View allAll Photos Tagged workflow..
Oh noes! I realized something was wrong with the workflow I was designing. Went back to sketches and BAM, fixed it.
So today I noticed that the Beta 2 for Adobe Lightroom 3 was out, and I decided to give it a shot. Never really understanding what was that different between LR and Bridge/ACR, I decided to give it a try. What the heck, can't beat the price.
Well, thus far, I love it. I did everything to the image posted here in LR (including uploading it to Flickr!), and it was fairly intuitive for someone already familiar with Bridge/ACR. I LOVE the brushes, too! My only concern is that since I can do so much in LR, I will be lazy and not go into PS when I only anticipate making minor adjustments there.
The second purpose of this post is to invite you all to the Disney Photo Challenge Group. While I'm sure many of you are already members, for those who aren't, this is a light-hearted group with topical challenges. It's not an ordinary "awards" group nor is it a critique group. It's more a fun and community type group...it also happens to be my favorite group on Flickr. So if you haven't checked it out, give it a shot; you might have a good time there, too!
Karolina & Jacek - wedding session at Gdynia Orłowo
I must admit that I developed Delicious Recipes firstly for myself ;)
I just couldn't stand so many hours it took me to create satisfying colors through Capture NX2, so I struggled to find other way for processing with my beloved colors. And finally I developed them in Lightroom 4 with Color Efex Pro :)
Now I have such an easy way to get my RAW files developed. Now it takes 4-7 hours of work from import to LR to export for a 380-450 wedding. ( Time depends on lighting conditions and retouch needed ). Before, in CaptureNX 2 it took me rather 20-35 hours and it was definitely worth it, as colors were brilliant, but so time-consuming!
I share all the details of my actual workflow for Lightroom 4/5 + Color Efex Pro 4 in Delicious Recipes. All the instructions and tips, combined with all the recipes and presets needed to get beautiful results fast:
www.deliciouspresets.com/delicious-recipes-lightroom-colo...
Ajustes Basicos
Temperatura 4800 Matiz -2
Exposicion +0.15
Contraste +23
Iluminaciones -93
Sombras +30
Blancos +14
Negros -21
Claridad +36
HSL
Rojo -6
Naranja -28
Amarillos -37
Verdes -30
Aguamarinas -54
Azul +26
Purpura +17
Magenta +4
(Pestaña convertir a escala de grises)
Curvas
Iluminaciones -17
Claros -10
Oscuros +8
Sombras +39
Dividir Tonos Iluminaciones
Tono 57
Saturacion 10
Dividir Tonos Sombras
Tono 51
Saturacion 18
Equilibrio 0
Enfoque
Cantidad 56
Radio 0.8
Detalle 20
Mascara 13
Reduccion de ruido
Luminancia 43
Detalle de luminancia 52
Contraste de luminancia 39
Grano
Cantidad 20
Tamaño 21
Rugosidad 28
Viñeteado
Cantidad -78
Punto medio 10
Redondez -32
Suavizar 93
Iluminaciones 0
Still life vegetables in preparation for the salsa.
One Canon 600EX-RT, camera left, bounced off the ceiling, at full power.
Workflow: Negs processed by apetureuk.com
Raw file scanned with Reflecta RPS 10m @ 2,500dpi
Imported to Lightroom, then 'edit copy in Photoshop' selected. Colorperfect filter applied in Photoshop then saved. Colour, sharpness and N/R applied in Lightroom.
The workflow for a particular project had to be documented for all of the different parties to approve and sign off on. Completed in 2004
A portrait series with Pauline in cooperation with Atelier 5b.
Check my Instagram!
Atelier 5B on Instagram.
Model's Instagram.
I recently add the 5th monitor set-up but to find out the i1 Display Pro can only calibrate 4 monitors at one time, it is a hassle process when the Xrite calibration program can not support 5 monitors at the same time, will change back to 4 monitors setup as my standard editing workflow :-)
Dell XPS 8500 i7-3700 @3.4GHz, 16GB
Windows 8.1 64-bits
AMD FirePro W8000 (FireGL V) 4GB
U2713H AdobeRGB
U2711H AdobeRGB
U2412M sRGB
S2240T sRGB 10 points touch screen
NI GO RI Sake (Japan)
Workflow: Negs processed by apetureuk.com
Raw file scanned with Reflecta RPS 10m @ 2,500dpi
Imported to Lightroom, then 'edit copy in Photoshop' selected. Colorperfect filter applied in Photoshop then saved. Colour, sharpness and N/R applied in Lightroom.
