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Nardulli Inc.
1710 N. La Brea Ave.
Los Angeles, CA 90046
Phone: (323) 882-8331,
ext. 3 (Pro Lab)
Fax: (323) 882-8077
www.nardulli.com
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HOURLY RATES:
$125/hr.
PRIMARY EQUIPMENT:
Crossfield drum scanners, Scitex Jazz + flatbed scanner, eight Mac G4 retouching stations each with two monitors. Software: Adobe Photoshop (98 percent of work), QuarkXPress and Adobe Illustrator
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SPEED OF TURNAROUND:
A day or two—five hours of retouching per image
CONTACT FOR RETOUCHING SERVICES:
Karl Hierl, manager of digital, karl_hierl@nardulli.com
OTHER PRINCIPALS:
Phillip Nardulli, founder & owner
Art Nardulli, owner
Elisa Nardulli, owner
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NARDULLI INC.
 Nardulli Inc. began offering digital services about eight years ago, starting with actor headshots and growing to today’s focus on high-end work for magazines, handled by the company’s four primary retouchers.
The company works a lot with editorial, fashion and celebrity images, and secondarily on ad campaigns. Nardulli also handles a lot of syndication work, particularly for Corbis. Primary retouching clients are photographers, among them Mark Seliger, Andrew McPherson and Dan Winters. Recent images have appeared in Newsweek, People and Entertainment Weekly. In 2001, the company handled a sizable “Rock for Hope” fund-raising campaign for City of Hope, comprised of images of rock stars; Nardulli prepared the images for printing.
Nardulli retouchers also worked with Winters on the 2001 Hewlett-Packard (HP) “Inventors” campaign, celebrating HP inventors and featuring actual employees. One image required retoucher Carolyn Mishne to composite an HP scientist’s face with molecules, merging an image of a model of molecules with the scientist’s portrait.
Mishne explains that the portrait had to be deconstructed so that she could fit the correct facial part (e.g., the eyes and nose) perfectly in the correct sphere without causing the scientist’s face to look out of proportion. Once the elements were in the correct places, Mishne proceeded with fine-tuning the image, applying many levels of shading and highlighting layers as well as some distortion filters. “Masking is the key to good compositing, and this image required many hours of precise masking,” Mishne says. “Each element—the individual spheres, connectors and their shadows—all needed tweaking of their own at different points.” Mishne “swears by the pen tool” as the best masking method for most situations because she believes it gives her the ability to create a perfect outline for any shape down to the finest detail.
The composite was run not only as magazine ads but also as large posters, so Mishne says she also focused on getting the skin clean. “Once you put skin areas in those spheres, the pores start looking enormous!” she says. “So I had to ‘flatter’ him but not take away his facial features.”
Image © Hewlett-Packard photo by Dan Winters
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