Portrait using Fuji Acros Film Sim


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Jan 20, 2019
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Fuji 35mm f1.4 lens at f4.5 amd f1.4. Fuji in-camera black and white film simulation - Acros with yellow filter


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Fuji 35mm f1.4 lens at f4.5 amd f1.4. Fuji in-camera black and white film simulation - Acros with yellow filter

View attachment 196484

View attachment 196487

The annoying thing here is that what would be a really nice photo - #1 - of your main subject (model) is completely drowned out by the overpowering, overexposed, busy and blurred background. May be to solve "a little problem" with the legs - for me especially the lower legs/knee joint - I'd roughly remove ± 3 centimeters from the bottom of the photo. Since the beginning of last year I've set the aspect ratio of my Fuji bodies to 1:1 (I've worked on Hasselblad 6x6 cm format for years and have become very fond of the square format), because you miss a landscape and portrait format this is a perfect way to learn about the golden ratio and how to compose interesting images. I can absolutely advise you to try this for a while. As always, this is entirely my own vision, do something or do nothing with it!
You are so lucky to have a patient and willing subject! She always seems so serene.

Expanding on the comments above in the first shot, as mentioned the background is not only busy but extremely bright in relation to the face. There's always going to be significant differences in the DR of these types of shade/sun shots, but they are manageable with a little forethought. Using a speedlight or reflector will add fill on the subject decreasing the DR of the scene. Then on the right side the poor thing lost half of her knee and lower leg. I'd suggest a much tighter crop that does away with background and the messy crop on the limbs.

The second shot is a serene environment but suffers from the same cropping of the appendages (toes), and the terribly bright background. I think I know the thought process on including the fountain on the right, but it's not really adding to the composition. I found my eye bouncing back and forth between the subject and it. Leading lines, elements of the composition, etc. should lead the eye to the subject, never away from.

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