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jbedford 04-05-2011 09:39 AM

Demystification of Mert & Marcus
 
Hi everyone,

I've been searching the Internet for a year or two, trying to find some information on the post production techniques of the white-hot fashion photo duo, Mert Alas & Marcus Piggott. Seems all I find is a New Yorker article from 2004 and a few speculations from other fans.

Does anyone here have some technical information (beyond having great models, gear, and an A-1 team) that could help me achieve their bright, plastic, punchy-colored look? Anyone on here worked on their images before?

http://fashiongonerogue.com/gisele-b...us/#more-48072

leo958 04-08-2011 05:36 PM

Re: Demystification of Mert & Marcus
 
i too have been searching. does anyone have a clue?

skydog 04-08-2011 06:37 PM

Re: Demystification of Mert & Marcus
 
Looks more like good photography and lighting than retouching...

K.C. 04-09-2011 10:06 PM

Re: Demystification of Mert & Marcus
 
I would agree. I looks like it's shot on film with hard light in a style that creates high contrast and saturation.

Jason Dulin 04-10-2011 11:01 PM

Re: Demystification of Mert & Marcus
 
I agree with you guys. Looks like film and if that is the case, it could be mostly if not all a chemical process. I really like the blues in the shadows. Makes killer separation between the model and the wall behind her.

jbedford 04-11-2011 11:41 AM

Re: Demystification of Mert & Marcus
 
Quote:

Originally Posted by K.C. (Post 289066)
I would agree. I looks like it's shot on film with hard light in a style that creates high contrast and saturation.

Interesting...What was the 'film' giveaway? I've seen them shoot before and they use medium format but am pretty sure they've got the digi-backs.

I know the light source appears to be just one strobe with a reflector, grid, and maybe a thinly-opaque gel...Certainly contributes to the 'punch' of the image. The colors in 90% of their shots just pop...could be that comes from favoring hard light over soft, but even so...I need to know the details...I'll wait patiently, but won't hold my breath for answers.

Still waiting for absolute technicalities re: post-technique...Getting close through experimentation...

mistermonday 04-11-2011 12:08 PM

Re: Demystification of Mert & Marcus
 
IMO, there is definitely a lot of post processing. Highlights typically do not fall on the subject in the patterns shown and I would bet there is a lot of manual dodging. The images, especially in the shadows, appear to have undergone some split toning as the colors and distribution of them appear very representative of split toning.
Regards, Murray

jbedford 04-11-2011 11:36 PM

Re: Demystification of Mert & Marcus
 
thanks all...still no real info on absolute post techniques for skin tone and color popping (etc...) but heres hoping...

@mrmonday - I see that split toning too...I achieve this well either with camera raw or via selective color in PS. thanks

Another example of their 'look'
http://www.lelook.eu/post-lfxb_razzmatazz-346-547.html

franko60 04-11-2011 11:56 PM

Re: Demystification of Mert & Marcus
 
The style is redolent of Uwe Ommer although I'm not sure he would have overworked the skin to make a beautiful girl look like a store window dummy. Whether film or digital who can tell - if you know what you're doing as a photographer you can make digital look like film and film look like digital (although film no longer has the resolution that high-end digital does). But the previous posters have it right - hard light (takes a particular type of face to take that kind of raw light), probably a focusing spot. On second thoughts, I think film is being used, judging by the colour shift in the shadows, but could be done intentionally in post.

Personally I don't like this at all. It's unthinking photography and doesn't require a great deal of photographic skill. But then, that's pretty true of many of the 'hot' young talents in photography today.

leo958 04-12-2011 02:14 AM

Re: Demystification of Mert & Marcus
 
here's the behind the scene of the shoot:

http://youtu.be/7AgzbSGn3yc


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