Hello and Welcome to Out of the Darkroom on AdoramaTV, I’m Ruth Medjber and today I’m back chatting to Lisa Griffin all about her production techniques. Thank you so much for sticking with us and so if you wouldn’t mind talking us through your post production techniques. because I’m looking at those images and I’m like there’s no way they’re raw they’re not just straight off the camera right? No they’re not. Tell us a little bit about I wish. I know wouldn’t it be fabulous if we could create those fantastical pieces like in real life. Tell the camera okay I want purple. Yeah. It’s not purple, I want purple, make it purple. So how do you do that? How do you create these things? Well, obviously just start with the raw image. Yes. I bring it into Bridge, bring it going over to camera raw, kind of adjust it. Sometimes I get my white balance wrong. That’s okay everybody does it. Yes white balancing is tricky when when they’re is a big waterfall and there’s all these mixed lights. Yeah, when you don’t have time to adjust the white balance, you just shoot, then worry about that later. Cool that’s why we have technology. Yeah. So you bring it through Bridge and then do you use Lightroom, do you use Photoshop? I use Photoshop. Do you? Yeah. Okay I learned from YouTube. Wow. So I find Photoshop easier than anything else now because I just sat there for hours and watched every single YouTube video I could until I was like oh that’s how you use frequency separation I don’t even know what that is. You should google it. I need to dedicate a few hours to YouTube tutorials then, so you are self taught in Photoshop? Yeah, pretty much. Fantastic and what would you ,what would you say are like your main go to tools, to create the kind of, like floaty, etheral type scenes that you use? Well sometimes like, the model could be perfect but the dress could be over there and I want the dress here, so usually I’d see how the model looks then I’ll go through all my images and say okay well the dress looks really good here, so I’m just going to cut the model and then put it in here and then I would do a little skin retouch, maybe fix up the background a bit, and then I kind of go straight into the colors. Wow! Yeah I would mainly use like, selective color, curves and I like my images to kind of look a bit flat, like paintings, but I still want them to be 3D, so I bring up the shadows just a little bit just to bring that little element of painterly feeling into it and then I kind of go to town with the colors I could spend a lot of time editing pictures just for the color so I would go into selective color and like individually, play around with each color and then curves and everything. You spend a lot of time on your computer don’t you? I do, yeah, I spend more time on my computer than I do shooting. Yeah I think that’s general for everybody. So like say one of your Icelandic images so the one, you know the girl with the big blue dress? In front of Skógafoss, the waterfall. How many hours of post-production will go into an image like that? On average about 4 or 5 hours Solid hours? Yes. That’s cool. Now, a few coffee breaks. Chill out for abit. Yeah. And maybe look at the next day and then go ‘oh God’ what did I do? Then go back and fix it. So they say that you have to live with an image before you release it to the world or you should live with it for a few weeks and kind of go, oh no, I was off my head when I did that, I need to comeback. Turn off my computer and like okay I’m not looking at anything for 20 hours. Tell us then a little bit about the gear that you’ d use? Say that workshop in Iceland what would have been on site that you had access to? Yes so we had some Flash photography and I use my Nikon d7000 and the main lens, that I like to use for portraiture and fashion is my 85mm. Yeah. That’s my favorite for portraiture and fashion but when I’m kind of working with big landscapes I’d usually like a 50mm. Would you? Yes and stand a bit back and just get it all in the shot, but obviously its a bit compressed. Yeah. But that’s okay I like to use my 50mm for kind of, my Fine Art pictures. Wow, yeah I think the 85mm is a go-to for most fashion photographers, isn’t it? Oh it’s brilliant, isn’t it? Yeah and the d7000 is a good camera, isn’t it? Yeah it’s really good. And then would you work in a studio when you’re doing kind of indoor portraits that kind of stuff? Yeah, i hadn’t really worked in studio until I started college this year, so three months ago was my first time really using studio and setting it up myself and stuff, but I’m going to Dún Laoghaire so my lectures are like in and out and they’re like oh let me show you how to do this, do you know, they’re really helpful so I’ve actually started moving more towards studio photography for now and just kind of build up a portfolio and that. Yeah. See where that takes me as well. Cool so you’re still finding your feet there, I think what you’ve done already is fantastic so I think give you another year, you’ll be incredible and then when you’re at the field and like literally in fields. Yeah. What kind of lighting would you be using those would be just off-camera flashes? Natural usually. No! Yeah sometimes you have to get up really early, to get the nicest light especially like in Ireland like it when I was in Iceland we used Flash obviously and then, but in Ireland, I don’t really have my own portable Flash system so I just get that through natural light. You got to get up earlier wait until the perfect time to take the shots and, You’ve beautiful control over the lighting and had no idea that it was just all natural yeah, you know the ones that are in the woods? Sometimes the reflector is there Yeah, no. When I’m shooting in the woods we would go to the location beforehand to go okay, so, the light comes through the trees nicely here and maybe over there it’s a bit too dark. Yeah. And then okay so we’ll do our setup here, like I did a shoot in Cork one day, and it was just, we knew exactly where we were shooting. We brought the whole set down, Okay. And we plonked the model there, the light was just perfect for the hour but that’s because you’ve done a recce, you’d known what was going ahead. Yeah. So you do a lot of prep work? Oh yeah, you need to you’re like you want to get in and get out especially when you’re shooting outside in Ireland because it’s raining and cold all the time you don’t want your model getting cold. Okay so you have to be well prepared then Yes. And then what about anything else that you might use I mean did I see like some smoke coming through? You did. Do you know those pellets that you can get for your fireplace to check to see if your chimney is working? No! Yes ebay. Seriously smoke pellets, yeah, oh my gosh, look at all these tricks. I love it! Get them to hold their breath. Does it stink? It doesnt stink, I’m just like, hold your breath for a second then okay, come out, oh my god fantastic and then tell us a little bit about set design, and things like that. Do you do that all yourself or do you have a team of people helping you? Myself and my makeup artist really, she’s a makeup artist but I kind of called her my creative lady because she just like oh let’s just throw everything on her and then take them off one by one and see what actually works, so she’s really good, thats Suzanne Dolan, she’s brilliant. She would ike a lot like, she helps you an awful lot. The two of you kind of collaborate. Yeah. Come up with these fantastical pieces, that’s great. Yeah Is there anything else in the works coming up for you? Not at the moment no. Are you going to dedicate your time to your studies? Yes. And then become an absolute whizz at everything, beacuase if you can learn Photoshop that well from YouTube tutorials and you’ve been in the studio for three months I think this time next year I’m not going to be able to get an interview with you. Thank you so much Lisa for joining me. No worries. I learned a lot from you Well that’s all we have time for this episode, I hope you enjoyed the show if you like to brush up on your own photography skills. Check out the Adorama Learning Center and if you want to watch more videos then subscribe to our YouTube channel, thanks and I’ll see you again soon.