I still remember the excitement when he got a Canon T90 in the late ‘80s), and my brother is also a photography lecturer, so I guess I runs in the family!

Q: What do you specifically look for first when creating your images? I research locations a lot, and that is part of the fun of it. But most importantly, the weather and time of day/year are vital in my photography.

Q: What is the most challenging area of your photography? Probably time, although I am Semi-Professional, photography is not my primary income, so the family and the day job have to come first. So trying to align my time with the conditions can be a continual struggle.

Q: What motivates you to get up in the morning? The buzz of a cracking sunrise, a blue hour fire sky, golden hour mist or a raging sea during a storm, no shoots are ever the same!

Q: How has your style of photography developed or grown since you first started? I think my path has been relatively conventional; I started taking pictures of “pretty” scenes. Now I look a lot deeper for compositions and hidden details and work with the conditions I am presented with.

Q: One piece of equipment that you cannot do without? Probably my L Bracket; it makes the camera much more versatile when on the tripod, allowing much more precise control in portrait orientation (and even clips onto my rucksack strap).

Q: Best buy for under £50? Peak Design Cuff Strap (or any Peak Design Strap) makes taking the strap on and off your camera simple. It’s handy if, like me, you shoot 50/50 between tripod and hand-held.

Q: Favourite lens in your camera bag? It varies on the situation, but my M.Zuiko 12-40mm (24-80mm full-frame equivalent) f/2.8 Pro is my most used lens, without a doubt.

Q: What are the main ingredients you look for when creating your seascapes? Interesting rocks, good swell, the sun in the right position are the main things I look for. I shoot in different locations throughout the year because the sunrise/sunset position varies a significant amount. Issue 46 - Creative Light Magazine :

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Q: Can you describe a little about your postprocessing and stacking techniques? My basic workflow is a review in Lightroom (I have moved almost completely to Lightroom CC now), Basic RAW processing, then over to Photoshop for tidy-up (healing/cloning etc.), maybe some DXO plugins/Orton effect tweaks and noise reduction, then back to LR for final colouring, vignette and export. I use LR CC because it is easy to manage my library between multiple devices and my phone. When it comes to Astro, it gets complex very quickly, but the basic process is to Import 20+ images into LR Classic, basic edit the central images and sync the settings. Export all images (as TIFF files) and import them into the stacking software (I mainly use Sequator on the PC). I stack the images (with dark frames), export a new Tiff, import that to Photoshop with a foreground image, blend, edit and export to Lightroom CC for final colouring.

Q: How important is Photoshop|Lightroom |PostProduction to your photography? Very! I use it continually; Lightroom CC has also come on so far in the past couple of years; it’s an amazing product. I can even do quick edits in the field on my phone and have them all synced and ready on my computer when I get back home.

Q: Astrophotography, how did your interest develop in this area and the equipment you require to capture the Milky Way and the night sky? It was just one of those things; I saw the pictures and thought, it can’t be that hard? A little bit of reading, and I got a shot of the Milky Way on my first attempt, but it is quite addictive! You start with a slightly blurry image of the stars, and then all the exciting stuff starts to happen with planning compositions, stacking, equatorial mounts, dark frames and lots of post-processing techniques. Anyone can get a shot of the Milky Way with some basic guidance; getting a good shot is a lot harder than it looks, though!

Q: What is your favourite place or subject that you have photographed, and why? To date, I think my favourite subject was Comet Neowise in 2020; it was such a fantastic sight and required a combination of skills to get a good shot.

Q: Do you use a tripod? If so, how important is it for your photography? Yes, I use a tripod for a lot of photography. It is vital for most blue hour and night work, but I also like to go hand held, so I am not constrained. Astrophotography is 100% tripod-based, but other than that, it is probably 50/50. The latest image stabilisation systems are mind-blowing though, I regularly handhold 1/2 second exposures these days!!! Issue 46 - Creative Light Magazine :

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Q: What advice can you share for people interested in taking up landscape photography? Get out there; you don’t get a banging sunrise shot from your bed! Seriously though, it is like anything really - practice, make mistakes and learn from them!

Q: How did the style of your photography develop? I always used to shoot wide, but over time I have gravitated back to a more standard field of view, normally shooting between 24-40mm. My processing has become more refined as I learn new techniques, but I still make my fair share of mistakes!

