Loupedeck+ arkistot - Loupedeck https://loupedeck.com/blog/category/loupedeck/ Loupedeck Online Store Wed, 16 Jun 2021 13:21:33 +0000 en-US hourly 1 https://wordpress.org/?v=6.7.2 https://loupedeck.com/wp-content/uploads/2021/05/favicon-150x150.png Loupedeck+ arkistot - Loupedeck https://loupedeck.com/blog/category/loupedeck/ 32 32 The Suited Racer: Closer to the vision https://loupedeck.com/blog/the-suited-racer-closer-to-the-vision/ https://loupedeck.com/blog/the-suited-racer-closer-to-the-vision/#respond Fri, 17 Apr 2020 14:24:00 +0000 https://loupedeck.com/?p=2868 With demand for his artworks strong, Griffin’s star is rising .... fast. Here, he reveals his working methods, his approach to photography and the passions that drive him to succeed.

Artikkeli The Suited Racer: Closer to the vision julkaistiin ensimmäisen kerran Loupedeck.

]]>

The Suited Racer: Closer to the vision

Loupedeck+ 04/17/2020

With demand for his artworks strong, Griffin’s star is rising …. fast. Here, he reveals his working methods, his approach to photography and the passions that drive him to succeed.

Beginning with the classic nature vs nurture question; are great photographers born or made?

I can only speak for myself. Made. Nothing I have is a gift. I’ve had to work hard to be better every step of the way. I do believe this is true across the spectrum. The best con is making people believe things are effortless when they are anything but.

Your public image is that of an anonymous artist, social media influencer, photographer, social commentator, and bespoke-suited motorbike aficionado. This is quite a unique combination. Briefly, how did we get here?

I wasn’t really looking for (or see it as) a “public image”. All those things were intertwined with who I am, I simply covered my face up. We can all agree that it can be kind of ridiculous. We can all agree it isn’t that ridiculous with what’s really out there. The influencer part is a by-product of the work.

Can you describe the defining moment when you realized that you had a passion for photography?

When I realized I could create a broad story for the audience from a single moment captured correctly. My biggest passion is storytelling.

From your published material, it would appear that you prefer shooting in natural rather than artificial light? Why?

What I’m doing only works if it is believable. The story and imagery can feel supernatural, but it is not. Nothing about it is. It is important to always look for natural sources in those moments that bounce light in specific beautiful ways. Little pockets of light in the setting can bring the image to life.

Your approach to your professional photographic work does look to veer more towards a carefully choreographed and ‘stage-managed style, rather than a more spontaneous and free-flowing ‘point and click’ style. Is this a valid observation?

I can see why you could make that observation. The truth though, is that it is very spontaneous and free-flowing. As close to point and click as you can get. Sometimes, depending on the weather, I’ll coordinate a predetermined route for moving shots. But the actual shooting is very much point and click.

Looking at your awesome images on Instagram, it seems evident that you have a signature photographic ‘look’. How did it come about?

I want everything to look real and possible. But, I want to communicate it with as much a cinematic style as I can. This is where Loupedeck changed the entire game for me. It helped me achieve a breakthrough and get closer to that vision.

Continuing this reference to a ‘signature look’, your love (or is it obsession) for the color black in your photography is clear. It is a deeply cinematic, fantastically rich black that permeates your work, your in-demand artworks included. Tell us more …

The overarching story of this project will end in a scripted show on a streaming platform. This is what I’m working on right now. The world of “The Suited Racer” is dark, socially dystopian, and it juxtaposes how much I don’t take myself seriously. Color is such a big part of storytelling, it communicates so much.

Is there a conscious ‘battle’ for supremacy, in terms of technicality (i.e. 40%) vs emotionality (i.e. 60%), when striving for the defining or iconoclastic image?

I was speaking about this just recently with some photographer friends of mine. One of them is one of the best product photographers out there. His technical knowledge is SO VAST, and for a product that works so well. For what I do, I believe it is 90% emotional, 10% technical. Technicality can get in the way of creating a moment that will spark emotion in the spectator.

Further to the technical and emotional ‘battle’, we could also talk about the powerful physicality of your images. If a face is hidden behind a mask, then body language must take precedence. Is this correct?

