In this video, you’ll learn how to retouch hair in Photoshop using the clone tool in darken mode. By using the clone tool, you’ll be able to achieve natural results in a short amount of time.
See more free videos samples and check out my Beauty & Hair Retouching DVD.
Dodging and Burning is a method of lightening and darkening specific areas of an image, regulating local exposure to even out texture and contours. It digitally acheives (and with much more control) an old darkroom technique of witholding light (dodging) to keep an area light, or increasing the exposure to darken (burn) areas.You’ll find the dodge and burn tools on the toolbar to the left of the default Photoshop setup, or by pressing ‘O‘.The problem with using the standard tools is that they work destructively, they won’t operate on a blank layer so you’ll be making permanent changes to your working layer. This would be fine if none of us ever made an error or changed our minds, but to give us the option, we have a couple of methods available.
I split my workflow into two parts, pixel level dodge and burn, and carving. For pixel D&B I use the Curves method outlined below to even texture whilst zoomed in from 100% to 400%. Carving is more about shaping the contours of the face and enhancing contrast, and I like to work at 50% view or less to keep the whole image in context. I often do this second step on a 50% grey layer, my own preference and the choice is ultimately up to you.
You can do this a number of ways using a number of other adjustments, but the premise is this; you increase lightness using an adjustment layer, you mask it out with black, and on the mask you can then paint the effect back into the required areas with white. You decrease lightness on a different adjustment layer and treat it the same way. Others may use different adjustments for this, I use Curves which is why I’ll explain this method here. I’ll be using RGB, and the following assumes some familiarity with curves, masks and adjustment layers.
Open a Curves adjustment layer and with a single point pull the midtones up, this will be your dodge layer;
Fill the mask with black, hiding the effect of the curve (by default the mask should be selected and pure white, so just hit Cmd/Ctrl+I to Invert);
For the burn layer, start a new Curves adjustment and pull the midtones down with a single point;
Invert the mask and name this layer Burn;
Paint with a soft white brush onto the Burn mask to darken, and the Dodge mask to lighten.
My preference is to use a low Flow setting, between 1% and 5%. Many use Opacity but I prefer the ability to build up the effect in one stroke instead of lifting the pen.
This is a composite of the two masks after dodging and burning, coloured to distinguish the lightened areas from the burned, and the result;
The next part of my workflow involves adding contrast and contour to shadows and highlights. To demonstrate this using the 50% grey layer method, select Layer>New>Layer and in the resulting dialog box select Mode: Soft Light and check the box next to ‘Fill with Soft Light neutral color (50% gray).
You can paint onto this layer with black or white, or indeed any colour but as we’re dealing with luminosity stick to black and white. Again using a soft brush with a low Flow/Opacity zoom out so you can see the whole image or most of it, and you can accentuate the shadow and highlight or even alter the appearance of shapes. Remember that generally, lightening an area makes it appear closer, darkening helps it to recede.
In the below example, I’ve also selected the whites of the image (using Select>Color Range) and filled them with white to accentuate the highlights further.
Going freelance is always a daunting prospect. You trade the stability of a constant paycheck for the uncertainty of making your own brand and telling the world who you are. It’s thrilling, slightly terrifying, and one of the biggest decisions you’ll make in your life.
I’ve been a professional retoucher for over five years now. Before that I’d spent a similar period of time with Photoshop and retouching through graphic design. The transition for me was an easy one — as retouchers we have a template to work from (the photo) and my design jobs that included photography were always the ones with the highest rate of client satisfaction.
That said, to build up to the point where you’re paying the mortgage, bills, and luxuries (llama rental, pig riding weekends, forklift truck racing…normal stuff) takes an extraordinary amount of dedication.
Build Your Portfolio
Retoucher: Daniel Meadows - for Grazia
I haven’t seen a better place to find freely available high-quality shots to build a first book from than Model Mayhem — if you’re here reading this then you’re in a very good place to begin. With a solid base to start from, build towards a book or two that clearly displays the direction you want to take. I don’t promote any services for weddings, for example. Although you may wish to, I’ve always politely declined batch processing jobs because I simply don’t enjoy them — my portfolio reflects my specialization. Keep your books up-to-date and drop anything that is no longer representative of your ability (full disclosure: I write this last tip as much for my own benefit as for anyone else’s. I drastically need an overhaul this summer!)
