A poignant scene unfolds: three children stand before the ravaged remnants of a battlefield, where trees and structures lie mostly annihilated, save for the defiant silhouette of a lone trebuchet. This isn’t merely a screenshot; it’s a meticulously crafted photograph from A Plague Tale: Innocence, captured by virtual photographer Ludovic “Shinobi” Helme. What Helme achieves transcends a simple screen grab; it is a profound artistic endeavor, meticulously framed and enhanced using real-world photographic principles—composition, lighting, depth of field, and more. “Virtual photography is a way to discover the game differently because you can check every single detail,” Helme explains, articulating the essence of his craft. “It’s really enhancing the artistry in a game for your eyes, and then creating something from it for someone else.” This pursuit of digital artistry has not only elevated the appreciation for game aesthetics but has also carved out a unique professional niche for Helme: the photo mode consultant.
The burgeoning popularity and increasing sophistication of in-game photo modes have created a demand for specialized expertise. Helme stands as a pioneer, if not the first, consultant in this nascent field. His journey began with an unsolicited yet impactful approach to Cold Symmetry, the developers behind the soulslike title Mortal Shell. Impressed by the striking in-game photographs Helme produced, the studio readily embraced his proposal to collaborate on a dedicated photo mode feature. This pivotal moment not only led to a successful partnership but also saw Helme effectively coin and define the role of a “photo mode consultant.” While others may have offered advice on photo modes in the past, Helme asserts his unique position as the first external advisor solely dedicated to this specialized area. His initial success with Cold Symmetry quickly opened doors to collaborations on a diverse range of titles, from the atmospheric Lovecraftian horror of The Shore to high-profile blockbusters like Deathloop and Cyberpunk 2077, cementing his reputation as the go-to expert for virtual photography tools.
Helme’s latest endeavor brought him to Clair Obscur: Expedition 33, a game whose photo mode he considers “close to perfection.” This commendation is well-deserved, given the staggering array of settings it offers. Users can manipulate camera roll for dynamic angles, fine-tune aperture for precise depth of field, apply various frames to accommodate different photographic sizes, and utilize multiple grid types for compositional guidance. Beyond these fundamental controls, the mode allows for minute adjustments to lighting, color grading, filters, and a host of other visual effects. Perhaps its most liberating feature is the unprecedented freedom of camera movement. Many virtual photographers lament the severely limited range of motion in most photo modes, which Helme likens to being unable to extend one’s arms in real life. In Expedition 33, however, digital shutterbugs can detach the camera from the player’s perspective, venturing far beyond a mere arm’s length and even moving several paces from the initial scene, enabling truly expansive and creative shot compositions. This level of control underscores the game’s commitment to empowering virtual artists.
The evolution of photo modes extends beyond Expedition 33. Titles like Ghost of Yōtei introduce innovative features such as a tracking shot option, allowing virtual photographers to program the camera to pan slowly between up to 16 distinct points, creating cinematic sequences. Senua’s Saga: Hellblade II showcases a sophisticated three-point lighting system, coupled with advanced focusing settings like focus assistance and split focal plane, granting unparalleled control over illumination and depth. This widespread adoption and enhancement of photo modes are partly fueled by the growing availability of blueprints in game engines like Unreal Engine, with tools such as the “Advanced Photo Mode” providing developers with a basic, user-friendly foundation. Helme observes a strategic motive behind this trend: “I think publishers want [photo modes] more than developers,” he posits, “It’s basically free marketing on the internet.” This symbiotic relationship, where player-generated content serves as organic promotion, highlights the commercial value of robust photo modes.
As a consultant, Helme’s role transcends mere technical advice; it involves a pedagogical approach rooted in deep understanding. “I’m here to give [studios] pointers, pedagogic explanations on why [certain] features are essential or, on the contrary, which ones are not really that important,” he elaborates. For Helme, virtual photography is a distinct experience from simply playing the game, and conveying this fundamental distinction to developers is paramount. His consultation process typically involves collaborative discussions to prioritize specific photo mode features, followed by rigorous testing of implemented builds and offering detailed feedback. This iterative process ensures that the final product not only meets technical requirements but also genuinely serves the creative needs of virtual photographers.
