![]() JH: I think my most important advice would be more about the editing process. Because you really want to make sure that you can still see skin details, especially in beauty photography. It's all about the team being super aware of new people coming into the frame, and that we're not making anyone appear too dark, as in, we've lost the details of their face. I really honestly give a lot of credit to my wonderful assistants, who I work with a lot - Casanova Cabrera and Chad Hilliard. or sometimes a scrim if the light is coming too harsh. JH: Sometimes we'll bring in a V-Flat or add an additional light. ![]() There is no one size fits all approach when it comes to lighting for darker skin tones or for a lighter skin tone, because every person is coming into the frame with a different sort of skin type.įor me, the most important thing is always visualizing what people look like in person and trying to use that knowledge in the post-production process when you're doing any burning or dodging to make sure that you never lose the contours of someone's skin.Īllure: Is the preparation and setup for a shoot different when the subject has darker skin? When you're shooting a wide range of skin tones under the same lighting conditions, it's about having enough time to figure out what makes sense most for each person: Some skin tones need a little bit more highlight so that you can see the contours, and then sometimes, when you bring someone in who's got really white skin, you need to bring the lights down. A lot of times, we’ll be shooting in the same exact lighting settings. Jacq Harriet: Working in the commercial world, I sometimes get hired to do a lot of group photoshoots tend to include a cross-section of different skin tones. There are things that I can do to still keep the integrity of the person's face.Īllure : Is there any difference in your approach to photographing people with melanin-rich skin as opposed to other skin tones? It keeps the same complexion that it would if I was using cool or warm tones, or warm shadows. But never have I ever in my storytelling made someone's skin tone worse because it's a grittier. Let me show how beautiful Black skin can be with no added lights, no added artificial whatever - just pure sunlight, maybe a little bit of makeup, and my camera so I can capture the raw realness of sunlight on Black skin.Īllure: Should the tone of the story you're trying to tell through the shoot consider the tone of the skin you're shooting?ĬR: As a Black storyteller and a Black creative, I understand matching the photo tones, colors, perceptions, angles to how you want the story to be told. All I use is my reflector and the sunlight. and that's why I appreciate capturing them. "I bet night owls are more likely to see it as blue-black," Conway says.Īt least we can all agree on one thing: The people who see the dress as white are utterly, completely wrong.Allure: When did you first know that there was a difference in your approach to photographing people with more melanin as opposed to other skin tones?Ĭameron Reed: It’s always been Black people. "But on the black background some might see it as white." He even speculated, perhaps jokingly, that the white-gold prejudice favors the idea of seeing the dress under strong daylight. "Most people will see the blue on the white background as blue," Conway says. So when context varies, so will people's visual perception. "It became clear that the appropriate point in the image to balance from is the black point," Harris says. And when Harris reversed the process, balancing to the darkest pixel in the image, the dress popped blue and black. "When I attempted to white-balance the image based on that idea, though, it didn't make any sense." He saw blue in the highlights, telling him that the white he was seeing was blue, and the gold was black. "I initially thought it was white and gold," says Neil Harris, our senior photo editor. Other people attribute it to the dress."Įven WIRED's own photo team-driven briefly into existential spasms of despair by how many of them saw a white-and-gold dress-eventually came around to the contextual, color-constancy explanation. ![]() My brain attributes the blue to the illuminant. "Then I cut a little piece out and looked at it, and completely out of context it's about halfway in between, not this dark blue color. "I actually printed the picture out," he says. Even Neitz, with his weird white-and-gold thing, admits that the dress is probably blue. The point is, your brain tries to interpolate a kind of color context for the image, and then spits out an answer for the color of the dress. ![]()
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