Learn the Right Skills
Retoucher: Daniel Meadows - for Grazia
There’s a lot of awful retouching advice on the internet. I can’t speak for the studios that cheaply batch the process with plugins, but I can tell you that if you develop a skill set that’s demanded by the commercial retouching industry, you’ll be surprised by the budgets set aside for post. I’m not a particular fan of the term ‘High End,’ although I’ve adopted it; ‘High End’ is the new ‘competent professional.’ The explosion of interest in the cheaper end of the market moved the bar.
Cutting corners, saving time, and doing the bulk of your skin work with filters (including Frequency Separation blurring) will hamper your progress in the commercial field. That quick fix market is saturated, and there’ll always be someone willing to do the same thing for a dollar less. Be someone who provides a service for which paying a premium is worth it. Work on color management, your dodge and burn skills, and learn to get the best from your RAW files.
One of the best pieces of advice I can give you is this: get your inspiration from the right sources. I subscribe to one of ‘the two big’ fashion magazines, and it arrives through the door at home every month. A friend picked one up from the coffee table a few years back and told me I’d “been ripped off — it’s full of ads!” I told him that was the point. It’s easy to get drawn into competing with your peers as you learn, and that’s a sure way for the whole group to amble off the path. Make sure you’re the one who keeps an eye on the actual goal, and takes strides towards it.
Practice
Retoucher: Daniel Meadows - for Grazia
Your early work will probably be, as we say in England, absolute bobbins. If you do it the right way, it’ll probably be worse. This is because as plugins and quick fix techniques have proliferated and improved, it’s become relatively simple to achieve often adequate results for little time. For beauty work in particular it’s vital not to rely on ‘adequate’ at the expense of the hundreds of hours of dodge and burn practice you should be acquiring over the start of your career. Frequency separation is a wonderful tool, but don’t be tempted to use it as your go-to skin smoothing technique. (That remains D&B — no plugin or filter will be an adequate substitute.) The more you learn and apply to great shots with an appreciation of what a high-quality output looks like, the more proficient you’ll become.
Learn about color theory. Learn about what looks are in demand for fashion, editorial, beauty, movie posters — whatever your specialization is, know it thoroughly and learn how to apply treatments. A client might send you a mood board for reference and it’s vital to know how (and if) it can be achieved. Make sure you can balance a set of images properly taking into account hue, saturation, and contrast relative to the shadows, mids, and highlights.
Network
Retoucher: Daniel Meadows - for Harper’s Bazaar Arabia
Be seen, chat, ask questions, show off your progression as an artist and help the people following you. There are plenty of places to do this (MM is a great example). The internet has made the world a much smaller place, so use it to your advantage. A few weeks ago I was walking around Manchester, England, surrounded by huge billboards carrying a major ad campaign I’d worked on. This week I have a fashion editorial featuring my favorite assistant from Doctor Who. Both clients reached me online — you no longer have to be in a major commercial center to compete. Join forums, join groups, (I’ve started a new retouching group on Facebook that might interest you) and engage with people. Collaborate to build the quality of your portfolio and build and maintain business relationships.
Build Your Brand
Retoucher: Daniel Meadows - for Harper’s Bazaar Arabia
Your brand is you at your best. I get friend requests on my personal Facebook page that I understand to be work related, so I leave them unanswered, often politely directing them to Daniel Meadows – Retoucher instead. Daniel Meadows is a brand. Between you and me, Danny is the guy my mates know whose photographs are usually of some ridiculous night out, and who gets sweary about politics and nervous about playing guitar at open mic nights. That’s the “you” whom you can share with a small circle of clients and peers if you choose to, but keep your official pages on-brand. No dinner Instagrams, no conversations with your friend about weekend plans.
Don’t Undersell Yourself
Retoucher: Daniel Meadows - for Luis Vuitton
I can’t stress this enough. I regularly see threads on forums where someone asks if a fee that is less than a living wage is ‘too much to charge.’ You’re a businessperson and you must think like one. Sensibly speaking, if your level of work can be replicated by an amateur, then charge accordingly, and treat it as supplemental income while you build your skill set. When you’re ready to build a real business, you must charge realistic rates. Freelancers must take downtime into account. If you expect a certain annual profit (after expenses) and estimate your billable working hours will be a fraction of an average 40-hour week, then your hourly rate needs to reflect that.
