Photography and Creativity Intensive

Mentorship is like a Conductor

gerardsantiago@brokenperception.net (Gerard Santiago) — Thu, 26 Jun 2025 09:53:43 GMT

“Someone is there to guide me in the right direction... not to be on the end goal, but the first few steps which are the hardest.”

One of my mentees from Veterati in 2023 recently reached out to thank me for the advice I gave him as he transitioned from the US Navy back to civilian life.

What resonated with him was the idea that: “Someone is there to guide me in the right direction... not to be on the end goal, but the first few steps which are the hardest.”

This led me to think about how mentors are like music conductors who guide the orchestra or ensemble during a performance. While the music sheets are provided to the musicians, someone must ensure that the group plays in harmony. Then gradually, let them play with precision.

In any industry, mentorship is more about being present to someone rather than about knowing all the answers.

Of course, imparting something to them.
Listen when someone feels stuck.
Sharing your story will help them feel less alone.

I am very grateful to those who have supported me along the way, and I have made a conscious effort to do the same for others over the past few years, maybe as a way of giving back.

Everyone doesn't have to figure it out alone. Through support, guidance, and connection, we strive.

To all the mentors out there: Thank you!
To the mentees: Never give up!
And for those who are in between: You're doing better than you realize.

Let's continue to encourage one another.

A New Wave of Creative Technology - Augmented Reality

Wed, 14 Aug 2019 14:22:10 GMT

Today, technology runs in fast pace route. Everything is grabbing to keep up with this modernity rather than being stuck on the past until it obsoletes. Also in art, technology influences and impact its creators and audience. Of course, paintings, sculptures, photographs, and other forms of art exist for a decade still exist, yet the modern generation rather stares at their phones rather than the masterpieces on the museums' walls.

I believed technology benefits artists to create new ideas, concepts, and inspiration for this generation. Producing something new to the eyes, something fresh, and never been seen. Artivive is a platform that opens a new influx of delivering art. With the use of augmented reality, it transforms an ordinary static art into a dynamic display that showcases not just a frame but a performance that expresses more than what the creator's narrations.

Artvive Bridge

As a photographer, we are stuck in just revealing an image of what we capture from our cameras. Of course, we can make a photo series of something but a photograph should be strong on its own. With this advancement, artists can create elaboratively. As a multimedia artist who makes photography and video, this is a great platform to collaborate these two crafts.

Using Artvive App to view AR capabilities

My experience in using Artivive is quite an ease. User-friendly interface, simple, and clean. Adding and uploading work is very straight forward. If you want to experiment more, there is a 3D/Pro mode where you can play around with layers, and 3D space. The analytics is real-time so you can see the view goes up instantly when someone used the app and scan your work.

Artivive can detect in any platform as long as it recognized the image and activates embedded video/animation.

During my event, I displayed 2 of my work with Artivive AR capabilities. I called a crowd, pull up my phone and click the app, and wow them with the embedded videos that are linked to my photographs. I made sure to display QR information so the people can download the app to see what is the fuzz.

When it activates the video/animation, with AR capabilities, you can move the camera and it lays flat on the image dimension.

Showcasing this technology gave my audience a new experience in seeing my art. They appreciate it more because it is not just like the other artists' work. They felt more connected because there are interactions that they need to comply with, rather than just starring and daydreaming then going to next imagery.

You can check their website: https://artivive.com/ wih the slogan #bringArtToLife. Make sure to let me know so I can send you invite.

Did you get new inspiration about it? If you have any questions about Artivive or AR tech, feel free to message me.

So what do you think about Augmented Reality technology toward arts?

Send your comments, questions, or suggestions. I would love to hear from you! Also "Share" it if you like it.

CCXP 2019 Capture Figures

Mon, 22 Jul 2019 16:24:23 GMT

I had a chance to witness the Comic-Con Experience (CCXP) in Cologne last June 28, 2019, held at Cologne Messe. I captured the famous figures on-site and illuminated them in post-production. I went to that event for a mission, to take photos as a refresher to my craft. In events like this, you cannot control everything - Lighting is tricky (too dark or bright), people are a hindrance on your view, or cosplayers may be busy. I did my best to get people attention. For the most part, I got some ok shot of cosplayers, yet something is lacking (Character's expression, stillness - because of unpredictable lighting, and my shyness to approach them).

Well, I may be lacking this but I also tried to shoot some wax figures and toy figures on the event. Thank you to the exhibitors and decorators of the event. I especially want to shout out to XM Studio for allowing me to take pictures of their detail-oriented statues which I will showcase the most images in here.

I want you to see the before and after of the character figures. Before images are straight from the camera and After are edited just using Adobe Lightroom.

