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Matching a target & destination portrait image

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  #11  
Old 02-01-2013, 02:12 PM
frankg frankg is offline
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Re: Matching a target & destination portrait image

I'm going to try and start a new thread on this subject
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  #12  
Old 02-01-2013, 02:23 PM
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AKMac AKMac is offline
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Re: Matching a target & destination portrait image

Could be interesting. I'm sure there are some guys who would love to get their teeth into solving this - if it isn't already solved.
By the way, when I mentioned Channels earlier - I meant Channel Mixer.
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  #13  
Old 02-01-2013, 02:33 PM
frankg frankg is offline
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Re: Matching a target & destination portrait image

Thread started and an extract of yours is quoted. Please chime in there with your ideas, thoughts, corrections
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  #14  
Old 02-01-2013, 04:02 PM
kav kav is offline
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Re: Matching a target & destination portrait image

Quote:
Originally Posted by frankg View Post
HSL layer and do a 'master' desaturation of the clothing or 'individual' col desat ?

My main concern is attempting to get the same skin col/tone - so are you saying it needs less red in the face - the entire face or blotches? How would you go about it?
It's very difficult for me to see subtleties of red (& green).

Wish I could 'paint by numbers' :-)
I'll give you my thoughts. Draw out the masks first for color correction, then make adjustment layers. Label them for each piece. Refine the masks as necessary if some areas need a bit less than others. The one you were trying to emulate doesn't have quite so much of a dropoff on the shadow. It looks like they brightened that a little. The eyes were probably retouched to that density. The background was likely adjusted in somewhat. Those highlights look like they were painted up or down a bit to be soft and kind of roll off like that. It's a bit brighter and less saturated. The change in tones is gradual. If someone asked me to match one to the other, I'd probably be a bit worried about the heavy shadow on the face. Other than that I'd make all the masks I needed first, then start adjusting while referring to the reference. I'd do things like highlighting and overall grading at the end. Does that help?


Since I mentioned masks, they'd be general highlight side, background, nose, red part of neck, eyeglass lenses, eyes, shadow side, and maybe skin oil highlights. They won't be perfect, but it would give me some way to make broad adjustment layers to get it closer to the reference. I wouldn't say just straight out reduce saturation. You may need to, but it's important to think about actual color palette rather than look at it just in terms of being too saturated. Sometimes I paint out swatches on a blank layer to decide on colors that I like or see how they look against other colors.

You'd still have to really clean it up and refine it from there. This is just how I'd get started as it would allow me to make adjustments to the relationships between different areas quickly while trying to determine the appropriate look. Some problems around the edges of those adjustment layers are to be expected if the changes are significant enough, but that can be cleaned up. Usually I focus on getting it as close as possible and making sure it has a nice flow rather than looking cut. I can always rebuild bits.

Last edited by kav; 02-01-2013 at 04:10 PM.
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  #15  
Old 02-02-2013, 12:51 AM
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Phaeton Phaeton is offline
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Re: Matching a target & destination portrait image

Hi Frank
Your image matches Annie's very well photographically. You have however deeper shadows plus his glasses add another shadow element to the images.

Your subject has blotchy areas in the nose, nostril, chin and neck. Those have to be brought down.
I'm not sure if your vision allows you to see the subtle changes needed – for your colour blindness, alas, I've no answer.

I opened up some shadows a bit. I selected the skin (it was hard, your image is a bit too low res for great selections) by calculating the green and red channels (subtract) this gives me the oranges in the image (I only used the skin bits I needed). Some luminosity masks and some D&B. You have to dodge and burn, you can't really try to emulate Annie Leibovitz without it. This is not perfect, it's a mere 15 minutes work but I think it matches up fairly well.

You can download a PSD here. I left Pedro's cheek as a topmost layer so you can see how they match up.

http://bit.ly/YKgiPl

Cheers
Ed

Last edited by Phaeton; 02-02-2013 at 01:16 AM.
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  #16  
Old 02-02-2013, 09:12 AM
frankg frankg is offline
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Re: Matching a target & destination portrait image

Thanks so much...I am going to take some time to go through this carefully. Tons to learn from you. Thanks again

In response to a few points:
Unfortunately, you are right I don't see the subtleties. No solution to that.

I can just try and aim for general correction. On the original RAW file I adjusted, blacks, whites, contrast & col temp. On the Tif I used the col sample tool and picked a bright spot on Pedros cheek/face (C10,M30,Y30,K0) and then went to my image with the tool and looked for a similar tone (C10%) and then created a Curves adj. layer and on each RGB channel I used the little hand icon on the picked col sample spot to try and adjust/match the rest of the colors.

I don't get this:"by calculating the green and red channels (subtract) this gives me the oranges in the image (I only used the skin bits I needed)" but I'll wait until I can study your layers, it may become clear.
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  #17  
Old 02-02-2013, 01:48 PM
Wolfman Wolfman is offline
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Re: Matching a target & destination portrait image

Here's my attempt....I used a gradient map & mask to tone done the red a little...that's all.
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File Type: jpg my_attempt-1.tif.jpg (79.2 KB, 22 views)
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  #18  
Old 02-02-2013, 01:52 PM
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AKMac AKMac is offline
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Re: Matching a target & destination portrait image

The more I look at this portrait - the more I think of Rembrandt.
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  #19  
Old 02-02-2013, 03:25 PM
frankg frankg is offline
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Re: Matching a target & destination portrait image

Quote:
Originally Posted by Wolfman View Post
Here's my attempt....I used a gradient map & mask to tone done the red a little...that's all.
@wolfman
would you be willing to send me (or link) to the file with the gradient map adjustment layer you used. I know it sounds elementary, but I've only recently become aware of and started using gradient maps, and so far just 'black to white' to convert to black & white
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  #20  
Old 02-02-2013, 07:03 PM
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Phaeton Phaeton is offline
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Re: Matching a target & destination portrait image

Quote:
Originally Posted by frankg View Post
I don't get this:"by calculating the green and red channels (subtract) this gives me the oranges in the image (I only used the skin bits I needed)" but I'll wait until I can study your layers, it may become clear.
Sorry I made a wee misstake there and I'm not very techie:

One way for me to select skin colours (oranges, yellows with reds) is to go to calculations, select the red and blue channels as source 1 and 2, invert them, set to subtract (offset 0 and scale 1) and create a new channel. This generally gives me the tones I'm looking for when trying to select fine variations in skin.
This channel can then be manipulated and tweaked to perfection: apply a levels to it to open up the shadows; I always grab the dodge and burn tool and plain paint brush and darken or lighten things as needed as well, right onto the channel before making a mask out it.

I end up with this weird looking but very useful masks with the predominantly yellows and reds of the skin selected by their luminosity.
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File Type: jpg Screen-Shot1.jpg (99.5 KB, 40 views)
File Type: jpg Screen-Shot_3.jpg (98.8 KB, 40 views)
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