Absolutely. Conveying emotion without any facial features is something I’ve learned. The body positioning with a slight tilt or dip of the head becomes the only way to communicate.

Have your photographic methodologies or technological considerations changed during the course your career, or does this sound too geeky / scientific?

They’ve progressed. I truly compete only with the man I was yesterday. I want to beat that guy every day. When he wins, we both lose.

Turning to your professional work setup, what were your very first impressions of the Loupedeck console?

In Lightroom, you start at the top of the tools and work your way down. Some say this is the “proper” or intended way for it to be used. The Loupedeck console turned my post-production work from a serial endeavor to a parallel endeavor. I don’t know if there is a better way to describe it. I could imagine what tweaking luminance on a certain color channel while tweaking contrast may look like without having to “go back” up. You’d have to own a Loupedeck to truly understand what I mean.

Following photoshoots, do you still look at every single raw image yourself as part of the editing process? If yes, why? If no, why? Has Loupedeck had a fundamental impact on how you approach the processing and editing of raw images?

Yes. I created this world. I’m passionate about it. I can identify what works best. The arrows and rating buttons have made the selection process so much more efficient and enjoyable… the part of the process that was the slowest and most grueling. From selection to coloring, to exporting, there is no separation from Loupedeck in my process. I’m a HUGE fan.

When you first began to properly integrate Loupedeck into your work processes, what was the first couple of ‘revelatory’ things you noticed?

It was a constant … “I just have to push that?! I just have to turn that?!” More than anything, it cut my work time in half.

Essentially all photographers will agree that the editing part is often the most ‘draining’ and ‘time-consuming’ element of photography as a profession. How has Loupedeck changed your overall methodology, processes and productivity-related to your post-shoot workflow?

Most photographers aren’t in a mask as the subject of their own photography as they direct almost every shot in their shoot. Post has always been the most exciting part of the process for me. Loupedeck has created a real flow, a real process.

Does the knowledge that you now have Loupedeck for post-processing allow you to be more experimental, or daring, or otherwise ‘different’ in your approach to work, or during a shoot, in the here and now, 2019?

Without a shadow of a doubt, 100%, I could not have arrived at where I am in photographic style without the power that Loupedeck has brought to my toolbox.

Any last comments Lando Griffin?

Can’t wait to see how Loupedeck continues to evolve. I believe every purchase of Lightroom should come with a Loupedeck console.

LEARN MORE ABOUT THE SUITED RACER:

You can learn more about Lando Griffin, his recent projects and art work by visiting his personal website and Instagram.

You can follow Lando on Instagram @thesuitedracer

LANDO GRIFFIN’S (“THE SUITED RACER”) PERSONAL WEBSITE:

https://www.thesuitedracer.com/

Discover more Loupedeck Stories

See all
See all

Artikkeli The Suited Racer: Closer to the vision julkaistiin ensimmäisen kerran Loupedeck.

]]> https://loupedeck.com/blog/the-suited-racer-closer-to-the-vision/feed/ 0 Creating Order from Chaos https://loupedeck.com/blog/creating-order-from-chaos/ https://loupedeck.com/blog/creating-order-from-chaos/#respond Mon, 23 Sep 2019 07:22:00 +0000 https://loupedeck.com/?p=3859 Jessica Zollman (aka ‘Jayzombie’) was employee #5 at instagram and is now a successful L.A.-based photographer and influencer. With vibrant colors and geometric precision at the heart of her work, here Zollman takes us on a revealing journey through her life, art and career.

Artikkeli Creating Order from Chaos julkaistiin ensimmäisen kerran Loupedeck.

]]>

Creating Order from Chaos

Loupedeck+ 09/23/2019

Jessica Zollman (aka ‘Jayzombie’) was employee #5 at instagram and is now a successful L.A.-based photographer and influencer. With vibrant colors and geometric precision at the heart of her work, here Zollman takes us on a revealing journey through her life, art and career.

Beginning with the classic nature vs nurture question; are great photographers born or made?

