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The demystification of... Vogue colour?

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  #11  
Old 12-17-2011, 09:50 AM
insmac insmac is offline
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Re: The demystification of... Vogue colour?

Also keep in mind vast part of these images is scanned on cheap flatbeds, lacking shadows and vibrance.
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  #12  
Old 12-17-2011, 09:58 PM
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crimper crimper is offline
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Re: The demystification of... Vogue colour?

FYI.
There is no special Vogue look, just high quality photographes taken by some of the top photographers in the world. The real secret is in their printing which is on a par with the finest 'art' books produced today. That & quality paper can make or break a photo. Along with this they also employ some of the worlds beat Art Directors. who have total control over the layout & positioning.
I've had some photos published in Vogue UK and know most of the 'staff photographers of the 60's &70's People like David Baily, Helmut Newton, Etc Etc Etc.
Vogue has a 'look' because its a first class publication, not because of any tricks with the photography.

derek
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  #13  
Old 12-17-2011, 10:47 PM
kav kav is offline
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Re: The demystification of... Vogue colour?

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Originally Posted by crimper View Post

Vogue has a 'look' because its a first class publication, not because of any tricks with the photography.
Every first class publication has its own aesthetic which is driven heavily by the art direction. It's part of the branding. In this case the OP referred heavily to the style of color grading. Some of it can be reverse engineered. If you light it the same way and just as well, then use post to carry it the rest of the way, you can emulate the feel of the lighting and color. Just saying it's only good photography is meaningless when even the photographers that shoot for these publications understand the aesthetic of one publication versus another. My point being that magazines don't all look identical when comparing top tier publications.
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  #14  
Old 12-19-2011, 05:13 PM
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Re: The demystification of... Vogue colour?

Quote:
Originally Posted by kav View Post
Every first class publication has its own aesthetic which is driven heavily by the art direction. It's part of the branding. In this case the OP referred heavily to the style of color grading. Some of it can be reverse engineered. If you light it the same way and just as well, then use post to carry it the rest of the way, you can emulate the feel of the lighting and color. Just saying it's only good photography is meaningless when even the photographers that shoot for these publications understand the aesthetic of one publication versus another. My point being that magazines don't all look identical when comparing top tier publications.
As I previously said, they have great Art Directors at Vogue who set the tone of the magazine, That plus great photographers makes the 'look'

derek
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  #15  
Old 12-20-2011, 12:31 PM
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Andrew B. Andrew B. is offline
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Re: The demystification of... Vogue colour?

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Originally Posted by oneredpanther View Post
Hi guys,

Let me share with you my principal, number one, sleepless-night inducing, thorn-in-my-side, aching, frustrating retouching problem.

Colour.

Vogue colour.
The basis of this look is the Soft Light blending mode. Soft Light gently increases contrast and saturation.

Copy background, then set new layer to Soft Light. If you want a touch of the dream look, blur the Soft Light layer. If you want more, duplicate the Soft Light layer. If one layer gives you the right contrast but too much saturation, flatten the curve of the base image and start over. And after that you can do whatever tweaking you want.

And FWIW, the bleach look also uses Soft Light. Copy background, desaturate, set to Soft Light.

Of course, all these fashion photos begin good photos, before the affect is applied.
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  #16  
Old 12-20-2011, 08:03 PM
adtechniques adtechniques is offline
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Re: The demystification of... Vogue colour?

When you say "blur", is that "filter >>blur? How to blur soft light layer while keeping the details?
Do you have samples we can view?
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  #17  
Old 12-20-2011, 08:26 PM
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Andrew B. Andrew B. is offline
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Re: The demystification of... Vogue colour?

Oops. Sorry. I mean filter|blur|Gaussian blur. The level of blur would be low enough that you can make out features (eyes, nose, etc.) in the little preview screen on the filter. And at the same time you can also see the result by looking at the picture on the work area.

Edit: I figured out a way to demo this. Attached are two versions of a photo I found elsewhere on this forum. I first did a quick color correct. Then I made a blurred version. This will give you an idea of how much to blur. Pull these photos into your software, with the blurred one on a layer above the regular one. Set to soft light. You can also try it with two copies of the unblurred one, set the top to soft light. See the result. Then try to blur it yourself. You either blur or not blur depending on the need.
Attached Images
File Type: jpg Portrait-Bara-cropped.jpg (50.9 KB, 104 views)
File Type: jpg Portrait-Bara-cropped-blur.jpg (17.8 KB, 103 views)

Last edited by Andrew B.; 12-20-2011 at 08:45 PM. Reason: added more info
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  #18  
Old 12-21-2011, 06:11 AM
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oneredpanther oneredpanther is offline
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Re: The demystification of... Vogue colour?

Thanks to everyone for your detailed responses, particularly John Wheeler for your detailed analysis. There are some interesting points here to consider; I think it will still take a long time for me to understand this problem however, since I don't believe we've approached a convincing workflow to explain it yet.

Since it's christmas I'd like to give a special mention to Andrew B. above, whom I fear has lost his mind :P

A blurred soft light layer is functionally equivalent to just adjusting Contrast, as far as I can tell. Out of curiosity I did some comparisons of using varius radii blurred softlights and comparing them to various strength contrast adjustment layers and I couldn't tell the difference to be honest.

I don't think papers or scanners comes into it either, since I'm talking about how these images look on screen, rather than on the page.

My quest continues!
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  #19  
Old 12-21-2011, 09:28 AM
Fostercat Fostercat is offline
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Re: The demystification of... Vogue colour?

You people need to spend more time examining our having examined, your own heads. There is no 'look', it's some random guy or girl sitting in front of a computer working with the photographer and/or art director until they get something that they approve of. Then, when it all goes to press, it's the press persons subjective tweaking here and there which never looks just like it did when it left the post production house or the match print. There's no magic and nothing to analyze. Every photo shoot is different and it's done by someone different 94.78% of the time.

BTW, YOU don't know how to light and you don't know how to dodge and burn. You're all wannabees. You don't understand what it means to be a "retoucher" in the slightest. And you know what, you never will. It's your mindset, what's asked of you and what's put in front of you that is the problem. You have no basic understanding of the process because you've not done it for 10,000 hours. You may have done something for 100,000 hours, but you're not doing it. There is no subjectivity in your suppositions because you don't have the experience and your thinking is wrong.
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  #20  
Old 12-21-2011, 09:43 AM
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oneredpanther oneredpanther is offline
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Re: The demystification of... Vogue colour?

Your attitude is disgusting. You make sledgehammer judgements about a community of people who are trying to get ahead in a skillset for which there is no established starting point, no training school, no educational ladder, no training schemes and no accreditation and where every person's route is different and every story is unique.

Simply because we do not all find ourselves interns at agencies for years, does not mean we should stop learning new things and exploring whatever we choose. Some avenues are dead ends, others not. To stop being inquisitive is to die.

Your attitude and personal outlook are personal, they are not absolute. You seem to believe that someone who has not yet found the world's greatest piano teacher should simply stop learning the piano, keel over and die because evidently they will never reach your world class standards by any other possible means.

Write a book or column about the troubles you took to get where you are, instead of condescending to those who might actually admire your work.

Merry christmas.
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