Iron Man from Marvel Booth

Cyclops from X-Men made by XM Studio

Ninja Batman from XM Studio

Gambit from X-Men made by XM Studio

Red Ranger from Power Rangers made by XM Studio

Ice Man from X-Men made by XM Studio

Ant Man from Marvel made by XM Studio

Wolverine from X-Men made by XM Studio

The Hulk from Marvel made by XM Studio

Colossus from X-Men made by XM Studio

Preditor from Alien VS Preditor made by XM Studio

The gist how I made these images are just playing around with different color temperature, adjusting the slider of the color mixer, using subjective colors with Split Color and lastly, adding some colorized radial and gradient masks.

Click to see the whole image

I hope you like what you saw. If you have any questions about the images, feel free to message me.

So what your favorite edit and your favorite hero/villain?

Send your comments, questions, or suggestions. I would love to hear from you! Also "Share" it if you like it.

20 Things to Consider to Start Your Photography Business

Tue, 23 Apr 2019 00:00:00 GMT

A Quick List of What Photographers Need to Consider to Start Their Full-Time Career

A real photographer can always use any camera. It does not matter if it is a full frame, mirrorless, analog (film), Polaroid, toy camera or even your smartphone. As long as it does the job (client's specification, size, usage, etc).
You do not need to buy every equipment. You can always check if you can rent it before deciding if you really need to have it.
You need to know how lighting benefits your work. Natural light or artificial (strobe or speedlight). Know what fill and bounce lights can do to your image. Photography is the process of capturing light after all.
Photography is both a creative and a technical art. It is better to apply both. But if you are lacking in one, then try to collaborate or hire someone to fulfill that missing aspect.
It is very beneficial to know basic business management, accounting, legal, and marketing. You can always hire people to do it for you, but as a business, it is already an expenditure. Having basic knowledge will make your business go a long way.
Always edit your work. The RAW file contains a lot of information, but you may not like what it looks out of the camera. You can always enhance the sharpness, saturation, shadow details, or even the composition. Post-production is part of your style as a photographer.
Consider making a portfolio. Try to be as cohesive as possible.

9. Try to find someone to look at your work. It is better to get a different perspective from another pair of eyes. It is a good idea to attend some portfolio reviews. Join photography groups, and start critiquing each other's work.

10. When you already have a portfolio, make a website too.

11. When you have a website, it is better to get your own domain. Subdomain ( www.myname.domain.com ) is OK, but it is better to have your own.

12. When you have your domain website, then get your own email domain too. A client sending emails to *.@aol, Yahoo, or Gmail account looks a scam, or an amateur.

13. Make sure to keep your website updated. Add your new images from your latest shoot. Revise your curriculum vitae when you achieve something connected to your career. And at least, keep the copyright year current. Clients always want to see fresh work.

14. Social media can contribute a big part to your marketing. Dive on it, and keep being social. It is a social platform anyways.

15. Start familiarizing yourself with how to make estimates, invoices, and releases (model, property, etc). These documents will be your best friend in earning money.

16. Make some efforts to meet with key individuals. Like models, stylists, hair and makeup artists, retouchers, producers, and builders. Photography is not a one-man-team kind of career.

17. Finding clients may sound hard but you can always start with your own neighborhood. You can check your small businesses down the street, flower shop, your dentist, or even the cafe where you spent so much time using their WiFi. Every business needs professional photographs for their marketing materials, window displays, food menus, or even on their walls. They also have patrons and clients who may be interested in your services.

18. There is nothing wrong working for free, or doing TFP (Trade for Prints). As long as every involved party is benefiting from each other's efforts on a fair basis. You know when you have to say no, and it should be a paid job.

19. Keep in touch with your professional network (your seasoned stylists, the model from your last photo shoot, new and occurring clients). You can send promo cards, newsletter, or simply say "hi," these are very helpful to your professional relationship. They are human beings after all.

20. If you have questions about running a photography business, there are always a lot of resources online. You can read photography websites and blogs, listen to experienced photographers' podcasts, watch their Youtube channels, attending photography courses, workshops, and seminars. Lastly, you can always Google your inquiry, and it will direct you to some answers.

I hope this list gives you helpful ideas if you going to start, or already have, your photography business.

So what is the most important consideration for you?

Send your comments, questions, or suggestions. I would love to hear from you!

This content is available too in Photography.media , please send some tips and share my content to the world.

How To Keep You Motivated on Your Photography (or Passion)?

Fri, 19 Apr 2019 00:00:00 GMT

Are you on that phase that things are getting redundant, uninterested, and boredom lingers in your work or passion? Are you seeking for some encouragements and something to make it work like it was? If Yes, then you are in the right place!

