DPC Mentorship - Portrait - DPChallenge Forums

Nikon AF Zoom-Nikkor 24-120mm f/3.5-5.6G VR

07/26/2005 05:43:11 PM · #201

Cool. I see what you're talking about now. It's much easier to get it with those examples. Thanks.

irishempress

Nikon D200

07/26/2005 08:29:47 PM · #202

Hi! Okay, I'll answer the questions now. I'm still not loving the shots i took, but they were all i could do. Maybe i'll try to shoot somemore tomorrow.

Here is my photo:

The style i would like to emulate is that of a photographer named amber ludlow. i'm still waiting to get permission from her to post am image of hers. Basically, I love shoulder and head shots of children with the eyes facing the camera but with the head not necessarily head on. I really love it when the images are converted to black and white (but this is for another discussion). I also love Artyste's style (his portfolio is wonderful...full of great shot of his girls). Also, i usually prefer portrait alignment for my photos (not sure why!).

Here is another photo I love:

What i would like to do to edit this image: I would like to see a tighter crop on Max's face. Have his face almost fill the frame. I'd also like to see it converted to a warm black and white (not quite sepia). I wish i had taken this in natural light. i used the flash...which i think washed out his already pale skin. I'd also love to see his eye's sharpened a bit more.
Please feel free to offer any other suggestions...I really want to learn, and the only way to learn is to recognize areas that need improvement!
Thanks!
Kelly

PS: Here is one of my all time fav photos -- i would love to be able to do this!!! I got permission from the photographer of this image to post this here.

Message edited by author 2005-07-26 21:28:30.

ergo

07/26/2005 10:59:17 PM · #203

Thanks for letting me join in. Hello all :)

I wanted four subjects in this shot: three in the foreground and a fourth nestled between the shoulders of two of the foreground guys. They were daytime laborers, temporary to Colombo, who lodge during the evenings in the restaurant's backrooms. I caught them right before their evening showers, and after a quick discussion, they agreed to some photos. I'd crop out the slice of a face on the left side of the frame, and preserve the coolness of the color tones, but bump up contrasts, etc.

Message edited by author 2005-07-26 23:07:21.

Canon EF 28-80mm f/3.5-5.6 II

07/26/2005 11:02:41 PM · #204

We'd just really like you to keep to one shot for this assignment rgo, to help keep the workload to a minimum, if you could :)

ergo

07/26/2005 11:05:09 PM · #205

Originally posted by Artyste:

We'd just really like you to keep to one shot for this assignment rgo, to help keep the workload to a minimum, if you could :)

Sorry :(

Just one now :)

debitipton

Canon EOS-5D Mark II

07/26/2005 11:09:35 PM · #206

Originally posted by Artyste:

please explain to us why you've chosen your composition, and your reasons behind choosing it, and why it appeals to you. Then, explain, if you can, what you would like to achieve with the photo for post-processing. (You can also do the post-processing, just don't put them up at this time).

I'm pulling the first one I presented since it wasn't really a portrait I worked on for the assignment. This is my younger son and a portrait style that I like the best. Up close, with little to no distracting background, and an unusual angle. This is Spencer's "But mom... I need a _______" look.

Post processing -- in this photo need I'll to bring up his skin tones -- he's slightly darker and bring out his eyes. The only reason he posed for this was I'd gotten him this bright pink shirt which is washed out in the photo so that needs to be brightened. I'd still like this cropped tighter (off the top and the right sides) While he's most proud of his "fro" I don't think I need to keep all the hair in the photo. Oh -- and he's pointed out there are a few zits on his nose that I need to get rid of. ;-) He's not even a teen yet and he's worried about such things. Arg!

Kevin -- thanks for your step by step.

07/27/2005 05:04:58 AM · #207

Originally posted by irishempress:

The style i would like to emulate is that of a photographer named amber ludlow.
PS: Here is one of my all time fav photos -- i would love to be able to do this!!! I got permission from the photographer of this image to post this here.

Kelly,

I appreciate your posting one of Amber Ludlow's photos. The black & white of the young boy is striking for a couple of reasons. I edited your photo with another step-by-step but thoser are only the post-shot processing steps. You may be able to get more of the effect that you'd like to see in your photos of your son with these steps but I think what would be even more satisfying is to learn which steps pre-shot would help you achieve some of the same effects.

