Trevasia-2

It is clear that Haleh's conviction and satisfaction with this image makes it a success to its creator - (the one opinion that matters - the audience, subject and poss. buyer aside). I subscribe to the idea that most critiques are best considered from the perspective of the creators intent indifferent of my 'tastes'. ( to paraphrase Picasso - taste! what a dreadful thing! taste is the enemy of creativeness.)

I cannot pretend to know the intent of this image beyond being familiar with Halehs' past work beyond the PN walls and the slight references she has posted here. I respect her ability in her (pardon me for this word) genre. Indifferent of wet or digital darkroom work, i find the processing at odds with the main subject. The additional graphic work is disquieting to what felt to be a serene subject. Although it may be intentional i don't feel the energy is at peace. The 'effect' has taken control of the dof the original less manipulated image. This effect appears pasted to the surface on the left and less so on the right. The impression is one of a 'pasting'. again maybe intentional but from the majority of Halehs' images seem to be done more seamlessly.

The line of the sitter is exceptional and the 'negative space' created is very appealing, (zen) and if not for being at the mercy of the after effect used would indeed be very classic. Perhaps classic Japanese at the turn of the century - in color, narrative and presentation, even calligraphy styling, placement.

to my eye the effect, technique, execution dates this photo - also that may have been intended but if it was not it could be done with the same tools in a more integrated fashion.

nuf said......?

My thought was the intent of the dryness of the lips was to have the flesh image merging into the faux canvas, a sort of metamorphosis, like oh let's say from Greek Mythology.

A wonderful piece of art and an interesting discussion, Haleh. I always follow your work with the highest interest, curiosity and admiration.

Besides the evident mastery at choosing pose, expression etc, it's your treatment that makes each piece a very artistic one and gives the portrait a new dimension altogether.

"To sit here and talk about their race, youthfulness, body gestures and other minor items will be unfair to who they really are."

Huh? race? youthfulness? I mentioned neither. As to "body gestures", they may be an indication of a persons frame of mind, but in the final edit, it is the photographer that decides which shrug of shoulder, upturned face, side long glance, or direct stare is appropriate to the the desired effect of the work. You have created an image that has many attributes of a metaphor, and this young woman seems to be presented as an allegory, or an archetype. I hadn't really thought about the individual human in the photo... and did not even think of it as a portrait of a specific person, rather as I said, of an archetype.

You chose this person for this photograph and you chose this particular frame from the session as indications of your desire to express some attribute of the human psyche/condition (or did you intend this to be a portrait? That would open an entirely different criteria within which to discuss this image). The styling in this photograph, the palette you impose, the choice of lens, the framing, point of view and light are all selected to work toward the effect you deem to be appropriate to your vision and it?s ultimate manifestation.

I am only suggesting a different demeanor from this same model (or another) might better fit your post production treatment (or vice versa). I also think some text that is relevant to the attitude expressed by your subject/model, or the era/style you may be trying to evoke, might enhance the effect of your image in a more interesting way than just using your name.

I said nothing about the race or age of your model. I wonder how you might think that I did...

My comments were about the attitude in her expression and body language and it's relevance to your equally prominent technique. Any model, of any race, of any age, could invoke the same general expression and body language and I would still suggest you try a different expression and body language for this particular technique and styling.

Regarding your comment "I do not care for the rating aspect of the critique forum "... I couldn't agree more. The ratings system is completely irrelevant to the quality of an image, and in fact, frequently seems in direct opposition to my own feelings about photography... t

ps: I see the same Asian influence that Josh mentions, and in my mind's eye have an Asian woman of greater age but the same vitality as this model benefiting greatly from this sort of image treatment. My initial comments were written while Photo.net was down and Josh commented between my writing and this posting.

An interesting expressive look captured and I can see the artistry in this photo , but its not my cup of tea. Robert

"To sit here and talk about their race, youthfulness, body gestures and other minor items will be unfair to who they really are."

 

Photography seems to me a visual art and/or craft. A good or great photographic or illustrative portrait will often go beyond being skin deep. The creator of the portrait may try to capture something about the person's character or personality, the person's history, the person's "story," as it were. The photographer/illustrator may seize upon a gesture, a pose, a facial expression, may include a meaningful background or environment to convey what they want. They may, on the other hand, simply present a face to the viewer with little or no intention of providing deeper information. They may be suggesting something more universal than resides in the individual subject of the portrait. Regardless, it is with visual cues and clues that any of this will be accomplished. Those cues and clues include hair style, hair color, light reflecting in eyes, pose, gender or ambiguity of gender, race, age, beauty. The skin may be smooth and soft or weathered and rough. The eyes may speak of innocence or of depth of experience. To observe and respond to such elements is to view a portrait carefully, critically, and with the desire for emotional depth. To ignore any such matters is not to see the portrait.

I was trying to find a words to describe that beautiful and sensitive portrait of a young woman. You presented a combination of antique life style in a manner which is not seen until now. The idea is perfect.

In my opinion, it's not about whether is she in green tones or not, because it's just an eyeshadow, and it looks pretty.

The story and message behind is the most important.

I like the casting, her manner, attitude, the way she's looking, the composition and tonality. Everything is in balance.

I 've been looking your portfolio which is apsolutely perfect. I've never seen that kind of women portraits. I noticed that every woman is in a state of melancholy, yearning, longing and they are in a subtle mood.

You are bringing up some very good points. Photography is very personal. My photography is mainly customized around the needs of my clients. If they are happy then I am happy. They know my style and they have choices available to them (Lord knows everyone now and days is a photographer) but they choose me and I aim to please them.

with the addition of sitter as client.... some opinions and critiques may also change

(not all). The more i learn of the motivation, and intended audience the finer i would

tune a critique. If i were honered by a request to critique a portrait for an individual client i

would gear the observation to that end..... should it be presented as an art piece with the

intent being how it fits within the creators body of work, i would use a different lanquage.

