My barber.
Nov 1, 2017 00:52:14 #
Shot this last Saturday in her shop. All natural light against a north facing window. Softened in photoshop. This being in preparation for a professional shoot in which I was volunteered for at a charity auction.
I have no idea why it says to (download) instead of just showing the photo straight out.
I have no idea why it says to (download) instead of just showing the photo straight out.
Nov 1, 2017 14:37:29 #
I uploaded your image to my device and edited it into your post.
Nov 1, 2017 19:37:48 #
E.L.. Shapiro wrote:
Thank you!I uploaded your image to my device and edited it into your post.
Nov 1, 2017 21:22:20 #
Very beautiful image. The softening looks great. The only thing that bothers me a little are the irregular shaped catchlights in her eyes. I'm always using an umbrella or beauty dish that produces a round catchlight. I know that's subjective, so everyone has a different opinion.
Nov 1, 2017 22:43:09 #
CO wrote:
Those catch lights are the front window of her shop. I used no supportive lighting. there was no overhead lighting. I suppose I could reshape them if I am very careful. Oh, and don't refrain from your opinions. I always take these as constructive criticism. And thank you!Very beautiful image. The softening looks great. The only thing that bothers me a little are the irregular shaped catchlights in her eyes. I'm always using an umbrella or beauty dish that produces a round catchlight. I know that's subjective, so everyone has a different opinion.
Nov 2, 2017 08:06:56 #
To me, this is your best work yet... still a little too tight a crop for me but... it's your hallmark. Also, in my opinion, there are tiny PP points - a little eye sharpening and lightening of the iris opposite of the catchlight that could bring it up a notch. Overall, the image has a nice tonality, good color and... nicely done.
Nov 2, 2017 14:20:07 #
Nice shot. If i could find a barber likebthat i might just quit shaving my head so i could visit once in awhile
Nov 2, 2017 20:02:26 #
fuminous wrote:
Thank you! Still a bit tight, eh? Where, on the top? Could be. Funny that you mentioned the iris. I was thinking the same thing, but I left it alone on purpose mainly to see if there would be any reactions to it. You answered my question. I did try to sharpen the eyes a bit, but everything I tried seem to take away from the overall softness of the photo. I am usually pretty good with the eyes. Not good with teeth. I appreciate your input.To me, this is your best work yet... still a little too tight a crop for me but... it's your hallmark. Also, in my opinion, there are tiny PP points - a little eye sharpening and lightening of the iris opposite of the catchlight that could bring it up a notch. Overall, the image has a nice tonality, good color and... nicely done.
Nov 2, 2017 20:03:12 #
cessnalvr wrote:
Thank you! My head is slowly becoming the same way.Nice shot. If i could find a barber likebthat i might just quit shaving my head so i could visit once in awhile
Nov 2, 2017 20:43:29 #
tainkc wrote:
Thank you! My head is slowly becoming the same way.
I was out and back to colorado a week ago and came thru your neck of the woods. If i had known your barber looked like that i might have stopped and let her do the shaving.
Nov 3, 2017 07:07:03 #
cessnalvr wrote:
I am sure (hopefully) there more out there like her. I found her quite by accident and she did a fantastic job.I was out and back to colorado a week ago and came thru your neck of the woods. If i had known your barber looked like that i might have stopped and let her do the shaving.
Nov 3, 2017 17:13:43 #
Hi, Tainck!
No doubt this is a nice shot of a very attractive lady- good color and texture.
I would love to do a more in-depth critique of this image and would like to have your permission to do a few crops and edits to illustrate my points. This is a really good portrait to analyze and discusses the issues of lighting the eyes, catch-lights, head size, balance and base, pose and composition. If you don't mind being my "lab rat" on this one I think this will be an interesting exercise.
Let me know what you think.
Ed
No doubt this is a nice shot of a very attractive lady- good color and texture.
I would love to do a more in-depth critique of this image and would like to have your permission to do a few crops and edits to illustrate my points. This is a really good portrait to analyze and discusses the issues of lighting the eyes, catch-lights, head size, balance and base, pose and composition. If you don't mind being my "lab rat" on this one I think this will be an interesting exercise.
Let me know what you think.