I can only speak for myself. Made. Nothing I have is a gift. I’ve had to work hard to be better every step of the way. I do believe this is true across the spectrum. The best con is making people believe things are effortless when they are anything but.

Your public image is that of an anonymous artist, social media influencer, photographer, social commentator, and bespoke-suited motorbike aficionado. This is quite a unique combination. Briefly, how did we get here?

I wasn’t really looking for (or see it as) a “public image”. All those things were intertwined with who I am, I simply covered my face up. We can all agree that it can be kind of ridiculous. We can all agree it isn’t that ridiculous with what’s really out there. The influencer part is a by-product of the work.

Can you describe the defining moment when you realized that you had a passion for photography?

When I realized I could create a broad story for the audience from a single moment captured correctly. My biggest passion is storytelling.

From your published material, it would appear that you prefer shooting in natural rather than artificial light? Why?

What I’m doing only works if it is believable. The story and imagery can feel supernatural, but it is not. Nothing about it is. It is important to always look for natural sources in those moments that bounce light in specific beautiful ways. Little pockets of light in the setting can bring the image to life.

Your approach to your professional photographic work does look to veer more towards a carefully choreographed and ‘stage-managed style, rather than a more spontaneous and free-flowing ‘point and click’ style. Is this a valid observation?

I can see why you could make that observation. The truth though, is that it is very spontaneous and free-flowing. As close to point and click as you can get. Sometimes, depending on the weather, I’ll coordinate a predetermined route for moving shots. But the actual shooting is very much point and click.

Looking at your awesome images on Instagram, it seems evident that you have a signature photographic ‘look’. How did it come about?

I want everything to look real and possible. But, I want to communicate it with as much a cinematic style as I can. This is where Loupedeck changed the entire game for me. It helped me achieve a breakthrough and get closer to that vision.

Continuing this reference to a ‘signature look’, your love (or is it obsession) for the color black in your photography is clear. It is a deeply cinematic, fantastically rich black that permeates your work, your in-demand artworks included. Tell us more …

The overarching story of this project will end in a scripted show on a streaming platform. This is what I’m working on right now. The world of “The Suited Racer” is dark, socially dystopian, and it juxtaposes how much I don’t take myself seriously. Color is such a big part of storytelling, it communicates so much.

Is there a conscious ‘battle’ for supremacy, in terms of technicality (i.e. 40%) vs emotionality (i.e. 60%), when striving for the defining or iconoclastic image?

I was speaking about this just recently with some photographer friends of mine. One of them is one of the best product photographers out there. His technical knowledge is SO VAST, and for a product that works so well. For what I do, I believe it is 90% emotional, 10% technical. Technicality can get in the way of creating a moment that will spark emotion in the spectator.

Further to the technical and emotional ‘battle’, we could also talk about the powerful physicality of your images. If a face is hidden behind a mask, then body language must take precedence. Is this correct?

Absolutely. Conveying emotion without any facial features is something I’ve learned. The body positioning with a slight tilt or dip of the head becomes the only way to communicate.

Have your photographic methodologies or technological considerations changed during the course your career, or does this sound too geeky / scientific?

They’ve progressed. I truly compete only with the man I was yesterday. I want to beat that guy every day. When he wins, we both lose.

Turning to your professional work setup, what were your very first impressions of the Loupedeck console?

In Lightroom, you start at the top of the tools and work your way down. Some say this is the “proper” or intended way for it to be used. The Loupedeck console turned my post-production work from a serial endeavor to a parallel endeavor. I don’t know if there is a better way to describe it. I could imagine what tweaking luminance on a certain color channel while tweaking contrast may look like without having to “go back” up. You’d have to own a Loupedeck to truly understand what I mean.

How Loupedeck+ enhanced Jayzombie’s photo editing workflow

Have your photographic methodologies or technological considerations changed over time, or does this sound too geeky / scientific?

They’ve absolutely changed! I went from taking photographs on Polaroid and film cameras as a kid to disposable cameras as a tween and teenager, to a 35mm film camera for photography classes in school, to a crappy point-and-shoot camera in college, every generation of iPhone and eventually a Canon 5D Mark III. My editing process has followed a similar path. I didn’t think much about editing until I took film courses and got to work my images in a dark room. When the App Store came to iPhones, I downloaded every fake-Polaroid and filtering app that existed, and after I got my DSLR, I downloaded Lightroom for the first time.

