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I framed this portrait of Pastor Scotty Gurule in a wide, cinematic format. This, for 3 reasons: (1) the body posture gives its significance to the photograph, and the tatooed arms are an expressive detail; (2) the face is closed, with a pensive expression. Pastor Gurule just finished saying something and left his finger pointed to the heaven as a way to stress his statement with no further need for words. The gesture required space, and a tight framing wouldn't give it the space; (3) the pulpit on the right is a useful prop: it reminded me of the pulpit of a monk in 13th century iconography, and it enabled me to obtain the secondary, dim source of light found in many chiaroscuro paintings.

For the flesh tones, I worked with the reds and oranges available from the light and the reddish complexion of Pastor Gurule. Browns and reds are typical of Rembrandt paintings and that's the style I seek to emulate. I highlighted the left side of his face and kept light to a minimum on the right side. There may be a tad too much light on the right side to call this a Rembrandt portrait, but I got the triangle of light under the right eye. The left eye is clearly visible, and I believe the level of detail and color in the white of the eye is appropriate for the style.

I used brushes to blacken out the background, and dimmed out the light falling on the pulpit and on the metal props in the background. To allow some of the dim background reflections to show, I did not push the density of the brushstroke to 100%. This allowed me to preserve some reds, rather than winding up with a deep black background.

Shot with a Canon 5D MkII and a 70-200 Canon lens. Post-processed in Lightroom.

#chiaroscurophotography
#rembrandtstyle
#canonphotographers
#portraitphotography
#portraits
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Shot at about 12 feet from the subject (Pastor Jamie G) with a Canon 5D MkII and a Canon 70-200 lens, this side portrait processed in the chiaoscuro style aimed at highlighting the forehead and the right cheek to render the intensity of the look. The eye is barely visible behind the curtain f hair, but the head is tilted forward and the subject is obviously looking at a specific someone in the audience. In Lightroom I blacked out every bit of background but I did not push the density of the brush to 100% to keep the deep reds/browns of the front light. I highlighted the cheek bone where it meets the side of the nose, and keep the flesh tones realistic (not too yellow, not too white). Slight bit of sharpening, slight noise reduction (luminance), no vignetting (all brushes).
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In this portrait, shot with a 5D MkII and a 70-200 lens, the lighting effect was obtained with an overhead LED light. In Lightroom, I blacked out all the background but added a couple of brushstrokes to highlight the face of the model (Pastor Jamie G) and expand the light to the back wall to create the dim light reflection of the chiaroscuro effect. Color adjustments aimed at reducing the magenta and purple lights from the LED projector, and to bring back realistic flesh tones with some highlights.
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Shot with a 70-200 telelens less than 6 feet from Gospel singer Rachelle Youngberg. Post-processing steps in Lightroom: first, processed the color shot to fine tune the Rembrandt portrait lighting and chiaroscuro effect: darkened the shadows, removed some of the purple/magenta, toned down the red somewhat and accentuated the yellows. Then used Color Efx Pro 4 to diffuse the light, notably on the hair. Back in Lightroom, darkened the background on Rachelle's right side, and finally applied a B&W preset ('Leaves' by Presetual - Silvertone BW). The B&W comes out better on a warmer monitor. 'Leaves' gives a milky aspect to the blacks, which really adds to the light. A colder monitor increases contrast.
Shot with an EOS 5D MkII.
#blackandwhite   #blackandwhitephotography   #blackandwhitephotos   #canonphotography   #canonphotographers   #canonusers   #gospelmusic  
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Technicals of this photo: Shot during Easter mass in very low light at ISO 5000, 1/200 sec, f 4.0. Distance to subject approx. 50 feet (18 m). Canon 5D MkII and 70-200 lens. Processed in LR to darken the background with additional brush strokes on the background (darken) and around the Communion wafer and the Christ tattoo (lighten). Noise reduction applied to the entire photo, with low clarity and low sharpness settings on the brush strokes.
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"In the Spirit" -- Shot with Canon 5D MkII, telelens Canon 70-200, post-processed in Lightroom.  
First, I adjusted the color shot to correct orange and red, and used the adjustment brush to fade the background to black (only to keep the second source of light, the dim halo at the top).
I used the split-toning filter to give a gold color to the shot (Highlights: 70;54 - Shadows: 34;12).
I then edited in Nik Color Efx Pro 4 using the Bleach Bypass filter to obtain the sepia/bronze effect. The red of the watch was partly preserved by the filter and I kept it this way as a light note of color).
I liked the highlights and whites of the original shots so I did not retouch them in Color Efx Pro. I finished the processing with minor adjustments to the background.

