Combining NUDE and experimental photography

[Vojislav Markovic]

I love nude photography but I also love to experiment so I combined these techniques and here is the result.
More of my work can be seen here: http://www.vojislavmarkovic.com/

Your comments, feelings and critique are welcome.



Vojislav

 

[Asher Kelman]

I love nude photography but I also love to experiment so I combined these techniques and here is the result.
More of my work can be seen here: http://www.vojislavmarkovic.com/

Vojislav,

Impressive and eye-catching. Red works well as it's boldness in the foreground is repeated in the skyline in muted ways.

This alone makes a splendid and energetic first contribution! I like the idea of the figure floating. Can you share your thoughts and motivations on building this impressive picture.

So how did you come to make this? Did you actually shoot on the roof or photograph her in your apartment and then transpose her and her shadow on to the rooftop scene?

Asher

 

[Terry Lee]

Great work! Would love to read a tutorial on one (hey, I'd love to see all but I'm not greedy!) of your images, your technique used....

 

[Vojislav Markovic]

This photo with balloons is the recent one with my new nude model.Yes I photographed girl at the rooftop of a building 16 floor high.I had a problem with the wind so it was very difficult to catch a moment when balloons were steady.It was hard work but it was worth it. I like artistic nudes but I always wondered why most photographers make classic nudes.Then I decided to try to make something different and to combine some experimental photography with artistic nude.I hope I managed!

Terry Lee if you are interested in how to make this kind of photography you can read tutorials on my site in tutorials section.

 

[Asher Kelman]

Vojislav,

I didn't find the tutorials. Is there a direct link?

Asher

 

[Vojislav Markovic]

Follow this link: http://www.vojislavmarkovic.com/tutorials/

 

[Alain Briot]

The technique is rather straightforward. You photograph the scene without the model, then you place the model on a table or other support, and finally add the balloons. Wait for the balloons to be steady and take the second photo. Then in Photoshop combine the two photographs so as to remove the table or whatever other support you used and make the model look like she is flying, supported only by the balloons.

 

[Asher Kelman]

Alain,

You've picked a delightful example where technique to deliver "magic" is both clever and can be reproduced by any photographer, just following simple directions!

The technique is rather straightforward. You photograph the scene without the model, then you place the model on a table or other support, and finally add the balloons. Wait for the balloons to be steady and take the second photo. Then in Photoshop combine the two photographs so as to remove the table or whatever other support you used and make the model look like she is flying, supported only by the balloons.

Alain,

O.K. at first blush, but then, but where's the "beef" in this. We are left hungry for several elements. This doesn't detract for the utility and helpfulness of the O.P. post! It's always generous to share and my comments are not meant to be downplay this. Also, likely as not, the picture is just a demonstration, not declared as a "completed" work, so that we should not be "shooting the messenger" who brings us good news. Still, I'll address the shortcomings I see others would address in their own projects using this technique.

To pull this off then a little more is needed. Not the "getting it to look like this" part. Unfortunately the impression we get misses signals we need to make the shot believable. Absent are any ligature effects of her weight on her skin. Where's the obvious indenting as the red tape bites in from her weight? Also her expression doesn't relate to anything happening to her!!

She should be either obviously dead or else surprised, thrilled or scared.

It all goes back to one of my favorite mottos that applies in this case, ""Good enough", isn't!" It misses a sense that the photographer invested not just artisan skills but also heartfelt passion.

Now sometimes, "Good enough!" can be so surprisingly f'ing amazing like Nicolas Claris' close quarters Pentax D food shot, (post #56), at a f-stop that shouldn't be that so seemingly perfect! but then, the subject itself is just that much stronger and the photographer delivers a passion in each of his trade mark images.

Asher

 

[Charlie Rumney]

Alain,

You've picked a delightful example where technique to deliver "magic" is both clever and can be reproduced by any photographer, just following simple directions!



