f2 - ISO 200 - 1/8000 sec This photo needed some straightening, but not to perfection. I didn’t want to use the transform tool to make it impossibly straight, so I just lined up the top of the center building to make it horizontally straight.

f2 - ISO 200 - 1/8000 sec
This photo needed some straightening, but not to perfection. I didn’t want to use the transform tool to make it impossibly straight, so I just lined up the top of the center building to make it horizontally straight. I took this one into Photoshop to control the colors a bit more. The per-color control is a lot more powerful on there, so it let me remove some of the greenish cast without drastically changing the photo. I wanted the photo to feel clean and crisp, so I kept some of the reds and blues while lowering the yellows and magentas. I also shifted the mids a bit higher and brought the blacks down. This was a simple one.

f2 - ISO 200 - 1/1000 sec Not only did I crop this to the 2.35:1 aspect ratio, I also cropped in a bit. I didn’t want the sidewalk on the bottom left to take any more attention than it deserved, so I did my best to cut it out while giving the

f2 - ISO 200 - 1/1000 sec
Not only did I crop this to the 2.35:1 aspect ratio, I also cropped in a bit. I didn’t want the sidewalk on the bottom left to take any more attention than it deserved, so I did my best to cut it out while giving the girl’s skirt enough room on top. I also took a bit of grass out of the top right with the spot removal tool. Looking back I could have made it perfect, but it wasn’t too major an issue. I added some contrast back in via Photoshop, as well as +5 exposure.

f2 - ISO 200 - 1/500 sec I think this photo is my favorite of them all. The shallow depth-of-field ended up working out so well, the colors are nice, especially with the reds and yellows, and the moment itself makes for an interesting photo.

f2 - ISO 200 - 1/500 sec
I think this photo is my favorite of them all. The shallow depth-of-field ended up working out so well, the colors are nice, especially with the reds and yellows, and the moment itself makes for an interesting photo. I’m surprised this one worked out as well as it did. More than any others, this photo went through a few rounds of Photoshop editing. I’d bring it in to adjust the exposure and colors, then twenty minutes later I’d check back and see something else I wanted to shift. Overall, the struggle was in preserving the blueish color with the warm tones. I also used the adjustment brush to bring out his helmet and face, as well as the radial filter to add a subtle warm glow to the background on top.

f2 - ISO 200 - 1/4000 sec Tons of blue had to be taken out of this photo. This sky cast a tint on everything, especially with shooting straight up. This was another one that benefited from some time in Photoshop. I never take the blue colors

f2 - ISO 200 - 1/4000 sec
Tons of blue had to be taken out of this photo. This sky cast a tint on everything, especially with shooting straight up. This was another one that benefited from some time in Photoshop. I never take the blue colors all the way out of a photo, as I think that makes it look too unnatural, but I did lower them quite a bit on this one. I also brought the exposure on the subject (it’s Allie lol) up so she wouldn’t get lost in the darkness of the bridge. Not much else was done.

f2 - ISO 200 - 1/8000 sec Almost nothing went into this photo. I actually just tested it by resetting and bumping the exposure, and aside from a little contrast, it was back to its final form. The lighting and the colors really worked out on

f2 - ISO 200 - 1/8000 sec
Almost nothing went into this photo. I actually just tested it by resetting and bumping the exposure, and aside from a little contrast, it was back to its final form. The lighting and the colors really worked out on this one.

f2 - ISO 200 - 1/2000 sec Here’s a perfect example of just capturing the scene. It’s anything but perfect, but it ended up working exactly how I envisioned it. There was a lot of straightening and transforming to bring it to a place I was hap

f2 - ISO 200 - 1/2000 sec
Here’s a perfect example of just capturing the scene. It’s anything but perfect, but it ended up working exactly how I envisioned it. There was a lot of straightening and transforming to bring it to a place I was happy with but other than that it was simple. The lighting was pretty nice, and the aqua colors were the only issue I had. Overall a very easy one, even though the original looks crazy wrong.

