Lost in the Fog

[DGMPhotography]

Now it's been a long time since I walked around with a Coleman lantern, or went camping... but holding it up that high in front besides maybe making it harder to hold/carry I don't think you could see anything, you'd be squinting or trying to see around it - it isn't believable. I don't get the facial expression or what she's looking at.

Maybe go out and try these things before you get out there with someone else, so you know something's not going to work and can come up with another plan to try. She was from what you described struggling to hold it in that position so then you got rushed and ended up with an awkward looking hand position with or without the finger photoshopped in (which didn't seem to be an improvement).

The fog still looks odd although it's better because it's not a line cutting across her, it's just around the lantern and in front of her which doesn't seem believable that she's really in fog. It's not so noticeable now but at first I wondered why is she carrying a purse if she's out in the woods looking at something eerie? that just takes away the fantasy and brings it back to reality, that's she's posing and it loses the imaginative aspect. The fog does now almost obscure that (but it also may not have helped her in carrying the lantern and keeping her purse on her shoulder).

Maybe plan these out and write down step by step or in more detail/specifics what you want to do, think thru the process more to help you achieve what you're imagining.

The fact that you're asking yourself "why is there a purse," is actually encouraging to me. It has you curious, which was my intention.

That said, I will acknowledge that writing out each step could be helpful.

 

[DanOstergren]

When, as you say, the entire image is based on the lantern, IMO the next edit gives a much more realistic vision when you know this: candle-light is about 1200°Kelvin and daylight/flashlight about 5000 - 5500°Kelvin!

View attachment 149244

This looks great, and to me the coloring really ties the image together and adds depth. This version tells a story, and color is so important when it comes to that.

 

[DanOstergren]

Who are you to tell me what I do and don't appreciate? I obviously do, which is evidenced by the fact that I've already made several changes. I edited the lighting, and I adjusted the finger, and I am still working on other versions. Hop off your high horse.

Yeah, because this clearly states you take feedback with grace:

What is your issue?

First off, she's a grown woman of 23 years. Not a girl.

As for it being a "gimmick," the entire shoot was based on the lantern. It wasn't a random add-on like the apple, and nor do I think it's portrayed that way. I think this image tells a story.

Learn to say "thank you" if you actually want people to think you are hearing their feedback. Being this defensive says something completely different.

And no, I like my view from this high horse.

 

[Derrel]

I have not read the other replies, but my feeling is that she looks "over-lit"...too much like daylight-balanced electronic flash.

So, I get here to page 3...and I gee that GK has done what I think looks best: warmed up the light on hr to look like lantern-wick light! Yellow-ish! YES!

I think most people would hook their thumb under the lantern handle when lifting it in this manner. That looks a bit odd, to me at least. But worse is the shadow placement...the flash is way higher than the lantern...the shadows look "fake"; if the light on her face really came from the lantern, the shadows would not fall where they do.

 

[Ballistics]

You're right. I wish I could have lit it with just the lantern, but it wasn't nearly bright enough.

A snoot would fix that issue. It looks like she's holding a lantern up on a cloudy day at 4 in the afternoon.

 

[birdbonkers84]

When I see this it reminds me of something an old uni friend of mine did a while back Behance (link is safe). It shows you the break down of how he and his small team composed the image.

I think there is something there, the idea/execution just needs refined

 

[DGMPhotography]

When I see this it reminds me of something an old uni friend of mine did a while back Behance (link is safe). It shows you the break down of how he and his small team composed the image.

I think there is something there, the idea/execution just needs refined

That is a bizarre looking image haha

 

[smoke665]

I've laid back reading the responses and overall I think everyone including the OP is missing something. Taking an image and editing to improve on it and building a composite are two entirely different things that require a different mindset. It requires you to be a "graphic artist" not a photographer.

First of all you have to think of an image file (files) as data you will "mine" to build your composite, nothing more. Piece here, piece there, lighting, shadows, backgrounds, literally every piece of your composite can be built from the data in your files and the tools in PS, so if you want to build a good composite quit worrying so much about your lighting, staging, etc, because that's the wonder of raw files and PS. Now that doesn't mean it won't help if your ahead of the game with your starting image, but it's only a piece of the final image, that hopefully won't even resemble the original images if you've done your job right. Frankly you could probably have photographed her and the lantern separately in studio against a green screen and built it easier.

Secondly as others have mentioned the "devil really is in the detail". The human mind will notice little inconsistencies without even looking for them. If you have a finger out of place, a shadow wrong, light direction wrong, even minor discrepancies in tone and the eye will lock on it immediately. Now since "you" are the person "building" this image, and it's under "your" complete control, it's your job, not an "assistant", to build it correctly so those inconsistencies aren't there. You don't like the light on the face - change it, you don't like the background - change it, don't like the lantern - change it. You have complete control over the final product, which is why I said earlier building a composite is not the same as editing an image.

I don't like videos without some verbal instructions along the way (I'm a little dense and need more than visual information), but this explains perfectly what I'm talking about, and is similar to the road you were trying to go down with your lantern. Enjoy

 

[Designer]

I've laid back reading the responses and overall I think everyone including the OP is missing something. Taking an image and editing to improve on it and building a composite are two entirely different things that require a different mindset. It requires you to be a "graphic artist" not a photographer.

