"cinema colors" of Annie Leibovitz on VF magazine

<p>http://www.vanityfair.com/images/hollywood/2010/03/actors-directors-1003-09.jpg<br>

any ideas how to get this "cinema colors" look?</p>

<p>It's all lighting. Look for the shadows, subtle as they are. Go backward and you will find where the light came from.</p>

<p>It doesn't look all that complex either. They payed close attention to color balance, but it looks like maybe very large white panels maybe. Possibly some careful fill, but if the light wall is large enough, some of it inevitably bounced back in.</p>

<p>Hey Andres, it's not "all" lighting, but the lighting is a good part of it. Even the background is well lit. The shadows aren't too dark.</p>

<p>However, the post processing is a bit split toned. A good way to tell is to take the picture in Photoshop and go over the picture with the dropper (press I). In the info pane you can check how the colors are skewed in the shadows and highlites.</p>

<p>I hope this helps put you in the right direction. Creative color management can be one of the most effective ways of adding depth and interest to an image.</p>

<p>i dont see a effect on that image other than good subject and light... sorry.</p>

<p>*could simply be that the post was made in the cooler side so the shadow can have this colder tone.. the precision of the development can give you amazing result ; )</p>

<p>Yes, I agree that lighting is a big part of it, especially when it's Annie shooting and there's a whole lighting crew. But if you look at the shadows they're skewed blue (RGB: 0/0/10 in the shadows) and in the skin highlites in CMYK the red is half of the yellow so it's a bit skewed.</p>

<p>I just find that split toning with precision tricks the eye into thinking the shadows aren't really "black" so it gives a feel of a higher dynamic range. </p>

<p>However, the lighting is really good obviously, and the way the fill light and the feathering in the background is controlled is one of Annie Leibovitz's specialties. I have her book "A Photographer's Life" and most of Annie's studio stuff has that soft, creamy quality to it.</p>

<p>If that's what Patrick thinks, then that's that! I have been studying as many images of Leibovitz' as I can find, and the sets she is using, but it appears she uses rather simple (albeit large) lighting. I found another set of photos showing the area around this image, and it appears she used a single, very large octagon light.</p>

<p>Patrick, your article(s?) in the learning section are outstanding! I've used so many of your ideas in my shoots, and think I'm getting a better handle on the quality of my commercial and fashion images. Thank you. When is your book coming out?<g></p>

<blockquote>

<p>If that's what Patrick thinks, then that's that</p>

</blockquote>

<p>lol. That's usually the case, he definitely knows more than I do! But there is some PP there too. I think it's a perfect synergy. Look at the Louis Vuitton ad with Keith Richards (video: http://strobist.blogspot.com/2010/06/softlighter-too.html). She's using one light there too... no special tricks because it's just someone holding it up... yet the outcome isn't what my pics look like with one light! So there's definitely something more, in my opinion which I know doesn't look like much in lieu of Patrick Magique Lavoie!</p>

what can i add....

 

thank michael, and marlon, looking to meet you soon.. and work on your file to add the magic touch : )

<p>First of the lighting and proper exposure, but that's a given at that level. Second choose and place your light formers right, and i'm not giving "secrets" away, but Profoto in Elinchrom Octabanks and Photek softlighter are a fantastic source (see VanityFair.com, Vogue, Louis Vuitton, Gap, Disney and others for behind the scenes video) and add enough fill light so the shadows are not all black; fill walls, additional lights, daylight all help.<br>

Once you have a nice balanced exposure it's about developing the capture, setting your highlights and shadows right and controlling how much definition you'll leave in (It obviously helps to work with Pascal at Box, see The New Yorker article in '08, a lot of the leading photographers in NY work with them: http://www.newyorker.com/reporting/2008/05/12/080512fa_fact_collins).<br>

And don't forget about the the overall tonality of the props, walls, outfits, it all adds to the look and even if we all knew the exact settings of everything there's still something that happens within the photographer and the experience of the team.</p>

<p>Interesting topic. Great links, Marlon and Mark, thanks.<br>

Patrick "Magique" Lavoie. Thanks for putting up with 'em "Magique", they mean well. :-) Too Funny.<br>

Roger Dennis</p>