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La photographie la plus chère au monde…retouchée!
Andreas Gursky n’hésite pas à manipuler et réaliser des collages sur ses photographies pour concrétiser sa vision artistique, comme pour cette image, intitulée Rhein II, qui s’est vendue 4.3 millions de dollars mardi dernier. L’artiste décrit son oeuvre comme étant sa favorite « parce qu’elle en dit long, utilisant le minimum de moyens. Pour moi, c’est l’image allégorique du sens de la vie, de l’abondance et du vide. »
LA TENDANCE EST AU NATUREL
Aujourd’hui les clients souhaitent une retouche des plus réaliste avec un fini naturel. Zana Woods du magasine Wired dit:
A few years ago “all the images felt like they were made of metal. They felt more like objects rather than photographs. Now it’s more about trying to get images to look as if they’re just as they were shot.” Tiré de l’article « Does Editorial Post-Production Cost Too Much? » écrit par Jay Mallin
Source: http://www.pdnonline.com/pdn/features/Does-Editorial-Post–3869.shtml#.TrGEDX94e9o.facebook
Barilà et La semaine de la mode de Montréal
L’équipe Sublim était présente lors de la semaine de la mode de Montréal, qui fut l’occasion de belles rencontres. Nous avons assisté à plusieurs défilés très intéressants comme Helmer, Denis Gagnon , Ève Gravel pour ne nommer que ceux-là.
Mon coup de coeur cette année : le défilé de Barilà. Il est certain que j’étais conquise d’avance, car nous avions eu la chance de voir la collection en primeur lors de la retouche du lookbook ainsi que des images promotionnelles faites par Richard Bernardin
Dès l’arrivée, une odeur de pétale de rose nous accueillait et nous donnait le ton de la collection, fraîche et très féminine, aux couleurs vibrantes. Les mannequins ont défilé avec sur une musique rythmée et entraînante. Je suis ressortie de cet évènement portée par le souffle d’été qui s’en dégageait, un souffle qui nous donne déjà hâte à l’été prochain.
À la fin du show, les designers ont souligné leur appui à la fondation One Drop en présentant le vidéo promotionnel de la fondation. C’est d’ailleurs revêtues du t-shirt officiel de la campagne que les designers Sabrina et Claudia Barilà et tous les mannequins ont fait leur apparition devant une foule conquise qui leur a réservé une « standing ovation ».
www.montrealfashionweek.ca
www.barilaclothing.com
www.onedrop.org
Sublim en Chine
L’éditrice et journaliste Linda Hu du magazine CGMagazine de Chine a interviewé notre présidente au sujet de Sublim. Voici quelques extraits tirés de l’entrevue.
Linda : How did you determine your business direction at the beginning? Why not choose commercial spots and video effects, instead of pictures and CGI composition?
Dominique : I chose my business direction first by considering all of my professional experience. I gained most of it in digital imagery, not in film, which made it clear to me that I am more interested, able and appreciative of high-resolution image work. My background is in professional graphic design, and I have a university degree in that field. For many years I worked in multimedia, specifically as a Senior 3D Texture Artist for more than 6 years. I also worked for major American studios in animation and movie related activities. I always used Photoshop software and had success with it. So it was clear to me, when I started to work in the fashion industry, that I would combine all my skills and experience and be able to perfect my retouching techniques. Life brought me to the fashion field. Without really planning ahead, I decided to offer my services as a personal assistant for photo shoots to international clients. My intent was to visit different countries and see what was done artistically throughout the world. This is something I really enjoy doing. One thing led to another and I discovered that I really wanted to specialize in photo retouching, so I started my own business. I never doubted that I had made the right decision, and I am having a ball doing it!
L : How long does it take to process a picture? How many people have input? What kind of tasks do these people have?