Now, my arsenal includes my 5D Mark IV, iPhone, Lightroom Classic and Lightroom Mobile, Loupedeck, and Priime photo filters on both desktop and mobile. Oh, and I still have an entire bookshelf filled with film cameras, old and new, that I’ll forever cherish for teaching me all about photography through much trial and error.

It has been well documented that back in 2011, you became employee #5 and Community Evangelist at Instagram. After leaving the company in 2013 (following the buyout by Facebook), do you feel that your historical links to Instagram have been partly a ‘blessing’ or a ‘burden’ to you in terms of career since?

It’s absolutely been a blessing. Building the Instagram Community, especially working with professional photographers on the platform, has helped me make incredible connections and friends who have given me invaluable guidance, job opportunities, and a community of commercial photographers I’m so blessed to call my friends here in Los Angeles.

Working in a corporate (but youthful) environment like Facebook, even if it was only for nine months, helped me develop communication skills that I use all the time when working with ad agencies and clients. Being responsive and clear with my communication, as well as general professional, but still fun, keeps clients coming back to me. At least that’s what I like to tell myself. The pretty photos might actually just be enough!

The first thing that captures the attention when looking at your work is the rich suffusion and intensity of color that permeates nearly every image. There is an almost otherworldly/fantastical hyper-realism at play in some images…the ‘pinkest’ pink, the ‘reddest’ red, the ‘greeniest’ green. Why is this?

I touched on this a little bit already, but I’m mostly just following my gut on those decisions! It’s absolutely intentional, but I’m not exactly sure why. Mostly, I just find it pleasing. It’s what I’m most drawn to, so I keep going back to it.

Likewise, it is hard to find anything in your portfolio that might be labeled ‘black-and-white’ in the traditional sense. Why is this?

Oh, that’s a great follow up question. Sometimes black-and-white makes me feel like my personal expression is being stifled or stuck. I learned my technical skills shooting black-and-white film, and I loved it at the time, but I also know that while I was shooting black-and-white, I was very much out of control of my emotions. I was manic, reckless, and young. The technicality, structure, and limitations of black-and-white film photography and development helped provide me with some much-needed structure, but I wasn’t putting any of my feelings into that art. I was following the motions but not seeing myself reflected. I see myself, my personality, my fears, my optimism, and my joy in my colorful work.

What were your very first impressions of the Loupedeck console?

My Loupedeck was a gift from my husband after a dry spell at work. He wanted to get me a gift that would reignite my passion and help me WANT to sit at my computer and edit my photos. It worked! I opened the box and thought, “Oh, this is going to be so helpful and fun!” We set it up in less than five minutes and I spent the rest of the day editing photos from a trip I had completely ignored for months.

Following photoshoots, do you still look at every single raw image yourself as part of the editing process? If yes, why? If no, why? Has Loupedeck had a fundamental impact on how you approach the processing and editing of raw images?

Yes. I created this world. I’m passionate about it. I can identify what works best. The arrows and rating buttons have made the selection process so much more efficient and enjoyable… the part of the process that was the slowest and most grueling. From selection to coloring, to exporting, there is no separation from Loupedeck in my process. I’m a HUGE fan.

When you first began to properly integrate Loupedeck into your work processes, what was the first couple of ‘revelatory’ things you noticed?

It was a constant … “I just have to push that?! I just have to turn that?!” More than anything, it cut my work time in half.

Essentially all photographers will agree that the editing part is often the most ‘draining’ and ‘time-consuming’ element of photography as a profession. How has Loupedeck changed your overall methodology, processes and productivity-related to your post-shoot workflow?

Most photographers aren’t in a mask as the subject of their own photography as they direct almost every shot in their shoot. Post has always been the most exciting part of the process for me. Loupedeck has created a real flow, a real process.

Does the knowledge that you now have Loupedeck for post-processing allow you to be more experimental, or daring, or otherwise ‘different’ in your approach to work, or during a shoot, in the here and now, 2019?

