Wednesday, October 28, 2009

Chris Ware in the New Yorker


link to the New Yorker

Every time I come across Chris Ware's work, I fall in love with it all over again. If you don't know his work, Ware is a brilliant comic artist whose ability to render even the most complicated things simply gives his work a rare elegance. His cover for the New Yorker, pictured above, is evidence of this. Ware is also an incredibly talented hand-letterer and his work is heart-breakingly beautiful in its writing and execution.

Ware's piece for the New Yorker is particularly timely for me. I was rooting through a sketchbook recently, and came across a page where I'd obviously been having a Bad Drawing Day and had written a note to myself:

Friday, October 16, 2009

Behind the Scenes: Anatomy of an Image

I did a shoot recently that ended up having a really interesting post-production component. I was taking a photography of my old, beaten up, hard shell suitcase and wanted it to look like it was a classic studio product shot.

Now, I only have two strobe lights but the lighting design I had in mind required four. As such, I ended up taking four different shot, moving my highlight strobe to a different position for each one, and then compositing them.

Here's my base image, lit with a silver umbrella to the camera right:




And here are three more images, each with its own highlight:

Click to enlarge

I composited the three highlight images in this manner:




With the highlights composited, I then had the task of removing the wear and tear (retouching my suitcase at 600% in Photoshop made me realize just how much it's been through), address label and red tape from the case. Once I'd completed that, I removed the case from its background and dropped it into a studio background.

The final product:


Monday, October 05, 2009

Work in the Wild!

Some recent work of mine is up in St. Pancras International station.