f2 - ISO 200 - 1/2000 sec Another example of the whole “capture the moment” thing. I was ready when I saw him pull the signs out, and when he walked over to this wall, I got him in action. I took the yellow down a bit more than usual, and lef

f2 - ISO 200 - 1/2000 sec
Another example of the whole “capture the moment” thing. I was ready when I saw him pull the signs out, and when he walked over to this wall, I got him in action. I took the yellow down a bit more than usual, and left everything but the shadows in their place (highlights, blacks, whites). I also removed the faint reflection on the wall to his right. They were distracting and unnecessary, and easy to remove.

f2.8 - ISO 200 - 1/2000 sec This was one of the first photos of the day. I was still getting my bearings, but I knew I wanted some kind of truck or car with their lights on. I had some wild hopes that never materialized, but this simple one l

f2.8 - ISO 200 - 1/2000 sec
This was one of the first photos of the day. I was still getting my bearings, but I knew I wanted some kind of truck or car with their lights on. I had some wild hopes that never materialized, but this simple one looked good enough. Aside from the usual, I bumped up the highlights on the back of the truck and took a bit of the saturation out. I wanted it to be the center of attention, and I think that helped.

f2 - ISO 200 - 1/4000 sec This one, among others, was my attempt at a busier photo with multiple lighting situations and infinity focus with a subject in the foreground. I played with this concept a lot because it feels totally cinematic. The

f2 - ISO 200 - 1/4000 sec
This one, among others, was my attempt at a busier photo with multiple lighting situations and infinity focus with a subject in the foreground. I played with this concept a lot because it feels totally cinematic. The only thing I did differently with this photo was my use of the graduated filter. On the left, a bit warmer and brighter, on the right, a bit cooler and darker.

f2 - ISO 200 - 1/4000 sec This photo, as well as the final two, were meant to feel a little dark and monochromatic. I wanted the very light blueish hue to take over, but they all have different methods of achieving that. For this one, I remov

f2 - ISO 200 - 1/4000 sec
This photo, as well as the final two, were meant to feel a little dark and monochromatic. I wanted the very light blueish hue to take over, but they all have different methods of achieving that. For this one, I removed most of the other colors drastically in photoshop, leaving me with that mysterious blue. The image still has some warm hues, because I left the white balance a bit warmer to keep some life in it. I didn’t want it to be 100% blue.

f2 - ISO 400 - 1/1000 sec Certainly the “biggest” photo of the set. This wasn’t as easy to handle. I wanted to get a monochromatic look, but I didn’t want it to be overdone. To achieve that look, I messed with the tone curve quite a bit, rais

f2 - ISO 400 - 1/1000 sec
Certainly the “biggest” photo of the set. This wasn’t as easy to handle. I wanted to get a monochromatic look, but I didn’t want it to be overdone. To achieve that look, I messed with the tone curve quite a bit, raising the mids considerably. This may also be the only photo with split toning. I applied a slight orange hue at about 6% to the highlights, and a blue at about 12% to the shadows, with a +13 balance. Compared to the original, this one is almost unrecognizable, but I think it works well within the set.

f2 - ISO 200 - 1/500 sec My main concern with this photo was keeping the attention on the city street below, but also not losing the subject in the foreground. Even though she’s purposely out of focus, I still didn’t want the shadows to swall

f2 - ISO 200 - 1/500 sec
My main concern with this photo was keeping the attention on the city street below, but also not losing the subject in the foreground. Even though she’s purposely out of focus, I still didn’t want the shadows to swallow her up. I raised the shadows, but not enough to show all the detail. I wanted her shape to stick around, but the street to be the main focus. Once I brought the aqua and blue down, this one already had a monochromatic feel, which I liked a lot. Any additional editing was to highlight that feeling.

