Masters Class: Articulated Comic Book Photography

 Night falls on the Classroom. The tension is thick in the air, and the anticipation had been building for weeks. The Curator had asked what the Class wanted to see, and the answer was one that will echo through the halls of the Masters Class for eternity. The answer, was articulated comic book photography. 

Articulated comic book art has taken the toy photography community by storm. With various pages dedicated to the style, session themes, and collaboration groups, it’s been one of the most participated in genres of toy photography. On this edition of the Masters Class, two larger than life juggernauts of the toy photography community bring their skills in ACBA to the classroom and share their thoughts, tips, and tricks. Making an amazing debut to the Masters Class is none other than @Kushiemama, flexing her symbiote enhanced strength in ACBA. And making his incredible and long awaited return to the Masters Class is the kingpin of comic book photography, @the_un_human. 

Without any further ado, it’s time to get out your SNIKTS, BAMS, KABOOMS, and pencils to take notes, because the Masters Class is now in session.

 

When creating a toy photography shot based on comic book art, where does your inspiration come from? (comic book covers, pages or scenes, etc)

UH- “The comics themselves are inspiring! cover art tends to be more interesting but a great panel isn’t hard to come by either. i like aiming for specific iconic scenes or images, really deify the character, as that adds to the grandiose nature inherent in comic art.”

KM- “I tend to use a variations of ideas. Covers, storylines, and sometimes just an advertisement of sorts. Of course, I get lots of inspo from the community.”

What are some key elements you like to include in order to give your shot a comic book tone and feel?

UH- “Colour is paramount, along with contrast to add excitement to the image. dynamic poses, as all great comic art tends to portray exaggerated, overly physical imagery. toy lines like kaiyodo revoltech and medicom mafex are great for figures that can really hit those super dynamic poses. also important, is creating mood or atmosphere in the image, both with the characters and the background. all great comics create a full, fleshed out world, so i try to do that with my pics.”

KM- “I don't tend to use a lot of backdrop pieces or elements these days. I find more of my comic book shots are directly pulled from the theme of the cover.”

Kushiemama’s pic is a perfectly done recreation of Amazing Spider-Man #316

As we’ve learned on previous installments of the Masters Class, lighting is a crucial element of toy photography. What are some tips and tricks you can offer for utilizing your lighting to create an articulated comic book photo?

UH- “As mentioned above, contrast is key in what i try to put together. when it comes to lighting, a trick i find works pretty well is to overexpose a little bit when shooting. when editing, it allows you to keep major details, while allowing you to increase contrast and saturate colour. also, vibrant colour tends to lend itself to comic style work, so play around with colour in your lighting.”

KM- “I hate dealing with lighting. It is something I do not use often.  I also don't have the patience!  I use one small round light to add any absolutely necessary lighting, otherwise I plan my shots around natural lighting!”

Comic book panels and covers are static pieces of art that while having no actual motion, often implies intense scenes of action. What are some ways that you convey action with your photography?

UH- “I wish i was better at that part 🤪 minimal depth of field definitely helps add a sense of movement, creating motion blur where possible by moving or shaking the camera (or digitally, i guess). brighter lighting anywhere there’s an impact can also add excitement and motion to an image. keep the eye moving around the image as much as possible without being too busy.”

KM- “I can honestly say I don't really put much thought behind this. I just do and hope for the best.”

ACBA purist often argue that true comic book style toy photography should have no digital effects or photoshop work. In your opinion, do these sort of additions to toy photography add to or take away from the comic book inspired toy photography? 

UH- “I think that, especially in todays creative arts climate, digital is fairly inevitable. i personally try to keep digital effects to a minimum, creating mood and atmosphere with lighting and posing and camera angle. but digital effects can definitely add extra dimension and layers to one’s work. of course, where is the line between photography and digital illustration? i lean more toward an analog approach, but i’d be lying if i said there aren’t digital facets involved.”

@the_un_human’s shot is a jaw dropping recreation of a panel of Catwoman

KM- “There's always someone who will disagree with something!  I personally enjoy both sides of this topic. I do appreciate being true to form but if everyone is doing the same shot over and over again....change is necessary.”

Have you ever attempted to create a comic book style shot including thought/speech bubbles or action splashes (BAM!, BOOM, etc)? Why or why not?

UH- “Once or twice, but not very successfully.”

KM- “I am sure I have! Speech bubbles used to be one of the first things I would add to photos back in my day! If you comfortable with how your shot looks and feels in doing so, use em up!!!!”

(bonus question from the classroom) How much pre planning goes into your shots? 

UH- “I throw things together as i go. i wish i was capable of planning things, but i very rarely have a plan in my head. i really just feel things out until i see what i’m aiming for.”

KM- “No planning happens here. When I do get to toy photos...98% of the time it is an "in the moment" dealio. I jump up and start taking photos. The planning comes as I warm up!”

Lastly, What is your favorite figure/figures or figure line to take your toy photography with?

UH- “I can’t choose a favourite, as i find each line i collect offers it’s own merits. yamaguchi, mafex, when it comes to dynamic posing.  mcfarlane if i want something super detailed with decent articulation. but really, it comes down to whichever company made the specific character.”

KM- “Your last question sucks! There can not be just one!!! :)”

A side by side comparison of @the_un_human’s inspiration and his art

A side by side comparison of @Kushiemama’s inspiration and her art 

I want to thank @Kushiemama and @the_un_human for bringing their articulated comic book photography A game to this installment of the Masters Class! I’ve said it before, and I’ll say it again, true believers. The Masters Class collaborations is an exercise in juxtaposition between two artists with different styles and methods that create works of art that can stand the test of time. And this Class is a stunning example of that. Getting a peak behind the curtain at the process of how these artists establish their shots in such contrasting ways, should leave little to no doubt that there is NO wrong way to express your creativity. 

Until next week, EXCELSIOR, and Class is dismissed. 

~The Curator