Mocking Odin Leather Goods, and Why I did it.
I frequently get a lot of questions from both clients and photographers about how I create my Signature Family Portraits, which is understandable considering how fun and crazy they are.
Unlike my Signature Portraits, however, I seldom get questions about how I create my Editorial Portraits, which I’m still on the fence about whether that’s a good or bad thing.
So, to show you what really goes into your Editorial Portrait, I’d like to share the Mock Up of the Odin Leather Goods Portrait of Odin Clack.
While I come from the old school days of film photography where we had to “know” light and the most manipulation we could do was gross burning and dodging using our hands, I admittedly LOVE Photoshop and use it on every single Portrait I make.
Now, pull out your finger, point it at Odin, and let me show you how I Mock Up your Editorial Portrait.
The Odin Leather Mock Up
Your Editorial Portrait always begins with multiple images of both yourself and what I call the scene, which is the background and any elements I want in the foreground.
To give you a better idea of what I’m talking about, here’s a BEFORE and AFTER of the Portrait I did for Odin Leather Goods.
As you can see, there’s more going on in the Final Portrait than the original, which you can see more about in my article “How this Editorial Portrait brought Odin Leather Goods to Life.”
While the photography is a HUGE part of creating amazing Editorial Portraits, I often think of it as just the beginning of the journey.
Once I’ve pieced the image together with the way I’d like to see it as a Final Portrait, I create a new layer to create the Mock Up of things I’d like to fix, change, subtract, or add.
This is where the Portrait begins to come to life in my mind.
Breaking Down the Mock Up
I frequently see photographers Mocking Up their images, which is really cool to see, but they always use one color to identify everything.
I do it differently.
Because I’m so damn ADD and have a bazillion ideas running through my head, I’ve learned that color coding what I want to change is the best way to make sure it gets done.
To some degree, it also denotes the level of importance I have on each of my changes.
To give you a better understanding, here’s what’s going on in this Editorial Portrait of Odin Clack and his Leather Goods.
GREEN: used to identify areas I want either lighter or darker.
RED: used to identify elements I want to remove or fix.
ORANGE: used to identify areas I want to blur and what level I want the blur.
BLUE: used to identify Photoshop enhancements to the Portrait.
What’s Missing from this Mock-Up?
The Mock Up of your Editorial Portrait is just a road map that helps me get to the final image, and while I’ve made all the changes, there’s more Photoshop work to be done.
I do not include Burning & Dodging, Shadows, Eye Enhancements, or other details in my Mock Up for a couple of reasons.
1. Too Much and Distracting: As you can see, the Mock Up is already pretty full of things to change, and to add Burning & Dodging alone would make it impossible to decipher everything I want to do to the image.
2. Creating is a Feeling: Most importantly, most editing I do on your Editorial Portrait is me doing it because it just feels right.
In other words, while some of the editing is done to strategically make a more appealing Portrait, the editing to create an emotional Portrait is done by just feeling.
Wish I could give you more, but that’s the best I can explain it.
That’s a Wrap
My goal with every Portrait I make, regardless of whether it’s a Signature Family Portrait, a Classic Family Portrait, or an Editorial Portrait like this one, is to make you, the viewer, feel something.
Portraits that make you feel, come to life.
Hopefully, now you have a better understanding of what goes into your Editorial Portrait, and that it’s not just a picture, but an emotional piece of art.