Three youngsters gaze upon the crumbling vestiges of a combat zone, where arboreal and artificial constructs lie largely demolished, apart from the robust framework of a solitary trebuchet. This thoughtful depiction captures the carnage within A Plague Tale: Innocence, taken by virtual lensman Ludovic “Shinobi” Helme — yet it transcends a simple screenshot. It stands as a precisely composed image, improved through authentic photographic methods: arrangement, illumination, focal depth, among others. “Digital photography offers an avenue to experience the game uniquely, as one can scrutinize every minute aspect,” Helme states. “It truly elevates the artistic quality within a game for your perception, subsequently allowing you to craft something from it for others.”
Furthermore, such an image can be captured with increased simplicity, considering the expanding prevalence — and intricacy — of in-game picture modes. Helme stands as one of the scarce, if not inaugural, advisors for these functionalities, an endeavor that commenced when he initially contacted the developer Cold Symmetry regarding their soulslike title, Mortal Shell. The studio admired the stills he captured within the game, and upon Helme inquiring about partnering on a prospective photo mode function, the group promptly consented. “Essentially, I originated this occupation, or at least the designation ‘photo mode consultant,’” he remarks. “Certainly, others might have played an advisory part in different photo modes […] but as an external expert, particularly for photo modes, I am unquestionably the pioneer.” His fruitful partnership with Cold Symmetry resulted in contributions to a diverse range of projects, from the Lovecraftian terror game The Shore to high-profile releases such as Deathloop and Cyberpunk 2077.
His most recent engagement involved Clair Obscur: Expedition 33. Helme considers its picture mode to be “nearly flawless,” boasting an astonishing array of adjustments, encompassing camera rotation, lens opening, borders for fitting image dimensions and various grid patterns, alongside subtle modifications to illumination, hue adjustment, visual overlays, and other graphic influences. Furthermore, the extensive liberty of motion arises from the capability to detach the camera from the player’s viewpoint. Discussions with several digital photographers revealed that numerous photo modes offer severely restricted scope; Helme likens this to an inability to fully maneuver and stretch one’s limbs in reality. Nevertheless, in Expedition 33, visual artists can now venture beyond a mere arm’s reach, even relocating several steps from the original setting.
The image capture function in Expedition 33 serves as merely one instance of these utilities evolving in complexity. Ghost of Yōtei incorporates a panning shot capability, enabling digital photographers to smoothly move the camera from one position to another, supporting as many as 16 distinct tracking locations. Senua’s Saga: Hellblade II’s picture mode features a triple-point illumination setup, alongside various focusing configurations like focus aid and a split focal plane. The broader adoption of photo modes is partly attributable to the expanding collection of templates within Unreal Engine, for example, the Advanced Photo Mode, which Helme characterized as a fundamental and user-friendly attribute. “I believe publishers desire [photo modes] more intensely than creators,” he asserts. “Fundamentally, it represents complimentary online promotion.”
In his capacity as an advisor, Helme indicates that his function encompasses imparting his specialized knowledge. “My purpose is to provide [studios] guidance, educational clarifications regarding the indispensability of [particular] functionalities or, conversely, which ones hold less significance,” he states. For him, digital photography constitutes a markedly distinct encounter compared to merely engaging with the game, and grasping this difference is vital for creative teams. Consequently, the advisory procedure typically involves deliberating and ranking particular photo mode attributes with the developer and, subsequent to their integration, evaluating software versions and delivering insights.
However, technical obstacles have frequently hindered developers from incorporating some of his recommendations. “Certain studios express reservations, for instance, that textures might not render correctly, or individuals could scrutinize the environment and spot concealed adversaries,” Helme clarifies. Designing photo modes for diverse platforms also presents a significant hurdle, with Helme noting that numerous functionalities he has striven to integrate into photo modes are unfeasible, owing to their considerable complexity for console implementation. A case in point is the absence of perspective options, whether capturing in horizontal or vertical aspect. Lacking this, digital photographers commonly must incline their heads to achieve a portrait capture — an inconvenience Helme describes as “truly detrimental to all participants in this pastime.” Many photo modes present the option of trimming images with dark bands, which diminishes the picture’s clarity. “Should I desire to capture a vertical image without forfeiting clarity via trimming, I am compelled to pivot the camera by 90 degrees, arrange the frame with my head angled, and subsequently manually reorient the file on my personal computer,” explicates Cristiano Bonora from Vertical Gaming Photography.
An additional appealing function? A slow-motion capability that would enable virtual photographers to advance or reverse time by several seconds, facilitating the capture of the ideal instant. “Within Mortal Shell, a slow-motion feature with three distinct velocities was present, proving exceedingly practical and advantageous in numerous situations,” Helme explains. “However, what I truly wish for is a mechanism that also operates in reverse, such as the ability to recover a few seconds should one overlook the crucial [moment].” Virtual photographer Cabbac, who has compiled a comprehensive database of games featuring photo modes, similarly perceives this kind of functionality as notably deficient. “Precision in timing is paramount when composing an image,” he asserts.
A significant hurdle in developing a photo mode packed with capabilities involves guaranteeing its usability for novices. Helme points to Sony’s zombie thriller, Days Gone, as a title that admirably achieves this equilibrium. “Indeed, it stands as one of my enduring favorites,” he remarks. “It offers fundamental functionalities, or alternatively, an advanced setting granting considerably greater command. Thus, it caters perfectly to individuals seeking to capture a rapid image, as well as those desiring to dedicate an hour to perfecting their composition.”
Helme maintains a positive outlook on the evolution of photo modes and expresses a strong desire to collaborate with additional studios, irrespective of their scale — even acknowledging that certain developers possess ample scope for enhancement concerning these instruments. “I anticipate that major corporations such as Capcom or Konami will contact me to refine Resident Evil‘s photo modes or the truly dreadful Dragon’s Dogma 2 photo mode,” he chuckles.
Nonetheless, as photo modes gain wider adoption, there’s a possibility that even sophisticated photo modes might begin to mirror each other across various titles, a trend Helme regards with prudent apprehension. Indeed, even actual cameras exhibit diverse functionalities among different manufacturers and models. “My sincere wish is that prominent games will persist in embracing innovation and creating photo modes incorporating novel functionalities.”
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