The nipple as a target attracts more attention than the flame and distracts from the otherwise gorgeous photo. If I'm wrong, please forgive me and correct me.
lo_ol, this is from a man's point of view. But I would say it's not the sight, but the eye. I really liked the work, of course. A warm summer night, silence, splashing water, and probably the moon in the sky.
Partially a remake of the famous scene from Tarkovsky's "Nostalghia" (though not He, but She—a heterogeneous plot. ))). A good shot, beautifully filmed.
Continuing with the comment about the two topics...it's worth adding a third one—processing. Since she took on the bulk of it (she rules). P.S. Overall, the impression is positive.
A flawless photo, technically perfect, carefully crafted... but the model's condition, to my untrained eye, ruins it... The girl is simply trying to hold on to the fire; in her gaze, I don't sense the faith, silence, or unity that permeates everything around her. I see the photographer's feelings, but I don't see the feelings of the main character... Sincerely,
It's like being in a theater... You look and think, "I don't believe it," and I peer and think, "I do." It's a good thing my eyes aren't closed, by the way. ))
You watch and think, "I don't believe it," I look closely and think, "I do."
Well, at the end of the performance, I'll still applaud, because not everyone always has the opportunity to express their subjective opinion to the director
With their eyes closed, I think it's easier for an ordinary person (not a model) to detach themselves from the filming, relax faster, and truly experience the scene.
It's like in the theater... You look and think, "I don't believe it," I peer and think, "I do." It's a good thing my eyes aren't closed, by the way. ))
Yakov Trembovolsky,
Personally, I "don't believe it"... I'm confused by the slightly different turn of the head in the reflection, as if it were pulled from a different frame...
You can find "three differences" in the reflection. But I'm not 100% sure that it couldn't be. )) I don't think Yegor would bother adding a different reflection.
If you don't like just one actor's performance, that's no reason to leave ;) even for self-education and to get a full impression )
That's a separate and lengthy discussion. As for the editing, I'm more interested in the crazy light contrast on the girl and the reflection. And the water behind her is quite brightened...the same thing around her hands.
Interesting discussion. Y E S (Yulia), the processing in this shot involves cropping from a 6x7 to a square, removing dust, and reducing contrast. Tell me, what processing did you come up with here? You can come visit me and look at the negative; I won't be able to convince you with any source material online. The only unusual thing here is the clouds on the light horizon, reflected in the smooth surface of the water. Two circumstances beyond my control came together; I'm unlikely to be able to recreate such a shot, but this one turned out well. Oleg Kukharenko, I've already argued with different people about a dozen times about the dissimilarity between the reflection and the subject in my shots. I don't use collages; I look for shots in real life. The dissimilarity between the reflection and the person is a matter of different perspectives. A reflection isn't an inverted image of an object; that's a bit more complicated. Sit someone at a table, place a mirror on the table, position the camera slightly above their head, and see the difference. You'll see it all for yourself. Irinny, these are two completely different states: the model stares into space or has her eyes closed and is completely relaxed, and the model is focused on a single point. I learned how to work with the former about seven years ago, and the latter only a year ago. I don't need a relaxed model in this shot, but one who is very focused, which is why she's looking at the candle. In twilight, the candle cuts out everything else; a person simply sees nothing else when they have such a bright point before their eyes, and their concentration is at its peak. This isn't being alone with eternity, it's being alone with oneself. When a person can examine themselves in detail.
Y E S (Yulia), and also, a shot like this couldn't have been produced with digital, no matter how much processing you do. It's wide black-and-white film and the best scan in Minsk; you can't get shots like this any other way. The difference in contrast and gradation between film and digital is incomparable. Until you work with film, you can't afford to work with such high-contrast subjects.
Sincerely...
But I would say it's not the sight, but the eye.
I really liked the work, of course.
A warm summer night, silence, splashing water, and probably the moon in the sky.
Good luck to you!
And throw away the key
There's someone in my head but it's not me.
(Roger Waters)
A good shot, beautifully filmed.
Since she took on the bulk of it (she rules).
P.S. Overall, the impression is positive.
Sincerely,
It's like being in a theater... You look and think, "I don't believe it," and I peer and think, "I do."
It's a good thing my eyes aren't closed, by the way. ))
With their eyes closed, I think it's easier for an ordinary person (not a model) to detach themselves from the filming, relax faster, and truly experience the scene.
That's exactly what I'm talking about: it's harder with your eyes open, but the results can be different. The meanings are more varied and complex.
Personally, I "don't believe it"... I'm confused by the slightly different turn of the head in the reflection, as if it were pulled from a different frame...
You can find "three differences" in the reflection.
But I'm not 100% sure that it couldn't be. ))
I don't think Yegor would bother adding a different reflection.
I didn't expect that
and so on.
That's true...but I don't applaud...if I don't like it, I just leave early.
As for the editing, I'm more interested in the crazy light contrast on the girl and the reflection.
And the water behind her is quite brightened...the same thing around her hands.
Y E S (Yulia), the processing in this shot involves cropping from a 6x7 to a square, removing dust, and reducing contrast. Tell me, what processing did you come up with here? You can come visit me and look at the negative; I won't be able to convince you with any source material online. The only unusual thing here is the clouds on the light horizon, reflected in the smooth surface of the water. Two circumstances beyond my control came together; I'm unlikely to be able to recreate such a shot, but this one turned out well.
Oleg Kukharenko, I've already argued with different people about a dozen times about the dissimilarity between the reflection and the subject in my shots. I don't use collages; I look for shots in real life. The dissimilarity between the reflection and the person is a matter of different perspectives. A reflection isn't an inverted image of an object; that's a bit more complicated. Sit someone at a table, place a mirror on the table, position the camera slightly above their head, and see the difference. You'll see it all for yourself.
Irinny, these are two completely different states: the model stares into space or has her eyes closed and is completely relaxed, and the model is focused on a single point. I learned how to work with the former about seven years ago, and the latter only a year ago. I don't need a relaxed model in this shot, but one who is very focused, which is why she's looking at the candle. In twilight, the candle cuts out everything else; a person simply sees nothing else when they have such a bright point before their eyes, and their concentration is at its peak. This isn't being alone with eternity, it's being alone with oneself. When a person can examine themselves in detail.