Perspectives #17

Damion Mower: I like the perspective of this frame - looking in through the door way.

Compositionally I think their is too much door frame in the image and it could do with a tighter crop. The door frame is heavy and over bearing and not adding anything to the visual impact of the image.

The top of the brides head/hair and the light need more separation in order to give the image more impact.

I might have removed the light switch but completely understand that's a personal and subjective comment.

The image is well lit and it's a lovely edit, but I think this was a case of waiting for the moment to happen - it's need some spark or emotion from the bride to elevate the image.

(I like the fact you can only see the arm of the person helping with the shoes, adds some intrigue to the image)

With the mirror in the background it feels like their could be lots of creative opportunity here to play after this safer shot was taken.

Aditya Grandhi: I like the door in the frame - acts as a lead in as well as give some context. Even the wall to the right helps with framing. However, the main part of the image is a bit too cluttered with no good figure-ground separation. The mirror, the hanging light near her head are both a problem. And, I just saw the hand of the person putting her shoes on! I think it would have helped to move to the left to include more of that other person as well - it would have given more of the bride's reflection as well as put her mostly in front of the white wall. I would also clone out the hanging light. Can also burn the wall a bit to focus attention more on the bride and the other hand.

Ken Pak: The surrounding environment of the bride more cluttered than the foreground elements that are less cluttered, therefore, it makes me harder to delve more of the moment due to distraction caused by lots of busy patterns.

My suggestion is to lower the angle closer to the floor and also closer to the subject, so you can minimize the inclusion of the distracting elements at least from the floor. If the lamp was supposed to deemed more distracting to the angle of choice, then I would rather capture inside of the room to get more of a person helping her, since the negative spaces made by the wall and door don't seem to add any meaningful contribution to the moment UNLESS there was any supporting subject that adds to the narration of the moment.

Also, the placement of the bride in the image seems too close to the top of the image, so I would just crop it tighter to simplify the information coming the elements that are not part of the narration.

The exposure on the bride seems to be okay, but the background wall is also equally bright as the bride. If the flash was remotely used in the room, then I would quickly adjust the amount of light to allow more on the bride and less on the background wall, so the bride gets more visibility.

The connotation of the helping hand is not completely engaged to the main context of the story due to separation, so I would suggest that you continue delving until the hand shows the most narrative action. You may also keep watching the bride's subsequent reaction to it.

Overall, the bride's dull facial expression doesn't seem to illustrate her feeling or mood. If her face doesn't make anything then, you may capture it better by placing your camera closer and focus to the hand and shoot upwards to layer her face to top.

The attached image is not a perfect crop. It rather shows my suggestion for the composition from you angle, but again, it is encouraged to shoot from the lower angle closer to the shoes with anticipation for some fun moment to happen. Also, the layering of the shoes, hand, and her face will be delightfully

Jader Morais: É do tipo de imagem que sugere realmente ser colocada em preto e branco pelo excesso de informações que temos na cena. Tecnicamente me incomoda o lustre em cima da cabeça dela e a sobreposição no espelho. Isso dificulta para uma cena mais limpa. O ambiente é repelto de informação que faz nossos olhos se perderem naquilo que devíamos de fato observar. Uma sugestão era tentar posicionar a noiva dentro da moldura do espelho para valorizar sua forma e o a foto ideal seria ela com a perna suspensa e esticada para frente esperando pelo calçado em seus pés. É nítido o sentimento de ansiedade dela! Acho que ela está preocupada com o tempo talvez e queira sair rápido da cena. Momentos assim, devemos ficar mais atentos, pois pode acontecer algo inusitado e o resultado será incrível!

Axel Breuer: A picture I probably wouldn't hand over.

For me, a really good picture has three factors:

Good light

Good composition

Impact

If it has only two factors, then it is a picture that is ok. If it has only one, then it must be very special to save the photo. If it has none of them, then it can be thrown away.

Let's look at what this photo has:

The light is not particularly exciting, the area around the bride is very well lit. But that doesn't make the situation particularly exciting, it makes it rather boring.

The composition is currently due to the position, but still there are very many components that disturb the balance.

It starts with the lamp above the bride, which is first perceived as a hat. It touches the head, so you have to make an effort to separate it from the head in your mind.

The cut window on the right and the light switch are two points that irritate the view, as does the chair on the left. The door frame has way too much space in the picture. In the mirror, you can see a bright spot of light that keeps drawing attention. The bride is barely visible in the mirror.

Let's look at the content of the picture. The view through the door is neither secret, nor does it show a special situation. It is difficult to determine what is going on, the second person is not visible. The situation seems to stress the bride. This photo doesn't really seem particularly emotional.

Possibly a little more tension and explanation could have been brought into the photo by going into the door a little more. So the bride's back would have been visible in the mirror, as well as the activity of the second person.