D : Each project is different. Depending on the client’s expectations, their deadline and budget, we adjust and make sure they get as much as possible for what they put in. So, as you can see, it is not as much a matter of time as it is a team effort from us, as well as with our clients. For example, when there are 3D elements to take into consideration there are a lot more people involved and the project is often on a big scale. In the specific pictures like “Robotic” that you’re referring to, there were four 3D artists involved. One who did the modeling, another the textures, and the other the lighting and the rendering. There was also a 3D artist from France who made the earpiece. We often have clients who are graphic designers themselves. Some are in the music industry or with advertising agencies, etc. They might need just a little something to make their work stand out from the rest. More and more European advertising agencies use 3D effects, and haute couture agencies are following this trend. This is in good part why I decided that Sublim would offer outstanding service to all of our current and potential international clients.
L : Could you introduce your production pipeline briefly?
D : My pipeline begins with numerous contacts with other artists who might need specialized services like the ones I offer. It also involves my own business development, which I do by attending many national and international activities and trade shows. Then I meet with clients. During the briefing we gather all the possible information like details on the project, the content and its use, the client’s expectations from us. We work to define the scope of the project. We agree on deadlines and budgets. The client must give us the quantity of pictures they want us to retouch. Together, we determine if the addition of 2D or 3D elements could be an advantage. Mock-ups are made through the entire process to validate ideas, concepts, techniques, effects, etc. It’s definitely a great asset to be able to use artists’ creative inputs to improve the global concept. What’s most important, the objective, is to create a picture that has an impact. A great creative director makes sure that all the artists are going in the same direction and that the stages of production follow the proper order.
L : Where do you get your inspiration?
D : We, artists, get our inspiration virtually everywhere: life, nature, family and friends, magazines, Internet. For the “Robotic” project, for example, we were inspired by Giger and Sky Doll (the blond model). The clothes and accessories chosen by the stylist also helped us to set the tone of the pictures. The sunglasses are by Versace, clothes by Denis Gagnon, who is a renowned Canadian designer. As you can see, we are avid lovers of creations. We thrive on other people’s work, as well as our own ideas. But the clients order always remains the base of our inspiration, our research, our concepts, and our art creations.
Editor and journalist Linda Hu from China’s CG Magazine interviewed Sublim’s president Dominique Fraser. Here are some excerpts from the interview.
Linda: How did you determine your business direction at the beginning? Why not choose commercial spots and video effects, instead of pictures and CGI composition?
Dominique: I chose my business direction first by considering all of my professional experience. I gained most of it in digital imagery, not in film, which made it clear to me that I am more interested, able and appreciative of high-resolution image work. My background is in professional graphic design, and I have a university degree in that field. For many years I worked in multimedia, specifically as a Senior 3D Texture Artist for more than 6 years. I also worked for major American studios in animation and movie related activities. I always used Photoshop software and had success with it. So it was clear to me, when I started to work in the fashion industry, that I would combine all my skills and experience and be able to perfect my retouching techniques. Life brought me to the fashion field. Without really planning ahead, I decided to offer my services as a personal assistant for photo shoots to international clients. My intent was to visit different countries and see what was done artistically throughout the world. This is something I really enjoy doing. One thing led to another and I discovered that I really wanted to specialize in photo retouching, so I started my own business almost a year ago to do that. I never doubted that I had made the right decision, and I am having a ball doing it!
L: How long does it take to process a picture? How many people have input? What kind of tasks do these people have?
D: Each project is different. Depending on the client’s expectations, their deadline and budget, we adjust and make sure they get as much as possible for what they put in. So, as you can see, it is not as much a matter of time as it is a team effort from us, as well as with our clients. For example, when there are 3D elements to take into consideration there are a lot more people involved and the project is often on a big scale. In the specific pictures like “Robotic” that you’re referring to, there were four 3D artists involved. One who did the modeling, another the textures, and the other the lighting and the rendering. There was also a 3D artist from France who made the earpiece. We often have clients who are graphic designers themselves. Some are in the music industry or with advertising agencies, etc. They might need just a little something to make their work stand out from the rest. More and more European advertising agencies use 3D effects, and haute couture agencies are following this trend. This is in good part why I decided that Sublim would offer outstanding service to all of our current and potential international clients.
