My years of experience in digital imaging enables me to visualise the end result before I commence photography.  I can pull off most imaging requirements. To put it simply, it's usually just about tapping into my years working in Photoshop, then establishing a work flow using my processes and the available tools.  I also provide digital imaging services to other photographers, design studios and advertising agencies.

Warwick Gibson


Digital Imaging

by Warwick Gibson

{Preconception provides the best result).

It starts with a Great Idea

I photographed  these images titled "Crimson Petal" and "The Shark Hunter" with my IMAGE CONSTRUCT technique. I digitally composite my HDR location backgrounds with an image of the person I photograph in the studio. The final compilation is not intended to look as if it was a one-shot take. It's intention is to present a compelling image that asks a question.

Thinking of the end game

In terms of lighting and digital imaging, a bottle of wine or a product packed in glass requires a decision, prior to photography on what work flow processes to use. These decisions make it easier to achieve the desired effects  in post production.


Shoot first and ask questions later.

That's right - if you think you're an alright digital imager it's in your DNA to take a risk at the time of photography and feel confident your "digital darkroom" in post production will produce the goods.

I don't shoot weddings unless I get my arm twisted by a friend. I explain to them not to expect a conventional wedding album. If they still persist I'll oblige. This image of the two girls and the car was photographed just on dark in front of a well-lit hotel entrance. You'll note the warm light coming from right of camera. At this point there wasn't much detail in the background. It was almost dark. I then cranked up the ISO in my Nikon digital SLR and shot different angles of the street, the car and background buildings. After stripping in a sky from my image library, this is the final digital compilation of six images.


My Image Construct technique provides options

Used in advertising, fashion, editorial and portraiture, this technique not only creates effective imagery but also has its benefits in terms of logistics and location photography costs with talent and crew. In this method, the model / subject is photographed in the studio and lighting is introduced to reflect sunlight direction. Any background image can then be introduced, as long as the inferred sunlight direction marries with the light on the foreground subject. Industrial or still life product can also be turned into an more dynamic image using this method.

Keeping it believable

When imaging womens' faces, the secret is not to create unreal effects and ensure the look is what could be achieved with good make-up on perfect skin. I photographed this image for Cebelle Jewelry with my cosmetic lighting set up. I then applied digital effects in post production to achieve the desired tones and matting. The final touch was a multi-layer imaging technique I've developed for cleaning up skin tones.

Creative lighting with imaging expertise provides the best outcome.

You may have already viewed my motor yacht photography.  Some of these images  are digitally composited from up to fifty separate photographs.  It takes a lot of preparation on each location and requires the ability to see on live view where each lighting or spot effect is falling on the set.

This technique creates mood and texture and enhances the ambiance of any interior photography.



Deconstruct then reconstruct.

Breaking an image apart, applying digital effects then reconstructing to imply mood, intensity, joy etc. is one of the most used processes in digital imaging.  You can use a photo that has all the content you want to show, notwithstanding the colour, time of day or lighting isn't going to work for the final image concept... then image in the desired effects.

The X-RAP advertisement is a good example. The colour-way of the fishing rod, logo (red / yellow) and the product title "xtreme action" lends itself to a darker monochromatic theme. This creates contrast between the rod's green metal detail, logo's and background. The background pic was originally a  brightly lit lake scene, but digital imaging and stripping in an unusual sky effect has created an image that states "extreme" and highlights the brand and product titles.


Deep etching places emphasis on the product.

Removing an image's background concentrates the viewer's attention to the subject matter. In this shoot for SKINS, I've silhouetted the models in post production and created a desaturated look to their body tones. This effect works nicely with the monochromatic apparel colour.