PHOTO

SE | Photography

BYP-INTERN PORTFOLIO

The main objective of this photo was to obtain a bokeh background in a macro shot. To achieve this (since I don't own a macro lens) I bought an affordable macro extender and placed glitter paper behind the strawberry. The strawberry itself was submerged in club soda and placed held in place with a toothpick which locked it into place with the styrofoam that was put in the bottom of the glass. Shot with a Canon T3, 18-55 mm lens, and macro extender, edited in Lightroom.

The main objective of this photo was to practice male portrait photography. Since he is taller than me, he was shot about 15 ft. away from me and I had him stare down at the lens to have him portrayed as a very intense person. The lens itself was extended out as much possible to achieve the soft bokeh effect in the background despite having an f/stop of 4.0. Shot with a Canon 6D and 24-105 mm lens, edited in Lightroom and Photoshop.

The Tempest Photoshoot had the main objective of giving the model a dreamy aesthetic to her photos. Shot around the golden hour, this caused some issues with the ink of her tattoos being washed out. So in post, they were corrected in Photoshop using the Doge&Burn tools to enhance the contrast of the ink with her skin. of Shot with a Canon 6D & 50 mm prime lens, edited in Lightroom and Photoshop.

(Tempest photoshoot cont'd) Her natural features were also enhanced using this same effect but in a more subtle way as to not contour her body to the point where she looked like a different person. The main obective is to make her stand out even more from the bokeh background, not make her look like a different person. Shot with a Canon 6D & 50 mm prime lens, edited in Lightroom and Photoshop.

(Tempest Photoshoot Cont'd) The natural light around us, while it did help out in giving the photos a dreamy look, I gave the light around her a warmer color to compliment the greenery around her. Furthermore, the light around the edges of her body (with the Dodge tool in Photoshop) to make it as though the light was gently touching her and to enhance her a bit more from her surroundings. Shot with a Canon 6D & 50 mm prime lens

The main objective was to try an obtain a macro shot without the use of a macro lens. To make sure the snail was in exceptional focus, the camera was set to Manual to make sure the subject's features would not be lost during Auto-focus. A very soft and subtle vignette was used to bring naturally bring the eye to the center of the image where the subject was. Shot with a Canon 6D & 24-105 mm lens. Edited in Lightroom.

The key goal here was to have a simple but summer-vibe. The main issue here was that the day was quite cloudy, so I increased the ISO of the camera I used and then not only bumped up the vibrancy of the yellows and blues of the image in post-production, but I also added a small bit of grain to give the image some subtle texture to the overall image. Shot with a Canon 6D & 24-105 mm lens. Edited in Lightroom.

Photographing Guapo (the dog in the image) was quite a challenge because he likes to sit on the outdoor chairs that have the dark cushions. So my main goal for that moment was to find an angle where the light managed to capture his frame just enough to where he could stand out from his background. It's in the subtle light that was captured in his front arms, neck wrinkles, and the light that traced the edge of his head and ears that allowed him to fully stand out. Shot with a Canon 6D & 24-105 mm lens. Edited in Lightroom.

Unlinke my first snail model, this one was actually on the move. While I tried to use auto-focus for this case, the snail managed to make enough subtle movements that either its shell or its body would be out of focus by the time the camera took the photo. So I used the preview box of my camera set at 10x zoom, placed the camera in manual, and followed the snail along its path until it was still enough to where I could take a sharp image. While Shot with a Canon 6D & 24-105 mm lens. Edited in Lightroom.

I wanted to create a shot that would give a feeling of unsettling silence. I used Lightroom to make sure that the bus seats would be symmetrical on both sides. I wanted to make sure that the leading line would make the viewer's eyes trail down the bus towards the very back. A soft vignette was also implemented to help the viewer's eye trail down the bus. Shot with a Canon 6D & 24-105 mm lens, edited in Lightroom.

Graduation Portraits: Being my very first graduation photo-shoot , I researched the more common poses found in these portraits.. However, I was not satisfied with what I found online and decided to implement my own take on them. I wanted to rely heavily on natural light and the golden hour to give her shots a graceful and delicate aesthetic to them. This was the first time I used the dodge and burn tool in photoshop to help amplify the natural light around her. Shot with a Canon T3 & 50 mm prime lens, edited in Photoshop and Lightroom

Graduation Portraits (cont'd): When I took her portraits outside, I wanted to use the buildings around her as a leading line to help the viewer's eyes become more drawn to her. The image taken straight out of the camera was not as vibrant or defined with highlights and shadows, so I went into photoshop and tried to amplify the intensity of the highlights and shadows of the image. The overall color of the image was edited in Lightroom. Shot with a Canon T3 & 50 mm prime lens

Graduation Portraits (cont'd): The final image of the photoshoot was one I wanted to make the most memorable. Taking advantage of the wind of that day, I set her up in an action shot that would capture the motion of the wind through her graduation gown and had made her comfortable enough with the camera to capture a candid smile from her. All previous techniques mentioned in the prior images were also used in this final photograph. Shot with a Canon T3 & 50 mm prime lens

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