Q: Who inspires you? Others that I shoot with mainly inspire me to get on with, not give up and push myself. I don’t try to emulate anyone; I try to be me.

Q: If you were to be on a desert island and only take one item, what would it be? A pair of Vans trainers can’t be without my Vans!

Q: How do you relax? Photography is my escape from the day job, and gaming is my escape from photography.

Q: Three individual words that describe you? Friendly, enthusiastic and driven,

Q: Favourite place in the world and why? Italy - amazing scenery, food and wine!

Q: Favourite food? Pizza

Q: Where next? Iceland. I have wanted to go for years, but life always gets in the way. Hopefully, I can make it happen in 2022.

Q: Favourite photography suppliers? • Olympus/OM-System Cameras and lenses. • Peak Design Straps & Clips. • Nisi Filters.

- Thank you Tom for sharing your photography with the readers of Creative Light Magazine. We shall look forward to seeing your photographs from your trip to Iceland! Julie Oswin - Editor

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Image 1

Gary Hill

MODIFERS - PART II Gary has been a photographer for the last 11 years, following a career change. He is based in the North West where he specialises in bespoke portraiture for individuals and families. He is a Master Craftsman with the Guild as well as a Fellow of the Societies, and he has numerous awards to his name. Gary is a brand ambassador for Digitalab, Click Props and Backgrounds, a Friend of Graphistudio and a Sony Alpha Creator. He is however probably best known as an educator, being an exceptional trainer, especially in the areas of Lighting and Posing.

PART II - we look at the real world and practical aspects of MODIFIERS FOR portraiture. A studio or location flash photographer should look at the first modifier, a big softbox or umbrella and diffuser. Unless all the subjects you shoot are agency standard models, the reality is people photograph better and in a more complementary way with a big soft light source. For the first ten years of my photography career, the large Octobox was my weapon of choice; it gives a good quality and softness of light, a pleasing catch light, and is really versatile. The Octobox can be used directly with a more central hotspot, feathered on one edge or more than one edge, or even portions of it covered or ‘flagged’ with fabric or card to change its size and spread. If you only have one light and the funds for one modifier, this is what I would choose. The softbox is slightly easier to control than the bounce back umbrella and diffuser as it has a more defined edge and, therefore, a more controlled feather. Size-wise, at least 1m in diameter would be what I would say, and my 135 Elinchrom Rotalux has shot more award images for me than any other. In this image of Eli (Image 1) the 135 is just out of shot feathered a lot across her, allowing for the soft light to grace across the body and face and give those gentle shadow transitions. In the studio now, I use the 150cm Rotalux Indirect softbox, but it is not very portable and lives in the studio due to its size. It has a more recessed edge than the 135, but due to it being deeper, the light isn’t actually much softer than the 135cm. The real difference is that the flash fires into the back, which helps eliminate the forward-facing firing flash’s hotspot. Again used feathered, it produces beautiful light, as seen in the shot of Victoria (Image 2 - over page). The light here has had the feather slightly reduced from 90 degrees to the subject’s nose; the classic 45 degrees Rembrandt lighting enables the backdrop to be evenly lit with only one light. For three years in my own studio, I used 99% of the time for family and single portraits. It also spreads lovely across a whole family set-up like in this shot of a family on white. (Image 3 -over page). In this image, the 150 gives the directional light, and a further bounced light behind the camera as a fill lifts the contrast to the ratio I wanted to keep it clean. continued... Issue 46 - Creative Light Magazine :

The 125 bounce back white umbrella and diffuser is another modifier I use a lot. I often use this in a high butterfly overhead position with the tri-reflector unit underneath in a ‘clamshell’ set up to control the contrast ratio again. This is a great headshot set-up as it doesn’t matter about the fringe direction or without the tri-reflector, glasses. This image of Emily, a simple headshot (Image 4 - opposite), was lit this way. The 125cm umbrella also gives enough spread to do a group shot too. I find the umbrella a swift set up, and as long as the space is big enough, it’s an excellent modifier; in tight spaces, the edge of the light spreads more than a softbox, which can be an issue. Smaller Octoboxes or square softboxes can also have their place; used very close, they produce beautiful headshot lighting, and further away, they become semi-soft, giving a nice fashion style look in portraits. I prefer the Rotalux 70 deep with the deflector disc in place; this covers the flash tube and behaves very much like a white socked (diffused) beauty dish.