Before saying anything I would like to point out that this is not a tutorial, not a universal recipe or a quick and easy solution for post-processing work. One who is serious should always explore and learn new things. Certain tool names will inevitably be mentioned but that is for the sake of sharing useful information, not for the purpose of recommendation of a best way or for the promotion of a particular product or brand. Tools change all the time but the principles remain. There is also no claim that you will find here something sensational or never seen before. I am not your teacher and you are not my students. We are just people who all learn and share together and this short article is simply an answer to some of the questions I received from many photographers and retouchers about working with LUTs.
What is a LUT
The term LUT used here is an abbreviation of look-up table, more specifically a color look-up table. In short it is a way to instruct the computer how to change certain colors of the input image (source) to other colors (target). If you are interested in more detailed technical explanation here is a link: Color look-up table
Why LUTs?
We have been struggling with Photoshop’s tools for color correction for many years. We have been offered all kinds of clever solutions such as luminosity and other masks, curves presets, action presets, plugins by various vendors. Today we have the ability to use LUTs as adjustment layers and this has been around for a while. However it seems few people use this ability for various reasons: either because of the safety of sticking to old traditional workflows or because they were told “LUTs are for video”, or because they don’t have any usable LUT files to work with, or because someone they admire recommends something else. But if you spend the time to see and understand the efficiency which LUTs offer you will know how to replace the 20 layers you add for achieving a particular look with just one layer. And this means smaller working files, less memory required and hence faster and easier work.
Examples:
Here are examples of what a single Color lookup layer (LUT) can do. The same thing would need multiple other adjustment layers which are not as powerful and maybe even masks which introduce their own problems.
Before applying the LUT layer (raw look)
With a single LUT layer
Left: before, Right: after applying a LUT
Download the LUT file (ProPhoto RGB color space)
Download the LUT file (sRGB)
Apart from the obvious benefit of easy creation of different look presets a LUT can be very helpful in the raster level retouching as well. Here is an example of how using a LUT can visualize better the areas which need work:
Unretouched image (cropped)
Same image with a helper LUT showing areas which need chromatic correction.
Note that this would not be possible to do in RGB if you are simply adding a desaturation layer and a curve on top of it, which is the traditional way of doing D&B. I won’t go into all this because it is a subject on its own and won’t fit in here.
An important note
Input Matters
A LUT translates one set of RGB values to another. It is very important to note that although LUTs are an easy way to create presets for different looks, one LUT cannot fit every image because RGB values are not enough on their own to define color. Every image needs a color profile which defines the meanings of RGB values. In other words RGB values are just an instruction for the device/software which in combination with the color profile define the actual color which will be displayed or printed. In that sense a LUT which is made for sRGB obviously won’t reproduce the same look if applied on an image with Adobe RGB profile.
Creating LUTs
There are different ways and tools to create LUTs. A LUT file being basically a text file is obviously not something you would want to type by hand – you need a visual instrument for that. Most of the software tools which are able to generate LUTs are indeed focused on video/cinema and it makes sense – for motion picture you cannot create mask for the sky for each and every frame, you need to define a procedure for it and LUT is a convenient way to do that.
You can export LUT files using Photoshop too. Try to add a few adjustment layers (do not add layer masks, they cannot be stored in LUT) then use File->Export->Color Lookup Tables:
Usually what you want is 3DL or CUBE
This will give you a single .3dl or .cube file which you can load in a Color lookup layer. However the adjustment layers in Photoshop are quite limited and you still won’t be able to get the full power of LUTs. The “flattening” of multiple adjustment layers to one single LUT layer can help you work more efficiently but in Photoshop there is no tool which can help you shift for example: dark reds to bright greens and at the same time preserve bright neutrals while also moving light blues to yellow. For anything like that you would have to construct your own layer rig, maybe even use masks or different color models (like CMYK or LAB). Why is it limiting? – Because every time you retouch the image underneath the adjustment layers on top have to be re-applied and if they contain masks you would have to regenerate the masks. Or if you decide to retouch after applying color correction, that means you are stuck with that color look and should not change it any more (or you have to add more layers and masks after retouching and all the rest of it – huge files, slow work).
