For this shoot, we experimented with the gel filters again, giving most of my images a green tint that didn’t end up being too flattering. The first set of photographs we took with the regular studio lighting ended up being a lot better for the diamond cameos, so I was more driven to use them.

We also played around with longer exposures to capture Wiktoria’s movements as we shot these photos, which turned out quite well for the most part.

For the diamond cameo, I had to select four images of Wiktoria looking in four different directions – up, down, left and right. I didn’t have one of her looking down that I could use so I decided to use a photo of her looking straight into the camera lens instead for when I created the diamond cameo in Photoshop.

These were my final results for the multiple exposures part of the shoot. They have this almost supernatural element to them, following Wiktoria’s movement as a blur through the background. I’m intrigued by this style and may attempt to use it in later projects if I have the chance.

The rest of the final products from this shoot are necessary to create my actual diamond cameo. I need to sort four of them into a Photoshop document – each one looking in a different direction (up, down, left, right).

I took four of these final images and organised them together in Photoshop, using the oval selection tool to remove the borders of the photographs.

After removing and cropping all the borders, I had what I needed. However, I wanted to recreate the vintage aesthetic of classic diamond cameos, so I placed an orange-yellow tint across the whole canvas, increased the sharpness and added some grain.

Finally, I was left with this. I’m quite proud of it and may also want to do something similar in future projects. Unfortunately, I didn’t have enough images to use for the bottom part of the diamond cameo, so I used a different one from earlier in the shoot that actually wraps the piece up better than what I think the photo I actually needed would have done.