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Tom Spader
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p.1 #1 · dancer w/director

Liked the lines some broken, some not. Shooting a piece on a small beach-side theater and their upcoming summer season and caught a dancer under the watchful eye of the director. Strictly PJ nothing during the shoot was posed or lit so it was a fun challenge in less than prime conditions.

Apr 04, 2008 at 01:43 AM

Bernie
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p.1 #2 · dancer w/director

Unique shot. I really like this.

Apr 04, 2008 at 01:50 AM

Leeuwtje
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p.1 #3 · dancer w/director

Very much like it. Nice light and the photo really tells a story.

Apr 04, 2008 at 04:09 PM

gnuhaus
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p.1 #4 · dancer w/director

There is a lot to like about this one. It tells a story, it has unique lighting, there are interesting symmetries and asymmetries going on, I like the grain and am wondering how it looks large/printed, the colors are great, I like the contrasts of light and dark, there is just enough visual tension to draw you in (director's head in the corner vs. the nearly centered dancer, e.g.)

Great capture - thanks for sharing!

--Mark

Apr 04, 2008 at 06:51 PM

Tom Spader
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p.1 #5 · dancer w/director

Thank you for the feedback.
Tom

Apr 06, 2008 at 10:55 AM

cgardner
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p.1 #6 · dancer w/director

Without the title I probably would have missed the face of the director.

It is is a compelling shot of the dancer, in the abstract sense of form, but without detail and seeing her face it lack the opportunity to connect and share the experience. Putting a face in shadow sends the message "Stay away, I want to be alone"

The comment about symmetry is on the mark, but that is not the composition this shot really needs. It needs a dynamic component, something to pull the eye of the view to the right, past the strong contrast of the windows, to find the director lurking in the shadow. The stronger contrast attraction of the window on the left, which is creating that symmetry also will keep the viewer locked in the center on the dancer.

The trick in making a composition feel dynamic is to give the viewer space to explore and strong or subtle clues where to go AFTER finding the primary center of interest. So for this photo I think a cropping out the window on the right will make it more effective at delivering the message:

You still see the dancer first due to the contrast with the window, but all the space to her right sends a stronger clue there is something else there. By cropping close in on the left you force the viewer to go right, find the director, and make the connection (without a title) that she is being watched. The overall composition is now dynamic, driving the eye into the corner, not symmetrical and static, despite it being a square photo after cropping.

Even with the crop I think it would have more emotional impact if we could she her face and his body was slightly visible, less of a floating head.

Apr 06, 2008 at 11:21 AM


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