There is a tool which has been around for a few years, called 3D Lut Creator (3DLC). When I found for the first time it wasn’t as powerful but today it is very good and constantly improving. It has the simplicity of being fairly intuitive to work with if you understand how color works. I have asked my friend Oleg Sharonov (the creator of 3DLC) to expand more on the technical side of working with LUTs in photo retouching. We often have lengthy discussions about that and improvements in the program so I am sure the short additional notes by him will be helpful:
“I agree with everything you said so far. The main idea is that masked corrections produce discontinuity of L, A, or B components. So having the whole correction in form of a 3D mesh gives you control of the shaping of these components instead of cutting the color space. Photoshop doesn’t give you much of analysis tools too. I made vector-scope for Photoshop far before making 3DLC. I took a screenshot and analyzed it. So now we’ve got much more analysis tools than any video editing software, not talking about Photoshop. Another thing which is specific about 3DLC is that no other application can edit editing existing LUTs (AFAIK).” – Oleg Sharonov
What LUTs cannot do
An important thing I would like to add as a final note is that LUTs don’t completely eradicate the need for masks. You still need to use masks for isolating local corrections. Another limitation of LUTs is that they work only in RGB color model and in maximum 16 bits per channel. For other color models we need to use different approach.
In this video, I discuss the main difference between opacity and fill for layers in Photoshop. For instance, opacity can affect all layers (including layer effects) in an image, while fill only affects the layer content and not the layer effects. I’ll also show you how to create a “flare effect” using the fill option.
See more free videos samples and check out my Beauty & Hair Retouching DVD.
In this video, you’ll learn how to lighten an individual’s facial skin tone in Photoshop. The process involves duplicating the background, as well as adjusting the image’s overall saturation levels. With practice, this technique can be mastered rather quickly.
See more free videos samples and check out my Beauty & Hair Retouching DVD.
Michael O is a professional digital artist from Central California. His imaginative use of post-production software has garnered him quite a following, as most of his artwork — which exhibits a captivating blend of futuristic and classical motifs — is accomplished using photo-manipulation software. His work has been featured on several covers of Advanced Photoshop magazine, as well as various book covers for Macmillan and Little Brown & Company publishing. He also designs movie posters for the Bollywood film industry in India.
Michael’s submission won the Model Mayhem Banner Contest, and his work with Mosh greets everyone that visits MM. We recently had the chance to chat with Michael O about his life and art.
Model: Mosh
MM Edu: Tell us about your background and how you got started as an artist.
Michael O: My oldest memory of anything art related in my life happened back in kindergarten. I can remember drawing in class, wondering why my picture of Scooby Doo was more detailed than everyone else’s. I knew even then that art would always be in my life. While a lot of people do not know what they want to do halfway through college, I had a big head start and I let art lead me wherever it wanted.
MM Edu: I’ve read you describe your work as “Photo manipulation on steroids.” How did your work develop creatively?
Michael: Although I do not condone steroid use in real life, I do try to inject as much of it as possible into all my work… and I have yet to see any negative side effects!
In the years prior to college (the late 1990s), my focus was on traditional art. My favorite style was photorealism and I would always find ways to cheat — like using a projector to trace photos onto a canvas and turn them into paintings. The style I use today is actually very similar to that. I start with a photo, and I “paint” directly on top of it. It is a simple process, but there are a few unique tricks and a few extra hours of detailing that separate my style from regular photo manipulation. The style really developed on its own while I played around in Photoshop, learning various techniques through trial and error.
Some people have asked why I choose to do photo manipulation rather than creating artwork from scratch, and I tell them that not only do I suck at drawing from memory, but also that removing the live model from my work would be removing the best part of the process. Knowing that another person is required makes the work feel more real to me, not just visually. It also gets me out of the office to meet new people, most of which are beautiful women. I have no regrets.
Under My Skin: This artwork required about 5 different shots pieced together in Photoshop in order to get all the hands placed in the right spots.
Model: Dani Bae
“I start with a photo, and I “paint” directly on top of it. It is a simple process, but there are a few unique tricks and a few extra hours of detailing that separate my style from regular photo manipulation.”
MM Edu: You have a futuristic style but it’s clearly influenced by classical art and sculpture — how would you classify your work?
