The second collaboration with makeup artist Yuriko Hegay and model Mimi Graczyk resulted in this image of Mimi working with a blackberry.  Processing here is primarily a single image tone map in Nik HDR Efex after initial beauty processing in Photoshop CS5.

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Technical: Nikon D700, AF Micro-Nikkor 105mm f/2.8, Broncolor studio strobe, f/22 @ 1/100s, handheld

Model Mimi Graczyk wears and outfit form Suzanne Lay’s Fall 2012 line, with hair and makeup by Yuriko Hegay.  This version is a Lightroom 3 grunge process look I reverse engineered from the movie, Domino (2005) and my official pick.

Trying something new this year, this is hand colored on a B&W blue/green split tone that Richard Avedon used in the mid-1970s.

This is the official look for Suzanne Lay editorial work, made in Lighroom 3, loosely based on the process used for the movie, 300 (2006).

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SuzanneLay.com/

Technical: Nikon D700, Micro-Nikkor 105mm f/2.8, ring flash, handheld, ISO 800, f/4.0 @ 100/s.  Processing steps in Lightroom 3, Photoshop CS5, Nik Color Efex Pro 4, Nik Dfine.

Model Kimberly Andert, with hair and makeup by Yuriko Hegay, is wearing a dress by designer Caroline Willard. This first version is the result of my basic fashion process.

The umbrella is lit with a Calumet Quattro daylight fluorescent fixture and the main light on the model is a small strip light powered by a Broncolor Flashman head.  The fluorescent light is distinctly green, in spite of the claimed photo grade daylight balance, so I corrected the cast with Nik Vivenza.

The 1970s Exploitation Grunge look is courtesy a sample recipe for Nik Color Efex 4.

This cyan/sepia split tone from Nik Color Efex Pro 2 has recently become a favorite for me.

The Black Gold sample recipe for Nik Color Efex Pro 4 was the starting point for this transformation.

The look of 1960s fashion glossies, with stark contrast and Ilford HP5, inspired this version created in Nik Silver Efex Pro 2.

Finally, tone mapping in Nik HDR Efex added some texture and detail.

This picture of model Mimi Graczyk, with hair and makeup by Yuriko Hegay, is an example of a single light technique that I first noticed in the 1960′s studio work of Richard Avedon and David Bailey.  The approach is at once modern and classical.  Here is my analysis.  If you’d care to comment, I’d love to know which version of Mimi you prefer.

North Window Light

The position and quality of the single light, in this case, a small Chimera Super Pro light bank for a Broncolor Flashman head, is intended to look like North window light.  Positioned opposite the light is a large black flag to kill any ambient bounce.  Strong side light like this creates a profile contour delineation of the face, which carries considerable drama.  For me it is important to catch light in the dark side eye and create the so called “cheek triangle” in the shadow to add depth cues.  The wall behind Mimi is pure white, lit by spill from the bank.  I like to flag off the bank side of the wall to create a subtle checkerboard effect with the subject.

Lens Selection

I like a slightly long lens to flatten the perspective for this kind of picture, which I think makes the subject feel slightly distant.  David Bailey and Irving Penn used “normal” focal length for a number of their portraits like this, which gives the viewer the feeling one is standing too close to the subject.

Processing

The monochrome above is actually a cyan and sepia split tone, popular in the 1970s, that give the image a richer feel than pure black and white.  Contrast is pumped up pretty high to emphasize the black.  The monochrome versions here were made with Nik Silver Efex Pro.

This is the raw picture output from my basic beauty and fashion processing, which includes steps in Lightroom, Photoshop, Nik Vivenza and Nik Color Efex Pro 4.

Draining and shifting the color somewhat is the “300″ Antiquity process.  I think it is very effective with this kind of light and subject.

I call this the “Grainy Nude” setting in Nik Silver Efex 2 because the combined grain and low structure help smooth skin tones in areas makeup is unlikely to spread.

Finally, an almost pure B&W version, but for a rish coffee base stain.

Enduring more than her fair share of juicy in a tube is model Mimi Graczyk, being applied by makeup artist Yuriko Hegay.  Please let me know if you have a preference among these photos.

This hand colored sepia print is my pick from this angle.

My basic beauty workflow, using Photoshop, Lightroom and Nik Color Efex 4 resulted in this picture.

Finally, the “300″ Antiquity process, rendered in Lightroom 3.

A slightly different angle changes the mood significantly.  This is a hand colored coffee stain print.

The raw image after basic beauty processing.  Note the pink gel on #32 incisor.

Finally, the “300″ Antiquity process from Lightroom 3.

Model Mimi Graczyk, hair and makeup artist Yuriko Hegay and photo stylist Susan Page prep for the last setup of the day.  Yuri designed the look around the the eyelashes.

The final touch is a custom necklace from Susan’s jewelry box.  Mimi’s ability to keep her eyes open with the weight of the lashes is nothing short of remarkable.

This fist version is a straight beauty process workflow using Photoshop, Lightroom and Nik Color Efex Pro 4.

The “300″ Antiquity process is one I like to try with every picture to refine the look.

Finally, this is a new cyan/sepia split tone process I’m exploring.

Model Maggie Brabbins in makeup and hair by Yuriko Hegay, this is a test of my latest beauty/makeup process, which is now about 30 steps.  I’d be happy to share details if anyone is interested.  This first picture is processed for accurate color.

I’m still working on an “Antiquity” look and have assembled 15 Lightroom 3 presets to make the variations easy to judge.

This platinum print conversion was make with a recipe I developed for Nik Silver Efex Pro 2.

Model Megan Burns with makeup by Yuriko Hegay, gets yet another process workout as I test tools from OnOne Perfect Photo Suite 6.  Unfortunately, most of the tools just lock up when I launch them, so this is not the test I’d planned.  For basic processing, I used Photoshop CS5 to smooth skin and brighten eyes and drop in a dark gray background.  I used OnOne Focus to simulate the depth of field of a Nikon 85mm f/1.8 @ f/5.6 and OnOne PhotoFrame to add the Hasselblad film border.  This tight crop became a 3.2 megapixel, 6″x6″ native image, so I used Perfect Resize (formerly Genuine Fractals) to up-rez to 16″x16″.

I’ve settled on a collection of Lightroom 3 presets, loosely based on Mike Lau’s 300 versions, for my upcoming “Antiquities” project that I hope to start by the end of November.

This set of pictures is a second pass at processing an extreme close-up of model Megan Dillingham in makeup by Yuriko Hegay, which makes use of localized contrast techniques on the lips and eyes.

The “300″ process increases contrast and adds deep black, while lowering saturation to give an antique feel that retains presence.

The hand colored Van Dyke print almost looks like full color in this case.

And last, a hand colored warm toned silver print, with tonality like using an X1 filter with Tri-X and printing on Agfa Portriga Rapid.