So this is my first entry and yesterday was my birthday (Happy Birthday to me)! I decided to start writing, even though I am not the best writer in the world, because I want to share and inspire people. Sharing knowledge is also precious, as they say: "Knowledge is power" other than donating millions of dollars to poverty or cancer research. It motivates me to give back to the community (If that sounds so noble) in my own ways. It is so rewarding when people appreciate and apply it in their lives.

Speaking of motivation, how do you motivate yourself on your photography (or any passion that you may have). It can be any form of art, cooking, pottery, singing or whatever that makes you happy or enjoy your humanity worthwhile. For me, it is photography so it will be more elaborate on this subject. Paragraphs that in Italic are non-photography subjects. You may skip on your own discretion.

Here are the five things that make you motivated. Let start with the list:

1. Always Make The Best of It

When you are doing a project - commissioned or personal project, always do the best you can. Always think that you need to impress someone and give it to a client (Insert your dream client here may do to motivate you more). Do not "half-ass" nor swing that "just trying" approach. Your client (Dream client if you may) will not hire you with that kind of attitude. Make sure you are giving your 100%, always!

When I am making dinner, it may sound mundane, but I always try to serve my "A-Game" like I am one of the best cuisinier. I put my best effort and love on it, decorate and plating it as a 4-star Michelin restaurant would serve you. I surely get more appetite indulging my dinner in this way.

Check some of my culinary masterpieces boomerang . You can always follow me too! @imgerardsantiago for my personal account.

2. Do What You Really Love!

Most of the time, you need to do the things that you not really like. These can pay your bills so be thankful to have it and have patience. But when you get that chance, apply what you really like to do! If you like black and white photography, then try to edit one of your client's work. Try to squeeze that on the deliverable and they might select that to publish. If you really love doing that then most likely you excel on it. If you really like travel photography, you do not need to go to the faraway countries to get the best shot. You can plan a weekend trip that is an hour away from where you are. Discover the place and start taking photos. If you love taking photos for babies, then call all your pregnant friends and coworkers to set up newborn shoots.

So this series was started just for fun then it evolved as an on-going project then created my first solo exhibition. Click to read more .

Aside from being a photographer, I also do graphic designs. It has a vast spectrum of specialties like typography, logo making, layout, web, and many more. Many people always assume graphic designers always like making logos. I am one of those individuals who's not a big fan but I can make logos when I am in the mood or if you pay me well. To be honest, I am not a big fan of Illustrator (Sorry for that Ai) which is important in making vector images. I prefer working in Photoshop though. I just need to adjust on its specifications. Actually, I enjoy doing layout and typography. Creating magazine and book contents are interesting for me and I can do it all day every day (if I need to).

3. Have Some Downtime and Use It To Get Inspiration

Maybe you think it is a contradiction but being motivated also mean that you are open for new ideas. Gathering new techniques or concepts to execute those. Sometimes, when you are on the mood of creating work, there are some times that you feel stuck or battled that the things are not working. At this moment, gathering answers and options are good considerations. This is part of the problem-solving process that we encounter because we are not just playing games when something is not aligned on our original vision then we stop working on it. Solving these hurdles are part of our conquest to succeed. Try visiting the museum or bookstores. Checking Pinterest, Google Images, or scanning your favorite magazine that is connected to your passion will help to gain inspiration. Looking for new works are helpful too, giving you new perspectives.

I visited SFMoMa for a class field trip. I thought it is very helpful to students having this kind of activities.

I usually make my own dinner in a week but sometimes I find my food getting redundant in some ways. So dining out is helpful for me, not because I am lazy, but to get new ideas of what salad dressing works well with chicken. Getting new ideas on what to make for the next Asian cuisine night. Well, if I am lazy cooking, then I can always catch some Shawarma or poke bowls down the street.

4. Give Yourself Some Demands and Deadlines

At this moment, you are not playing around. Challenging yourself will make you better rather than being in the "safe zone". In real life, everything has expectation and demand. A client has criteria that needed to meet. When doing a personal project or test shots, give yourself some requirements needed to be fulfilled. Doing high-key, maybe doing 3 different looks, working with an h&m artist, or shooting using film and limit it only with 24 shots. Setting a time limit or a submission date, wrap up time like any other shooting. It gives you the pressure of course. But it trains you how to deal with these when you actually experience these kinds of situations. Rather than freezing and start tearing up because of these stressful events.

With this shooting, I go beyond my comfort zone, I made mood board, I work with creatives, Tried something new, visualized my output and execute it.

