Tyler Terhune  |  View Profile

Submitted on January 16, 2012

5 Comments | Favored by 9 | Views 2093

Comments:

Tyler Terhune  

Again with the colors..... please view on flickr for accurate color representation.

Posted 6 years ago   

Paul Monaghan

If your colors are off then it could be you are saving your work with something other than rbg color profile.

Nice work btw :)

Posted 6 years ago   

Tyler Terhune  

Thats the thing, I shoot 1998, raw convert, and save in sRGB. I pulled these from flickr, so Im thinking maybe they convert when you upload to their site.

Posted 6 years ago   

ArenaCreative.com ♨

facebook always pisses me off with the colors

Posted 6 years ago   

Dušan DuPe Petho

authentic..good work

Posted 6 years ago   

1/200

~f/6.3

ISO: 100

Focal Length

50mm

Exposure Bias

0

Camera

Canon 40D

Lights Used

Strobe
Softbox
Shoot Thru Umbrella
Hairlight

Category

Commercial

Additional Notes

http://www.flickr.com/photos/terhunephoto/5548858009/in/photostream/

unedited version http://www.flickr.com/photos/terhunephoto/5548859991/in/photostream/

www.wix.com/tyterhun/terhunephoto
The image began as a small photoflex softbox on the ground camera left for main. An umbrella Camera right for fill up about 2 feet. Two strobes either side of model for rims on each side.First step in ACR is to get the image as FLAT as possible. Get the histogram as balanced as possible and avoid clipping. Dont use the brightness adjustment for this, but instead use shadows Highlights exposure and black level. Turn your blacks down to 0. You can always add blacks later, Raw is just to get as much information out of your image as technologically possible. So turn down the contrast, up the shadows and be sparing with the highlights slider, its a personal belief that underexposure is better than over exposure when pushing and pulling an image. I think a camera sensor holds more detail in shadows than highlights. That being said, since the whole gamut of your scene probably wont fit into the 10 stops or less of range in your digital camera, underexpose rather than over expose if you have to, rather would have noisy details than non-existant ones. So, now you have this base image in acr, go ahead and open into photoshop as a smart object (Shift Click open or something like that) In photoshop, duplicate the Smart object so that you can open the duplicate in ACR again for each successive version. You dont have to go super crazy with this, but for each one, focus on a different element of the image. One ACR layer might have an exposure adjustment for the jeans, another for the cabinetry, floor, jacket, glove, boots, hair, face... Just keep making these duplicates with acr adjustments until you feel you have a decent layer for each object locale.. Now I do use luminosity masks sometimes, and others I will use hand painted masks. I find hand painting best for harsher objects that are easily defined, like the knife, boots, floor... et. And I use luminosity masks for areas with gradation like skin and the jacket. If there is a dark area like the jacket, then make a luminosity masks of your base layer isolating the shadows and apply that mask to your jacket ACR layer that you have properly exposed for. Now your jackets shadows are being replaced with the brighter shadows from that layer. This is repeated for the entire image for as many "Locales" as needed. Again, for me, locales are simply areas of differing exposure. Now you will have a very flat, dull image. Perfectly exposed, but lacking Contrast. Now you add contrast. Using the masks from the previous steps, you can create a masked curves layer for each locale and adjust it untill it meets your vision. I also use a local contrast method within each selection so that I keep the curves from hitting my shadows or highlights as much as my mids.... imagine a bellcurve if you will, instead of the "S" curve hititng the whole range, the "S" curve is differentiating the mids alone. Its hard to explain, but the basis of the idea can be found at Cambridgeincolor.com under local contrast. Now comes the hand editing part, Dodge and burn each element to give it a 3d appearance. I D&B using two masked curves, one for highlights and one for shadows. Imagine every item as being separate and needing to "Pop!" Accentuate pre-existing highlights and artistically darken shadows. Get gritty! Burn the wrinkles in clothing, the dark portions in hair.. Are you familiar with facial contouring? make-up-contour.jpg See the light and dark areas? Do the same with D&B and blur it a bit to make the face(s) 3d in appearance. As far as smoothing skin, I use a frequency seperation technique that seperates the image into color and detail layers.=Low frequency is like large splotches of color changes in skin tone, while high frequency is like individual pores... "Frequencies" are relative based on image size and subject size, but the setting can be changed to accomodate anything. This technique is described at www.youtube.com/watch?v=dMyaeZmkZD8
Very useful because you can eliminate large color and luminosity deviations without sacrificing smaller frequencies like skin pores and getting that 80's blurry skinned glamour look that it so unattractive nowdays :P
Lastly, Texture! Thats right, for an illustrated look, you need to accentuate the texture already present. This is seen on the knife blade, the knife handle, the floor, the oven and the cabinetry. The floor is actually an orange peel greyscale image set to either overlay or softlight to give the floor a dimpled look. The cabinets and oven have seperate textures overlayed as well. The knife is brushed metal overlay and the knife handle has a texture as well.. Keep in mind that you can use your pre-exisiting masks to mask out these textures as well. Some finishing notes, Smooth skin tones with brush set to color mode and low flow to even out color differences. Sample from neutral skin and paint onto "Burntish" looking areas that kinda look orange or red to bring back a more neutral color...(I could of done this a bit more on her forehead as the hairline is quite orange) Color discrepency will also be seen in areas of extensive shadow recovery. So make sure to step back and make sure that those pulled areas have enough saturation. (You will notice some parts of the cabinet appear less saturated and that is because they were hand colored to match the rest) I selected the eyes and made the 10% larger. Replaced the back of the mouth with a seperate one becuase her uvula wasnt flapping in the first one. Ipod has a simulated screen. Hair over the left shoulder(From our view) was filled in with hair from another image. Lastly, just highpass sharpen a bit only on the edges (Use the filter(Find Edges) as a mask for the highpass sharpen to isolate only to edges) also, you can use dodge set Highlight mode to bring out some whites like in the jeans and hair. other than that, the image is really only a result of what you do by hand. Sorry for my spelling lol

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