Compositionally, Amber (and I don't know whether its Ms, Miss or Mrs so I'll just use her first name and beg forgiveness for any forwardness later) has a pretty powerful image to start with. To achieve some of these effects, especially with children you need to (A) have some experience, (B) have some patience/perseverance and (C) have the luck of the Irish when it comes to cooperation of the child (good thing you're the irishprincess, eh?).

Two things that strike me about Amber's composition are the depth of field (DoF) and the contrast. Do you know how to achieve a shallow DoF? In my understanding of portraiture, DoF is one of the first things a person should learn as it is one of the main functions that allows you to achieve a portrait as opposed to a snapshot. DoF refers to the amount of space that is in focus. In the example you shared of Amber's work, the face of the young boy is in sharp definition and focus while his shoulders, chest and the rest of the background is out of focus. This technique is produced the best in the camera during composition. To achieve a shallow DoF you should use a wider aperture. This is a whole tutorial and practice in itself but the smaller the f-stop number, the smaller the DoF you are about to produce. A lens set to f/2.8 will produce a very small DoF while a lens set to f/6.7 or 7.1 or 8 or 10, etc will produce ever-larger depths of field. I'll be happy to work with Sher and Glen to produce an assignment on how to achieve a shallow DoF if there's any interest. This effect is one of the first things your mind notices when it looks at Amber's photo because while your mind can and will trick you in regards to colors (a whole other discussion regarding the temperature of lighting), it cannot easily trick you as to depth of field; as an example, who remembers those damned images that looked like colored patterns but when you stared at it there was some 3D image within the pattern? That depended on how your mind "sees" depth of field. Once you got your mind out of the way (or crossed your eyes) you could see the image hidden within the more visible pattern. Well, in photography, its easier to trick your own mind or your viewers when we discuss color; not so much when we discuss DoF, which is why portraits with shallow DoF tend to stand out more to viewers. On to the second point of Amber's photo: contrast. She has a major range of tones within her image. This produces sharp contrast. The darks run to black (under the boy's arm) instead of just a dark gray. The lights run to white (on his face) instead of just a light gray. This helps to make her image impressive 'cause even though its only 256 levels of gray that you're looking at, you're looking at a lot of those areas that really are widely separated (the blacks and the whites within the image). She then uses a trick of a thick, black border to emphasize the dark tones and give them more impact visually. Cool effect. If her darkest tones were merely light grays this effect might backfire and cause you to notice that she doesn't have too many dark colors within the image.
Finally, Amber got blessed (and appears to have been prepared) for that last thing she needed which was she had a child with an upturned face & eyes. Anyone with kids running around can vouch for this statement: kids like to look anywhere except up into a camera. With smaller kids they're often looking down 'cause even small obstacles are something they have to negotiate (or perhaps 'cause the stuff on the ground is reachable while stuff up even at head-level can cause a tumble when they reach for it - who knows). In this image Amber has a child who is looking up. Look at most of the images of kids even in this thread so far. Often children tilt their heads down. If you can catch a child looking up with the head inclined, take the shot. Don't wait; take it. That look is something that Mom&Dad are used to seeing but I promise you, its not something that they are used to having in their own snapshots 'cause it takes some anticipation (remember the experience I mentioned needing) to capture that image unless you just have a kid who loves having his/her photo taken. That's my experience with kids. Even the ones who want to pose somewhere often lose attention with just a few minutes of photos and are ready to be off again.

EDIT*********************
I forgot to put my comments on your composition in here. -SIGH- Maybe it was too early in the AM.

Compositionally, you will note from Amber's photo that she's cropped into the body and head of her subject. This isn't generally something a photographer does is it, I mean, haven't you heard people look at photos and bemoan that the top of their head is cutoff? Well, for an image like this one you have to consider the intent of the photo. I think the photographer may have meant to emphasize the expression on the face. To do that you can choose to make more of an abstract portrait that de-emphasizes some aspects. Often with children you want to shoot around them (like don't zoom in on them) and then crop the shot you want 'cause they're active little boogers. With Amber's shot you can get in a little tighter since your goal isn't to present a complete picture of the subject but just one major aspect such as the expression. I'll bet that she had to practice this (or crop a lot of photos this tightly) before she got comfortable with it. Most of us don't like cropping into the head of our subject either with the viewfinder of our cameras or with our editing software. It takes some artistic vision to make this call but when it works, it really emphasizes the element that you've captured. If you get one of those shots where the expression your son has is something that others respond to (and here you need to remember that you're going to respond to many more of his expressions than other viewers will), then you may try cropping out parts of the shot that don't serve to direct the viewer's attention to the expression.

