Discussion in 'Street, Documentary, and Portrait' started by jambaj0e, Jul 1, 2011.
Hi Joe, I like these a lot!
Picture 1: your use of such similar colours for the floor and background seems to me to tilt the photo forward, which goes well with the model's pose. I like the 'two point' composition of face and the umbrella's central circle, which balances the upper part of the photo well, and the way the umbrella's nub stops the eyeline. The green on the umbrella echoes the green on the model's eyeline and her clothing, and mentally following the obscured curve of the larger green circle leads you straight to the model's face! Excellent!
Picture 2: I like the subtle bed in the background and the way the blind echoes the horizontal lines of the model's top. I like the lighting, especially the gold reflection of the bikini cord on her thigh- a very sensuous detail. The only minor point is that there seems to be a long scratch on her thigh, which I think should be retouched.
Picture 3: I think each of these work individually - my favourite is the first one, and least favourite is the second one, due to the distracting glare on her knees - but I'm not sure they work as a sequence. If I see a sequence shot on a staircase I expect the person to be going up or down the stairs. Seeing someone writhe seductively upon the same stair disrupts that expectation and so seems odd to me.
Bump. Comments and critiques, please. Trying to get better =)
Wow, thanks for the feedback dabbler! A lot of good technical details and pointers. I have to go to work, so I'll come back to discussing this.
But I do now notice the scratch. Also, the last sequence, there were several shots that I like, but I had to crop them to a 9:16 because the staircase started to become distracting. But 9:16 seems like a narrow format, which is why I combined the four I liked together
Hi Joe, I agree that 9:16 is a tricky aspect ratio, but putting two together would almost be a square, and that would be alright, I think.
All other things being equal, the more very similar photos you display together, the more diluted the impact, imo. I think you can often 'get away' with two photos together, and you can strengthen the impact through an interesting juxtaposition of the two images, but seeing more than two images in a sequence normally gives me the expectation that the pictures will tell some kind of story unfolding over time. I can't see any such story in that sequence, so for me it looks strange. I'm not a portraitist, and haven't even posed a model in my life, but as a viewer I think you should just choose your favourite two, or, if need be, have two groups of two that are widely separated in the portfolio you produce in order to disrupt that story-telling expectation.
I see what you mean. Yeah, I think I'll split it into two different sets of two photos, then. Thanks!
Ok, so I divided the 4-image set into two 2-image sets.
How does it look now?
Hey Joe, I think they work! I think quasi-symmetrical compositions go well with a square composition. If it were up to me I'd swap around the bottom two so that the model is looking towards her 'double' rather than out of the picture frame, but that's all I'd change.
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