Without a shadow of a doubt, 100%, I could not have arrived at where I am in photographic style without the power that Loupedeck has brought to my toolbox.

Any last comments Lando Griffin?

Can’t wait to see how Loupedeck continues to evolve. I believe every purchase of Lightroom should come with a Loupedeck console.

LEARN MORE ABOUT THE SUITED RACER:

You can learn more about Lando Griffin, his recent projects and art work by visiting his personal website and Instagram.

You can follow Lando on Instagram @thesuitedracer

LANDO GRIFFIN’S (“THE SUITED RACER”) PERSONAL WEBSITE:

https://www.thesuitedracer.com/

Learn more about Jayzombie

You can learn more about Jessica Zollman (Jayzombie) and her colorful, geometric photography by visiting her personal website where she showcases her portfolio and past projects. Follow Jayzombie on Twitter or Instagram to get the latest updates on her life, new projects, and to view more vibrant photos from her travels and daily life.

You can follow Jessica on Instagram @jayzombie

Jessica Zollman’s (“Jayzombie”) Personal Website: 

http://www.jayzombie.com

Instagram:

https://www.instagram.com/jayzombie/

Twitter: 

@Jayzombie

Discover more Loupedeck Stories

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Artikkeli Creating Order from Chaos julkaistiin ensimmäisen kerran Loupedeck.

]]> https://loupedeck.com/blog/creating-order-from-chaos/feed/ 0 Florian Ledoux on Saving The Arctic With an Aerial Perspective https://loupedeck.com/blog/florian-ledoux-on-saving-the-arctic-with-an-aerial-perspective/ https://loupedeck.com/blog/florian-ledoux-on-saving-the-arctic-with-an-aerial-perspective/#respond Mon, 08 Jul 2019 08:12:00 +0000 https://loupedeck.com/?p=3880 As a self-taught photographer, Florian Ledoux’s passion for preserving nature and for dynamic drone-based aerial imagery has thrust him into an extraordinary career abounding with arctic expeditions and involvement with conservation groups, where together they work to bring awareness to the urgency

Artikkeli Florian Ledoux on Saving The Arctic With an Aerial Perspective julkaistiin ensimmäisen kerran Loupedeck.

]]>

Florian Ledoux on Saving The Arctic With an Aerial Perspective

Loupedeck+ 07/08/2019

As a self-taught photographer, Florian Ledoux’s passion for preserving nature and for dynamic drone-based aerial imagery has thrust him into an extraordinary career abounding with arctic expeditions and involvement with conservation groups, where together they work to bring awareness to the urgency

Beginning with the classic nature vs nurture question; are great photographers born or made?

I can only speak for myself. Made. Nothing I have is a gift. I’ve had to work hard to be better every step of the way. I do believe this is true across the spectrum. The best con is making people believe things are effortless when they are anything but.

Your public image is that of an anonymous artist, social media influencer, photographer, social commentator, and bespoke-suited motorbike aficionado. This is quite a unique combination. Briefly, how did we get here?

I wasn’t really looking for (or see it as) a “public image”. All those things were intertwined with who I am, I simply covered my face up. We can all agree that it can be kind of ridiculous. We can all agree it isn’t that ridiculous with what’s really out there. The influencer part is a by-product of the work.

Can you describe the defining moment when you realized that you had a passion for photography?

When I realized I could create a broad story for the audience from a single moment captured correctly. My biggest passion is storytelling.

From your published material, it would appear that you prefer shooting in natural rather than artificial light? Why?

What I’m doing only works if it is believable. The story and imagery can feel supernatural, but it is not. Nothing about it is. It is important to always look for natural sources in those moments that bounce light in specific beautiful ways. Little pockets of light in the setting can bring the image to life.

Your approach to your professional photographic work does look to veer more towards a carefully choreographed and ‘stage-managed style, rather than a more spontaneous and free-flowing ‘point and click’ style. Is this a valid observation?

I can see why you could make that observation. The truth though, is that it is very spontaneous and free-flowing. As close to point and click as you can get. Sometimes, depending on the weather, I’ll coordinate a predetermined route for moving shots. But the actual shooting is very much point and click.