I love to travel and this kind of passion is not a cheap one. Whenever I get a chance, I try to make some mental checklist (demands) for that trip. Like I need to see ... (Insert here the recommended place from 100 places before you die) or do this ... (insert here the top activity from Tripadvisor) and try their authentic... (insert here the food you saw in Food Network), or only spend this X amount. or I will not spend so much time on social media so I can immerse myself more wandering, or not using Google map and letting myself get lost unless I really need to. In some ways, these demands make my trip more interesting and fun.

5. Always Aiming for Something New and More Challenging

There will be a point in our career (or lives) that we feel our course is stagnant. This may damage our relationship with our passion. Like the therapist always say "Why not adding some flair on it". That flair does not mean you are adding blazing visual effects on all your images. But to ignite that burning desire to create something different, something exciting. It is good to try out something that we have not discovered yet and master it to add on your creative arsenal. Challenges motivate for the betterment. At first, we might think it is a problem but it is also a way to figure what we know and solve it as part of the mastery of our craft. If things getting easier, then that means you are not getting motivated pushing for more and it can lead to boredom. Why not trying to recreate the front cover of Time Magazine that you like. Participating in some photo contests, or starting doing your personal project (or a new one if you already working on one) that you have been daydreaming the past months. Keep leveling up your photography skills!

This was my master thesis at the Academy of Art. It started as a self-portrait of my childhood fears. I got a little bored then I challenged myself. As my final review, it evolved to shooting other people with moody black and white portraiture. Click to read more .

As an avid karaoke singer (One of the returning patrons of The Mint in San Francisco, Wanna B's in Virginia Beach, and a winner "Singer of the Night" in Bar Rendezvous - Munich, Germany) singing the same "go-to" tunes may seem safe but it will get boring and the other local patrons who frequently saw you start whispering "The Ironic Man" (Always singing Alanis Morissette's song). Why not try the new Justin Bieber song, singing that groovy music from the radio that stuck on your head while driving yesterday, or belting Sia's Titanium (which my winning piece in Munich, by the way). When I am with some friends, we are playing to do some theme round-robin. Like some Disney soundtrack, Break-up playlist, Classic Rock, songs that will make you dance, or Broadway pieces when people started getting too drunk. It makes it hard figuring what songs to sing but it makes the karaoke party more special and fun.

I hope that you enjoyed this reading and get some motivations. So your turn, what is your passion and what keeps your motivation?

LESSON: Looking and Creating Fine Quality Prints

Fri, 11 Dec 2015 00:00:00 GMT

Updated: May 19, 2021

Topic: Looking and Creating Fine Quality Prints

(Please refer Class Meeting #20 in Course Design - Photoshop for Emerging Artists)

Lesson Activities

Students will be able to identify the qualities of a fine-quality photographic print. Students will be able to determine types of exhibit papers, their relationship with colors and resolution, and differentiate fine prints from typical prints. Field trip to Printing labs and demonstrate how to use different printers.

Lesson Outcomes

Students will print fine-quality images that are exhibit-ready.
Students need to know about the relation between color, paper, and resolution for quality prints.
Students will be able to identify what are high-quality images and low-resolution images.
Students will be able to operate high-caliber printers and maximized their purpose.

Student Activities

Students will watch the instructor's demonstration.
Students will identify and analyze the characteristics of quality prints.
Students will get familiar with how to use different printers available.
Students will participate by answering questions about looking at fine quality prints.

Assessment Description

Students need to identify the difference between fine quality prints to lower quality prints.
Students will evaluate and compare prints and determine what is wrong with the images.
Students need to identify how the kind of papers, color, and resolution can affect a fine quality print.

Homework

Print 3 images that will be in your final project and will be critiqued and discussed in class. Make sure it is fine quality and has no printing problem (Nozzle check, scratches, dirt, etc.)

DOWNLOAD MATERIALS:

MATERIALS: WORKSHEET & LESSON PLAN/PRESENTATION, HOMEWORK ASSETS.

NOTE:

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Use the Member Log Button to register or Log In. If you are not a registered student/member, please sign up and wait for the approval.

If you are having problems or do not have access, you can reach me using the form on the CONTACT page.

LESSON: Basic Image Repair and Retouching

Thu, 10 Dec 2015 00:00:00 GMT

Updated: May 16, 2022

Topic: Basic Image Repair and Retouching

(Please refer Class Meeting #7 in Course Design - Photoshop for Emerging Artists)

Lesson Activities

Students will get familiar with the clone stamp, red eye corrector, healing tool, and many more. Demonstrate each tool and explain when is the best situation to use the tools. Students will be asked to select images to retouch and repair. Demonstrate it during the class.

Lesson Outcomes

Students will be able to restore images that were damaged.
Students will identify what retouching and repair tools needs to do in different situations.
Students will be able to retouch portraits and fashion images.

