Oct 11 2010

DigitalRetouch Indicted For Killing Super Models

Category: AfterCapture & Rangefinder Articles, The IndustryEthan G. Salwen @ 9:20 am

AfterCapture_101011_DigitalRetouch_1Actually, no indictment is needed. For one thing, the killing is figurative. More important, DigitalRetouch takes full, gleeful credit for what they have done. All of this I explain fully in an article for the last issue of AfterCapture. In “Transforming Celebrities Into Super Models,” I share the story of how fashion photographers Andrew Matusik and Stewart Price teamed up in 2004 to join the ranks of the elite retouching forces that are ensuring that regular-ole-looking celebrities have nothing to fear from would-be super models.

“If it doesn’t look like we did anything, then we did our job,” Matusik told me, which might seem like an obvious comment about retouching, but which Matusik says is a lesson that many photographers still need to learn. In the article I note that Matusik “believes strongly that any specific techniques are far less important than a retoucher thinking like a photographer and seeing like an artist.”

AfterCapture_101011_DigitalRetouch_2“Transforming Celebrities” was a great assignment. I had already written an article about Matusik for Rangefinder, and I really digged his work, attitude and perspectives. This piece gave me a chance to meet Price, and to learn about the ins and outs of retouching without getting into the ins and outs of specific techniques. Naively, I hadn’t realized there would be so much meat to the critical subject of retouching, and I appreciated the chance to learn and share.

If you are interested in retouching — for relatively light skin correction the most complex composting, of which Matusik is a unique master — you’ll likely enjoy “Transforming Celebrities.”

Excerpt on the Killing

“We contributed to the death of the supermodel,” says Matusik, referring specifically to DigitalRetouch as well as excellent retouchers throughout the industry. “Fashion magazines would always feature models on their covers. Models are freaks of nature—skinny, perfect skin, unusual symmetry.” He explains that Continue reading “DigitalRetouch Indicted For Killing Super Models”

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Jan 04 2010

Smooth Photoshop Compositing Requires Clear Pre-Vision

Category: Creative Process, Photoshop & Lightroom, Workflow & DAMEthan G. Salwen @ 1:08 pm

ACB_100104_Compositing_1“There’s really not that much magic to it,” Aaron Goodman recently told me regarding compositing in Photoshop. “If you shoot everything properly in camera adhering to your original sketch, the digital can go extremely smoothly.”

Goodman’s comment makes perfect sense. As a New York-based photo illustrator working on tight deadlines, he always works from a concept sketch that has been approved by his client. There is no time to sway from his original vision and so he stays focused, and so his compositing goes smoothly.

Although Goodman’s comment about there not being much magic to his compositing might make sense, it still came as a surprise to me. For one thing, my compositing skills are basically nil and so Goodman’s techniques do seem like magic. For another thing, I have talked to a number of skilled compositors who often don’t know exactly what they are going to get until they delve into postproduction.

Andrew Matusik is photographer who is a postproduction über wizard, and whose aesthetic depends on the composting magic he works. Like Goodman, Matusik often needs to get in and out of post fast — sticking to a plan. But he’s  shared with me how much he relishes the opportunity to explore his vision while compositing, discovering unique possibilities for a specific image in an organic, unplanned manner.

Clearly there are two polar extremes to how one can approach a compositing workflow in Photoshop. One is to have a crystal clear vision going in, stick to it, and then get out as fast and smooth as possible. No digressions allowed. The other extreme is to have an open-ended vision going in, and to have the time to make discoveries while compositing. Digressions expected.

Photoshop compositing of this image was easy fro Aaron Goodman because. . .

Photoshop compositing of this image was easy fro Aaron Goodman because. . .

Clearly there is a whole spectrum of composting workflow options between these two extremes. What seems most important is that we know exactly where we are on this spectrum of compositing approaches for each project we are working on.

This might seem like a obvious statement. But I think Continue reading “Smooth Photoshop Compositing Requires Clear Pre-Vision”

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May 26 2009

Kelby’s CS4 “Tricks” Are Closer to Magic

Category: Books, Photoshop & LightroomEthan G. Salwen @ 10:57 am

ACMF_NG_068The title of one of Scott Kelby’s most recent books can be misleading. “Photoshop CS4: Down & Dirty Tricks” suggests to me, well, “down and dirty tricks,” which aren’t something that I am particularly interested in learning. However, with this title, Kelby, the well-known “#1 best-selling Photoshop author,” has turned out another great one.

To help you better appraise Kelby’s “Down & Dirty Tricks,” let me suggest a new name for the book:

“Scott Kelby’s Impressive Scope of In-Depth Photoshop CS4 Projects with Continue reading “Kelby’s CS4 “Tricks” Are Closer to Magic”

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