Image 2

The of Elli (Image 5 - opposite), the smaller Octobox is literally at the top of the image cloned out used with the tri-reflector giving a really soft light. The next more used modifier in my studio, which I usually grab for an outdoor location shoot, is the 100 x 35 cm Rotalux Stripbox. I use it as a primary light modifier, a hair light modifier, an accent or rim light. On location is my primary light source as it is less affected by wind. Most strip boxes are too big and can throw too much light around, whereas the small one is very controlled. In this shot of my dog Loki (Image 6) taken during a workshop, the strip is directly overhead, giving that controlled plane of light that highlights the dog from the background.

Image 3

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Image 4

Image 6

Image 5 Image 7, the strip was used vertically in the Rembrandt position to give controlled light, with no-spill on the background. It makes it easy to keep backgrounds dark in small spaces. It is also handy as an accent light to produce separation from the background. On the subject as a second light, in this image, it is used as both the main light and a separation light in the lowkey image of Charlie (Image 8).

Image 7

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I have two of these and love doing a three light set up for sports or fashion type shots. Beau, a team GB triathlete, is shot with two strips behind him to give the accent lighting, aimed across his back at opposite shoulders and a 70 Deep Octobox as the main light. It produces a great effect with the subject popping from the background (Image 9). I find the strip so easy to use on location as it requires less stabilisation in the wind, is quick to set up, and the control of only lighting the subject makes them easy to pop from the background. With the horse and rider (below) they were only lit with the strip and an Elinchrom ELB 1200 at two stops over the ambient light to pop them from the underexposed background and bring out detail in the sky. The strip is horizontal here at the head height of the rider.

Reflector dishes can give lovely light but they give a hard light simply because they are very small light source ( mine are 7 inches across). When used in the environment and with the right subject, the light is punchy and strong. As seen below with the image of Emily, it is strong and punchy against the stark white background.

Image 9 I use them most of the time to kick some light on the background to introduce separation, especially in headshots. The image opposite of Victoria I used it to light the white background directly behind her. The world is your oyster with modifiers. If you can get one large, one strip and one small reflector dish, you can create many different lighting recipes. - Gary Hill

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TW: // Depression

Debbie Longmore

LIVING WITH DEPRESSION MASTER CRAFTSMAN

“ We get often told not to become emotionally attached to our images, but I thought it would be a good idea to put together a panel based on my emotions. For those that don’t know, I have suffered from depression since I was 21. Depression is the predominant mental health problem worldwide. My depression is, unfortunately, heredity; I do not produce enough serotine all the time, which is the chemical the body makes that is responsible for feeling happy and content. Whilst the message in this day and age is to “be kind, as you don’t know what people are going through,” unfortunately, there is still a considerable stigma associated with depression. Often due to a lack of understanding of depression. Many people are afraid to speak openly that they have or are suffering from depression because they fear that they will be judged or spoken about. So, for those that don’t know already, I have suffered from depression on and off since I was 21. I am not always depressed; it comes and goes without warning (sometimes there is a trigger). My depression is hereditary and caused by a chemical imbalance which means that I do not always produce enough serotine (the happy chemical). Whilst I have taken antidepressants quite a few times since I was 21, in the last 11 years, I have not taken them as I have learnt to recognise some of the “slipping” signs in myself and whilst I have had dreadful periods, I have never felt “low enough” to use medication. I have always found that medication numbs all my other feelings too and leaves me feeling empty. I have found talking about my depression quite openly to people is the most extensive form of help. Most often, people are ashamed of being depressed, hide it, and cannot reach out to people, often causing them to feel even more depressed, and unfortunately, when people feel like this, this is what leads more often to suicide. I believe that people should not be ashamed when they are depressed, and this was my biggest drive in sharing these images, so people who are suffering know that they are not alone.