Michael: I personally do not believe that art has surpassed or even matched the work created during the Renaissance. I find that artistic period to be the pinnacle of beauty and the best example of human ideals. I look up to artists like Michelangelo (no relation), who still inspires thousands through his work. I try to keep an eye on the big picture and if I devote my life to a timeless style of art, maybe hundreds of years from now, it will be my work that people are lining up to be inspired by. Not everyone was given a natural ability in art, so I have to use it responsibly and to the best of my ability in order to respect this gift that I was given.
Model: Maria Gruner
Model: Ranie Jade
“I personally do not believe that art has surpassed or even matched the work created during the Renaissance. I find that artistic period to be the pinnacle of beauty and the best example of human ideals.”
MM Edu: I’d like to talk about your creative process — from developing the concept to selecting the model and the specifics of the shoot.
Michael: One of the most important aspects of art to me is having a good concept. I try and think of ideas for art that need no explanation and can be clearly understood by anyone. Inspiration for a good concept can come from anywhere so I keep my eyes, ears and dreams wide open for ideas to come find me. I just have to remember to write them down.
I know that I am prepared to create a new image when I can clearly see the concept in my head. The actual look of the model is not vital, because so much can be changed in the computer. I try and keep photo shoots simple, not doing more than two or three concepts per model so that I do not get overwhelmed. For each concept I take about 50 photos, changing the lighting and poses until we get it right.
Models often tell me that I am physically demanding on them. I suppose that is because I try to keep them in one pose for a minute or so, and for some of my robotic images the poses are rather awkward. It helps if the model has an acting background because the facial expression is key, and that is one thing that is very hard to change in the computer.
Ever since I’ve been shooting, I have been using a 10D, which was one of Canon’s first digital cameras. It is nothing special as far as quality and features go, but super high quality photos are not a vital part of my work. In fact, one thing that I have learned over time is that people love to see the before photo that I use for the artwork. The more plain and simple the photo is, the more impressed they are by the transition.
Two Locks, One Key: This was a funny shoot because we were in Central Park and every now and then a tourist would pass us and a few seconds later I would hear their camera click behind me.
Model: Kess M
“One of the most important aspects of art to me is having a good concept. I try and think of ideas for art that need no explanation and can be clearly understood by anyone.“
MM Edu: And, let’s talk about your process after the shoot. How do you turn those raw images into such incredible pieces of art?
Michael: Like my stubbornness to upgrade my photography equipment, my workstation is the same. I use Photoshop CS2 (and I would probably still be using an older version if my computer could run it). I use only the most basic tools so there is really no need for the latest and greatest. Those who expect the computer to be a magic box are often disappointed when I tell them that everything in high-quality work is done from scratch and it takes years of practice.
I also use a mouse 95 percent of the time. I have a tablet and I use it for long strokes for elements like hair but other than that I have no use for it, and frankly I do not know how designers can use them all the time. Whatever works I guess.
The digital process can take between 10 and 25 hours per image. I always try and spread it out over a few days so I can sleep on it and come back to it with a fresh pair of eyes.
I designed this desk in 3D Max and had a local craftsman build it for me. The monitor on the left is for one computer that I use for music and email. The center monitors are connected to my main computer, which is where I do all my work.
MM Edu: You often shoot overseas. How does traveling affect you creatively?
Michael: I have not been able to put my finger on it, but I believe there is a connection between traveling and artistic inspiration. I almost feel like a different person when I travel, my emotions are heightened. Combine that with exotic locations and exotic models, the output during my travels has become some of my most successful work.
Soul Searching, in New Zealand
Model: Megan Solomon
Model: Maria Shanti
Model: Maria Shanti
Hong Kong: I bought her this dress for $12 and we walked around and shot in some of the touristy areas of town. Everyone kept asking if she was a famous model. Of course, I told them yes!
Shooting in Moscow, Russia None of the models I worked with there spoke English, so my instructions needed to be translated.
Photographer: Olya Kraynova
Models: Olya Kabulova & Natasha Semenova in Russia
Model: Rebecca Davies-Jones
MM Edu: What advice do you have for aspiring digital artists?
Michael: For those who are looking for a career as a freelancer, this is my advice.
MM Edu: Model Mayhem is as essential platform for your work, can you tell us how you use MM and what it means to you?
Michael: After about a year of developing my digital style using stock photos, I went out in search of my own models. Model Mayhem was the obvious choice for that and I have been using it continuously ever since. Not only has it been an essential part of making my artwork happen but it also gave me the first few commissioned jobs from photographers who saw my work here and wanted to pay me for my services. At one point, more than half of my income was coming from commissions through MM. On top of that, I have made some lifelong friends here who share my passion for art and photography.
