your knowledge goes beyond the typical "this is the correct way to do things" but rather, "what is the scene presenting to me, what can I create based on the gear that I currently have" To be honest I would never think to do any of this, but as you are explaining it I start to understand the why. this is purely experience and I guess I just have to shoot more and more and more. thing is, to me and my clients they love their images, but knowing that there is more to achieve is always mind boggling. Thank you Jiggie!
The ‘big picture’ about lighting learned apprenticing and assisting with Master Photographer Monte Zucker 52 years ago is the CONTRAST with background within a scene and the artificial frame cropping in a camera puts around it is what draw and holds attention of the viewer. For portraits you want make eyes and mouth contrast tonally which on a dark background calls for highlighting the front mask of the face and avoiding any similar or brighter areas in clothing or background. But on a white background? It’s still CONTRAST which pulls the eye but in addition to tone COLOR CONTRAST now plays a role and the most effective strategy becomes highlighting the SIDES of the face so the front remains darker and more COLOR SATURATED. Once that concept of contrasting front of face is grasped you will begin to notice when things other than the front of the face attract your eye and learn to spot and eliminate them. This results in isolating and simplifying the composition and those are the qualities of a portrait that immediately pulls attention to the front of face - to make ‘eye contact’ - and increases the hang time on it. One of the best examples of that is the now famous portrait of the Afghan woman on the cover of National Geographic.
your knowledge goes beyond the typical "this is the correct way to do things" but rather, "what is the scene presenting to me, what can I create based on the gear that I currently have" To be honest I would never think to do any of this, but as you are explaining it I start to understand the why. this is purely experience and I guess I just have to shoot more and more and more. thing is, to me and my clients they love their images, but knowing that there is more to achieve is always mind boggling. Thank you Jiggie!
You got it! It always has to answer the question why
Thank you po sir Jiggie and mam Coco ❤️❤️❤️
You’re most welcome
Thank you for this and for always.
You’re welcome
As always ... I LOVE THIS!!!
Glad to hear that
Thank you so much for share your knowledge, i really appreciate it being simple its better ..sometimes😊
Glad to hear that
Thank you so much sir ❤🥰
You’re welcome
Love it.. Salamat po.. Merry Christmas..
You’re welcome! Merry Christmas :)
Hello from Canada kuya ❤
Hello 👋🏻
The ‘big picture’ about lighting learned apprenticing and assisting with Master Photographer Monte Zucker 52 years ago is the CONTRAST with background within a scene and the artificial frame cropping in a camera puts around it is what draw and holds attention of the viewer.
For portraits you want make eyes and mouth contrast tonally which on a dark background calls for highlighting the front mask of the face and avoiding any similar or brighter areas in clothing or background.
But on a white background? It’s still CONTRAST which pulls the eye but in addition to tone COLOR CONTRAST now plays a role and the most effective strategy becomes highlighting the SIDES of the face so the front remains darker and more COLOR SATURATED.
Once that concept of contrasting front of face is grasped you will begin to notice when things other than the front of the face attract your eye and learn to spot and eliminate them. This results in isolating and simplifying the composition and those are the qualities of a portrait that immediately pulls attention to the front of face - to make ‘eye contact’ - and increases the hang time on it. One of the best examples of that is the now famous portrait of the Afghan woman on the cover of National Geographic.
would love to hear more about this