Student Activities

Students will watch the instructor's demonstration.
Students will identify basic retouching and repair tools and their uses.
Students will perform basic retouching and repair of images.
Students will participate in answering questions about the tools, interface, and workstation of Photoshop.

Assessment Description

Students need to identify different retouching and repair tools.
Students will retouch files. Remove facial imperfections by applying the tools learned so far.
Students will repair files. Remove distractions and unnecessary elements on the image.

Homework

Edit 2 images, one will remove unnecessary elements in the image and retouch portrait imperfections but make sure it is natural and realistic as possible.

DOWNLOAD MATERIALS:

MATERIALS: WORKSHEET & LESSON PLAN/PRESENTATION, HOMEWORK ASSETS.

NOTE:

A membership/password is needed to access the files.

Use the Member Log Button to register or Log In. If you are not a registered student/member, please sign up and wait for the approval.

If you are having problems or do not have access, you can reach me using the form on the CONTACT page.

COURSE: Photoshop for Emerging Artists

gerardsantiago@brokenperception.net (Gerard Santiago) — Wed, 09 Dec 2015 00:00:00 GMT

Updated: May 16, 2021

Course Learning Outcomes:

Use Adobe Photoshop as a tool to produce your artistic output.
Demonstrate image adjustments, retouching, repair, and composite tasks.
Produce fine-quality images and prints.

Description of Context

Setting: Computer Lab
Required Equipment/Software: Computer/Laptop with Adobe Photoshop (CC/Classic) Access, Pointing Device (Mouse/Graphic Pen/Finger for touchscreen).
Optional Equipment/Software: Graphic Tablet, Printer, Peripheral Accessories (TourBox, Loupedeck, Monogram, etc.), plug-ins.
Students: Undergraduate/Graduate - Photography/ Non-Photography Major
# students in a class: 1- 10 Max
# of class meetings: 22 Meetings
Length of class meetings: 2 Hours 50 Minutes per meeting

Student Expectations

Explore your inner creativity and execute it using Adobe Photoshop to successfully produce fine-quality artistic outputs. Render your ideas by using the tools to translate them into images. Discard the cluttered workflow and organize it by following the proper hierarchy of layers and preserving the quality of your images. You will expect to see a lot of demonstrations and apply those unique approaches that will build your creative style. You are expected to do hands-on applications to achieve the course learning outcomes.

Final Project Descriptions

Produce 8 to 10 successfully cohesive images that will demonstrate your knowledge of Photoshop and will show your creative ideas and vision into exemplary artistic outputs. The images should be of the highest quality and will display your keen observation and attention to detail. It should imply a wide range of use of Photoshop tools, editing techniques, and adjustments to exhibit your understanding of the software and the course. Lastly, to produce fine-quality images for your portfolio that will show your skills and techniques to the industry.

Course Topics Breakdown

Meeting # Subject Title

Overview of Photoshop (Photoshop In A Glace)
The Interface, Tools, and Workstation
Organization: Masterfile Workflow and Layer Hierarchy
Blending Modes & Options
Fine-Tune: Image Adjustments
Basic Tool Selections
Basic Image Repair and Retouching *
Image Transformation and Multi-Images Processing
Concealers: Masking and Advanced Selections
Isolation: Local Adjustments
Midpoint Exam (Theoretical/Application)
Special Effects and Filters
The Art of Black and White
Text and Typography
Shapes and Graphics
Illustration and Digital Painting
Multimedia Integration
Specials: Action Script and Plug-Ins
Color Management and Output Technicalities
Looking and Creating Fine Quality Prints *
Final Exam (Theoretical/Application)
The Final Presentation

* Sample Lesson Plan provided (refer to another module - Category: Lesson Plan)

Exam - Theoretical and application evaluations based on the covered curriculum and student's performance.

NOTE:

A membership/password is needed to access the files.

Use the Member Log Button in the Footer to register or Log In. If you are not a registered student/member, please sign up here .

If you are having problems or do not have access, you can reach me using the form on the CONTACT page.

TUTORIAL: Soul Out

Fri, 04 Dec 2015 00:00:00 GMT

SOUL OUT

Topics: Advance Composite and Photo Manipulation

INTRODUCTION

In today's lifestyle, we are always busy, stressed, running from one place to another. Sometimes, I just want to be free, out of my body for a while, floating with freedom. If only I can just leave my body, soul out, and to explore things out there. This thought made me conceptualize this composition. Well, it is a creative campaign for a Vape shop, and alternatively for a stop-smoking campaign. Well, it is so ironic, just be creative in the delivery.