Finally, if it is presented as stand alone image without other parameters, guidelines .... well,

here we are. There is an influence on my mindset when asked to consider an image.

Strengths:

 

1) Successful way of rendering an otherwise standard studio photo.

 

2) Final image is interesting at least to analyze. I like it.

 

Weaknesses:

 

1) Unnatural asymmetric pose, mildly disturbing after a while. Seems like there is someone telling her how to pose.

 

2) Livid skin spots e.g. forehead (maybe post processing). Perfect studio make-up on the other hand. Unreal the bad way.

 

4) Beard-like postpro overlay (at least in lowres sample).

 

5) Usual annoying hair bad-alpha problem shows greenish nasty halo.

 

6) I really miss a real out-of-focus exotic background instead of the artificially semiflat (2.5-D) paper wall.

 

7) No way to stop my mind trying to imagine how an ugly girl would look like in the same pose/image. Take a portrait you like, then change the person to any other in the same pose/state-of-mind; result should be even more interesting.

 

I am only telling what I feel looking at this photo, and I've been far too sincere, sorry in advance :)

"...with the addition of sitter as client.... some opinions and critiques may also change (not all). The more i learn of the motivation, and intended audience the finer i would tune a critique."

indeed. But here to no avail... t

Haleh, I'm so happy to see one of your pictures POW. your work I always follow is so particular and admirable. I love the softness , slightness, poetry in your every creation. You have a sense of delicacy that I love and you enhance so brilliantly your pictures.Never a thing too much, always the perfect measure and tones you add. For me you are one of the true artists I am lucky enough to meet here and there.

In my opinion there is no need to explain how you did this and that. This is YOUR style and no matter about the softwares or other things you use : does one ask to Picasso or Modigliani what kind of paintings or brushes or whatelse they used to make their paintings ? Une oeuvre d'art is offered to public to be admired. Not to be decorticated.

If people want to try something like you they have to create by themselves.
Just one word more to say that I love the tender and mischief expression of your model. She is the most cute young girl !
Best to you !

One of the best photos I have seen . great details, magnificent edit, great light and . . .

I like the concept of this image but the execution is off. The cheek and neck are washed out and distracting. It's like too much light was bounced off them and washed out all skin texture. They are a completely different color and the attempt to fix it was not properly executed. Lighting ratios for portraiture are quite difficult to master. Good soft boxes go a long way to preventing washed out features.

I, for one, would like to know how to achieve this particular scratchy effect. The last time I asked this, several weeks ago, the response was on the order of "I use free textures from the Web," an answer I found to be as illuminating as the indside of a cave. It would be great if someone who knew how to do this would have the courage, and the patience, to explain, step by step, how such an effect is produced.

Doug, when I use the scratchy effect, I copy a layer, treat it with the filter, usually Displace with a suitable texture, then use transparency on that copied/filtered layer, and brush away areas I wish to remain unaffected with the eraser (you could also use quick mask to get a selection then delete or inverse/delete). Transparency on the eraser is useful for a fading effect, so you could have the eyes sharp, or the whole face clear of filter. Alternatively you might want the effect all over to bring a consistency, but weaker in some areas. As you probably already know, there are umpteen ways to get the same result in PS, according to the user, but this would be one of my ways as an example.

 

This picture though, I would not say was expertly executed, but I hasten to add that I make that judgement based on my own personal tastes. For example I would not like the effect on her cheek and nose, and as somebody else pointed out the neck looks washed out, also fuzzy on the edge like it's lost an area.

As a (very) amateur, I've actually learned a lot by reading through this thread. People pick up on things that I hadn't noticed or might not have noticed otherwise (in this photo).

Subtleties like the green halo around the hair and shoulders, and the chapped lips which once mentioned become so glaringly obvious. Do these things detract from the image? I don't think so, I especially like the lips, which someone awfully referred to as "monstrous" because I like to see truth represented in photography.

Here is a photo which, yes, is heavily post processed. Does it somehow detract from the image as a whole? I would say no, but rather it makes the image as the artist envisioned. It looks to me like a fresco, a ghostly painting on a wall somewhere, weathered and worn and peering back through time at the viewer.

People have commented on the blown out highlights but I don't see this as a problem if you look at it as an ancient and worn painting. There are only two things that are bothering my eyes in this image (I would call it a photo but it is certainly more than that) and those are firstly the greenish colour to the midtones on the cheek, chin, neck, and collarbone, and secondly that one flower above her left eye which looks like (to my eyes) it should fade into the deterioration at right. And oh yes thirdly the top of the bustier in the bottom right is a confusion to me as it suddenly spoils the softness of the skin.

nice work. A very elegant pose and a nicely realized creation.

Without the texture and toning job it would be just a rather ordinary portrait of an exotic model in a somewhat awkward neck pose, so I guess the PSing here has its merit and is effective, although not original.

Pretty light, exotic model and composition. The texture gives an aspect very him

subtle. Voted

There is a wonderful autumn feel to the image - I love it! I can't really fault anything except for the smudges on the body, which look a little odd, but the background looks great. Beautiful model, pose and lighting. Great job!

This is an awesome job. Nice warm, antique look.

Just so beatiful!

Great light and shadow!

I didn't read through ALL the comments, but it's clear that some will like the Post Processing and some wont. I think it works. It would also have worked without so much bleed to the texture - but it's purely an artistic call and I know that many people will love it. Nice portrait and composition.
There's one thing that bothers me though. Signature is way too big. I like the font - but the placement and size don't work for me. (the graphic designer in me speaking!) Perhaps this is just for watermarking and image theft security though?