And that's my view on the composition you referred to. ;)
EDIT*********************

That's the end of my comment on what you might want to do to give yourself the best starting point when you take a portrait of your son: shallow DoF, look for contrast (and here I'm gonna have to beg lack of experience 'cause I still don't get enough contrast when I want to) and be ready when he gives you a moment. For me, I have to try and balance the "I want to play with my daughter while she wants Daddy's attention" with the "Wow, that's a great shot of her looking up". The family likes

as opposed to

which I like more artistically.

Now I'll get to how I edited the photo of your son. All my edits & steps are in PhotoShop CS.

Here's the photo you posted

Here's my attempt at editing it

I started off by opening the Layers/Channels window (F7). I clicked through each Channel separately to see which had the desired information so that I'd have a better idea how to switch it to monochrome.

Once I'd seen what the Red, Green and Blue channels all held, I was ready to try and convert to black & white using the ChannelMixer method (and this is just one method out of many for creating b&w).

Once the layer was added I could start playing with the values for the channels so that I produced the level of detail and contrast I wanted. I referred back to Amber's photo as a guideline and tried to produce a level of tones that would give me the best opportunity to get close. Notice that all 3 channels add up to 100% (25%, 35% & 40%).

If all channels add up to less than 100%, the image will become darker than it originally was. If all add up to more than 100%, the image will become lighter than it was. As I've edited it, I chose to make the channels 100% but then I played even more by adding 3 or 4% at the bottom which lightened the overall image just a tad.

At this point I could see what I was working with and I decided to crop the shot. The reason I cropped it was that in your shot you have a deeper DoF than the photo of Amber's. I wanted to remove distracting elements and the wallpaper definitely was close enough to being in the plane of focus that it was distracting so I cropped the majority of it out.

Now that I had the grayscale version of the image, I wanted to try achieving more contrast so I decided to use Levels and set my black and white points.

Here you can see that I'm about to set my black point. To set it, click the dark eyedropper that's highlighted with the red outline and then click on the darkest part of the image. I chose the neckline of his shirt just below his chin. I wanted the darkest part of the shirt to be closest to black.

Notice how the image has changed.

I'm satisfied that I've selected the best point I can for my black point so I set my white point. I tried a few different locations (see the green and the blue boxes) but I didn't get close enough to the effect I wanted until I selected the area in the red box. Its important to note that when you're checking out your white point, you can only go back one step so Control-Z (CTRL-Z) will step backwards one time (for those of you used to being able to use CTRL-ALT-Z to step backwards several times). This means that if you select a white point and don't like it, don't do anything else; immediately hit CTRL-Z and step back and then you can select another white point and see if you like that.

You can see the effects of choosing the wrong white point

To help the image at this point I decided to clone out the last of the wallpaper. I could have done this before but I wanted to get my black and white points since the source I planned on using was mostly white and I didn't want to make it any harder to match. I chose the Clone Stamp (S in Photoshop) and copied the doorframe over the top of the wallpaper. I then chose the Healing brush (J) and blended the selection. Look at the top lefthand corner; that's where the edit was applied.

Now that I'd (1) converted to a grayscale image and (2) adjusted my contrast, I was ready to attempt changing the perceived DoF for the viewer. This would be a two-step process. First I need to blur out some of the photo for the viewer so that I direct their attention where I want it and then I need to sharpen the image so that overall it looks crisp and well-focused after all my edits.

To imitate the shallow DoF effect I decided to use a Gaussian blur but I needed to be careful to preserve the clarity of the face. My first step was to make a Marquee selection (M in Photoshop). I chose the oval version of this tool and surrounded your son's face.

I then inverted this selection so that his face would be the only thing not selected.

And finally I feathered this selection

by 50 pixels

Depending on the resolution of the photo you're working with (since I'm sure yours will be larger initially) I'd suggest trying something like 150 on the original image. We know that our selection is correct because the little "ants marching" border (key DaveMatthewsBand music) surrounds his face and also the outside border of the photo. Now I know that whatever effect we choose to employ will bypass his face and affect the rest of the image. I chose to use the Gaussian Blur filter

and used 0.7 pixels for the radius. Remember, in the original you may have to use a stronger blur to achieve similar results.

