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Author Topic: Clock of Jean-Claude Lemagny  (Read 16860 times)

amolitor

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Re: Clock of Jean-Claude Lemagny
« Reply #200 on: November 14, 2018, 12:02:37 pm »

It certainly has occurred to me that the background may have been pasted in one way or the other, but the technical  details of how the thing was made aren't of much interest to me personally. That it appears to have been made is fascinating, though.

Here's another thing (I more or less flipped through Vanity Fair and pulled out half a dozen particularly clear examples of the form in a couple of minutes. Vogue, Vanity Fair, WSJ Magazine, the usual suspects are more or less wall to wall these things). This is Bottega Venata, they're doing a weird thing where they're shooting short films and the print ads are frames pulled from the films and closeups of those frames. The films themselves are explicitly surreal.

Anyone can see that the phone booth is lit to match her outfit. But look in the background.

The tumbled safety barriers match her purse and the lapels of her coat.

And lest the point be missed: This is a normal level of styling and set design. This is absolutely the standard. Coach,  Celine, YSL, Prada, etc. It's all this stuff.


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Martin Kristiansen

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Re: Clock of Jean-Claude Lemagny
« Reply #201 on: November 14, 2018, 12:12:37 pm »

It certainly has occurred to me that the background may have been pasted in one way or the other, but the technical  details of how the thing was made aren't of much interest to me personally. That it appears to have been made is fascinating, though.

Here's another thing (I more or less flipped through Vanity Fair and pulled out half a dozen particularly clear examples of the form in a couple of minutes. Vogue, Vanity Fair, WSJ Magazine, the usual suspects are more or less wall to wall these things). This is Bottega Venata, they're doing a weird thing where they're shooting short films and the print ads are frames pulled from the films and closeups of those frames. The films themselves are explicitly surreal.

Anyone can see that the phone booth is lit to match her outfit. But look in the background.

The tumbled safety barriers match her purse and the lapels of her coat.

And lest the point be missed: This is a normal level of styling and set design. This is absolutely the standard. Coach,  Celine, YSL, Prada, etc. It's all this stuff.

It’s not just set design and styling. A lot of it is very clever colour grading.
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amolitor

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Re: Clock of Jean-Claude Lemagny
« Reply #202 on: November 14, 2018, 12:19:30 pm »

Yes the color palettes could certainly be done in post. If Annie Leibovitz is anything like a benchmark, there's a hell of a lot more cut &  paste in fashion photography than meets the eye.

But then, if Rob's take is correct, though (and I feel like he's on to something) I think we'd be surprised how much of it is done live. It's sexy as hell to demand new gigantic props on the grounds that they need to match the model's shoes, and it really feels like you're doing something! THOSE ELEPHANTS ARE THE WRONG GREY! GET ME NEW, BLUER,  ELEPHANTS!
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Ivophoto

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Clock of Jean-Claude Lemagny
« Reply #203 on: November 14, 2018, 12:38:46 pm »

Yes the color palettes could certainly be done in post. If Annie Leibovitz is anything like a benchmark, there's a hell of a lot more cut &  paste in fashion photography than meets the eye.

But then, if Rob's take is correct, though (and I feel like he's on to something) I think we'd be surprised how much of it is done live. It's sexy as hell to demand new gigantic props on the grounds that they need to match the model's shoes, and it really feels like you're doing something! THOSE ELEPHANTS ARE THE WRONG GREY! GET ME NEW, BLUER,  ELEPHANTS!

I had a friend working at Duval Guillaume, a not unimportant advertising company here in Belgium, if she is right in what she told me, it is not the photographers call but it is the art director / project manager who is key.

Another friend photographer works for a German company, don’t remember the name, he is doing the lingerie shoots and apparel shoots for a big post order company. No artistic freedom at all. He got a fist thick book with layouts and schemes how to put light and set up. He is very depressed by that way of working.

I don’t know if that is typical for the business.
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faberryman

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Re: Clock of Jean-Claude Lemagny
« Reply #204 on: November 14, 2018, 12:47:06 pm »

It's not obvious to me.
Look at the top edge and the right edge. The left edge also looks like it is part of the set.
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Rob C

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Re: Clock of Jean-Claude Lemagny
« Reply #205 on: November 14, 2018, 12:58:23 pm »

It's not obvious to me.


Look at the left edge.

amolitor

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Re: Clock of Jean-Claude Lemagny
« Reply #206 on: November 14, 2018, 01:01:17 pm »

The picture I attached is a phone-snap of a magazine page, so much of the material around the edges of that photo are my countertop, and a magazine gutter. Not sure what exactly you folks are looking at, but I figured I'd mention it.

So it's a photo of a photo, which is another beast altogether....
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elliot_n

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Re: Clock of Jean-Claude Lemagny
« Reply #207 on: November 14, 2018, 01:05:02 pm »

The picture I attached is a phone-snap of a magazine page...