Looking at your awesome images on Instagram, it seems evident that you have a signature photographic ‘look’. How did it come about?

I want everything to look real and possible. But, I want to communicate it with as much a cinematic style as I can. This is where Loupedeck changed the entire game for me. It helped me achieve a breakthrough and get closer to that vision.

Continuing this reference to a ‘signature look’, your love (or is it obsession) for the color black in your photography is clear. It is a deeply cinematic, fantastically rich black that permeates your work, your in-demand artworks included. Tell us more …

The overarching story of this project will end in a scripted show on a streaming platform. This is what I’m working on right now. The world of “The Suited Racer” is dark, socially dystopian, and it juxtaposes how much I don’t take myself seriously. Color is such a big part of storytelling, it communicates so much.

Is there a conscious ‘battle’ for supremacy, in terms of technicality (i.e. 40%) vs emotionality (i.e. 60%), when striving for the defining or iconoclastic image?

I was speaking about this just recently with some photographer friends of mine. One of them is one of the best product photographers out there. His technical knowledge is SO VAST, and for a product that works so well. For what I do, I believe it is 90% emotional, 10% technical. Technicality can get in the way of creating a moment that will spark emotion in the spectator.

Further to the technical and emotional ‘battle’, we could also talk about the powerful physicality of your images. If a face is hidden behind a mask, then body language must take precedence. Is this correct?

Absolutely. Conveying emotion without any facial features is something I’ve learned. The body positioning with a slight tilt or dip of the head becomes the only way to communicate.

Have your photographic methodologies or technological considerations changed during the course your career, or does this sound too geeky / scientific?

They’ve progressed. I truly compete only with the man I was yesterday. I want to beat that guy every day. When he wins, we both lose.

Turning to your professional work setup, what were your very first impressions of the Loupedeck console?

In Lightroom, you start at the top of the tools and work your way down. Some say this is the “proper” or intended way for it to be used. The Loupedeck console turned my post-production work from a serial endeavor to a parallel endeavor. I don’t know if there is a better way to describe it. I could imagine what tweaking luminance on a certain color channel while tweaking contrast may look like without having to “go back” up. You’d have to own a Loupedeck to truly understand what I mean.

Following photoshoots, do you still look at every single raw image yourself as part of the editing process? If yes, why? If no, why? Has Loupedeck had a fundamental impact on how you approach the processing and editing of raw images?

Yes. I created this world. I’m passionate about it. I can identify what works best. The arrows and rating buttons have made the selection process so much more efficient and enjoyable… the part of the process that was the slowest and most grueling. From selection to coloring, to exporting, there is no separation from Loupedeck in my process. I’m a HUGE fan.

When you first began to properly integrate Loupedeck into your work processes, what was the first couple of ‘revelatory’ things you noticed?

It was a constant … “I just have to push that?! I just have to turn that?!” More than anything, it cut my work time in half.

Essentially all photographers will agree that the editing part is often the most ‘draining’ and ‘time-consuming’ element of photography as a profession. How has Loupedeck changed your overall methodology, processes and productivity-related to your post-shoot workflow?

Most photographers aren’t in a mask as the subject of their own photography as they direct almost every shot in their shoot. Post has always been the most exciting part of the process for me. Loupedeck has created a real flow, a real process.

Does the knowledge that you now have Loupedeck for post-processing allow you to be more experimental, or daring, or otherwise ‘different’ in your approach to work, or during a shoot, in the here and now, 2019?

Without a shadow of a doubt, 100%, I could not have arrived at where I am in photographic style without the power that Loupedeck has brought to my toolbox.

Any last comments Lando Griffin?

Can’t wait to see how Loupedeck continues to evolve. I believe every purchase of Lightroom should come with a Loupedeck console.

LEARN MORE ABOUT THE SUITED RACER:

You can learn more about Lando Griffin, his recent projects and art work by visiting his personal website and Instagram.

You can follow Lando on Instagram @thesuitedracer

LANDO GRIFFIN’S (“THE SUITED RACER”) PERSONAL WEBSITE:

https://www.thesuitedracer.com/

How Loupedeck+ fits into Florian editing workflow

Have you run into any challenges when working with drones? For instance, when equipped with multiple large accessories such as a mic and a long lens?

