Worked with a friend with commercial modeling experience in TV and print media before he was to enter compulsory military service. For this shot, we started off with a split lighting configuration, and I had him turn and tilt his head to transition into a classic Rembrandt pose. The key light source was a relatively small, round 10" diffuser mounted to a speedlight at 1/4 power. For fill, a large round reflector was set at chest height, but folded at a 135° angle to fill the contours of his cheekbones and jawline differentially between left and right.
Worked with a friend with commercial modeling experience in TV and print media before he was to enter compulsory military service. For this shot, we started off with a split lighting configuration, and I had him turn and tilt his head to transition into a classic Rembrandt pose. The key light source was a relatively small, round 10" diffuser mounted to a speedlight at 1/4 power. For fill, a large round reflector was set at chest height, but folded at a 135° angle to fill the contours of his cheekbones and jawline differentially between left and right.
Thanks. For this one, yes, quite a bit. For starters, I don't have enough equipment to do everything "in-camera", so I do have to rely on curves adjustments. In the end, while the final image looks quite different from the original, it wasn't as much adjustment as I'd originally expected. The skin was retouched, in addition to some dodging/burning and color balance adjustment to give off that sleek fashion editorial look. Here's a comparison between the final image and the image that I processed straight from RAW (with a very flat, neutral color profile):
I probably could've thrown a simple S-curve on it and it would've been fine, but I did plan for the shot to be extensively edited. Here are some other shots from the same shoot:
The first one on the left is much more of an honest, straightforward shot, such as one would give a casting director during a go-see. The other two are much more heavily exaggerated; the middle one uses complimentary colors to give off the commercial editorial vibe, while I tried to accentuate as much texture and detail as possible, while exaggerating sculpted lines in the close-up on the right. There is actually very little to no retouching of the skin in the one on the right in order to preserve that gritty look.
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