Two weeks ago, we published the first part of the story of Joe Morahan’s colorful splashes, in which Joe talked about how the shoot came to be. Two days ago we published the second part, focusing on the actual lighting setup. This is the third and final part, in which Joe talk about the postproduction that went into the project. In Joe’s own words:
As any creative will tell you, you never really get over the rush of excitement seeing your vision realized. When I first closed my eyes and imagined this series, I wasn’t quite sure how I was going to pull it off. In the end it came down to luck — “when preparation meets opportunity.”
I’ve previously talked about how this body of work went from cool images floating around in my head to practical problem solving on-set. Now, I’m going to talk about the post-production and editing that gave my raw images that shot of adrenaline.
After several days of shooting, nearly a dozen models, thousands of water balloons, and buckets upon buckets of water on my studio floor, I was left with some really neat images. As a visual effects junkie, though, I always want to take my images to the next level. I’m not as interested in photojournalism or “straight” photography, as much as I am in telling a really dramatic and slightly surreal visual story. My favorite images always make me feel like I’m dreaming. Read More