Flying in the Arctic wasn’t so easy with an early-stage drone. There were crashes and a few lost machines before getting to my current comfort level.  And although the technology has improved, it can still be tricky. Especially working and flying in the arctic. It’s more complicated because of the lack of satellite signal, interference with magnetism and northern lights, thankfully with practice I’ve learned how to get beyond drone limitations.

Shooting a white landscape in either sunny or overcast conditions can pose technical challenges. Yet each of your images embodies that luminous quality of snow reflecting light without compromising highlight or shadow detail. How much of that look do you owe to accurate exposure versus the work that you do in post-processing? How does editing with Loupedeck+ play into this light-balancing act?

In this white world of the arctic, it’s always a matter of making sure your image is not over or underexposed. Loupedeck helps me to edit much faster. Coupled with a Benq calibrated screen I can routinely achieve highlight balance that accurately depicts the gleaming white of snow without losing detail.

Loupedeck’s wide-ranging adjustments can be used to correct a variety of technical issues in the post. In knowing that this is part of your toolkit, has your Loupedeck+ emboldened you to take any risks or allowed you to become more experimental when shooting?

I haven’t gotten to know Loupedeck+ well enough quite yet to take huge risks, but I’m slowly testing the boundaries. Coupled with the wide dynamic range of new cameras, I’d say that by using Loupedeck+ I’ve been able to push my creativity.

Do you have any tips on specific Loupedeck+ settings and techniques that you feel are essential to your post-editing process?

Like anything new, it requires some time to feel confident and to commit the various functions to memory. But because the design is intuitive, you can become familiar with the console rather quickly. Ultimately, practice is the key to developing skillful use of the Loupedeck+.

Is Loupedeck+ integral to both your video and stills photography editing?

Most of my experience with Loupedeck+ has been editing stills in Lightroom. This has greatly helped to boost my creativity by allowing increased control over my images. I’m not as experienced editing with Loupedeck+ in Premiere or FCPX,  but I am due to begin a video editing project next month for the release of a new documentary called “I am Fragile,” and I’m very excited for the opportunity to have a hand at editing the project using the Loupedeck+! I’m looking forward to seeing what creative tweaks are in-store and anticipate that it will save me even more time in Premiere than it has in Lightroom.

How has using Loupedeck+ changed your editing experience? Are there any major improvements in your workflow from the point of image capture to the final edited image?

Loupedeck+ is a beautiful tool that has both unlocked greater creativity in editing my images and allowed me to work much faster. It has become an integral part of my production chain together with my computer, calibrated screen, and printer. So far I’ve been using it in the studio setting, but I’m looking forward to the opportunity when I can take it on future expeditions and see what’s it’s like to work with it out in the field!

Learn more about Florian:

To get a glimpse of Florian’s moving documentaries and still photography, visit his personal website and vimeo project links to access a large collection of his work. Follow his social media channels to get the latest updates on Florian’s projects and for news on the upcoming release of his Netflix documentary!

Florian Ledoux Personal Website: 

https://www.florian-ledoux.com

Arctic Arts Project presentation to IUCN:

https://vimeo.com/347149339?fbclid=IwAR2VTEmFJZUZfqUdJbro-dMFZrRNYBH6cIQ_o_I6IYt_cMC4a-azR0OGIgA

Instagram:

https://www.instagram.com/florian_ledoux_photographer

Facebook

https://www.facebook.com/ledouxphotograph

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]]> https://loupedeck.com/blog/florian-ledoux-on-saving-the-arctic-with-an-aerial-perspective/feed/ 0 Depth of Field with Johany Jutras https://loupedeck.com/blog/depth-of-field-with-johany-jutras/ https://loupedeck.com/blog/depth-of-field-with-johany-jutras/#respond Fri, 08 Sep 2017 08:18:00 +0000 https://loupedeck.com/?p=3890 Johany Jutras is one of the leading sports photographers in Canada. Here she gives a unique insight into her creative journey and her impressions of working with Loupedeck.

Artikkeli Depth of Field with Johany Jutras julkaistiin ensimmäisen kerran Loupedeck.