SPECIFICATION
Nikon D5100, Nikkor 18 -55mm, 1/50s, f/3.8, ISO 320, flash, tripod, no filter

THE PICTURE

Before starting doing the actual shoot, planning is very important to make an easier and faster result. First, learn to control the production of the smoke. In this photo, I used an e-cigarette (or so-called vape). (HINT) It is a portable smoking device where you can smoke it everywhere (as the product claims, please refer to your state or country rules) and you can customize the flavor like a hookah, you can also select if you want to have nicotine or not, it is a good method for those people who wanted to quit smoking. It is easier to use a vape rather than a cigarette because vape can produce thick vapor than cigarettes. In controlling the smoke, learn not to blow the smoke fast, try to hold the smoke and then exhale it slowly and controlled as possible through the mouth. (HINT) Find a place that is confined and there is no movement of air and wind. Close all windows, doors, vents, air conditioning unit and fan. Second, to make it as natural and realistic as possible. Find a place with a plain background. (HINT) The background can be a hindrance in making this composition. Make it simple, plain and no detailed background. On the shoot I did, I intended shadows to appear. I shot my camera in portrait. You can use the built-in pop-up flash of your camera or a speed lite attachable flash for better and controlled light effect. )(HINT) Just make sure it is not too bright that will overpower the appearance of the smoke.

Now, we begin to shoot. Set your camera shutter priority. The form of the smoke is the vital subject in the composition. A stop-time effect is recommended so the form of the smoke is sharp, defined and crisp. Set exposure time to 1/50 second. ISO - 320, Exposure bias to - 0.30 step, it will darken the composition a little bit and highlights the shadows and increases the contrast on post-processing. Aperture is not a priority. F-stop is set f/3.8. Metering Mode is Center Weighted Average. Flash mode is on. (NOTE) This is only the values I used, you can use a different setup. These values indicated are solely for the purpose of the composition I did for the tutorial.

Visualized what poses you want for your model to portray. There are two pictures you need to shoot and to incorporate, there is the regular pose with the smoke and the smoky face appeared formed by the smoke. When you figure that out, start the usage of the device (vape, cigarette or any alternative) that will produce the smoke. (HINT) Let the model hold on it and then put it in their pocket or you can make it visible on the composition. (WARNING) If you are using an actual cigarette, be acknowledged it is a fire hazard, use an ashtray or any container that will avoid fire. Start letting your model use the device. (HINT) Do not rush your model. Be patient and keep an eye on the smoke formation. It is recommended to use Continuous Shoots (Release Mode) to better capture each frame formation.

After few poses and you found your right composition, you can start the post-processing

POST PRODUCTION

The best format you can use in editing is in TIFF. The higher the resolution, the better so you can get every detail you need. First off, we need to create the composition before enhancing it so move away from the Lightroom, ViewNX2, or any enhancing software you have except for Photoshop.

1. Open Adobe Photoshop, any version is good as long as the basic tools are present like Clone Stamp and Basic Image Adjustments (Replace Color, Brightness/Contrast, Color Balance).

2. Open the files you selected. (OPEN > File name) or you drag the pictures from your location to your Photoshop workspace.

3. First, you will focus on the regular pose with smoke. Remove and clean up the details and elements that you want to remove. Example: Acne, unnecessary birth marks, random hair, irrelevant cloth accessory, anything that you do not want in the composition. You can use Magic Wand tool for same color surfaces or removing a plain background, Pen tool for precise details, Healing Brush and Clone Stamp tool for the acne and any other details you want to cover up. (HINT) I preserved the original background, I just enhanced the color to emphasized the smoke image.

4. After cleaning up everything, you will start making the smoky image. Go to the other image you selected and then crop the head off by separating the background, by using Magic Wand, if the surface is not complicated, check this reference for more information ( http://www.digitalartsonline.co.uk/tutorials/photoshop/how-remove-background-in-phot oshop/) or you can use the pen tool for detailed background.
Check this reference for your information
( http://www.printwand.com/blog/using-the-pen-tool-to-cut-an-object-from-its-backgroun d-in-photoshop).

5. After you separate the head from the background, transfer the head to the regular pose by copying the layer of the head then paste it into the regular pose. Or you can just drag the layer of the head to the workspace of the regular pose. With the use of the Move tool, click the layer you want to move then just drag that layer to the other workspace where is the regular pose is located.

6. Arrange the layout of the head on the composition. (HINT) Try to convey a story or a connection to make the composition more effective. Now, try to reproduce a trail of smoke going to the head. If you do not have sufficient smoke, you need to make some. You can use Pen Tool, tracing the end of the smoke (HINT) the detailed of the smoke the better. When you already lock and have marquee (moving broken lines), Select Marquee Tool, right click > Layer Via Copy to duplicate the smoke. (HINT) To make it look unique, try to rotate and play around with the transform, right click on the layer > Free Transform, try to rotate few degrees, also use the skew, distort, and perspective to make a unique form smoke.

