#campaign retouching

[ukretouching]

[1000sassa1000]

From the Depths to the Wind

A KALTBLUT exclusive editorial by Jon Carreño, a fashion photographer currently based in Barcelona. Jon Carreño possesses extensive expertise in photographic lighting, retouching, and creative direction, embodying a profile deeply rooted in both artistic and technical realms. He considers himself a storyteller evoking emotions through images, constructing a narrative thread that captivates viewers, and shaping an atmosphere, visual and conceptual universe.

Jon shoots with Jonathon Luke Baker a dancer and movement director. He has danced for artists such as Sam Smith, Tove Lo, and Glass Animals and is currently touring Europe and the US with Jessie Ware. He has performed for Jean Paul Gaultier’s Fashion Freakshow for the last two years, touring Asia and Europe. As a choreographer, he has created movements for Gareth Pugh, Puma, Boy George, and SHOWstudio. As a model, Jonathon has been photographed by the likes of Tim Walker and Nick Knight and has appeared in campaigns for Tod’s and Charlotte Tilbury.

 Jonathon Luke Baker Instagram: @jonathonlukeb

photo by by Jon Carreño  Instagram: @joncarrenophotography

[realcatalina]

Meynnart Wewyck-Part 7: different faces of lady Margaret

In part 1 I have introduced you to painting of lady Margaret Beaufort done in early 1510s, which was the very first painting atributed to Wewyck and lead to atribution to other portraits to him. And now we have more news about it!

The painting underwent conservation and t's hard to believe it is even same portrait. On left prior to conservation, on right after conservation was fully finished:

(Photos by Hamilton Kerr Institute)

Conservators found evidence of at least ‘four campaigns’ of extensive overpainting!

Including entirely overpainted/altered face -on left after cleaning:

I was right about thinning of layers within the face, but I thought the nose was moved by the original artist. But now we know thinning of layers was revealing the original nose.

Prior to conservation:

The picture bellow is mid conservation(also by Hamilton Kerr institude), after the heavy overpainting and grime was removed....and it's so different!

And certainly there is lot of paint loss...but they manged to fix it.

The painting is currently on display in National Portrait Gallery. (It's loaned there for 3 years!) Fully restored.

I don't have HD image of that yet:-( . (Still my issues with NPG's webpage.) But i think they will appear online soon, but by now we have to rely on images by those who visited NPG. Best I could find was by twitter user @RosieLe60545528:

And I am innerly sighting in relief because the 'gable hood' is same and I don't have to redo my post about it. (Thank God!)

And may I just say...her son was like mirror image of her.

I think his nose might have had bit of raise on it and hers didn't, but then it could be just the angle. Really strong resemblence between mother and son, and probably not just due to same artist.

But back to lady Margaret alone.

I have 2nd candidate on her portrait by Meynnart Wewyck.

Portrait of Lady Margaret Beaufort Christ's College, University of Cambridge:

Have you ever noticed how many depictions of lady Margaret Beaufort feature her holding a book? I have. And I took it upon myself to try to find the missing painting by Wewyck of lady Margaret, the one featured in reccords. Imo so many portrait copies holding a book, might suggest there was once original where she indeed held it.

And this is my candidate. And part of reason is the plainess of the 'gable hood'. I previously did post about how that stripy pattern on lady Margaret's frontlets is wrong. It’s supposed to be plain linnen-that is the historically accurate detail.

And the painting above has both of these, book and plain linnen frontlets.

Another important detail, which in most photos you can't see at all is the background. It's once again that damask fabric. This copy shows it nicely:

But original is too dark, you really need to focus on it in closeup:

Furthermore the features of lady are better match to Henry VII's than the already atributed painting of lady Margaret:

(And even has same raise of nose.)

It's just not so obvious, unless you retouch the painting as I did:

I really think that if this painting is cleaned and restored, the experts might find is by Wewyck. (If it is a copy, then it is damn good one!)

I am not saying it's necessarily done from life, but it looks very similiar to those we already seen atributed to him.

