Aqua is trans and this is her first posed shoot. She was a bit nervous, but I think rose to the occasion. C&C appreciated but please, keep it to my photography and not anything political about trans women. Thanks.
Except for the first, I don't like all the extra space of the verticals. it would seem there are better crops from these images. The lone landscape best fills the frame. And, the first is well positioned in the frame too. The colors and lighting, with the highlights of hair are nice, although the hair is not as well lit in the one landscape.
the verticals have too much dead space. I Agee with CHG.
A beautiful model photographed well. I would just crop out some of the space in the vertical photos. Otherwise very good.
In evaluating such photos, I apply this test: How would I like waking up next to the face of the model? This kind of question answers itself.
Is the photographer being expressive here. Whilst many would say there is too much empty space around the model, I wonder if this isn't deliberate on their behalf emphasising the loneliness of the model? Too often we like to pigeon hole our pictures in to certain narrow styles and think they should conform to photographic 'rules'. I think the photographer here is being sensitive to the model.
dat2ra wrote:
Aqua is trans and this is her first posed shoot. She was a bit nervous, but I think rose to the occasion. C&C appreciated but please, keep it to my photography and not anything political about trans women. Thanks.
Nice photography and colors. Photographs don’t lie the model still looks like a man because he is a man.
Bruce.
The principles of composition in photography derive from appeal to human perception, as a matter of graphic balance. We cannot escape these principles by intellectualizing a flawed composition. After all, a photograph must stand alone in its appeal to the eye and do so without words.
RogStrix wrote:
Is the photographer being expressive here. Whilst many would say there is too much empty space around the model, I wonder if this isn't deliberate on their behalf emphasising the loneliness of the model? Too often we like to pigeon hole our pictures in to certain narrow styles and think they should conform to photographic 'rules'. I think the photographer here is being sensitive to the model.
anotherview wrote:
The principles of .....After all, a photograph must stand alone in its appeal to the eye and do so without words.
Excuse my snip.
In general I would agree with your statement, and the OP has invited comments about the photography so must expect replies like yours.
However, photography can be one person's interpretation of a scene and we need to try and understand what they are trying to convey.
The loneliness and isolation of the transgender model as they go through their metamorphosis are all demonstrated by these pictures, some more strikingly then others.
Just my personal opinion.
RogStrix wrote:
Excuse my snip.
In general I would agree with your statement, and the OP has invited comments about the photography so must expect replies like yours.
However, photography can be one person's interpretation of a scene and we need to try and understand what they are trying to convey.
The loneliness and isolation of the transgender model as they go through their metamorphosis are all demonstrated by these pictures, some more strikingly then others.
Just my personal opinion.
Interesting observations guys, but do we really know what the photographer was trying to convey and what the model is really 'going through' if anything ? He chose to be photographed and the photos are pretty good shots.
I am not defending anyone or anything, just a spot of conjecture for the morning coffee.
bruce.
I wonder if there would have been denigrating comments had the OP not revealed the individual was transsexual.
Stan
Agree: "photography can be one person's interpretation of a scene and we need to try and understand what they are trying to convey."
The intention of the photographer does come into play when evaluating his or her purpose or aim for a given photograph. Yet, we may posit that the photograph should speak for itself. The viewer then grasps this aspect of the photograph, its intention, and ideally without the action of the intellect.
Even so, I agree that a photograph may present a dual meaning for its content. One meaning may develop from another. For example, a photograph of a subject in the late 19th-Century recording a street scene may assume historical value apart from a natural curiosity for it, then and now. This photograph takes us back to a previous day, by the flow of time seemingly in reverse. The photographer may've had no inkling of this connection to the past from his work.
By this generalization, the analysis of a photograph may lapse into the philosophy of photography. I leave this prospect to others for now.
RogStrix wrote:
Excuse my snip.
In general I would agree with your statement, and the OP has invited comments about the photography so must expect replies like yours.
However, photography can be one person's interpretation of a scene and we need to try and understand what they are trying to convey.
The loneliness and isolation of the transgender model as they go through their metamorphosis are all demonstrated by these pictures, some more strikingly then others.
Just my personal opinion.
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