Cannes is a city located on the French Riviera. It is a commune located in the Alpes-Maritimes department, and host city of the annual Cannes Film Festival, Midem, and Cannes Lions International Festival of Creativity. The city is known for its association with the rich and famous, its luxury hotels and restaurants, and for several conferences. On 3 November 2011 it hosted the 2011 G20 summit [Wikipedia.org]
I know I said I'd be back when I posted my last pic which was.... 3 years ago... Fail. Life got crazy and here I am three years later.
Much of the last three years can be found on my Instagram so follow me there and you can stalk the past three years of my life haha.
Instagram.com/_raybaybay_
This was taken while at work one day and I liked the play of the sunlight coming in the windows behind me :) Link below is the Instagram link for this pic specifically. It is about 7 months old.
I also don't have a nice camera right now so everything is going to be just my iPhone 6. I will most likely upload choice past pictures from my Instagram as well as new ones I may take :) I am definitely going to try to get a nicer camera back into my life because I miss going out and shooting and using my creative side for something more than just an Instagram post.
I miss the community on here and chatting with all y'all. I'll try to be more present. I promise!!! Can't wait to see what you all have been up to the last three years I've been away!
Favorite or leave a comment and you will probably get a better chance of me looking at your profile too btw :)
Nikon F5
Carl Zeiss ZF.2 2/28 Distagon T*
Kodak Gold 200@400
Developed & scanned by Carmencita Film Lab in Valencia, Spain
Workflow: Ricoh GR in-camera RAW-development, inserted SD-card into Canon M3, transferred photo to phone via app, finally processed with VSCOcam with a1 preset
"It is said that the sorceress of the Dusk Order can be found in every major kingdom known to man, where they bide their time pursuing their myriad agendas."
Work in Progress Notation: One of the most frustrating things, if unavoidable, is detail degradation. It can be very disheartening to spend a lot of time working on small details that dissolve when transferred to SL.
The images on the left are the base texture renders in Zbrush (Which means that it is just the texture in fullbright, no actual light or shadow rendering.) Even here, a lot of detail is lost from the original. The image on the right is in Second Life, where another chunk of details have been smoothed away and lost.
Comes with the territory, but it can be frustrating sometimes! If something important is lost however, that is a very good time to open the texture back up in photoshop for some detailing to bring out those important details.
The Tick and Chairface Chippendale Print by Matthew Skiff 2020
This is a Screenprint that is 18” x 24” and it was signed by Matthew Skiff and numbered No. 20 of a limited edition of 50. We were visiting Gallery 1988 on Melrose Avenue and I just knew that I had to have it! Ever get that feeling yourself? Matthew Skiff was premiered at the Gallery between June 17 thru July 9, 2016 with an Exhibit that was titled “Best Friends” celebrating couples like She-Ra and Hordak, Duke and Cobra Commander, Donatello and Baxter Stockman from the Teenage Mutant Ninja Turtles! I remember catching a show called Weird Al with artwork and prints available a couple years back ago, but I digress. Here is a little more about Matthew Skiff himself…
Interview with Vector Illustrator Matthew Skiff
by Sean Hodge
Do cartoons, movies, and pop culture from the 80's give you a warm feeling? Do you drop words like "rad" when you see a hot-colored t-shirt design? Well take a look inside the mind of Matthew Skiff who's work is influenced by a nostalgia for that era. He's come a long way since doodling in front of the TV as a kid.
Matthew is trained in graphic design at the university level and is starting to mix his graphic and illustration skills more in his professional work. He regularly creates illustrations for bands and makes professional t-shirt designs. He works in vector, masterfully using a Wacom tablet. He wrote the Vector Plus tutorial, "The Creation of a Winged Vector Monster," and in that tutorial Plus members can dive into his workflow. Matt's work is striking, detailed, and has a drawn feel. Learn more about his work in this interview!
1. Hello Matthew, please tell us a bit about yourself, where you're from, your training, and how you got started in the field? How long have you been illustrating and designing?