f2 - ISO 200 - 1/4000 sec This was taken at almost the exact same spot and time as the other one like four photos back. I was still trying to get a busier photo, especially with such nice warm light coming in from the left. I like this one be

f2 - ISO 200 - 1/4000 sec
This was taken at almost the exact same spot and time as the other one like four photos back. I was still trying to get a busier photo, especially with such nice warm light coming in from the left. I like this one because each person plays with the light differently. Other than a few tweaks with the yellows and greens, I didn’t touch this one much. I didn’t even shift the shadows, as I liked what they were doing to the right side of the photo.

f2.8 - ISO 640 - 1/4000 sec This photo is actually shot vertically, but I didn’t want to mess up the flow of the rest of the images, so you can use your imagination. The colors in this one are clearly much different, but especially for the se

f2.8 - ISO 640 - 1/4000 sec
This photo is actually shot vertically, but I didn’t want to mess up the flow of the rest of the images, so you can use your imagination. The colors in this one are clearly much different, but especially for the set, I think it turned out well. I used the Adobe Portrait profile for the smoother skin tones, and I also used the adjustment brush to make everything even on his face. You’ll notice the whites are lowered as well, and I did that with the tone curve. I brought the max white point down to fully even it out. I also took this one into Photoshop to reduce some of the saturated blues on the wall behind him. I like this photo for the set, but I also just love it as a stand-alone portrait.

f2 - ISO 200 - 1/4000 sec I actually took this same photo three times just to make sure I nailed the focus. It’s still not tack-sharp, but that’s okay. I should have brought the aperture up to at least 2.8 to get rid of some of that softness.

f2 - ISO 200 - 1/4000 sec
I actually took this same photo three times just to make sure I nailed the focus. It’s still not tack-sharp, but that’s okay. I should have brought the aperture up to at least 2.8 to get rid of some of that softness. You might also notice I removed the handlebars from the top left, haha. I also used the adjustment brush to raise the contrast on the handlebars in the center. Finally, I used the radial brush and selected everything but the bike in the center. I lowered the exposure, shadows, and clarity, essentially pushing those parts of the image deeper into the background.

f2 - ISO 200 - 1/8000 sec This photo needed some straightening, but not to perfection. I didn’t want to use the transform tool to make it impossibly straight, so I just lined up the top of the center building to make it horizontally straight.
f2 - ISO 200 - 1/1000 sec Not only did I crop this to the 2.35:1 aspect ratio, I also cropped in a bit. I didn’t want the sidewalk on the bottom left to take any more attention than it deserved, so I did my best to cut it out while giving the
f2 - ISO 200 - 1/500 sec I think this photo is my favorite of them all. The shallow depth-of-field ended up working out so well, the colors are nice, especially with the reds and yellows, and the moment itself makes for an interesting photo.
f2 - ISO 200 - 1/4000 sec Tons of blue had to be taken out of this photo. This sky cast a tint on everything, especially with shooting straight up. This was another one that benefited from some time in Photoshop. I never take the blue colors
f2 - ISO 200 - 1/8000 sec Almost nothing went into this photo. I actually just tested it by resetting and bumping the exposure, and aside from a little contrast, it was back to its final form. The lighting and the colors really worked out on
f2 - ISO 200 - 1/2000 sec Here’s a perfect example of just capturing the scene. It’s anything but perfect, but it ended up working exactly how I envisioned it. There was a lot of straightening and transforming to bring it to a place I was hap
f2 - ISO 200 - 1/2000 sec Another example of the whole “capture the moment” thing. I was ready when I saw him pull the signs out, and when he walked over to this wall, I got him in action. I took the yellow down a bit more than usual, and lef
f2.8 - ISO 200 - 1/2000 sec This was one of the first photos of the day. I was still getting my bearings, but I knew I wanted some kind of truck or car with their lights on. I had some wild hopes that never materialized, but this simple one l
f2 - ISO 200 - 1/4000 sec This one, among others, was my attempt at a busier photo with multiple lighting situations and infinity focus with a subject in the foreground. I played with this concept a lot because it feels totally cinematic. The
f2 - ISO 200 - 1/4000 sec This photo, as well as the final two, were meant to feel a little dark and monochromatic. I wanted the very light blueish hue to take over, but they all have different methods of achieving that. For this one, I remov
f2 - ISO 400 - 1/1000 sec Certainly the “biggest” photo of the set. This wasn’t as easy to handle. I wanted to get a monochromatic look, but I didn’t want it to be overdone. To achieve that look, I messed with the tone curve quite a bit, rais
f2 - ISO 200 - 1/500 sec My main concern with this photo was keeping the attention on the city street below, but also not losing the subject in the foreground. Even though she’s purposely out of focus, I still didn’t want the shadows to swall
f2 - ISO 200 - 1/4000 sec This was taken at almost the exact same spot and time as the other one like four photos back. I was still trying to get a busier photo, especially with such nice warm light coming in from the left. I like this one be
f2.8 - ISO 640 - 1/4000 sec This photo is actually shot vertically, but I didn’t want to mess up the flow of the rest of the images, so you can use your imagination. The colors in this one are clearly much different, but especially for the se
f2 - ISO 200 - 1/4000 sec I actually took this same photo three times just to make sure I nailed the focus. It’s still not tack-sharp, but that’s okay. I should have brought the aperture up to at least 2.8 to get rid of some of that softness.