And lots of similiarity with features of Henry VIII too:

Hence given Henry VIII was fairly handsome as young man, it's likely lady Margaret was quite good-looking woman while young.

Also both portraits don't show her with significant wrinkles, despite being nearly 60, when Wewyck started to work for royal family(his first mention is from 1502).

There is another thing worth of mentioning.

This painting is located in Christ College in Cambridge.

We don't know when exactly it got there. But there is an intriguing possibility. Missing portrait of lady Margaret found in records was comissioned in 1506. Lady Margaret gave Christ College funds in 1505, just one year prior. Maybe...and it is big maybe...

Maybe all along this portrait was intended for Cambridge to comemorate her patronage.

Or they simply bought it later on, saving it from uncertain fate of many Tudor portraits. But if it is the first option, then it is the older painting...and done from life!

Additionally there is 3rd painting which looks very much like Lady Margaret's large portrait after restoration.

(sorry this is the best photo of it which i could find)

It is currently hanging in Manchester Grammar school, which was founded in 1515, but it was only donated to them in 1908.

Who knows? Maybe it is a an early copy...or maybe not.

I hope you have enjoyed this. And write to me in comments what you think.

[inyourwildestdreams22]

These are already so much better than the official LV campaign she did 😭

I don’t know why they did her so dirty with that campaign, the retouch was unnecessary, in motion she looked way better.

[renatodirrezi]

Retouching commision for a Summer Beauty Campaign.

[winxwiki]

"Hands Off Women" VolaVia Winx collaboration campaign against violence on women, featuring a retouched season 1 artwork including Aisha

[thevitaminz]

From aspiration to deception

In today's digital age, it has become all too common for brands — both companies and celebrities — to visually alter their advertising campaigns and marketing content. A striking example is Kim Kardashian, the media and business mogul, who has admitted to hiring a private paparazzo since 2019 to take and edit photos of her at public events. This trend extends beyond marketing campaigns and magazine covers; it's now common for pictures of celebrities out and about to be altered as well. The widespread accessibility of editing tools, combined with their saturation across social media channels, is perpetuating an unrealistic beauty standard that profoundly affects the minds of young audiences. According to a 2021 survey of 200 teens ages 13 to 21 conducted by ParentsTogether, an organization focused on supporting families, young people who use beauty filters weekly are more likely to want to have cosmetic surgery and to alter their skin color. Perhaps unsurprisingly, the survey found that the more time teens spent on social media, the more likely they were to report being dissatisfied with how they look. This is particularly dangerous as we come to terms with the emergence of AI-generated images and deepfakes.

It's crucial to recognize the difference between selling aspiration and promoting an unobtainable fantasy that borders on false advertising and fraud. In 2017, France passed a national law that required labels for digitally altered photos of models, mandating that any commercial image that has been digitally altered to make a model's silhouette "narrower or wider" must bear a declaration stating it had been "retouched." Similar measures should be applied in the U.S., particularly when it comes to social media posts. Just as social media channels now include grayed-out disclaimers with trigger warnings and additional context, posts featuring edited images should come with clear disclaimers indicating the potential doctoring of facial and body features. Implementing such disclaimers would help raise awareness about the prevalence of edited images and encourage more critical thinking among social media users.

Amidst this toxic culture of editing, Aerie has emerged as a trailblazer in promoting authentic and inclusive beauty standards. Since the mid-2010s, the brand has fearlessly embraced an unfiltered approach to its campaigns, showcasing its products on a diverse range of models with realistic body types. The AerieREAL campaign, which spans social media, advertising, influencer marketing, and beyond, is a testament to the brand's unwavering commitment to promoting body positivity and empowering women. The campaign's success is evident not only in its widespread acclaim but also in its tangible impact on Aerie's bottom line: since its launch in 2014, the brand has surpassed a billion dollars in sales, proving that authenticity resonates deeply with consumers. Over the years, the REAL campaign has evolved to encompass user-generated content, brand voices, and powerful initiatives. The brand has extended its messaging to the introduction of the "Real Good" line, offering comfortable and casual clothing and underwear that prioritize real comfort for real bodies. By seamlessly integrating the AerieREAL ethos into every facet of its brand identity, Aerie has set a powerful example for the industry, demonstrating that authenticity, inclusivity, and empowerment are not just buzzwords, but the key to building a loyal and inspired customer base.