Alain,

O.K. at first blush, but then, but where's the "beef" in this. We are left hungry for several elements. This doesn't detract for the utility and helpfulness of the O.P. post! It's always generous to share and my comments are not meant to be downplay this. Also, likely as not, the picture is just a demonstration, not declared as a "completed" work, so that we should not be "shooting the messenger" who brings us good news. Still, I'll address the shortcomings I see others would address in their own projects using this technique.

To pull this off then a little more is needed. Not the "getting it to look like this" part. Unfortunately the impression we get misses signals we need to make the shot believable. Absent are any ligature effects of her weight on her skin. Where's the obvious indenting as the red tape bites in from her weight? Also her expression doesn't relate to anything happening to her!!

She should be either obviously dead or else surprised, thrilled or scared.

It all goes back to one of my favorite mottos that applies in this case, ""Good enough", isn't!" It misses a sense that the photographer invested not just artisan skills but also heartfelt passion.

Now sometimes, "Good enough!" can be so surprisingly f'ing amazing like Nicolas Claris' close quarters Pentax D food shot, (post #56), at a f-stop that shouldn't be that so seemingly perfect! but then, the subject itself is just that much stronger and the photographer delivers a passion in each of his trade mark images.

Asher

With all due respect, where is it written that an artist has to conform to any one persons ideas of what is or is not "good enough"? Unless said artist has communicated his or her thoughts/desires/concepts of what the finished image is that was visualized, no one else has any way of knowing what the artist percieved.
Just because a photo doesnt meet one persons expectations or standards, does not mean the artist has the same thoughts.
I may not agree with someones editing, but there is such a thing as free thinking, and in art there is no absolute for right or wrong.

 

[Asher Kelman]

With all due respect, where is it written that an artist has to conform to any one persons ideas of what is or is not "good enough"? Unless said artist has communicated his or her thoughts/desires/concepts of what the finished image is that was visualized, no one else has any way of knowing what the artist percieved.
Just because a photo doesnt meet one persons expectations or standards, does not mean the artist has the same thoughts.
I may not agree with someones editing, but there is such a thing as free thinking, and in art there is no absolute for right or wrong.

Charlie,

No one is telling anyone what to do in their art. This was just a "how to" demonstration, not AFAIK, intended as any work of art. Still, all your points could be valid if folk were instead dictating anyone's else's artistic expression.

What one can say is that if one is teach a method for having a person appear elevated by balloon strings, then they just have to cut into the wrists. Same sort of condition one has to also remove the supporting bench! This is nothing to so with artistic expression, just completing the impression of being lifted. After that one has to have the person either unconscious or else react to this extraordinary even, being lifted by balloons. The approach one takes at that point, can be the artists expression, but untul that point, it;s all just part of technique to pull of a feat to trick the eye.

Asher

 

[Charlie Rumney]

Thats all well and good if the goal of the representation is realism. In a fantasy shot such as this, what's the big deal?
To judge that the photo isnt finished as I interpret from post #9 below, is quite presumtuous. That compares to saying Picasso did it all wrong. You may not agree with what the artist did or you may think the artist should have done different, but after all it is the artists creation and concept.

(post #9, "To pull this off then a little more is needed. Not the "getting it to look like this" part. Unfortunately the impression we get misses signals we need to make the shot believable. Absent are any ligature effects of her weight on her skin. Where's the obvious indenting as the red tape bites in from her weight? Also her expression doesn't relate to anything happening to her!!
She should be either obviously dead or else surprised, thrilled or scared.")

 

[Asher Kelman]

Thats all well and good if the goal of the representation is realism. In a fantasy shot such as this, what's the big deal?
To judge that the photo isnt finished as I interpret from post #9 below, is quite presumtuous.

If you believe that, then that's your right. However, that is again an interpretation, that makes the same kind of presumption.

That compares to saying Picasso did it all wrong.

Res ipse loquitor

Charlie,

If you read the intent and look at the practice of this forum, we have the greatest respect for artist's intent. The O.P. is interested in showing how to do something. Based on that premise, Alain revived this old but quiet thread. The discussion that follows continues in that path and strictly so.

If you wish, however, to discuss this as a finished work of art, we can do so, but then don't quote Alain or my comments on the "how to do aspects" so there's no misunderstanding.

Asher