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Depth of Field with Johany Jutras

Loupedeck+ 09/08/2017

Johany Jutras is one of the leading sports photographers in Canada. Here she gives a unique insight into her creative journey and her impressions of working with Loupedeck.

Beginning with the classic nature vs nurture question; are great photographers born or made?

I can only speak for myself. Made. Nothing I have is a gift. I’ve had to work hard to be better every step of the way. I do believe this is true across the spectrum. The best con is making people believe things are effortless when they are anything but.

Your public image is that of an anonymous artist, social media influencer, photographer, social commentator, and bespoke-suited motorbike aficionado. This is quite a unique combination. Briefly, how did we get here?

I wasn’t really looking for (or see it as) a “public image”. All those things were intertwined with who I am, I simply covered my face up. We can all agree that it can be kind of ridiculous. We can all agree it isn’t that ridiculous with what’s really out there. The influencer part is a by-product of the work.

Can you describe the defining moment when you realized that you had a passion for photography?

When I realized I could create a broad story for the audience from a single moment captured correctly. My biggest passion is storytelling.

From your published material, it would appear that you prefer shooting in natural rather than artificial light? Why?

What I’m doing only works if it is believable. The story and imagery can feel supernatural, but it is not. Nothing about it is. It is important to always look for natural sources in those moments that bounce light in specific beautiful ways. Little pockets of light in the setting can bring the image to life.

Your approach to your professional photographic work does look to veer more towards a carefully choreographed and ‘stage-managed style, rather than a more spontaneous and free-flowing ‘point and click’ style. Is this a valid observation?

I can see why you could make that observation. The truth though, is that it is very spontaneous and free-flowing. As close to point and click as you can get. Sometimes, depending on the weather, I’ll coordinate a predetermined route for moving shots. But the actual shooting is very much point and click.

Looking at your awesome images on Instagram, it seems evident that you have a signature photographic ‘look’. How did it come about?

I want everything to look real and possible. But, I want to communicate it with as much a cinematic style as I can. This is where Loupedeck changed the entire game for me. It helped me achieve a breakthrough and get closer to that vision.

Continuing this reference to a ‘signature look’, your love (or is it obsession) for the color black in your photography is clear. It is a deeply cinematic, fantastically rich black that permeates your work, your in-demand artworks included. Tell us more …

The overarching story of this project will end in a scripted show on a streaming platform. This is what I’m working on right now. The world of “The Suited Racer” is dark, socially dystopian, and it juxtaposes how much I don’t take myself seriously. Color is such a big part of storytelling, it communicates so much.

Is there a conscious ‘battle’ for supremacy, in terms of technicality (i.e. 40%) vs emotionality (i.e. 60%), when striving for the defining or iconoclastic image?

I was speaking about this just recently with some photographer friends of mine. One of them is one of the best product photographers out there. His technical knowledge is SO VAST, and for a product that works so well. For what I do, I believe it is 90% emotional, 10% technical. Technicality can get in the way of creating a moment that will spark emotion in the spectator.

Further to the technical and emotional ‘battle’, we could also talk about the powerful physicality of your images. If a face is hidden behind a mask, then body language must take precedence. Is this correct?

Absolutely. Conveying emotion without any facial features is something I’ve learned. The body positioning with a slight tilt or dip of the head becomes the only way to communicate.

Have your photographic methodologies or technological considerations changed during the course your career, or does this sound too geeky / scientific?

They’ve progressed. I truly compete only with the man I was yesterday. I want to beat that guy every day. When he wins, we both lose.

Turning to your professional work setup, what were your very first impressions of the Loupedeck console?

In Lightroom, you start at the top of the tools and work your way down. Some say this is the “proper” or intended way for it to be used. The Loupedeck console turned my post-production work from a serial endeavor to a parallel endeavor. I don’t know if there is a better way to describe it. I could imagine what tweaking luminance on a certain color channel while tweaking contrast may look like without having to “go back” up. You’d have to own a Loupedeck to truly understand what I mean.

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Artikkeli Depth of Field with Johany Jutras julkaistiin ensimmäisen kerran Loupedeck.

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