As brands continue to shape beauty standards and influence young minds, it is imperative that they prioritize authenticity and promote realistic representations of diverse bodies. By implementing transparent disclaimers and embracing unfiltered campaigns, brands can play a vital role in fostering a more inclusive and empowering media landscape.

[facefate]

Dove’s beauty statement

Dove: Reverse Selfie

Help girls positively navigate social media

This is a representation of how far retouching apps can distort beauty. #NoDigitalDistortion is Dove's movement to help build confidence and positive body image on social media. Watch Video: https://wp.me/pcFG9B-6cL

Campaigns like this should be pushed in social media in order to create more awareness within our society.

[ukretouching]

[ayeshadhall]

This is the cover photo of the article in Marie Claire titled I Spent a Whole Week Without Looking in a Mirror—And Here's What Happened by Elizabeth Kiefer. Pixel Perfect and The Age of Instagram Face talk about how digital retouching and penetrative retouching like Botox and filler have created a completely false reality that appears in our magazines, newspapers, and phones. This forces people (mostly women) to look at their own mirrors and expect to see the perfection that is reflected in the ad campaigns of their favorite celebrity and when they do not, they are left with a “bottomless feeling” that Jia felt after she visited plastic surgeons to gather research. Thus, I was drawn to this image as it talks about the same idea of scrutinizing oneself in the mirror as being an after effect of all the content we consume today.

[1000sassa1000]

From the Depths to the Wind

A KALTBLUT exclusive editorial by Jon Carreño, a fashion photographer currently based in Barcelona. Jon Carreño possesses extensive expertise in photographic lighting, retouching, and creative direction, embodying a profile deeply rooted in both artistic and technical realms. He considers himself a storyteller evoking emotions through images, constructing a narrative thread that captivates viewers, and shaping an atmosphere, visual and conceptual universe.

Jon shoots with Jonathon Luke Baker a dancer and movement director. He has danced for artists such as Sam Smith, Tove Lo, and Glass Animals and is currently touring Europe and the US with Jessie Ware. He has performed for Jean Paul Gaultier’s Fashion Freakshow for the last two years, touring Asia and Europe. As a choreographer, he has created movements for Gareth Pugh, Puma, Boy George, and SHOWstudio. As a model, Jonathon has been photographed by the likes of Tim Walker and Nick Knight and has appeared in campaigns for Tod’s and Charlotte Tilbury.

 Jonathon Luke Baker Instagram: @jonathonlukeb

photo by by Jon Carreño  Instagram: @joncarrenophotography

[annaclausen]

Kasia Kucharska SS23 Campaign @kasiaku     

Direction & Photography @terezamundilova

Art direction @reebeccailse

Production & Creative Direction @kasiaku @adultwanda@andretoerner

Director of Photography @heeseong.han

Set Design @reebeccailse

Casting @pinamarlene

Model Anna Clausen @letitgomgmt

Hair & Make-up @naomzz

Animation & Title design @gregorscheuerlein

Light Operator @jochenwochele

Retouch Laureen Radtke

Helping hands @rickyasfuck @lea.exe

[jonathangregson]

It's great to be able to share my latest addition to the Costa campaign. A huge thank you to all involved. . Client: @costacoffee Agency: @wunthompsonuk Art Direction: @anderswendel81 Designer: Jacqui Stecher Head of art: @guysexty Production: @katperryproduction Production Manager: @jenny_day_1 Set design: @carolinamizrahi_studio Drinks styling: Skye Emmanuel Retouching: @barrycraig Digital Operator: @tomsedgewick Lighting Assistant: @maxbarstow Set Assistant: @virna.pasquinelli Photographic Agent: @pearsonlylemanagement https://www.instagram.com/p/CpXtEF5I7Qz/?igshid=NGJjMDIxMWI=