Are you sure he was making a composite? I thought he was making a photograph all in one shot.

 

[smoke665]

Are you sure he was making a composite? I thought he was making a photograph all in one shot.

In this case with so many features added post, yet much of the original remaining, I would put it in never/never land where it isn't really either one, which is part of the problem most seem to be having with it.

So to correct my earlier post, if your intention is a one shot themed photo, then do it as such, and forget the PS add on features post, that cheapen the original.

 

[Designer]

So to correct my earlier post, if your intention is a one shot themed photo, then do it as such, and forget the PS add on features post, that cheapen the original.

There you go!

I'm not a PS user, and rather old-fashioned in my methods and habits. I don't see many manipulated photographs that are exemplary.

When I view a composite photograph, I have to suspend disbelief in the same way as watching a Sci-Fi video. There is usually something that tips me off right away that what I'm looking at was never real.

 

[DGMPhotography]

Hmm, perhaps the green screen route may have worked better for this, now that I think about it.

The reason we went out in the first place was we were hoping there would be actual fog to shoot with. All the weather conditions led us to believe there would be, but unfortunately, there was very little.

 

[limr]

Hmm, perhaps the green screen route may have worked better for this, now that I think about it.

The reason we went out in the first place was we were hoping there would be actual fog to shoot with. All the weather conditions led us to believe there would be, but unfortunately, there was very little.

Fog is tricky, though. It doesn't really "curl" around a person when you're that close. So even if you were in thick fog, it would still be difficult to get the effect you were going for.

I just googled "fog portraits" and in the more natural-looking shots, you'll see the fog/mist around a person, but not tendrils of fog unless they were adding it in post or using dry ice or smoke to create the effect.
fog portraits - Google Search

 

[smoke665]

The reason we went out in the first place was we were hoping there would be actual fog to shoot with. All the weather conditions led us to believe there would be, but unfortunately, there was very little.

I've done several themed shots, and really get into the story line, though only amateur at best, I try to take something from each attempt to use the next time. If you're interested I did a themed shot titled "Alcohol is like love. The first kiss is magic....", posted here on TPF a while back, there's a story being told (explained further down in that post).

When I do a themed shot, something first forms as an idea, I then expand on that and do a lot of research (remember everyone telling you about the details? It starts before you even pickup the camera). Only when the idea is fully formed do I start to fill in the location props, lights, background, etc., I need to get to the point of my theme. If you're going into a themed shot without everything already worked out beforehand in your mind, you're lost before you start.

Last week we found a little girls hat in an antique vintage clothing store, that little hat is now the cornerstone for my next themed shot of my granddaughter for a Christmas card. I've already finished the idea stage, and started the research phase of the project, then I'll start bringing the final pieces together for the scene. Once I have everything I'll start to stage it so I can work on the lighting. Once that's done, then and only then will my restless little model come on the scene, and is basically a couple mins, stand here, I snap the shutter, we're done.

I also find it easier to do a themed shot in studio where you can control everything superior to outside where you're subject to the whims of weather. Fog machines are cheap or even available for rent, and like smoke the difference between the real thing and post addition is noticeable.

Lastly something I've learned about themed shots. Always remember to KISS, when telling your story. (Keep It Simple Stupid). Sadly very few of your viewers will take the time to dig into the "hidden story" behind your image. If it doesn't slap them in the face, it goes over their head.

 

[DGMPhotography]

The reason we went out in the first place was we were hoping there would be actual fog to shoot with. All the weather conditions led us to believe there would be, but unfortunately, there was very little.

I've done several themed shots, and really get into the story line, though only amateur at best, I try to take something from each attempt to use the next time. If you're interested I did a themed shot titled "Alcohol is like love. The first kiss is magic....", posted here on TPF a while back, there's a story being told (explained further down in that post).

When I do a themed shot, something first forms as an idea, I then expand on that and do a lot of research (remember everyone telling you about the details? It starts before you even pickup the camera). Only when the idea is fully formed do I start to fill in the location props, lights, background, etc., I need to get to the point of my theme. If you're going into a themed shot without everything already worked out beforehand in your mind, you're lost before you start.

Last week we found a little girls hat in an antique vintage clothing store, that little hat is now the cornerstone for my next themed shot of my granddaughter for a Christmas card. I've already finished the idea stage, and started the research phase of the project, then I'll start bringing the final pieces together for the scene. Once I have everything I'll start to stage it so I can work on the lighting. Once that's done, then and only then will my restless little model come on the scene, and is basically a couple mins, stand here, I snap the shutter, we're done.

I also find it easier to do a themed shot in studio where you can control everything superior to outside where you're subject to the whims of weather. Fog machines are cheap or even available for rent, and like smoke the difference between the real thing and post addition is noticeable.

Lastly something I've learned about themed shots. Always remember to KISS, when telling your story. (Keep It Simple Stupid). Sadly very few of your viewers will take the time to dig into the "hidden story" behind your image. If it doesn't slap them in the face, it goes over their head.

Lotta good points there. Thanks for taking the time to explain your process.