Darren Greer Photography

I was approached recently and asked to create an “antique” photograph of the LDS Orlando Temple, to be used in a project for the Young Women of the church here in my area. Their request was to have an antique photo, along with some textual overlays of the LDS Article of Faith #13. They had several examples that they had seen online for other projects, which can be seen here, and here. There are probably several hundred different ways to accomplish this, using a myriad of tools available, but I stuck with the following:

I started with the following photograph:

I am far from an expert with Photoshop, so I chose to start with the incredible program Silver Efex Pro, by Nik Software. This program has dozens of pre-defined black and white, sepia, etc., functions, each of which can be customized once you find the mode that best suites your photograph. For this project, I used their “Antique Plate II” preset, and adjusted to meet my desired output. This allowed me to quickly get my photograph to the coloring that I wanted for this “antique” project.

At this point, I exported my photograph to Photoshop, in order to start the texturing process. Applying textures within photoshop is quite simple, but can take some time, depending on how many you apply, and how much tweaking is done to each layer. I’ve been collecting various textures for a while now, to be used in all manner of photo manipulation. If you are just starting out, I suggest you take a look at bittbox’s flickr sets, which contains dozens of free textures. Once you select the texture(s) you want to work with, it is as simple as pasting the textures on layers above your base photograph, and then changing the blending mode of the layers. For my taste, I typically use blending mode “Soft Light” or “Hard Light”, but it is best to experiment with each mode to see the effects that are achieved with each. In order to get the best output, I also play heavily with the opacity of each layer to lessen or increase the impact each texture has.

Before finishing out the photography, I created masks on several of the texture layers, and lessened the impact the texture had on the Temple itself, in order to perserve the detail of the building. The completed antique version looks like this:

As a final touch for this project, I created several textual layers over the completed image, with a calligraphy font, of the 13th Article of Faith. I also super-imposed the signatures of Joseph Smith (First LDS Prophet), and Thomas S. Monson (Current LDS Prophet) onto the photograph. This can be seen here:

The entire gallery can be seen below, which also includes some black and white versions of the photograph.

For those with a DSLR, you probably have a feature built into the camera that you haven’t heard of, or even used before.  This feature, called 2nd curtain sync or rear curtain sync, controls when the flash syncs with the shutter.  1st curtain being at the opening of the shutter, and 2nd/rear curtain being at the closing of the shutter.  Without seeing the pictures below, one might not be able to see an obvious use for this, but after looking at the pictures you’ll probably see the fun that could be had with such an option.  There are probably far more creative things that could be achieved with this feature, but I’ll leave that to others to describe, and just describe what I know.

First, this is what you need:

• DSLR with 2nd/rear curtain option
• External Flash (optional, but preferable)
• Tripod
• Remote trigger (optional, but preferable)
• Imagination!

So here is my basic setup.  First, wait for a nice dark evening, preferably with a new moon, or in the shade of a house such that there is minimal, if any, light.  Once you’ve found your location, make sure you have a good tripod, and it helps to have a remote trigger for the shutter.  The most difficult part of this setup is getting your subjects in focus.  What I did, was take a flood light and set it near the camera.  Then, I place an object on the ground and have the subject stand there, with the flood light on, and in manual focus, focus in on your subject.  Once you are satisfied with the focal plane, turn the floodlights off.

Now, you should be shooting in manual mode at this point, as you’ll need to get full control of the cameras aperture, shutter speed and ISO.  On a very dark night, I’ve found the following settings good:

• ISO: 400 – 600
• Aperture: f8-f14
• Shutter Speed: 4sec – bulb

I use a remote trigger and bulb, which gives me the greatest control.  It also helps to have an external flash, as the built-in flash isn’t the most powerful.  Now, we have everything ready to “play with light”.

There are a couple of ways to do this, but here is what I do.  I’ll have the subject pose as I want them, and then have someone manning the remote trigger.  By shooting in bulb, I can control the timing, and it gives me more time to “paint”.  So, have the cameraman press and hold the shutter open, and then the artist runs into the scene and, with the LED facing the camera, start painting.  The beauty of this setup, is that while you are painting, the camera can only see the LED light.  Once you have completed your painting, run out of the camera’s view and give the signal to release the shutter.  Now, with the 2nd/rear curtain sync enabled, the flash with fire just before the shutter closes, thus capturing your subjects and preserving the LED painting that you performed earlier.

Very simple, yet very fun.  My kids love it, and these pictures are from a party that my son just had with his friends.  We would have done more, but it was quite cold out, so we gave up after about an hour.  Still, the results were good.