I'm from beautiful Colorado, born and raised. I have been drawing since I was little. I would sit in front of the TV and try to draw Batman or Ninja Turtles or whatever was on the TV at the time. As I got older I got really into comic books and originally had the goal of trying to make it into comic books when I got older. I would sit around with a sketchbook and just make up characters for my comic book. Then I realized that getting into that field is incredibly hard to do.
It's very competitive and it takes a lot of work. When I got to college I was just going to be a drawing major, but you can't really do anything with that so I switched my emphasis to Graphic Design and I loved it. Then I started realizing I could combined Graphic Design with drawing and that opened up a whole new world for me. I graduated college in 2008, and when I was done I had no idea what I was going to do. I spent my days e-mailing any local design firm I could find and got no bites.
When I was looking for a job I would just sit and Illustrate whatever would come into my head. Then I got familiar with Threadless and decided to put some designs on there, but they didn't score so well. However by posting my art on there I got familiar with the community and my friend Wotto directed me to Emptees. From then on I've been able to draw a lot of fun and goofy designs and get paid for it. I am so happy that I never got any call backs for design firms, I just can't see myself working like that. I've grown accustom to waking up whenever I feel like it and working when I feel like it. I take full advantage of that.
2. I see a lot of 80s references in your illustrations, from movies, music, cartoons and more? Is most of your inspiration from your childhood? Is there something that pulls you toward all these old school rad graphics?
I feel like when I was a kid, we had the best everything. Cartoons were a million times better, as were movies (especially horror), video games the clothes and if you know me, I just love 80's music. I'm a pretty nostalgic person so I love doing anything that involves something from my childhood. A few years ago I got really big into collecting a lot of old toys like Ninja Turtles, Ghostbusters and stuff and I buy a lot of cartoons on DVD. I'm a pretty big nerd, I try to hide that I am a nerd, but I don't do a very good job hiding that.
3. How did your style evolve? Do you feel your work has a unique feel? With so much competition, could you describe what makes your illustrations stand out? Have you ever struggled with this?
When I used to draw with just paper and pencil, my drawings were very clean, I would try really hard to not make my art look messy or sketchy. That was very easy to translate to the computer with Illustrator. Illustrator makes it incredibly easy to make very clean looking designs. It could be one of the reasons why my Illustrations stand out. However, It's always a constant struggle to still keep my style fresh. I get really bored with the same thing over and over, and I'm currently trying to change my style up a bit but it's incredibly hard, especially when clients want the same style as a design I've previously created, and I have little time to experiment.
4. What do you like most about illustrating and why? Is there anything about the industry you've found difficult?
The best part about Illustrating for me is being able draw the craziest and wackiest ideas. I mean I get to draw blood, guts, skeletons, werewolves, zombies and a whole bunch of other stuff. I get paid for drawing the same kind of things I would draw on my notes during class. However the downside to doing what I do is that it has made drawing feel more like a job and less like something fun.
When I was a kid I would draw for fun all the time, but now the thought of drawing just seems like too much work. Don't get me wrong, I love what I'm doing but sometimes I just dread walking over to my computer to start working. That could be the most difficult thing for me, staying motivated and stoked about the work at hand.
The most difficult thing about the industry is really getting my name out there. It took awhile for people to start coming to me for work, rather than myself searching for people or companies and asking them if they needed any designs. I'm definitely not at the level I want to be at. I want companies like Nike or Burton to flood my inbox with design requests...someday I hope!
5. What does your workstation look like? Are you a 9-5 worker or a night-owl. Do you have a normal or peculiar structure to your workday? Do you enjoy the freedom of freelancing?
My workstation is a complete mess. It's usually littered with receipts from the bar I went to the night before, magazines, books and all that. I have my windows blacked out because I like working in complete darkness. As for my work schedule, it's awful.
I usually wake up at around 1pm or later and then work sometimes until 3am in the morning if I don't do anything at night. I love the freedom of freelancing but it's my downfall as well. There is nobody kicking my butt or motivating me to design, all I got is me. One of these days I'm going to try and work 9-5 and see how that works out, but just the thought of waking up that early seems awful to me.
6. What is it about vector graphics that draws you to use it as your artistic medium of choice? What are the tools and programs that you use to create your illustrations?
The biggest draw to me about vector graphics is the ability to resize any design I want without losing any quality at all. Another positive is the file size is very small compared to using drawing programs like Photoshop. It's the smaller file size that makes sending designs easy and fast, and it doesn't crash my old macbook doing it.
