Right about this time last year I had the unforgettable experience of working with DeAndre Yedlin for Golazo. Yedlin is an athletic force of reckoning! A unique blend of sheer agility, lightening quickness and raw power; and at the time a humble nineteen year old in his freshman MLS season playing for the city he grew up in. Later that year DeAndre Yedlin would go on to represent the US in the 2014 FIFA World Cup, and subsequently sign a four year contract with the Tottenham Hotspurs in the English Premiere League.
Many thanks to Ian Goode and the crew at Gigantic Squid for the sublime retouching job on this one! Click here to see before and after pics over at Gigantic Squid.
A parting shot with yours truly.
Retouching – Ian Goode (Gigantic Squid)
Wardrobe and prop styling – Rachel Grunig
Hair and makeup – Jennifer Verador
Photo assist – Casey Nation
Production – Erin Ryan-Peñuela
I have a love – hate relationship with composite photography. The amount of tools available to photographers in our digital era, enable us to realize our creative vision with unprecedented freedom. It’s an exciting time to be a photographer! That said, all these tools are just that – a means to an end, so its important for me to ask some pertty basic questions upfront when deciding if a composite workflow is appropriate for any given project; can I achieve my creative vision in camera? What unique challenges will shooting composite present, and do those challenges outweigh the benefits?
This series was a lot of fun to work on and had some pretty unique hurdles to jump along the way.
Location scouting in the digital era.
I always prefer to shoot background plates first. In this case having a stand-in helped immensely as a reference when shooting the athletes.
We photographed Audi Cycling Team rider Sam Waples in the studio on a free standing rolling trainer. That rig allowed Sam to actually ride on the trainer. It was a critical piece of the puzzle that gave the final composite the authenticity that is always a struggle to maintain in a composite workflow.
We used specialized software developed for automotive photographers to create realistic motion blurs.
The final composite.
Check out the entire series online: http://www.oliverludlow.com/AUDI-CYCLING