Doug Earle
New member
From a series taken last summer. Critique and comments welcomed. (I am aware of the backdrop creases, just haven't had time to fix in PS and repost to my website).
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Twigs
- Thread starter Doug Earle
- Start date
Asher Kelman
OPF Owner/Editor-in-Chief
Hi Doug,
Just a small point to start, with pictures that have asymmetry like yours it might be better to also show a smaller canvas so as to allow the brain to see the entire composition with white space around it, like this:
Doug Earle Photo, "Twigs"
Asher
Just a small point to start, with pictures that have asymmetry like yours it might be better to also show a smaller canvas so as to allow the brain to see the entire composition with white space around it, like this:
Doug Earle Photo, "Twigs"
Asher
Last edited:
Asher Kelman
OPF Owner/Editor-in-Chief
Now looking at the picture as a whole, of course I do like it. The girl's expression is not seductive but open to the observer as to many possibilities. She appears to look from behind the twigs as if it was partially disclosing her presence, like a curtain or Japanese screen might do for an intimate encounter. The length and positioning of the twigs does provide a contrast to a smooth round sensuous form. However, the motif of the spirals in the twigs is not reflected in her hair, especially on her right side. That's of course not what you designed and therefore I may be entirely wrong. However, I just offer this idea for your consideration.
The lighting mainly on the left and centered on her right breast and the twigs provides dimensionality and form as intended. I do wonder whether the differences need to be so deep between left and right. It could very well be that this again is an important design feature, so just take that as my own idiosyncratic preference.
Above all, I'm happy you shared this with us!
Asher
The lighting mainly on the left and centered on her right breast and the twigs provides dimensionality and form as intended. I do wonder whether the differences need to be so deep between left and right. It could very well be that this again is an important design feature, so just take that as my own idiosyncratic preference.
Above all, I'm happy you shared this with us!
Asher
Asher Kelman
OPF Owner/Editor-in-Chief
Now ladies and gentlemen,
Can we visit with this photograph? Do we have your attention? Great. Now who's going to comment besides yours truly?
Asher
Can we visit with this photograph? Do we have your attention? Great. Now who's going to comment besides yours truly?
Asher
Ken Tanaka
pro member
I've been looking at this for a while and must say I like this too, Doug. My specific, free-floating thoughts.
The asymmetry of the composition, to which Asher referred, serves two visual functions well. First, by creating a subtle spacial tension, it puts your attention squarely on the woman's face. Second, it provides space for the twigs' general torch-like feeling to become fully expressed. Any closer cropping would really diminish the image's power.
The woman's posture --a study in the power of subtlety-- is also a significant factor in the image's success. Head cocked slightly to look past the torch twig bundle, weight shifted slightly to the right leg to lend a slight air of indifference, hands gripping the twig bundle tightly suggesting that the impression of indifference might be false, the line of the twig bundle following the general line of the woman's stance.
One measure of a successful image is whether or not it instantly finds a place in your long-term memory. This image has certainly become deposited in mine.
Very well done, Doug.
The asymmetry of the composition, to which Asher referred, serves two visual functions well. First, by creating a subtle spacial tension, it puts your attention squarely on the woman's face. Second, it provides space for the twigs' general torch-like feeling to become fully expressed. Any closer cropping would really diminish the image's power.
The woman's posture --a study in the power of subtlety-- is also a significant factor in the image's success. Head cocked slightly to look past the torch twig bundle, weight shifted slightly to the right leg to lend a slight air of indifference, hands gripping the twig bundle tightly suggesting that the impression of indifference might be false, the line of the twig bundle following the general line of the woman's stance.
One measure of a successful image is whether or not it instantly finds a place in your long-term memory. This image has certainly become deposited in mine.
Very well done, Doug.
Asher Kelman
OPF Owner/Editor-in-Chief
Being seduced into an artwork.
I find your view distinctively enlightening. The impression of a burning torch is now part of the way I'll see this too. The two edges of subtlety of posture: the stance of indifference and the tight grip on the twigs show the complexity built in to this image. I'm glad to have you point out these features.
Doug,
Amongst the most remarkable figure studies, what appears as simple form turns out to be more. The physicality is made up of energized subsets sets of opposing and/ or complementary motifs. These are measured, arranged and concisely presented by both the model's and photographers creative work.
I like to ask if this work is energized, is there a life in it? When the answer is yes, then the art, itself becomes a character. This spirit, this essence of the art's "being" invites me in and I'm entertained, intrigued and live for a while, entangled in its own world with its own rules. For a while, thus distracted, I even care about the things that matter only to it.
This is what you have succeeded in doing here. Kudos!
Asher
Ken,
I find your view distinctively enlightening. The impression of a burning torch is now part of the way I'll see this too. The two edges of subtlety of posture: the stance of indifference and the tight grip on the twigs show the complexity built in to this image. I'm glad to have you point out these features.
Doug,
Amongst the most remarkable figure studies, what appears as simple form turns out to be more. The physicality is made up of energized subsets sets of opposing and/ or complementary motifs. These are measured, arranged and concisely presented by both the model's and photographers creative work.
I like to ask if this work is energized, is there a life in it? When the answer is yes, then the art, itself becomes a character. This spirit, this essence of the art's "being" invites me in and I'm entertained, intrigued and live for a while, entangled in its own world with its own rules. For a while, thus distracted, I even care about the things that matter only to it.
This is what you have succeeded in doing here. Kudos!
Asher
Clayton Lofgren
New member
Judicious use of shade. The Seminal photo could have avoided some controversy by this.