wände farbig gestalten programm

hello everybody, i'm paul ripke, i'm a photographer from hamburg, germany, and i do a lot of picturesfrom different things but i'm gonna show youthree parts of my work now. the first project i want to talk aboutis called man babies. it's been a portrait serieswith fathers with their sons and mothers with their daughters where we switched the headsafter shooting the picture and it got quite viral after cnn postedan interview about it

and it's been one of those pictures. so the second project i want to talk about is a portrait series called "die mannschaft". it's a portrait series of my national,the german national team, pretty much the thing i alwaysdreamed of being as a young boy, taking pictures of my national teamthe way i wanted: dreams coming true. so the third project i want to talk about is my picture "limone of jon olsson". it's a freeskier.

in italy we took pictures of him, stitched them together out of 14 pictures and made this huge panoramic picture which was printed in four metersin my studio: looks very very nice. so today we're working for ten collectionby fotolia with my dearest friend, nik, he's over there. hey, nik! very close friend of mine,just met him this morning,

and we like to work together today and i'm gonna see what he's up to, so, nik, show us what you got.i'm going. thanks, paul. hey, i'm nik ainley,from oxford in the uk. i've been a digital illustratorfor over ten years now and specialise in combining 3dwith photoshop work. now i'm going to show youa few of my projects. this is a 3d illustration for anadvertising competition for students.

the main character is sitting on a throne made up of 35 different objects representing some ofthe most famous adverts ever made. i wonder if you recognise a few? for this illustration i worked witha celebrity photographer from the us. originally she was photographedsitting on the edge of a bathtub. i extracted her from the photoand then built this image. this illustration was made forthe art collective, depthcore, of which i am a member.

it's about half 3d and half photo. have a closer look at some of the details where the 3d and photo blend together. now i'm in hamburg to work with paulon the ten collection. so, let's go. so the idea was to mixhamburg backplay kind of futuristic set-up of different angles, different houses,different bridges, to mix it up with watermade out of nude human bodies and to add in some futuristic wakeboarding,

which is the sport of the future. so, yeah, i took the great photosyou took out in hamburg and the wakeboarderand all those naked bodies and naked people, and i used itto build this futuristic illustration. the photos from fotolia really helped out and there area few 3d elements there integrated to give ita futuristic abstract type feel. and i think it worked out great. the first step of this process wasto meet at the harbour of hamburg,

drive around with a boat, then take somepictures for the background. i used a phase one iq180,that's 80 megapixels, and digital middle format. it's the camera i always useif i need big data files and it's quite easy to use if you're ona boat, and you can move around. the technical partwas not very challenging. it was just some simple pictureswe put together at the end and i didn't use a tripod,i just shot out of the hand and shot at a short timeand with a wide angle lens.

we went to the studio and took a picture of my friend freddiejumping with a wakeboard. this time we're not tryingto put real light, like the situation, we're not trying tocopy the lighting of outside to the studio, we just tried to make itlook as good as it can be, sort of as i like it, because the whole picture'sgonna be crazily fake so i don't care aboutfake lights in there, i just wanted to make it crispand good contrast and stuff like that.

i'm basically working with prophoto, which i like because the combinationof phase one and prophoto they speak wirelesslyand they can flash very short duration and the reflectors i likethe most broncolor and the ring flash of brown coloursis one of my main lights i usually use it, then we basically usesome softboxes of prophoto. that's a beauty dish over there,which we use for fill from below and there's one more breezer reflectorwhich i normally use for people stuff but today i used it as a backlight.

so shooting-wiseit was important that he's wet, shot him a little bit of waterin the face, and that the reflectionsget better out of the arms and, yeah, it was kind of hard to findthe right expression in the face because once you are concentratedthe face makes stupid things so we try to do different things. not to make him smile or scream but tomake him relax. i want a relaxed, normal situationand we got that. we shot him flipping around, as well,

just with the robe, without a board, to have different hands and different headsand different kind of body parts for nik, if he's unsatisfiedwith one part of the move he can change the hand or something,that's just back-up. the main idea was to combinedifferent kind of themes and add some sport themes,some background harbour, some hamburg theme in it, and i wantedto add naked people in there. first of all, because it's funto have naked people around. so the combination of sports, landscape,hamburg, and naked people.

we want to have some naked people in there so we invited some over here,female as well as male. we shot them in different positions,in horizontal position, and nik is gonna try tomap them on the waves and on the splashing waters at the end. the wakeboarder is gonnajump off a lot of human bodies which will be around 1,200 at the end. so nik is not gonna have any timein the next four and a half months because he's clipping the naked people.

so we decided to go with blue backgroundbecause it's in front of water and it's easier to clipeven if it's not clipped totally straight and it's just gonna bea massive amount of clipping so at the end it has to besimple in that one. so lighting wise we choseto not go directly with the light, we flashed into the wall to have no contrast at all really about it just the image of naked people,because water is very blurry. so this time as well we didn't useany stylists or any make-up artists

because i don't like to havetoo many people talking themselves into their kind of jobs so we didn't have any distraction, the wakeboarder brought his stuff, naked people don't need anything to wear they look good the way they look like, and if they don'twe're gonna use photoshop for it. so at the end this is a pretty goodexample of my kind of work, how i work, it's...my work as a photographer

is way more importantto organise, to kind of think of realisation of projects than it is to really shootone single picture. it's about how do you get people in here to be shot naked? how do you geta good wakeboarder in the studio that has time and is able tobe part of this project and how do you manage to get a boat? that's the parts that areway more important and way harder to achievethan me making pictures.