Now the only thing left was to sharpen the image. I chose UnSharpenMask (USM)

and used 150% at 0.4 pixel radius and a threshold of 3.

And that produced the final image I posted before.

This is not the only way or necessarily the best way to edit your photo to produce some of the effects that exist in Amber Ludlow's image. It is just a way. I think the best thing to do is learn to control the DoF when you're composing the portrait and get some elements that lend themselves to deep contrast and then just be ready for those moments when your son gives you the expression you want.

Ya know, its just dawned on me that I didn't use a Contrast/Brightness layer on this image. Hey, if you choose to revisit the image and try any of the edits I used, you might want to toss on a Contrast/Brightness layer effect and see how it works for you.

Hope this gives you some ideas on shooting (and perhaps editing) the image you want.

Kev

Message edited by author 2005-07-27 05:39:17.

07/27/2005 05:25:38 AM · #208

Here's a copy of the image with a Brightness/Contrast layer added. The Brightness was left at 0 while the Contrast was bumped up to +23

Edit:
And that's what I get for a fast edit with no evaluation. Too much blue in the skintones and we lost the definition in his eyes.

Message edited by author 2005-07-27 05:26:47.

07/27/2005 06:00:22 AM · #209

Originally posted by jenesis:

...Examples: ...

Jen, Jen, Jen. What a cute shot.

I'm going to try and keep my comments confined to COMPOSITION since that was the assignment and not write about editing. hehe

Compositionally I see some differences in these 3 photos.

To me, I see more of a connection between your photo and the 3rd shot (probably the handicap of personal interpretation).

I'm guessing by your use of "traditional" and the amount of body visible in the 2 examples you posted that you were going for more of a full-body photo. Knowing my own intent I can say that the goal of the 1st example was to use light to paint or show only certain elements to the viewer and hide other areas in darkness. Lighting plays a bigger role in that shot (at least its supposed to). In the 2nd example, the shot appears to me to be an environmental composition that shows the subject in a place you might expect to see them any given day but the subject is separated from her background through the technique of lighting. Imagine if you will (I don't feel at liberty to edit the photo and then post it) the same photo of the little girl but the background is totally black. It doesn't have the same impact. With the mostly dark background the photographer has elected to pull his subject out visually but by leaving some definition in the background she doesn't look like she's floating. Its a fine line but I think in this shot it serves the purpose of creating what I perceive as a more "traditional" composition. In your photo, your son is cropped pretty closely (which as I mentioned in my comments to irishprincess) can give more of an artistic effect and he's set on a solidly dark background. While these are compositional choices (and granted with his mobility I'm sure the choices often seem made for you already), I don't think that they lend themselves as well to the "traditional" style you seemed to be after. Perhaps I've misinterpreted your comment but I think you'd be more satisfied with a wider angle and slightly more environment as long as its not as bright as your subject so that you can use Brightness/Contrast to help create a little more separation in the shot.

Its my hope that if you compare the tight shot you took and the more wide-angle environment and surrounding brightness of the 2nd example, you'll be more mindful of scenes that will lend themselves to the style that I think you're aiming to use here and when you see them you'll be better prepared to try setting up a shot in that area. Of course, that's no guarantee that the subject will be cooperative.

Hope this is helpful.

Canon EF 28-80mm f/3.5-5.6 II

07/27/2005 12:26:41 PM · #210

Ok folks.. Those that have done the assignment's first step can go ahead and post-process your works. We will then discuss the results, and any differences between your shot, and the shots that you admire and attempted to emulate. Let's please not start jumping too far ahead of the game!

art-inept

Olympus C-5060WZ

Canon EF 35mm f/2.0

07/27/2005 12:42:40 PM · #211

Hey everyone! Sher let me join in, and I've been catching up on what you've guys been up to. Unfortunately, I'm not a member and thus have no portfolio, so what I'll post is from my deviantART page. This shot was taken two days ago and I've already post processed it. It's a pretty basic shot that I've seen from many photographers so I can't pin point a specific photograph that has this sitting-on-staircase style. Sorry the original is not up there. Hopefully I can get my dad to buy me a membership to this site so I can put things in my portfolio with more convenience. Well here's the shot if anyone is interested. I subconsciously followed the rule of thirds I guess.