f2 - ISO 200 - 1/8000 sec
This photo needed some straightening, but not to perfection. I didn’t want to use the transform tool to make it impossibly straight, so I just lined up the top of the center building to make it horizontally straight. I took this one into Photoshop to control the colors a bit more. The per-color control is a lot more powerful on there, so it let me remove some of the greenish cast without drastically changing the photo. I wanted the photo to feel clean and crisp, so I kept some of the reds and blues while lowering the yellows and magentas. I also shifted the mids a bit higher and brought the blacks down. This was a simple one.

f2 - ISO 200 - 1/1000 sec
Not only did I crop this to the 2.35:1 aspect ratio, I also cropped in a bit. I didn’t want the sidewalk on the bottom left to take any more attention than it deserved, so I did my best to cut it out while giving the girl’s skirt enough room on top. I also took a bit of grass out of the top right with the spot removal tool. Looking back I could have made it perfect, but it wasn’t too major an issue. I added some contrast back in via Photoshop, as well as +5 exposure.

f2 - ISO 200 - 1/500 sec
I think this photo is my favorite of them all. The shallow depth-of-field ended up working out so well, the colors are nice, especially with the reds and yellows, and the moment itself makes for an interesting photo. I’m surprised this one worked out as well as it did. More than any others, this photo went through a few rounds of Photoshop editing. I’d bring it in to adjust the exposure and colors, then twenty minutes later I’d check back and see something else I wanted to shift. Overall, the struggle was in preserving the blueish color with the warm tones. I also used the adjustment brush to bring out his helmet and face, as well as the radial filter to add a subtle warm glow to the background on top.

f2 - ISO 200 - 1/4000 sec
Tons of blue had to be taken out of this photo. This sky cast a tint on everything, especially with shooting straight up. This was another one that benefited from some time in Photoshop. I never take the blue colors all the way out of a photo, as I think that makes it look too unnatural, but I did lower them quite a bit on this one. I also brought the exposure on the subject (it’s Allie lol) up so she wouldn’t get lost in the darkness of the bridge. Not much else was done.

f2 - ISO 200 - 1/8000 sec
Almost nothing went into this photo. I actually just tested it by resetting and bumping the exposure, and aside from a little contrast, it was back to its final form. The lighting and the colors really worked out on this one.

f2 - ISO 200 - 1/2000 sec
Here’s a perfect example of just capturing the scene. It’s anything but perfect, but it ended up working exactly how I envisioned it. There was a lot of straightening and transforming to bring it to a place I was happy with but other than that it was simple. The lighting was pretty nice, and the aqua colors were the only issue I had. Overall a very easy one, even though the original looks crazy wrong.

