Carlos serrao biography

Wikidata item. American photographer. This article has multiple issues. Please help improve it or discuss these issues on the talk page. Learn how and when to remove these messages. This biography of a living person needs additional citations for verification. Please help by adding reliable sources. Contentious material about living persons that is unsourced or poorly sourced must be removed immediately from the article and its talk page, especially if potentially libelous.

This article includes a list of general references , but it lacks sufficient corresponding inline citations. Please help to improve this article by introducing more precise citations. We did that all night, and then that morning we had to go to the freezers because that was the only time it was available. My prop guy would jump in the shot, quickly spritz the athlete down with hot water, and steam would rise off his body.

And then he would do a kick. Also, to get a really exaggerated breath, we had a mannequin head that our prop guy had bored out the nostrils and the mouth, and we actually stuck the steamer through there and had that coming out with a little bit more pressure. We backlit that for a decent exposure of vapor. And then we had the athlete moving, doing the kick.

At that temperature it shows up quite a bit. So all of the elements you see of the vapor and smoke are actually vapor that we reused. Serrao: Yeah. And the pro athlete we were shooting was a rookie on the U. He kicked the ball as hard as he could. He slipped, and the ball careened into the camera, smashing it into pieces. The pocket wizard snapped off and cut me to the bone, right underneath my eye.

So I, um, was knocked out for a second and blood gushed out and was all over the place. I think it uses oil instead of water vapor… to kind of get that mist in the air. We were hoping — shooting in San Francisco — to get that gloomy marine air, even in the summer. We also wet down the grass, giving us a sort of frost. And the rest of it is just kind of giving it a profile with a lot of shifting the blacks to a little blue, making it a little bit more open.

Seckler: Your color palettes are really unique and beautiful, and obviously that comes into play in retouching. So tell me about your relationship with the retoucher and how you come up with a color palette for a project. I originally started, like a lot of people, with film. I would go print it myself at the lab. I would do my own palettes in actual analog color printing, so I already had an understanding and a direction I already liked, which is why I like to use the same people, to get them on the same kind of page.

We supply the retoucher with tons of notes, and I have some basic, decent skills to mock things up, and an understanding of what will work the best for her.

Carlos serrao biography

Or does it change on set or afterward? Serrao: I have a pre-visualized idea of what I want it to be, and for the most part it ends up being that way. For a job like this I pulled enough reference material, whether it be stills from movies or whatever, to have a general palette that I like. Seckler: Your lighting has a distinct look as well.

Where does the inspiration for your lighting come from? Serrao: This is maybe something dumb that I got to get over, but I even want the pieces of each composite to look like decent, finished shots. But there are strobes because for whatever reason we have to freeze the action. But that comes from trying to make it look as real as possible, but in a hyper-real way.

Serrao: I used to do, as a kid, little Super 8s, and then moved to video. A lot of skateboard stuff in high school. It was more like spending three or four days with a family that got flooded out of the Everglades, or a portrait of this politician. And since it was a weekly paper, I could be a little bit more illustrative. I remember some politician guy who happened to be in a wheelchair who was being charged with sexual harassment or something.

So the art directors and I would work on it together. Take it back to the darkroom, and maybe do some stuff. Make it darker around the edges, or vignette it, or whatever. Serrao: I essentially moved out to Los Angeles and started working for the papers here… shooting mostly celebrities. It came out really cool. Well, here. I never really assisted; I always just shot.

One thing always led to another. Seckler: What separates the visual style of your photography from other people? What kind of responsibility is that? How did you feel when you were offered? You have some impressive fashion photography pieces in your portfolio. As a photographer who is also represented in Europe, what do you think about the major differences in fashion designs and preferences, between United States and Europe?

What kind of experiences were they? If you had a limitless budget, which celebrities would you like to take photographs of? Are you interested in movies? What kind of productions and which directors do you find closer to yourself in terms of visual comprehension? An editor in Exposure Compensation Web Site defines your style as 'a perfect example of the use of extraordinary fine art photography in the commercial world'.

What do you think about this statement? What is your side in the traditional 'Is photography art? Which artists and art movements are you mostly inspired from and what kind of inspirations are they? What does this number mean to you? What comes to your mind when you think about 'two's? Or one less than three. Sinemayla ilgileniyor musunuz?

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