I use a Intuos3 drawing tablet and Adobe Illustrator for almost all of my art. I love the program to death, but I wish it looked and felt a little bit more like using a real pencil and paper like it does in Photoshop or some other non-vector programs.
7. How has your workflow changed over time? Have you gotten quicker at creating illustrations? What's one thing that has drastically improved your workflow?
My workflow has changed drastically. When I first started out I wouldn't do any pre-sketching or anything, I would just dive right in and start drawing. And back then I didn't know I could turn pressure sensitivity on in Illustrator, so I would be using my tablet and pre-existing brushes. It made things very difficult and took me forever to do a design. But now I figured out that I can turn pressure sensitivity on, I do pre sketches and all of this has made things a lot easier and has sped up my work drastically.
8. How do you network? Do you contact clients and make pitches directly? Do you meet people at conferences or online? What's worked for you to connect with clients you enjoy working with? Do you do self promotional campaigns?
Networking is the most important thing. If it wasn't for places like Emptees, I probably wouldn't be doing what I'm doing now. At the beginning, I would contact a ton of companies to see if they would want a design done by me. But now it's gotten to the point where companies and bands are coming after me and asking me for designs.
Pretty much all my contacts have been made through the internet. It makes getting clients very easy, and I'm a very shy person as it is. I don't really like going to conferences or talking over the phone and stuff like that. The best thing I have ever done was post my work on Emptees, having a Flickr account helps great to, as well as a personal website, Blog, etc...
9. Could you walk us through the project "I Wrestled A Bear Once"? How does designing for a CD differ from creating illustrations for t-shirts? Do you like doing one project more than another? Do you see a line between graphic design and illustration?
Doing the artwork for the IWABO CD was one of the funniest things I have done. One day I got an e-mail from Steven (a member from the IWABO band) that told me he needed some artwork for their re-release of their first EP. They had some design firms do some layouts for them and they didn't like them, so they came to me. They didn't have any real direction they just kind of told me to go for it. Didn't have much time to do it, so I just drew the first thing that came to my mind (a bear) and then just went from there. It was definitely a learning experience for me, designing for a CD is much different than a shirt.
I had to learn all the correct dimensions and use templates that I have never seen before. It was very fun though and it was cool to kinda make all the images for the CD, insert, cover and back cover to tell a bit of a story. I also got to combine graphic design and illustration in a whole different way besides just slapping a name or a logo on top of an illustration. And it's pretty cool to walk in to a store like Best Buy and see the CD there.
10. What's been your most challenging project so far in your career? What was challenging about it? And how did you overcome those challenges?
Doing the IWABO CD was definitely the most challenging for sure. The time restrictions I was under were very stressful, it was this huge project that was just dropped in my lap. It made things hard because I had to completely change my work schedule, put aside a few designs that also had pressing deadlines. But it was for IWABO and I love those guys and I wanted to do it.
11. If you were given a commission to place an illustration on a vintage car of your choice for a showroom display, what would the car be, and what would the illustration look like?
A vintage car to me is anything that is older than me, so I would have to say a 1980's Pontiac Trans Am, like the one in Knight Rider. I've always wanted to own one of those. I'd probably plop on a skull or a zombie with some slime and guts and call it good! Either that or a really sick Phoenix.
12. Thanks for chatting with us Matthew, any parting tips for aspiring creatives hungry to grow professionally? Has there been anything critical to your success?
Draw every single day, it will help out a lot. Also, don't take things so seriously, walk away from the computer and go have fun doing something else. That is what has kept me from not going crazy.
Matthew Skiff on the Web
·Matthew's Portfolio
·Matthew's Blog
·Matthew's Flickr Stream
·Matthew on Empty
Images 1-3 are varying exposures of the same scene, taken on a tripod.
HDR Image was prepared using the Photoshop CS2: automate -> merge to HDR. White point was set, then the conversion to HDR was done by the Exposure/Gamma method.
HDR image was then perspective corrected (to correct for wideangle lens distortion, especially evident on the closest vertical pillar) using the PTLens plugin and profile for the Olympus Zuiko 14-45 lens.
I'm sure this could still be much improved, but in comparison to all of the overprocessed, trendy, fake looking HDR I've seen lately I think I've used the process as it is intended.
The HDR image can be seen here LARGE.