Re­pro pho­to­graphs

In the third part of his se­ries, David Palumbo de­scribes his photo process for de­liv­ery to clients. It’s con­ve­nient and low cost with­out com­pro­mis­ing qual­ity

ImagineFX - - Issue 122 June 2015 - David is an award-win­ning illustrator and fine artist who works pri­mar­ily in genre fic­tion and fan­tasy gam­ing. See his work at www.dv­

David Palumbo’s process.

Es­sen­tially, this set-up could be called the “long ex­po­sure avail­able light” method. I like it be­cause of its sim­plic­ity: what you ac­tu­ally see is what you’ll get, so it’s achiev­able with ba­sic equip­ment. In fact, that’s the core idea be­hind this ap­proach and one of the most im­por­tant con­cepts to un­der­stand if you’re go­ing to use it suc­cess­fully: if you can get the paint­ing to look right to your eye from stand­ing in one spe­cific spot, you can pho­to­graph it.

This method is also very ac­ces­si­ble be­cause the tools re­quired are cheap and easy to find. A cam­era and tri­pod are the only photo-spe­cific tools needed, and both can be found sec­ond-hand for bar­gain prices. You’ll need a cam­era with at least 12 megapix­els, and more is gen­er­ally bet­ter. I also rec­om­mend us­ing a cam­era that gives you full man­ual con­trol and is ca­pa­ble of cap­tur­ing Raw files. If your cam­era has in­ter­change­able lenses, you’ll get less glare with a por­trait length lens than a wide lens.

Three com­po­nents of photography must be bal­anced to pro­duce a proper ex­po­sure: shut­ter speed, aper­ture (f-stop) and ISO. See step 2 for ideal set­tings on a D-SLR. You may want to ex­per­i­ment and vary th­ese set­tings to find the best re­sults for your own equip­ment, par­tic­u­larly if you’re us­ing a com­pact cam­era.

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