[a-captions-blog]

[Image descriptions: 1. Tweet by Hanzhong Wang @ww123td that says, ‘Great job @wacom for using AI generated image for your latest marketing campaign. For a company built on the visual arts industry this ad feels akin to shooting yourself in the foot. Doubly disheartening as a Chinese seeing the dragon used in this way.’ Attached to the Tweet is a Wacom ad that says, ‘A New Wacom For the New Year’ and shows an eastern style dragon posed next to smaller representations of various Wacom tablets, two of which have dragon drawings on them. The tip of a pen comes in from the right. 2. Tweet by Art-Eater @Richmond_Lee that says, ‘2024 is gonna be a nightmare when it comes to news and media. You can no longer trust anything that you see. This isnt just some novel fun tech. It is a scammer’s dream. It’s already being used to screw people over in real life. And everyone is embracing it because of FOMO.’ Attached is a headline that reads, ‘A father is warning others about a new AI “family emergency scam.”’ The snippet reads, ‘Philadelphia attorney Gary Schildhorn received a call from who he believed was his son, saying that he needed money to post bail follownig a car crash. Mr Schildhorn later found out that he nearly fell victim to scammers using AI to clone his son’s voice, reports Andrea Blanco.’ 3. Tweet by RJ Palmer @arvalis that says, ‘So WotC didn’t just make one AI promotional image after promising to stand with human artists, they uh, made a lot. Not great.’ This quotes a Tweet by MarcoMaps Bernardini @MarcoMA4PS that says, ‘I guess the whole ad campaign was made with A/I generated imagery, then retouched to give it a semblance of man-made craft.’ Attached are screenshots of three art pieces. Two are close-ups of various Magic cards displayed on a shelf, and the third is a wider view showing a window with a city view in the background. Cut-off text on this says, ‘Ravnica, comprese le schockland, I Cancelli delle Gilde e i tuoi personaggi preferiti…’ 4. Tweet by Thorsten Denk @thorsten_denk [verified] that says, ‘Apex Legends/EA using AI instead of paying artists for their promo art is just depressing. Pandora’s box has truly been opened and it feels to me like we’ve collectively decided to devalue the human soul for profit. #ApexLegends.’ Attached are two photos of Apex Legends art with red circles showing strange parts that give the art away as AI-generated. 5. and 6. Tweet thread by Magic: The Gathering @wizards_magic that reads: Well, we made a mistake earlier when we said that a marketing image we posted was not created using AI. Read on for more. (1/5) As you, our diligent community pointed out, it looks like some AI components that are now popping up in industry standard tools like Photoshop crept into our marketing creative, even if a human did the work to create the overall image. (2/5) While the art came from a vendor, it’s on us to make sure that we are living up to our promise to support the amazing human ingenuity that makes Magic great. (3/5) We already made clear that we require artists, writers, and creatives contributing to the Magic TCG to refrain from using AI generative tools to create final Magic products. (4/5) Now we’re evaluating how we work with vendors on creative beyond our products – like these marketing images – to make sure that we are living up to those values. (5/5). \End descriptions]

we’re really out here living in an AI dystopian hellscape and this shit has just begun… the future is grim…

[fastjewelryretouching]

WELCOME TO MY portfolio

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Whether you're an e-commerce retailer, a jewelry designer, or a photography studio, our jewelry retouching services are tailored to meet your specific needs. We create stunning, high-quality images that are perfect for websites, catalogs, social media, and marketing campaigns, helping you stand out in a competitive market.

Note: Now I'm always in Online. I can respond fast. I can Deliver Fast. 

If you have any questions, please feel free to contact me.

[retouchingshop]

What Are the Benefits of Using a Professional Photo Editing Service?

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