ABBI LYNN
My Creativity Process
PHOTOGRAPHY
My process for designing, capturing, and processing photos comes a lot from my experience in the film industry. When I hear that a client has booked me for a specific assignment, I always start with a preliminary interview discussing passions, likes, dislikes, hobbies, etc. in order to get to know the person on an intimate level. Especially discussing the kinds of photos they like.
In that case, I usually ask the client for pictures that have inspired them. Looking at their choices gives me a huge idea on what kind of person they are aesthetically, and also what kinds of compositions catch their eye. I believe it builds a sense of common ground and presents parameters before brainstorming strategy.
Once I have a general idea of the kinds of photos they are looking for, I go ahead and scout locations. With this client specifically, I had the location chosen for me. So I looked online for photographs that other people have taken to give an insight into space itself, the kind of lighting situations I may run into, and the enormity of the space. After I do some scouting, I make sure I secure the location for the shoot with the appropriate permissions, and then I begin forming my shoot strategy.
Theoretically, I believe that preparing for a photography shoot is exactly the same as directing a film. One must prepare with many ideas, sketching out frames/compositions, and solidifying a theme for the shoot. It's important to have props, costumes, and hairstyles decided in advance. I usually include this in a creative brief that I give the client. Listing specific instructions on wear, and preventing common image warping phenomenon that comes with the wrong kind of clothing on the wrong kind of camera. Having this sense of preparedness is important for when the nerves come during the shoot. At that point, I get a brain lock, and having the ability to look back at my ideas when I'm feeling stuck makes sure that I am prepared for anything. The majority of my shoots so far I have not even used my notes at all. Just like a director, you prepare until you can throw it away and do it on your own. Sometimes you have to let your trained eye find the unique shots for you.
When I work during a shoot, a lot of times I'm focused on the eyes. My goal is to always warm up the client first with posing-orientated shots. Personally, I try to give action specific direction that promotes natural reactions. For example, in the photo above, I was working with that girl for over two hours already. She was at the point that she was so comfortable that she decided to rest her head against the horse and relax. I noticed the genuine beauty and love emanating from her and immediately snapped a few shots of her before she realized I was there. Normally, this takes a lot of strain and patience to find the right shot, and I was so glad I did. The realness of her eyes and her posture speaks miles and I am very pleased with the result.
However, the process is not done yet. Before I do any photo editing, I go through my photography and look at it from a distance. I begin to assemble a preliminary photo package of exceptional photography that I believe will be sent to the client. Next, I give the preliminary batch of photos and an opening swipe of color correction and processing. I like to push my photography and see the limits of each photo before I decide to not include it in the final proof book. Then, after careful deliberation, I begin to edit and color grade my photography. At this stage, I have already shot for the aesthetic design of my shoot. Normally, my post processing is minimal. I prefer, professionally, to get as much in-camera as possible so that I rely on "technique" to give me my image. For the image above, I adjusted contrast levels, saturation, and sharpness. I then touched up the face of minor blemishes, I brightened up the right eye, and I brightened up some strands of hair. I wanted to make sure the eye was guided right towards her eye and the beautiful harsh shadows that lead the viewer to trail from the eye to the rest of the composition.
This leads me to a final piece that I watermark and present to the client. I began starting a tradition of making photo books of my proofs, and I'm really glad I did. When I look back at all of my work months later, I can take it to my colleagues and we can deconstruct the photos for an area of improvement. All in all, it's about taking your time. A photographer should never feel rushed, and never do I rush my creative process.
FILM/VIDEO
Designing a great video always starts with an intriguing idea. From there, a list of many ideas form, and eventually, a concept emerges. It's important to note that the concept defines the overall aesthetic and creative motivation for the piece. Answering the question, "Why?" can be the answer between keep thinking and why haven't you started yet? In my process, I like to formulate and outline and a script to further work through my idea and make sure it goes through a few passes before I pitch the idea fully.
From there begins the process of pre-production. This is where the locations, cast, camera, costumes etc. all come together. With a solid amount of time and careful amounts of planning and organization, one would be ready to go into production.
Each filmmaker has a different strategy for the way a person shoots, but the most important thing a person needs to know about this process is that it should be intentional.
I personally make it a mission of mine to make sure that how I felt when reading the script during the moment where I am experiencing the event is what I am getting in the viewfinder. Aesthetics, in my opinion, are the biggest priority. The ability to understand the meaning behind what you are shooting is the key to a shooter's "checks and balances." It is absolutely essential that this process is taken seriously.
After everything is shot, the video moves into post-production. This is where the shots are assembled, the music is scored, the graphics are produced, and the video is reaching its final stages. In my process, I believe in multiple passes. Each process gets its own approval to make sure that each and every target is improving efficiency. In particular, I take a lot of time making sure the cut itself is solid before I move into coloring or graphic creation. Depending on the project, some of these elements may have been created simultaneously.
All in all, when a project reaches its end, many hours later, it is something that I take pride in. Video creation is my specialty, my passion, and takes up the majority of my curiosity and drive. I love formulating and telling stories, and I have found this medium to be something that I can connect with and share with the world. During my consultations, I go into more depth in the video production process in regards to paperwork, licensure, and distribution practices.
DIGITAL DESIGN
Designing something for the digital world can sometimes feel like a completely different skill than the ones I listed above. However, some of the concepts in the film world do translate, and I want to showcase some of that work here on my design process.
With any design, it starts with a brief and an idea. What separates my graphic work from my other work is that I incorporate sketches into my workflow. This process is extremely important in brainstorming my thoughts and getting a sense of what I am feeling the work will go.
For example, in one of my courses, I was assigned to design a personal logo.
Personal Logo
Something that does separate a lot of my digital design from my other work is the use of type and art photo compositing. On my digital design portfolio page, one can see more of my photoshop artistry skills. Nonetheless, the top image under digital design showcases some of my composites in blending work.
Truly, a digital design should have a variety of versions for the client to see. I try to incorporate at least three distinct ideas to show the client. This makes sure that I am using my full creative potential and helps unlock various options for what the final product might look like.
Nonetheless, the designs I end up creating have a piece of me in the work. I choose digital designs that reflect my overall essence, and I try to make sure that the concept is considered when coming up with something fun for others to enjoy.