my part, like, i don't like to talktoo much about photography parts because the main part is organisation,talking, socialisation, and having people you can calland arrange things. the first stepin producing the illustration was to create a general layoutof the whole image. i took some of paul's photos,very roughly cut them out, and arranged them to give me an idea of what the final illustrationshould look like. we talked a bit about moving things around,where things should go,

and once that was sorted icould start on the actual work of producing the final picture. although i useda lot of different techniques for extracting elements from the photos there were three main ones i usedfor different situations. for the wakeboarder i needed to getthe best extraction possible and for that i used the pen toolto trace around most of his body. i then created a mask from the pen tool and painted in the othermore difficult elements,

such as his hair, around the softer edges, and that allowed me to createthe perfect extraction. for the photos of the naked people i needed to use a much quicker technique. there were so many peoplethat using the pen tool and painting in masksfor each one individually would have taken far too long so the method i usedwas to use a combination of the magic wand and quick select tool

followed up by the refine edge tool which is great at extracting things like hair and soft edges very very quickly. one good tip when usingthe refine edge or refine mask tool is the smart radius setting whichallows photoshop to vary the margin around the edgesthat it's creating. sometimes you want to vary that amounton different areas of your object. you want a small amountaround the smooth areas, and a large amount aroundthe sort of less defined areas

such as hair. that's wherethe refine radius tool comes in. you take it like a paint brush and paint it onto the areaif you want to increase it, like the hair. that allows photoshopto cut out the hair nicely while keeping smooth edgeson the rest of your object. these affect layers similar to the waythat blending modes do but in a slightly different manner. the blend-if tool allows you to makeparts of a layer transparent

depending on how light or dark they are. so if you have a very dark objectsitting on a light background you can just slide the slider and tell photoshop to get rid ofall the light areas automatically, or the dark areas. and this is quicker than usinga blending mode or manual masking is. the first thing i dowhen i've extracted a photo is to do a basic adjustmentof levels and colours. and the tool i turn to for thisis the camera raw filter.

it was added in photoshop cc and allows adjustment of levels,contrast, exposure, colour, and clarity, and much more, all in one go. the next step is probably the mostimportant part of the whole illustration and what actually takes upthe majority of the time, and that's compositingthe various elements together, placing them in the canvas, making sure they're the correctsize, angle, position, et cetera, and then blending themwith the surrounding photos.

to do this i normally just add a layermask to each individual element and hand-paint in black using the brush toolto remove the areas i don't want. at this point i'll start towant to add elements that i can't getfrom the photos. so i can either hand-paint them inor use other photos. in this case,fotolia provides those for me. i search for what i need,download the photo, see if it works with what i'm trying to do

and if so incorporate it into the imagein a similar way using masking or blending modes. the theme of "the future" will berepresented by the various abstract shapes and futuristic looking buildings fromhamburg we used in the background. the two programs i use are 3ds max and zbrush between them they allow me to produce almost any shape i need. once i've produced it in the 3d program i will render out multiple passes that will allow me a lot more control in photoshop.

for instance, i will normally use a diffuse pass, a specular pass, an ambient occlusion, a fall off, and a matte, to allow me to extract it quickly from the render. once this is done i can combine it into the illustration using the same techniques as before. an important part of blending photos and 3d elements together is making sure the shadowsand shading is correct. to do this i'll make sure that elementswill be casting shadows onto objects behind them or below them correctly

or adding shadows on top of them. when i add shadows on top i use a layer and create a clipping group with the element that i'm adding shadows to. this makes sure that if i ever need to go back and remove the shadow all i have to do is delete the appropriate layer. while i'm working i will continually add adjustment layers to the top of the layer stack to modify the colours and levels of the image as a whole. adding things like gradient map layersusing a soft light blending mode

can help unify all your elements and makethe image more of a cohesive whole. the very last step is to do adjustmentsthat can only be done to a single layer. so, once i have made sure that i have done everything i can possibly do on the layered file i will flatten it and then do a few different processes. for instance, adding some depth of fieldusing blur in specific areas, doing colour adjustments, running light sharpen filters and maybe adding a tiny bit of noise to give a little bit of a realistic effect. once that's done, the image is basically finished.

although knowing how to use the tools and the various technical aspects of the program is necessary it is not the most important partof creating such an illustration. your creativity is what is going to make the difference. don't be afraid to experiment. take inspiration from wherever you can. and remember that just because you spent a lot of time doing something doesn't necessarily mean that it's worth keeping. sometimes you have to take a stepbackwards to go forwards.

so, finally, it was a pleasurehaving you all in here, i hope you like the little bit of our things. we really had fun in this international production. some english stuff, some french stuff,some german stuff, meeting up in hamburg,creating something new, and maybe you out there like what we are doing and kind of follow how we did it and maybe you can do it as well. well, i hope you enjoyed our creation and having a look at how we made it.

i've had a fantastic time with paul andthe film team here in hamburg. maybe you'll be inspired to find something a little similar yourself.

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