MY CRAFTSMAN PANEL – UPGRADED TO MASTER CRAFTSMAN Most often, photography and depression concepts are of portrait images. I wanted to use inanimate objects, items that are often considered unnecessary, items that are used every day but overlooked or taken for granted and items that you could take or leave. The main reason for using these items is that’s pretty much how a person feels when they are depressed, overlooked, unnecessary and just not needed. I wanted a ‘constant’ in my images that represented me. My chosen constant was a chopping board. All the pictures in my panel reflect my thoughts and feelings, and the use of the chopping board is, in part, represents me, my brain, my thoughts. Not all of the concepts of my images will be 100% clear. I didn’t want all of them to be obvious. Depression isn’t obvious to others, and people suffering hide their depression well. I, therefore, wanted to create images that would invoke some sense of reaction or feeling whether the viewer understood about depression or not. Art is subjective, and I think it is terrific when people view an image and take a story from it themselves, even if it was not the story in your mind, as it means you still have reached them and invoked a feeling within.” - Debbie Longmore

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Issue 46 - Creative Light Magazine :

: November | December 2021 - Issue 46

Issue 46 - Creative Light Magazine :

: November | December 2021 - Issue 46

Issue 46 - Creative Light Magazine :

: November | December 2021 - Issue 46

Photo: Molly Hollman

Issue 46 - Creative Light Magazine :

TIP SHEET #14 How to Reduce Skin Reddening

I don’t think I’d be wrong to say this but sometimes we can overlook the power of what is viewed as a Basic or Beginners Tool in Photoshop. A Prime example for me is Quick Mask - not really viewed as being an Advanced Tool but can be incredibly useful when making seections and is one I turn to a lot in conjunction with other tools. In fact I always say there’s no such thing as Advanced Photoshop. I think it should be viewed as ‘Experienced’ Photoshop because anyone can learn techniques but the Advanced side (for want of a better word) is knowing what techniques to use and also how to use them in conjunction with others to produce a desired result. In this tutorial I show you how to use a simple Hue/Saturation Adjustment Layer to quickly and easily remove skin reddening and by doing so show you a couple of extra little tips along the way. Enjoy

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Let’s first of all run through some basics of using Hue/Saturation to change colours... In this picture changing the blue to another colour couldn’t be easier... Simply click to add a Hue/ Saturation Adjustment Layer, choose Blues from the drop down menu then simply drag the Hue slider left or right to pick the colour you want.

Sometimes though the colour you want to change may not be quite so even in tone and may have bright parts, dark parts or maybe even areas that contain other colours such as in the window of this Lamborghini. The car had originally been photographed outside and was then cut from it’s original background and placed into a new scene. However to fake the reality the blue in the windows needed to be removed.

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With Hue/Saturation when we choose Blues (or any other colour for that matter) from the drop down menu, we can then bunch up the markers at the bottom of the properties and then simply choose the + Sampler and drag across the area containing the colour you want to change. As we do this the markers then start to split as more and more colours are detected underneath the sampler and then any colour between the markers is what you can then adjust using the Hue, Saturation and Lightness sliders. Note: I cover this in much more detail in Episode 82 of my Weekly Show over on my YouTube Channel CLICK HERE

Now let’s take it a step further and show how we can reduce the reddening in skin just by using a Hue / Saturation Adjustment Layer...

Before

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After

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Step 1: Add a Hue/Saturation Adjustment Layer and from the Master drop down menu choose Reds

Step 2: So that we can see clearly exactly what is being classed as ‘Red’ in our image, increase the Saturation to +100

When we increase the Saturation we can clearly see exactly what areas will be affected having chosen Reds from the Master Menu...

The areas where the reddening was showing up the most were around the cheeks and nose and we can see here that these areas are even more saturated than surrounding areas.

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Issue 46 - Creative Light Magazine :

Step 3: Click in the centre area of the markers and drag left / right to narrow down the area that the ‘Reds’ contains.

Note: In this example I dragged the markers to the left which then narrowed down the ‘Reds’ to only include the more saturated areas which happens to be where the skin redening appears...

Step 4: The final step is to now simply use the Hue slider to reduce / remove the Reddening. In this example I simply dragged the Hue slider to the right to add in some CYAN which is the opposite colour in the Colour Wheel and so cancels out the Reds. Note: If there are areas affected that you don’t want to be e.g. the lips then simply paint on the layer mask with a blck brush to hide the effect of the Hue/Saturation Adjustment.

CHECK OUT MY YOUTUBE PAGE FOR 100’S OF FREE TUTORIALS

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BACK PAGE BRONZE - Caitlin Hodges -

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: November | December 2021 - Issue 46