padrelar wrote:
Great photos. I would like to ask a logistical question that I hadn't considered until now. About the powder. How do you deal with that? I'd be sneezing like crazy.
It's actually not that bad, it's more not getting in your eyes (the dancer that is), but things were pretty manageable
POWER... this is what I see, wonderful series, I have to say that while I love them all, I like #8 the most. Really shows the power of the dancer in this set, nice work!
You're on a good track with the flour images, however from the best work I've seen in this way, I think attention really needs to be paid to the relation between the flour shape and the dancer. Random is cool, but taking an extra 400 or so frames ('cause it is that hard) to make actual interpretive shapes elevates this kind of work to an even higher level.
Also, because it's so reflective, and the 'action/story' is in the motion of the dancer and the movement of the flour, taking the painstaking time to flag off the floor really helps bring the eye up to the dancer and focused on the flying flour, which should be the brightest point in the image - the floor, the only part of most images which is static, should never draw the eye down to it.
Overall, very good effort. Everyone I know who's done this has to do it multiple (messy) times to really master it.
Lee Wiren wrote:
POWER... this is what I see, wonderful series, I have to say that while I love them all, I like #8 the most. Really shows the power of the dancer in this set, nice work!
Numfar wrote:
You're on a good track with the flour images, however from the best work I've seen in this way, I think attention really needs to be paid to the relation between the flour shape and the dancer. Random is cool, but taking an extra 400 or so frames ('cause it is that hard) to make actual interpretive shapes elevates this kind of work to an even higher level.
Also, because it's so reflective, and the 'action/story' is in the motion of the dancer and the movement of the flour, taking the painstaking time to flag off the floor really helps bring the eye up to the dancer and focused on the flying flour, which should be the brightest point in the image - the floor, the only part of most images which is static, should never draw the eye down to it.
Overall, very good effort. Everyone I know who's done this has to do it multiple (messy) times to really master it....Show more →
Thanks
Definitely agree with most of what you say, as this is not an easy project, and getting it all right takes a lot of trial and error, including in particular the points you mentioned about geting a clean, dynamic composition.
As regards the number of frames, while I agree you need to shoot to learn, I'd say it's better to shoot a few and have a look what's right and wrong and then adjust rather than fire away
Definitely agree with most of what you say, as this is not an easy project, and getting it all right takes a lot of trial and error, including in particular the points you mentioned about geting a clean, dynamic composition.
As regards the number of frames, while I agree you need to shoot to learn, I'd say it's better to shoot a few and have a look what's right and wrong and then adjust rather than fire away
Oh, you're 100 per cent right - the only thing is the photographer I assisted doing these would do 300-500 frames with one model over the course of -sometimes 6, 7, 10 hours. Some elite level dancers would wear out and have to shoot again the following day. The shooting was both slow AND numerous - made for a painful process.
I don't want to thread jack you and post his work in your thread - and honestly, you did a fantastic job - and for a first go at it, even better - but this type of thing can lead you to a publishing deal or an amazing self-published (and successful) art book... so it's worth perfecting. I had the opportunity to witness the whole process happen with my mentor - and to be fair, what was right for him may not be right for you - but no matter how you get there, you're on to something, so I really hope you stick with it!
Numfar wrote:
Oh, you're 100 per cent right - the only thing is the photographer I assisted doing these would do 300-500 frames with one model over the course of -sometimes 6, 7, 10 hours. Some elite level dancers would wear out and have to shoot again the following day. The shooting was both slow AND numerous - made for a painful process.
I don't want to thread jack you and post his work in your thread - and honestly, you did a fantastic job - and for a first go at it, even better - but this type of thing can lead you to a publishing deal or an amazing self-published (and successful) art book... so it's worth perfecting. I had the opportunity to witness the whole process happen with my mentor - and to be fair, what was right for him may not be right for you - but no matter how you get there, you're on to something, so I really hope you stick with it!...Show more →
No problem, that's what forums are here for ! The guy who inspires me the most is Alexander Yakovlev, he is a great photographer and has some great dancers to work with, plus from what it seems has a pretty large studio to work with which can make a difference for composition
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