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Hey, settle down, that sounds like my face@Space Face from experience I've gotten to the age where I get that face frequently. It's usually the result of trying to remember something IE- what I had for breakfast/lunch/dinner, thinking about the future IE - What DW is fixing for the next meal, or which direction is the closest bathroom?
I think technically you'd be correct here, as well - IF you were taking a more traditional portrait, and especially one of an elderly woman. I like the lighting here and the exacerbated wrinkles; my guess is that it was a deliberate technical choice on the part of the OP. He was also trying to elicit a particular emotional response (that neither of us felt) and perhaps thought punching up the age of the subject in this way would help.When shooting elderly/wrinkles it's best to avoid raking light across the wrinkles.
Just guessing, of course. Regardless of how I view the subject, I think this in-your-face lighting works great here.
Agreed - sorry, you took me too literally when I said "in your face" lighting - again, we agree that the main punch from the lighting (which is all I was referencing) was not on the face, but the arm position and posture. I like it very much, though it doesn't scream loneliness to me. The crossed arms can be from what you suggest, but also the chair has no arms and he could simply be trying to fold them up to relax back, since there's little else to do with them, other than place hands on the knees (which would deliver a completely different feeling).I don't have any issues with the face. IMO the lighting on the face is softer, less direct, and works better. In any composition you determine your focal point (the area that demands attention) either by placement, contrast, isolation, convergence, or unusual. To me the face should be the focal point, but the the way the light is striking the arm is creating a stronger focal point by incorporating pretty much all of the points