Pratik has actually been an expert retoucher for around 15 years now, and one of the things he loves the most is working on skin. Something that Pratik states the models arent used to doing, and can take a little convincing and coaxing to assist them feel comfy.
However he remains in truth (type of irritatingly) an extremely accomplished professional photographer with an artists eye. He let DIYP have a look at one of his latest individual tasks that combine his love of white and black portraiture with retouching in his project entitled Fresh Faced Beauty.
The name Pratik Naik is most likely already familiar with you. Hes become a bit of a household name for image retouching and if you havent heard of his Infinite tools and Photoshop plug-ins yet I am going to assume that you either shoot film with a classic cam and establish it yourself, or live under a rock somewhere off-grid. What you probably dont know Pratik for, nevertheless, is his photography.
I wanted to integrate the things I enjoyed most about photography and retouching into a job that I call Fresh Faced Beauty. I discovered that without makeup, my designs felt exposed and they frequently utilized makeup during photoshoots to hide behind it. They told me that theyve never ever done a shoot without makeup prior to and I wanted to show them their natural state is gorgeous also.
— Pratik Naik
Pratik used a Canon EOS R with either an RF 50 1.2 lens chance at 1.4 and an RF 85 f/2 lens shot at f/2 to shoot the series, rotating between those lenses for both of the shoots. He informs us that the factor for picking the shallow depth of field is merely for effect. “I genuinely enjoy the fall off where it pulls focus in to particular locations to truly pull the viewer into what Im focusing on,” he says, “it contributes to the story for me and is [down to] individual taste.”
Pratik continues to discuss that he typically likes to utilize the 50mm for pictures and utilizes the distortion to stress particular facial angles or expressions for included psychological impact. “I like utilizing the 85 on some faces or angles based upon how the composition holds up at numerous ranges,” he continues, describing that the angles of each individuals face work much better with one lens or another depending on what expressions and presents they give him. He takes his time with each subject attempting multiple lenses throughout to choose which he chooses one of the most.
For the images of Kait Byce, Pratik used 2 Nanlite Pavotubes without any modifiers. He says that you can see the position of the main light reflected in her eyes. The accent light in the back was positioned vertically behind her shoulder. “I enjoyed placing the main light horizontally,” says Pratik, “it created a really interesting falloff when you took a look at it both leading to bottom and delegated right.” He states that the homes are not normal for portraits and so to him, it made it more fascinating.
For the images of Mae Lia, Pratik says that he really experimented and positioned the lights in numerous positions. He used two deep white Elinchrom reflective umbrellas with Aputure 200x lights to achieve that particular appearance.
Pratik tells us that he typically invests a “good deal of time experimenting with lots of lighting setups.” He describes that these images are primarily shot utilizing continuous light.
” I like the instant feedback of what constant (constant) light gives me and how I know what Ill be getting in electronic camera,” he says. “It permits me to remain in the flow of the shoot and keep the momentum going.”
Pratik prepares to continue this task to extend beyond designs in the future. You can see more of Pratiks photography and retouching on his Instagram and his site.
Clearly as Pratik is a professional retoucher he wasnt going to let these images leave post-production! He discussed that what he mainly set out to do was to make the stills look like how he remembered them in individual.
Pratik states that he wished to strike a best balance of being able to reflect a lasting memory however without altering who they are. He describes “I desired them to see how I see them and how others do. Who we are to others depends so much of what gets signed up in memory.”
After every shoot I d take a look at the images up close and think to myself, I dont remember most of what I am seeing here. These are the important things individuals focus on in the mirror under bad lighting and think everybody is taking a look at those little details. And as we understand, the electronic camera is even more detailed than what our eyes choose up when you zoom into a 50mp file.
— Pratik Naik
Naik eventually says that he liked the concept of entering into a shoot without any genuine preparation at all and seeing what he might make from it. “With the results, I loved being able to retouch bare skin and get something extremely ageless. It felt so freeing not needing any closet, props, makeup, or concept,” he informs us.
And the images are indeed of a timeless quality. For me they echo both old Hollywood, however also something far more fresh and current, like some of the later work of Peter Lindbergh. Theres something refreshingly sincere yet still incredibly gorgeous about the images.
Pratik used a Canon EOS R with either an RF 50 1.2 lens shot at 1.4 and an RF 85 f/2 lens shot at f/2 to shoot the series, rotating in between those lenses for both of the shoots. Pratik continues to describe that he often likes to utilize the 50mm for portraits and uses the distortion to emphasize specific facial angles or expressions for added emotional result. For the images of Kait Byce, Pratik used 2 Nanlite Pavotubes without any modifiers. Pratik says that he wanted to strike an ideal balance of being able to reflect a lasting memory but without altering who they are.
Something that Pratik states the models arent used to doing, and can take a little convincing and coaxing to help them feel comfortable.