I thought that was obvious. Maybe there's another sort of optical confusion going on. :)
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Rob C

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Re: Clock of Jean-Claude Lemagny
« Reply #208 on: November 14, 2018, 01:10:13 pm »

Before we possibly get ourselves derailed, what's to say that we are not just looking at a print that's lying on top of some other picture? When in 2D, anything can fool anyone.

I know nothing about motion pictures, but as we can PS anything in a part of still to match any colour we want, isn't it possible to do that in movies too? After all, these are big budget companies.

Rob

P.S.

I see that is exactly the case, so the pic we were looking at is meaningless as it stands, and should have been shot agaist a black or white b/ground to avoid the confusion.

Martin Kristiansen

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Re: Clock of Jean-Claude Lemagny
« Reply #209 on: November 14, 2018, 01:12:20 pm »

I had a friend working at Duval Guillaume, a not unimportant advertising company here in Belgium, if she is right in what she told me, it is not the photographers call but it is the art director / project manager who is key.

Another friend photographer works for a German company, don’t remember the name, he is doing the lingerie shoots and apparel shoots for a big post order company. No artistic freedom at all. He got a fist thick book with layouts and schemes how to put light and set up. He is very depressed by that way of working.

I don’t know if that is typical for the business.

It’s typical of how I work. I don’t get depressed about it at all. It’s great. Way more fun than running around with a gun or working on a farm which is some of the other stuff I have done. It pays the bills and buys my camera gear while not draining me creatively. Commercial photography is to there to sell stuff. Not to stroke the creative egos of commercial photographers most of whom don’t give a fig for art or photography. Product photography is technically challenging and requires good organizational and workflow skills, a real barrier to entry.

Not sure with the 8mages in question but usually this stuff is a collaboration. Well that’s obvious I suppose.
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elliot_n

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Re: Clock of Jean-Claude Lemagny
« Reply #210 on: November 14, 2018, 01:16:57 pm »

This a Calvin Klein ad, not a catalogue shoot.
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Rob C

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Re: Clock of Jean-Claude Lemagny
« Reply #211 on: November 14, 2018, 01:30:50 pm »

It’s typical of how I work. I don’t get depressed about it at all. It’s great. Way more fun than running around with a gun or working on a farm which is some of the other stuff I have done. It pays the bills and buys my camera gear while not draining me creatively. Commercial photography is to there to sell stuff. Not to stroke the creative egos of commercial photographers most of whom don’t give a fig for art or photography. Product photography is technically challenging and requires good organizational and workflow skills, a real barrier to entry.

Not sure with the 8mages in question but usually this stuff is a collaboration. Well that’s obvious I suppose.


I have heard that photographers are very often forced into being button pushers. I'm so glad that I pretty much escaped all that. Most of the time I was handed a bunch of clothes and expected to return them with some nice photographs. Pretty much everybody I knew had the same experience, and only some types of advertising (as distinct from fashion) had art directors meddling on the job. The worst shoots where I experienced this were those destined for Vogue because I was saddled with representatives who had little idea what photography was about, but that didn't prevent them from trying to direct. Their problem, as always with such people, was fear, and the fact that much of the cost of such shoots was covered by free travel and free hotels in return for publicity on the pages. (Product placement before it was called that.) I remember standing in Lisbon airport in front of a TAP Jumbo and wondering how the hell to get logos, clothes and some suitcases looking like they were all one shot. Perspectives and scale were a friggin' nightmare. Business where things are supposed to be quid pro quo are usually a bad idea unless you know the people concerned personally, and well.

Martin Kristiansen

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Re: Clock of Jean-Claude Lemagny
« Reply #212 on: November 14, 2018, 01:41:47 pm »

This a Calvin Klein ad, not a catalogue shoot.

Yes obviously. Do you think then that the photographer made most of the decisions?
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Ivophoto

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Re: Clock of Jean-Claude Lemagny
« Reply #213 on: November 14, 2018, 01:46:00 pm »

Yes obviously. Do you think then that the photographer made most of the decisions?

I doubt.
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elliot_n

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Re: Clock of Jean-Claude Lemagny
« Reply #214 on: November 14, 2018, 02:03:07 pm »

Yes obviously. Do you think then that the photographer made most of the decisions?

No, but I don't think he was told what to do.
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Rob C

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Re: Clock of Jean-Claude Lemagny
« Reply #215 on: November 14, 2018, 02:11:29 pm »

As this single shot appears to be a still from a moving sequence - the video - I expect that it was selected from the better frames of that moving sequence. We should really be talking to Cooter, here, because he is into all that stuff and could tell us definitively whether using frames from motion works well enough. I think Red cameras are capanle of allowing stuff like that to happen but as I say, not my area of knowledge.

I really would like to know if that "flag" idea was shot for real, or is a motion pasting job.

Rob

elliot_n

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Re: Clock of Jean-Claude Lemagny
« Reply #216 on: November 14, 2018, 02:16:14 pm »

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