Masked Icons by Anthony Passant

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Anthony Passant


Photographer

www.anthony-passant.com




The "Masked icons" project arised out of a nice conjunction between my unconfessed taste for Fine Art and the current state of the world : COVID 19.

RC. Can you present your work ?

I challenged myself to create replicas of world-renowned classical works of art using only what I could find at home, adding a "confined" touch to the images, while preserving the original spirit, light, colors and style.

RC. How did you set up the project ?

All my family got to work ! My wife, my two daughters, and even the cat ! I had the idea with my daughter to recreate the paintings in a "confined way", by using my knowledge of light and everything we had at home: clothes, accessories, possible sets, without leaving the house !
Each weekend, my wife and daughters working during the day, we turned everything upside down to shot one or two scenes according to every one desire.

Credits

RC. How did the creation and the shooting go ?

For each picture, it is necessary to proceed methodically by recreating the atmosphere and respecting the original light. So it demands attention to details to reproduce light accuracy : choose its source(s), the modellers adapted according to whether you want soft, diffuse, or precise, hard light. "Rosie the riveter" needed 4 sources of light, while the man in turban demands only one. Reproducing the clothes of the paintings also requires some inventiveness. For the man in turban, it was a combination of one of my black coats, with the (fake) fur collar of one of my wife's coats, a white t-shirt with a marked collar, a cloth cover and a bolster case !

RC. What is your post-production method ?

I always do the same. First, I process my RAW file with Capture One Pro to shape my light if needed, change colors and shades, make possible corrections. Then, with Photoshop, I make aterations to garments (for the man in turban, I had to remove the fasteners on the shoulders, remove some seams, rework the shape of the collar with fluidity, re-shape the turban/cloth cover), I modify or transform colors if necessary. Once these elements have been corrected or modified, I work on the skin color, corrector tool, clone tool, and mostly from "dodge to burn" on several levels (global, local, contouring). I then continue with possible color corrections, add a series of textures to give a more "painting" aspect, grain and sharpness to finally export the final file.

RC. Which technical tip(s) did you use ?

I don't know if we can call it a tip, but to be as close as possible to the original work, it requires a detailed interpretation of the image and a good knowledge of flash light to reproduce it. Interpret the position of the shadows, the light impact, catchlights, analyze the type of light (soft or hard), and compare with my material. It can be a meticulous work, but it's exciting !


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Writing by Raw Magazine
Translation Karine Robin