It was asked of me to explain how I arrived to the black and white result on the portraits that I’ve done for the corriere della sera. No problem, I have no secret trick to hide, also because of a simple reason: there is no secret!
In the mean time an answer to a question that wasn’t asked: why in balck and white and why that kind of black and white. Black and white because I had those two examples in mind which I spoke about in my previous post, which where avedon and sander. So therefore images, very “classic” portraits, “posed”, in some way antique, and therefore black and white. That type of black and white (which was a bit “old”) was to give immediately a certain historic feeling, as if the photographs are already been looked at through the lens of the past, to favour the amazement of the “how we were”.
This is an original shot:
And this is the same shot after photoshop:
So, how did I do all this?
I did more or less as I’ve narrated through the video below here. I say more or less because every photoshoot I do has its own retouch, I never have standards: I therefore tried today to repeat and redo what I’ve done more or less a month ago.
PS: I put some music in the background to render these minutes less boring during this photoshopping thing. I would have chosen another one, but I always give a damn about having this need that everything has to have a sense, and this one has sense…
PS #02: the software which at a certain point appears is this one