L: Could you introduce your production pipeline briefly?
D: My pipeline begins with numerous contacts with other artists who might need specialized services like the ones I offer. It also involves my own business development, which I do by attending many national and international activities and trade shows. Then I meet with clients. During the briefing we gather all the possible information like details on the project, the content and its use, the client’s expectations from us. We work to define the scope of the project. We agree on deadlines and budgets. The client must give us the quantity of pictures they want us to retouch. Together, we determine if the addition of 2D or 3D elements could be an advantage. Mock-ups are made through the entire process to validate ideas, concepts, techniques, effects, etc. It’s definitely a great asset to be able to use artists’ creative inputs to improve the global concept. What’s most important, the objective, is to create a picture that has an impact. A great creative director makes sure that all the artists are going in the same direction and that the stages of production follow the proper order.
L: Where do you get your inspiration?
D: We, artists, get our inspiration virtually everywhere: life, nature, family and friends, magazines, Internet. For the “Robotic” project, for example, we were inspired by Giger and Sky Doll (the blond model). The clothes and accessories chosen by the stylist also helped us to set the tone of the pictures. The sunglasses are by Versace, clothes by Denis Gagnon, who is a renowned Canadian designer. As you can see, we are avid lovers of creations. We thrive on other people’s work, as well as our own ideas. But the clients order always remains the base of our inspiration, our research, our concepts, and our art creations.
L : Could you introduce your production pipeline briefly?
D : My pipeline begins with numerous contacts with other artists who might need specialized services like the ones I offer. It also involves my own business development, which I do by attending many national and international activities and trade shows. Then I meet with clients. During the briefing we gather all the possible information like details on the project, the content and its use, the client’s expectations from us. We work to define the scope of the project. We agree on deadlines and budgets. The client must give us the quantity of pictures they want us to retouch. Together, we determine if the addition of 2D or 3D elements could be an advantage. Mock-ups are made through the entire process to validate ideas, concepts, techniques, effects, etc. It’s definitely a great asset to be able to use artists’ creative inputs to improve the global concept. What’s most important, the objective, is to create a picture that has an impact. A great creative director makes sure that all the artists are going in the same direction and that the stages of production follow the proper order.
L : Where do you get your inspiration?
D : We, artists, get our inspiration virtually everywhere: life, nature, family and friends, magazines, Internet. For the “Robotic” project, for example, we were inspired by Giger and Sky Doll (the blond model). The clothes and accessories chosen by the stylist also helped us to set the tone of the pictures. The sunglasses are by Versace, clothes by Denis Gagnon, who is a renowned Canadian designer. As you can see, we are avid lovers of creations. We thrive on other people’s work, as well as our own ideas. But the clients order always remains the base of our inspiration, our research, our concepts, and our art creations.
Semaine de la mode de Montréal – le point de vue de notre assistante à la création
Au mois de mars dernier avait lieu la Semaine de la mode de Montréal (http://www.semainemodemontreal.ca/). J’ai eu la chance d’assister à quelques-unes des activités de cet événement du milieu de la mode québécoise, accompagnée de Dominique, notre présidente.
L’expérience a été mémorable ! Il se dégage une telle énergie des défilés ! J’ai eu la chance d’assister à ceux de Philippe Dubuc et de Helmer et j’ai adoré le moment de l’entrée en scène des mannequins, les premières notes de la musique, l’éclairage des passerelles ; tout contribue à créer un buzz incroyable autour de chacun des défilés.
Il se dégage un tel glamour de la Semaine de la mode, c’est très inspirant. Voir les maquilleurs, stylistes, créateurs et photographes papillonner autour des mannequins nous rend témoins d’une énergie très spéciale. C’est aussi un contexte très intéressant pour faire des rencontres et renouveler mon inspiration. C’est définitivement une expérience à revivre.Last March The