#duotone   #portraitphotography   #portraitphotographer   #canonphotography   #canonusers   #canonphotographers   #EOS   #lightroom  
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Facing God in prayers - Portrait of Pastor Aaron Lee.

Postprocessed to B&W using Lightroom filter & adjustment brush. Canon EOS 5D MkII, Canon 70-200 mm
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Rev. Landon Schott preaching. This is more a B&W shot than a pure chiaroscurro, but I include it in this collection because of the contrast obtained by blackening all the shadow areas and the presence of a secondary source of light in the background.
Chiaroscurro was a portrait technique designed to emphasize the character of the subject. Tenebrism added drama to the original technique. In this shot, the subject is obviously in a passionate moment. Removing the background and all other distractions from the shot enables the eye to focus on the expression of the face and the motion of the arm. This heightens intensity, which is what chiaroscurro aims at.
I also think this shot is not unlike a stenciled graffiti where missing form elements are suggested and completed by the brain.
Camera: Canon EOS 5D MkII, Canon telelens 70-200, Lightroom.
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Study in Chiaroscuro Two areas of work here: the flesh tones in the face, and the contrast between the black leather jacket and the background.

First, technicals of the photo: The portrait is a bit soft. I shot at f/2.8 and 1/1000sec. Distance to subject about 40 yards, shot with a 200 mm lens at 190. The dim light required 3200 ISO. No tripod.

Flesh tones: Worked in Lightroom with general color settings, split-toning, adjustment brush, then highlights/shadows. Original shot was too orangy at 5200K due to lighting. I first desaturated the orange and the red. Using split toning, I boosted the yellow-green (highlights H:71, S:68) and the blue (shadows H:223, S:31). With the adjustement brush I made several adjustements to the shadow on the right side of the face. I did not want too much shadows but I had to remove the yellow/orange lights. I wound up the adjustments by modifying the Highlights, Shadows, Whites and Blacks in the Treatment module.

Background: Using the adjustment brush with very dark settings, I removed most of the background. I wanted to keep some light just on the edge of the jacket to help differentiating the vest from the background. I worked with the maximum feather setting (100) to keep a faint halo around the whole subject. The brownish+silver light reflections on the jacket helped make the rest of the difference with the background.

I did not do any topical work on the hands.

Overall, the portrait is closer to Rubens's lighting than to Rembrandt's, though it lacks the details so characteristic of Rubens's works.

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Study in Chiaroscuro In this Portrait of Pastor Scotty Gurulé Praying, I worked on the flesh tones using the adjustment brush in Lightroom. The original photo is shot at 7100K, with strong yellow-orange tones. I wanted to obtain the whiter flesh tones of Rembrandt and many other painters of the Tenebrism sub-genre of the Chiaroscuro movement.
I created two different adjustment brushes: one for the highlights, one of the shadows. To obtain the Chiaoscuro effect, we can only have 1 primary source of light (imaginary window light outside of the FOV which falls on the hands and face) and 1 secondary source (in this case, some unseen object that creates the faint vertical backlight ). The highlights brush takes care of the flesh tones by bringing them from yellow/orange to white/deep red. The shadows brush darkens everything else, without completely obliterating the background: even in darker areas, there is a difference between the black shirt and the background.
Shot with a Canon EOS 5D MkII, a Canon telelens 70-200. Post-processing in Lightroom 4.
#canonusers
#portraitphotography
#portraitphotographers
#churchphotography
#lightroom
#artofpostprocessing
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