Pro Tips: Emulate the look of Anton Corbijn with Aperture 3 and Photoshop CS5 - A Tutorial
Anton Corbijn

Pro Tips: Emulate the look of Anton Corbijn with Aperture 3 and Photoshop CS5 — A Tutorial

29.11.2013
9 комментариев
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1 min read
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Learn how combine tools in Aperture 3 and Photoshop CS5 to produce an image that emulates the look of the photographer Anton Corbijn. Get the analogue film l…
Video Rating: 4 / 5

9 комментариев

  • Thank you for the Video! Think i will share a little analog stuff: AC uses:
    — Mostly 35mm analog cameras. Mostly Leica R models. Only about 10% of his
    work is made with a Hasselblad 500c/m — Kodak Tri-X 400 Film that he pushed
    very hard. I think 1600-3200 ISO. That alone makes strong blacks and strong
    contrast. — Kodak HC-110 film developer. It is known for a strong but nice
    grain when pushed. And i think the film is strongly overdeveloped. This was
    the AC look before Dec 1988.

  • After 1988 a lot of his famos Images are Lith Prints. You have to look it
    up f. e. at Wikipedia if you want to understand his Style. The images with
    the strange yellow/orange sometimes green tones are Lith-Prints.

  • Hi, I’m afraid I don’t have either app, but am planning to get Final Cut
    when the next version is released so watch this space!

  • wrong. Lith prints, mainly done in London, by…oh I forgot his name,
    anyway the paper was the key, not the film….Oriental Seagull, no longer
    available, naturally….!?

  • Awesome tut. How can this be applied to After Effects or FCP to change a
    regular video to something like Anton’s work in U2’s Electrical Storm?
    thanks again for the great tut.

  • Thank you peter most sincerely, I am learning quite a bit from your
    tutorials.

  • @chuntophilus sorry you feel this way, email me your bank details and I’ll
    arrange a refund ;)

  • In the Corbijn documentary ‘Shadowplay’, there’s a short scene where they
    interview his personal printer (the guy in London, I too forget his name).
    He says one of the things he always does when printing for Anton is to
    leave the paper in the developer for much longer than normal, which
    produces very deep blacks.