Despite the enthusiasm, developing feature-rich photo modes is not without its hurdles. Technical limitations frequently impede the inclusion of some of Helme’s suggestions. “Some studios are a bit concerned, like the textures won’t load properly, or people can check the surroundings and see enemies hiding,” Helme explains, detailing how the freedom of camera movement, while desirable, can expose unoptimized game assets or reveal game mechanics prematurely. Crafting photo modes that function seamlessly across multiple platforms presents another significant challenge. Helme notes that several crucial features he advocates for cannot be implemented due to the inherent complexities of console development. A prime example is the lack of flexible orientation choices, particularly the ability to shoot in portrait mode without cumbersome workarounds. Without this, virtual photographers often resort to tilting their heads to compose portrait shots – a practice Helme describes as “really hurting everyone in this hobby.” Many existing photo modes attempt to address this by offering cropping options with black bars, but this inevitably sacrifices photo resolution. Cristiano Bonora of Vertical Gaming Photography echoes this frustration: “If I want to shoot a vertical portrait without sacrificing resolution through cropping, I am forced to rotate the camera 90 degrees, compose the shot with my head tilted, and then manually rotate the file later on my PC.” This cumbersome workflow underscores a critical gap in current photo mode design.
Beyond orientation, another highly desired feature is a robust slow-motion option, ideally coupled with the ability to rewind a few seconds to capture that fleeting perfect moment. “In Mortal Shell, we had a slow-motion feature with three different speeds, and it’s also very convenient, very helpful in many circumstances,” Helme recalls. “Now, what I would like to have is something that also does the reverse, like being able to have a few seconds back if you missed the [moment].” Virtual photographer Cabbac, who maintains an extensive database of games with photo modes, concurs, emphasizing that “Timing can be everything when creating a shot.” The ability to manipulate time within the photo mode would unlock an entirely new dimension of creative control, allowing artists to seize dynamic action shots or subtle character expressions that would otherwise be impossible to capture.
A crucial aspect of designing a successful photo mode lies in striking a delicate balance between offering rich features and ensuring accessibility for non-experts. Helme points to Sony’s zombie thriller Days Gone as a masterclass in achieving this equilibrium. “It’s really one of my favorite of all time,” he enthuses. “You can have the very basic features, or you have an advanced mode and […] have way more control. So it’s perfect for people who just want to take a quick shot, or people who want to work on their shot for one hour.” This dual-mode approach caters to a broad spectrum of users, from casual players wanting a quick memento to dedicated virtual photographers meticulously crafting their masterpieces. It sets a benchmark for how developers can empower all players without overwhelming them.
Helme remains optimistic about the future trajectory of photo modes and eagerly anticipates collaborations with more studios, irrespective of their size. He humorously points out areas ripe for improvement in existing titles: “I hope big companies like Capcom or Konami will reach out to me to improve Resident Evil’s photo modes or the terrible, terrible Dragon’s Dogma 2 photo mode,” he laughs, highlighting that even established franchises can benefit from expert consultation. However, with the increasing prevalence and sophistication of these tools, Helme also expresses a cautious concern: the potential for highly technical photo modes to become homogenized across different games. He draws an analogy to real-life cameras, which, despite sharing core functions, differentiate themselves through unique features across brands and models. “I really hope big games will continue to take risks and produce photo modes with new features,” Helme concludes, advocating for continued innovation and distinctiveness in the ever-evolving landscape of virtual photography. As game worlds become more detailed and immersive, the role of the photo mode consultant, guiding developers to create tools that truly empower digital artists, will only grow in importance, fostering a vibrant community of virtual photographers and showcasing the unparalleled artistry embedded within video games.
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