- Oct 13, 2015
- Reaction score
- Washington State, USA
- Can others edit my Photos
- Photos OK to edit
As Derrel pointed out, the darker, almost monochromatic background coupled with a light toned subject is the big key here. Notice that these scenes all have very simple color palettes, and that the backgrounds tend towards low key while the subjects are not only lighter in tone but about a stop brighter in their actual light value. The scenes are simple. The color palette is simple. The lighting on the scene appears fairly uniform (no random bright spots behind the subject). The colors are all "earth tones", nothing that would distract from the subject. Add to that the subtle DOF falloff you get with a wide angle lens (35mm wide open in those shots). A wide angle lens (not ultra wide) shot wide open will render a crisp subject and a soft but still fully rendered background, helping to give an image context while ensuring that the subject really stands out. These are all things that can be handled in the camera.Hello All!
I've always been super fascinated with that Deep Rich look you can often see in portraits. Like this: goo.gl/SG1vkI
Do any of ya'll have a tutorial, know-how, or guidance on such a technique?
Here are some other examples:
Any help is appreciated!
I keep clicking next to see next photo. I keep seeing each woman with same body mass, same expression, and same age. Each photograph is a same concept. I keep clicking next, and I got bored seeing each photo. I better stop clicking next!
Another way to achieve this look is to start with a well-saturated image, make it somewhat dark, and then use an adjustment brush, or a series of brushes, to lighten up the areas of interest. If you look at these shots, you can see the pattern of the environment being dark, but the subject (little red riding hood and her lantern) being lighter than the surrounding, scene areas. Light advances, dark recedes is the simplified way of thinking about this: a light object seems to come to the forefront when it is found within a darker scene or setting. This is one of the reasons, as Tim mentioned, that applying a vignette can be so effective. After the most important subject, like say red riding hood, has been lightened up a bit, it's also possible to "paint on" selected adjustments that will further enhance the lightened areas, such as selective sharpening, or added clarity, or added saturation, or along the same lines, it's possible to paint on softening to areas that you want to sort of become less sharp, less crisp, less noticeable. In this type of fantasy Red Riding Hood in the woods type of a set-up shot, the natural feel is somewhat DARK to begin with...we can easily accept that it's dark in the woods...and she has a lantern, and has fair skin...we can easily accept a fairly tale type processing look, even if it's a bit extreme. In the shots the one fellow did of the brunette woman with the dark brown leather couches and dark carpet, the same thing would apply...make the surroundings darker...make sure the woman is brighter, sharper, clearer.. BOOM! She stands out in her tan dress and white socks, while the entire room and furnishings easily are visually sublimated due to being a lot darker.
If you notice, a lot of the people who do these types of shots this way have very little actual "lighting" visible, and there are sometimes very unnatural, odd, even dumb Photoshop tricks that look really hokey. One of my favorites is the Malaysian fellow who somehow inhabits a world in which young kids frolic in the countryside, and water buffalo graze in the fields, and the kids and the whole world are all brilliantly back-lighted by a Sun that can, and which does, shine from multiple directions at the same time!