Ed
Nov 3, 2017 22:01:22 #
Nov 4, 2017 10:38:47 #
Great! I'm shooting all day today. I'll start on it as soon as I get back to the office. Thanks!
Nov 6, 2017 05:19:59 #
Composition and pose: As a head and shoulder portrait, there is not quite enough body showing so there ins insufficient base to support the head. Heaving the subject turn more body toward the camera and then turning her head into the lightning pattern creates the classical feminine pose or CONTRA-pose whereby the body and head are placed in opposite directions. This forms an S-curve line which leas the viewer's eye to the face.
If however, you want to make a close-up head shot, the composition in the original image is not tight enough in the existing crop. In my quick edit, I tightened up on the crop, extended the background to allow for more negative space in the direction that the subject is facing. This places her eyes in the upper 1/3 of the composition and makes for a stronger image.
Eyes: Lighting the eyes is crucial in a classic portrait. Strong shadow detail brings out the color in the eyes and lends “sparkle”. Strong definite catch-lights are one of the indication that the eyes are sufficiently lighted and the position of the catch-lights indicate that the lighting pattern on the rest of the face is correct. When the catch-lights are in the 11 or 1 o'clock position in the eyes you are on the right track. The position and length of the shadow projected form the nose is the other major indicator of good facial lighting.
The catch-lights should be compatible with the light source. In this cases, soft window lighting will result in larger catch-lights. Remember. The catch-lights are merely reflections of the main light source. The catch-lights from a large window, a parabolic studio light, a umbrella or soft box equipped light or a spot light will all be different and proportional to the main light source. If the catch-lights seem too big or obscure too much of the pupil, they can be retouched to somewhat reduce their size but should not be reduced to the extent where they are no longer compatible with the softness of the rest of the image. In a classic portrait, only one catch-light in each eye should remain- others from fill sources should be removed in editing or retouching.
In an available light situation where you can not raises or lower the light source to accommodate the lighting of the eyes, if there is not quite enough brilliance, a bit of dodging of the eyes would brighten them if there is basically good exposure.
Remember, all of this has to do with classic portraiture technique and facial aesthetics. None of it is “carved in stone” but serves as traditional guide lines.
Composition wise, you are somewhere between a head and shoulder portrait and a close-up head shot.
Please see the image in the next post where I have edited the shot for a tight head shot and made some adjustment to the eyes. It is a quick and dirty edit but I hope you will get the basic idea.
Thanks for posting and allowing me to edit you image.
If however, you want to make a close-up head shot, the composition in the original image is not tight enough in the existing crop. In my quick edit, I tightened up on the crop, extended the background to allow for more negative space in the direction that the subject is facing. This places her eyes in the upper 1/3 of the composition and makes for a stronger image.
Eyes: Lighting the eyes is crucial in a classic portrait. Strong shadow detail brings out the color in the eyes and lends “sparkle”. Strong definite catch-lights are one of the indication that the eyes are sufficiently lighted and the position of the catch-lights indicate that the lighting pattern on the rest of the face is correct. When the catch-lights are in the 11 or 1 o'clock position in the eyes you are on the right track. The position and length of the shadow projected form the nose is the other major indicator of good facial lighting.
The catch-lights should be compatible with the light source. In this cases, soft window lighting will result in larger catch-lights. Remember. The catch-lights are merely reflections of the main light source. The catch-lights from a large window, a parabolic studio light, a umbrella or soft box equipped light or a spot light will all be different and proportional to the main light source. If the catch-lights seem too big or obscure too much of the pupil, they can be retouched to somewhat reduce their size but should not be reduced to the extent where they are no longer compatible with the softness of the rest of the image. In a classic portrait, only one catch-light in each eye should remain- others from fill sources should be removed in editing or retouching.
In an available light situation where you can not raises or lower the light source to accommodate the lighting of the eyes, if there is not quite enough brilliance, a bit of dodging of the eyes would brighten them if there is basically good exposure.
Remember, all of this has to do with classic portraiture technique and facial aesthetics. None of it is “carved in stone” but serves as traditional guide lines.
Composition wise, you are somewhere between a head and shoulder portrait and a close-up head shot.
Please see the image in the next post where I have edited the shot for a tight head shot and made some adjustment to the eyes. It is a quick and dirty edit but I hope you will get the basic idea.
Thanks for posting and allowing me to edit you image.
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