7. After making few layers of smoke, highlight all those layers, right click > Merge Layers. All of those layers will become one. (HINT) Make sure to make it nice and realistic, Use Smudge Tool, to correct some details, add more dimension and to make it one nice trail of smoke.

8. Now, transforming the floating head into a smoky head, first make the head the same color with the smoke trail you just made. Click Image > Adjustments > Gradient Map. Click the color gradient on the Gradient Used for Grayscale Mapping, and the Gradient Editor will appear. On the lower part of the Editor, you can see an adjustable scale Click the box scale on the bottom to change the color and the top is to adjust the Opacity. When you click the box scale, click the Color: underneath it and the color selector with pop up. Left scale is the shadow and the right side is the highlights. (HINT) Make sure to use the Eyedropper Tool to get the exact color. Select the color on the smoke trail, get the highlight on the nearest brightest point from the head then the shadow is the darkest color of the trail smoke and the background.

9. Now you have the smoky head. Add more smoky details around the head, erase some hair and turn it into smoke, just redo step 6, in tracing smoke to add more details and making the head made realistic from smoke.

10. After finalizing the details, select all the layers from the smoke trail to the smoky head and make it into one layer by highlighting the selected layers, right click > Merge Layers. After that, make the opacity of the layer to 85%. It will make the head coherently relevant to the background. (HINT) When you lower the opacity, the color and the contrast will change too. So adjust the Brightness/Contrast (Image > Adjustment > Brightness/Contrast) or level (Image > Adjustment > Levels...). (NOTE) Also, consider the smoky head if you want to make it an emphasis or not. On my Critiques, some people said, smoke images should have some blurriness on it. If that is the case, go to Filter > Blur > Gaussian Blur, make the Radius 2.5 or depends how blurry you want it to be or like what I did, I wanted it to look crisper, so I increase the sharpness, go to Filter > Sharpen > Smart Sharpen, Amount: 125% and Radius: 0.5 pixel or how much sharpness you want.

11. When the smoke trail and the head are set and good, we are going to make the shadow. Duplicate the layer of the smoky and the trail (should be in one layer) then replace the color (Image > Adjustment > Replace color) select the Fuzziness to 135, then adjust the Replacement color result to the original color of the shadow on the regular pose. (HINT) If the color is lighter, make the opacity to 85% then duplicate another layer then make the opacity 75%. You can adjust it depends on the lighting you have.

12. After making everything all consistent, select all layers and make a duplicate (Select layers, right click > Duplicate Layers) then merge the duplicated layers (right click > Merge Layers). So it will be the main layer you have for enhancing the composition. (NOTE) If you going to do some modification to the original layer, you need to delete the old duplicate layer then redo the duplication again.

13. For enhancing the composition, this step is optional or it depends on your taste. For what I did are the following enhancement, I add vignette (spotlight effect) to emphasize the subject. Select Brush Tool, use Soft Mechanical 715 pixel. Start on the edge making a soft arc, then do the remaining corners. To make the vignette blend on the background, make the opacity 90% and Layer Blend to Multiply. Vibrance is to increase the colorfulness (richness of the hue) of the image (Image > Adjustment > Vibrance) Vibrance: + 30 and Saturation:+10. I also change the color balance. I preserved the neutral gray and decrease the bluish green color. So I adjust midtones, +13, +7, +6, shadows to -6, -4, +12 and highlights: +7, -1, 0. I also adjust the Brightness/Contrast (Image > Adjustment > Brightness/Contrast) Brightness: 4 and Contrast: 25.

FINAL OUTPUT:

FOOTNOTES:

The file is made in the older version of Adobe Photoshop.
There are a lot of possible ways that you can use, different tools or way, to make the same result. Do what you are comfortable doing.

So what you think? Let me know what you think by sending your comments and reviews in the CONTACT FORM .

Teaching Philosophy

gerardsantiago@brokenperception.net (Gerard Santiago) — Tue, 10 Nov 2015 00:00:00 GMT

Updated: May 8, 2021

"Photography helps people to see." - Berenice Abbott

Photography is an effective instrument to see a deeper perspective of an idea or intention. A portrait of an average person can highlight the innate qualities of his or her being. The golden hours of a sunset could bring out the best of a landscape that we may have otherwise overlooked. People can see things with their eyes, but they are blinded by superficial details that cover the true essence of its existence. With photographs, we are given an extra eye to appreciate the hidden treasures that exist in this world.