f2 - ISO 200 - 1/2000 sec
Another example of the whole “capture the moment” thing. I was ready when I saw him pull the signs out, and when he walked over to this wall, I got him in action. I took the yellow down a bit more than usual, and left everything but the shadows in their place (highlights, blacks, whites). I also removed the faint reflection on the wall to his right. They were distracting and unnecessary, and easy to remove.

f2.8 - ISO 200 - 1/2000 sec
This was one of the first photos of the day. I was still getting my bearings, but I knew I wanted some kind of truck or car with their lights on. I had some wild hopes that never materialized, but this simple one looked good enough. Aside from the usual, I bumped up the highlights on the back of the truck and took a bit of the saturation out. I wanted it to be the center of attention, and I think that helped.

f2 - ISO 200 - 1/4000 sec
This one, among others, was my attempt at a busier photo with multiple lighting situations and infinity focus with a subject in the foreground. I played with this concept a lot because it feels totally cinematic. The only thing I did differently with this photo was my use of the graduated filter. On the left, a bit warmer and brighter, on the right, a bit cooler and darker.

f2 - ISO 200 - 1/4000 sec
This photo, as well as the final two, were meant to feel a little dark and monochromatic. I wanted the very light blueish hue to take over, but they all have different methods of achieving that. For this one, I removed most of the other colors drastically in photoshop, leaving me with that mysterious blue. The image still has some warm hues, because I left the white balance a bit warmer to keep some life in it. I didn’t want it to be 100% blue.

f2 - ISO 400 - 1/1000 sec
Certainly the “biggest” photo of the set. This wasn’t as easy to handle. I wanted to get a monochromatic look, but I didn’t want it to be overdone. To achieve that look, I messed with the tone curve quite a bit, raising the mids considerably. This may also be the only photo with split toning. I applied a slight orange hue at about 6% to the highlights, and a blue at about 12% to the shadows, with a +13 balance. Compared to the original, this one is almost unrecognizable, but I think it works well within the set.

f2 - ISO 200 - 1/500 sec
My main concern with this photo was keeping the attention on the city street below, but also not losing the subject in the foreground. Even though she’s purposely out of focus, I still didn’t want the shadows to swallow her up. I raised the shadows, but not enough to show all the detail. I wanted her shape to stick around, but the street to be the main focus. Once I brought the aqua and blue down, this one already had a monochromatic feel, which I liked a lot. Any additional editing was to highlight that feeling.

f2 - ISO 200 - 1/4000 sec
This was taken at almost the exact same spot and time as the other one like four photos back. I was still trying to get a busier photo, especially with such nice warm light coming in from the left. I like this one because each person plays with the light differently. Other than a few tweaks with the yellows and greens, I didn’t touch this one much. I didn’t even shift the shadows, as I liked what they were doing to the right side of the photo.

f2.8 - ISO 640 - 1/4000 sec
This photo is actually shot vertically, but I didn’t want to mess up the flow of the rest of the images, so you can use your imagination. The colors in this one are clearly much different, but especially for the set, I think it turned out well. I used the Adobe Portrait profile for the smoother skin tones, and I also used the adjustment brush to make everything even on his face. You’ll notice the whites are lowered as well, and I did that with the tone curve. I brought the max white point down to fully even it out. I also took this one into Photoshop to reduce some of the saturated blues on the wall behind him. I like this photo for the set, but I also just love it as a stand-alone portrait.

f2 - ISO 200 - 1/4000 sec
I actually took this same photo three times just to make sure I nailed the focus. It’s still not tack-sharp, but that’s okay. I should have brought the aperture up to at least 2.8 to get rid of some of that softness. You might also notice I removed the handlebars from the top left, haha. I also used the adjustment brush to raise the contrast on the handlebars in the center. Finally, I used the radial brush and selected everything but the bike in the center. I lowered the exposure, shadows, and clarity, essentially pushing those parts of the image deeper into the background.

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