If there is a downside to the process of finding a model, it’s that I only get a response from about 20 percent of the models I contact. So, I contact about five models expecting to hear back from one. After that, there is still a big hurdle to making the shoot happen. I find that the models that are most likely to show up are those who answer all my questions and include their phone number in messages.
If I do get a response from more than one, I will pick the model that seems the most enthusiastic about art, will bring the most life to the work, and is not just a pretty face.
Original photo by Terry Divyak: This was a birthday present for his daughter and it was the first artwork commission I ever had.
Original photo by Terry Divyak
MM Edu: Your submission was selected to be the new Model Mayhem banner. Can you tell us about that shoot with Mosh?
Michael: That shoot was actually a classic Model Mayhem story…
It took place in 2007 when I was pretty green when it came to photography. My trusty 10D and I were headed to Washington D.C. to visit a friend and, (as with most of my travels) I contacted a few models through MM in hopes of having a shoot while there. I came across Mosh’s portfolio and, like everyone, I was instantly impressed with her work. She responded happily and was interested in shooting. I did not have any lighting equipment, so I was expecting to shoot outside, but she knew someone with a studio. I was glad to hear that but when I arrived, it ended up being someone’s studio apartment and not a photography studio!
My 50mm lens on a cropped sensor body made it pretty difficult to shoot at that focal length in such a small space. We had to move some furniture around but we made it work. The guy who owned the place had an Alien Bee which was all I needed. I brought some pictures of poses for Mosh to emulate, but she did not need them. All I had to do was sit back and click away. Every shot was a keeper and I am not surprised that she has become such a big name in the modeling world.
Model: Mosh
Model: Mosh
Model: Mosh
MM Edu: And, how do you feel knowing your work is in front of everyone that comes to MM?
Michael: I have had a number of honors over the years but winning this banner contest feels special to me since Model Mayhem has been such an important part of my career. I am sure that every time I log in I will have a little smile on my face.
MM Edu: Well, thanks for your time and congratulations! We obviously love your work and think everyone else will too.
Michael: Thank you.
Dodging and burning your images through curves adjustment layers is a great way to ensure that the toning you’re applying is actually consistent with your source photograph. On colored lighting shots, like the one in the video, you can also add color through the color channels in your curves adjustment layer. This enables you to color the shadows and highlights to match the rest of the image.
Photographer: Jake Hicks; Model: Zuki Jai
In this tutorial A-M-P shows how to dodge and burn like a pro. If you’re still using the dodge and burn tools in Photoshop you need to watch this tutorial.
Michael O is a professional digital artist whose work has been featured on several covers of Advanced Photoshop magazine, as well as various book covers and movie posters.
Model: Shannon Shhhhh; Digital Artist: Michael O
We interviewed Michael O and asked for his advice for those who are looking to start a career as a freelance digital artist.
Learn Traditional Art Skills
I would first recommend honing your traditional art skills to a level you are happy with before making the transition to digital. The methods are the same and the knowledge you gain from traditional rules (like composition) will pay off when it comes time to go digital.
Location, Location, Location – Not for Digital Artists
No client has ever cared where I live. As long as you have an internet connection, you can live wherever you want.
Program Learning
For program learning, I would recommend The Gnomon Workshop DVD tutorials. They have plenty of step-by-step lessons focusing on all aspects of digital art. But, if you are more like me and not interested in this teaching method, I would recommend a few years of trial and error and a lot of elbow grease!
Business Skills
For real professional artists, skill in art is only half the battle. A strong understanding of modern global business practices is necessary in order to find clients and keep them. Things like missing deadlines and making excuses are not tolerated.
Online Community
Get your work onto as many community-based websites as possible. You never know who might see your work there. That is actually where most of my clients first saw my work.
Prints and Merchandise
Do not expect to get rich by selling your work in a gallery. With digital art there is no original piece of art so the best you can do is sell prints or merchandise.
Develop Your Own Style
Lastly, find your own style that suits your artistic desires. I do not believe I would have any satisfaction with my own art if people told me that it looked just like someone else’s.
Read the full interview with Michael O.
Digital Artist: Michael O; Model: Mariel Zagunis (Two time Olympic Gold Medalist)