The world needs distinct photographers who have clear visions and unique approaches to help open the eyes of humanity. To make it happen, we need educators to build up those creative cores, develop their technical capabilities, and let them discover their own personal photographic styles. As an educator, it is my purpose to share and impart my knowledge to anyone who is ready to receive it. I am ready to pass on the craft that I nourished through years of experience and training. Using the talents that I honed, I am prepared to encourage youthful minds to actuate into creative minds.

As an educator, I am not just teaching the students the basics and fundamentals of photography; I am also teaching the lessons that they will apply in their lives, whether it is a professional or personal project. I once read Dale Carnegie's influential book that changes my view on dealing with people, How To Win Friends And Influence People, stated: "Only knowledge that is used sticks in your mind". While learning as a student, the lessons that stuck the most involved hands-on applications. I give the students more opportunities to play around with their cameras, let them hold, move and position their strobe lights and light modifiers, and mimic the experience of preparing for an actual photoshoot. Give them the computer mouse, graphics tablets, and pens to conceptualize their ideas through post-production and editing. Bring them outside the classroom to discover outdoors, or an actual on-location studio. Let them be in control and make them feel that they have an important part in accomplishing the mission. I can enhance the curricula and lesson plans, if it is necessary, within the effectiveness of the learning outcomes that students can achieve. By setting the standard high like professionals, I have collaborative projects and focused class discussions about case studies or real working scenarios, which students can then dissect to evaluate what the client needs. Let the students talk more during critiques and reports will give them practice being good photographic curators. I personalize the curriculum by providing them with ideal examples from my portfolio and commissioned works that I use for my class discussions and image retouching. Lastly, I encourage my students to work on their professional photographic portfolios in preparation for their graduation, which also showcases that they met the measurable learning outcomes.

Motivation is a big part of student learning. It is very vital to get a student's attention and interest. If you get it, everything will follow through. The students will do their assignments, study for the tests, participate in the discussion, and will work hard on their projects. For example, as a photographer, personal projects are an important way to channel the creativity that interests us. Regardless of the priority or financial benefits, motivation will make us wake up early in the morning to catch the sunrise, or to hike five miles away just to take a photo of a perfect, well-lit landscape of the Moab Canyon in Utah. It is something that will energize our creative minds to do photography even when it is cold and rainy outside during your day off. Motivation is a testament to why we love photography in the first place.

I learned from being a teacher that students need a little push to exert more effort than they need to discover more of their potential. It is my job to boost the students' intrinsic motivation by grabbing their attention and giving them interesting photos to relate to that will trigger a "wow" factor amongst them, by asking the big questions, and making them think and ponder more ideas as I go through the lesson, providing interesting questions will challenge their existing schema. Making the connections as to why my students need to learn the lessons in the course. These will ignite their burning desires to achieve the goals they aspire for.

As an educator, my sole purpose is not only to teach lessons, but it is also my duty to learn from every student that I have: It may be the latest information, new technique, a different approach to a concept, or an inspiring thought that I can share with my future students. I also believe that "Every student is unique and brings contributions that no one else can make" (Bain 72). It may be the top scholar, the shy pupil in the corner, or the exchange students. They all have diverse ideas, unique experiences, and unrivaled minds which can benefit everybody in the class which I will promote. Being an artist, no one will have the same idea; this idea can be nourished by having an open mind when other artists look and gave you constructive comments for the betterment of their artistry.

These concepts that I started from the beginning are what I wanted my teachers to be when I was a student. I want to inspire my students the way I was inspired by the best educators that I have had for more than 20 years. They gave me a chance to become a better student, a better artist, and a better person. Being an inspirational educator is an act of giving back to their legacy. With the help of Ken Bain's book, What The Best College Teachers Do, which opened a deeper perspective on teaching to most educators, my inspirations, advisers, and teachers, all gave me a chance to improve myself as an educator and to influence people (students, friends, artists, and everyone) to learn valuable knowledge that they can use in their lives to start influencing other people too.

It is the educators' goal to hone future photographers to see through a different lens. It is in our hands to share this knowledge and to spread its legacy into the future. I would rather have my knowledge and learning passed along compared to just stuck and fade out in my cerebral cortex. It is our duty to give people inspiration that future generations can appreciate because our photographs preserved those memories. Photography gave me a different perspective on life, which is: Teaching what I know can enrich other people's views that will uplift human society to a better place to live in.

Work Cited

Bain, Ken. What the Best College Teachers Do. Cambridge, Massachusetts: Harvard University Press, 2004. Print.
Carnegie, Dale. "How To Win Friends And Influence People", Simon and Schuster Publisher p. 94. 1964. Print.