//www.deviantart.com/view/20996039/

edit: fixed the url, sorry about that

Message edited by author 2005-07-27 12:44:28.

debitipton

Canon EOS-5D Mark II

07/27/2005 12:54:05 PM · #212

and

I have basic edits set up as an action in PS. Levels, curves, contrast and unsharpen mask. I then adjusted the red, neutrals, and blacks in Selective Colors. Dodged the catch lights in his eyes at 4%. Burned his lower lashes slightly to accent them and removed those pesky zits, then cropped.

For the BW -- I clicked on Lab Color in the Mode section. Then when to channels and clicked the lightness channel. Adjusted the contrast. Back to Mode and reset to Grayscale.

His skin tone isn't a dark as I'd like but further adjustment made it too red or too yellow.

Oh! and I removed the dark circles from under his eyes

Message edited by author 2005-07-27 12:57:10.

07/27/2005 01:04:13 PM · #213

A nice shot art-inept, but a few things to look out for with this style and composition.

The big one is lighting. You really want to watch for your highlights, and that they don't overpower your photo and your model. The upper staircase, in this instance, is threatening to do just that. Parts are really blown out, and the high level of brightness is causing a few haloing effects around the knees. Perhaps a shot in later afternoon, or earlier morning would help this.
I see a little tilt at the bottom, showing a slight angle of stairway that would probably be better cut off. It's minor, but noticeable and evening that out in either post, or in the original framing of the scene, would help clean things out. You model is good, I like the way you've got the eyes coming through the glasses, nice touch.. but the pose *feels* like she's been sitting there all day, and is tired and weary. A good portrait, especially one designed to be more candid and natural, should show a model that also emotes this feeling, and that isn't the case here IMO. You write that the shoot wasn't the most comfortable, and it shows unfortunately. Yes, sometimes getting the best of a not so great bunch is all we, as photographers, can do.. but a few suggestions:

You now know the owner of this house, and you've had a shoot and shown that you're respectful of his property. What I would do is go back with gentler lighting and ask if you can re-shoot. Offer him a gift of some sort as re-payment, and a show of gratitude. This time, you'll know what to expect and you'll be able to shoot with more confidence. Never be afraid to return to a site.

Don't be afraid to be candid with your model. While you're shooting, chat it up, get him/her laughing, or do whatever you need to do to relax yourself and the model, and don't be afraid to shoot off-pose. Just snap away while paying attention to your framing, and try to capture more natural moments that aren't purposely posed, between the shots you've purposely posed. This gets your model used to the camera and relaxes them.. they are then less pressured to pose *exactly* right, and neither of you are stressed about getting that *exact* look.

Of course.. being happy with your photography is the number 1 aspect, and it appears that you are happy with this photo and the model is too. Still, you're here to learn, so keep in mind what I've said. In this instance, your model is conveying weariness. Something to watch out for for next time. I'm also not asking you to go reshoot for this mentorship, but only for your own self if you feel you'd like to.

Hope some of this helps.

07/27/2005 01:12:13 PM · #214

debitipton, I'd like to see an example of a shot you admired, and led you to choose this composition. It'll be helpful in discussing your specific shot, although I can honestly say that I really enjoy the composition you've chosen. There's not much *I* can add that way.

I'll see what I can do about getting his skin tone darker, and then let you know with a PM the steps I took.

art-inept

Olympus C-5060WZ

Canon EF 35mm f/2.0

07/27/2005 01:24:39 PM · #215

thank you Artyste! i wholly agree with what you said up there and i'll try to incorporate that in future shoots. i actually have a shoot scheduled at 4:00 today with a different model so i'll work on what you said. ill be shooting in a different location though because i feel bad to steal that location from olivia (the model shown in the pic above).

edit: note: oh and i do more like fashion photography and that sort of thing, so is this alright? like so my photography is a little different, such as my models not smiling

Message edited by author 2005-07-27 13:28:33.

Canon EF 28-80mm f/3.5-5.6 II

07/27/2005 01:31:58 PM · #216

Originally posted by art-inept:

Hehe, that's not a problem. I never said your model should be *smiling*.. just to be aware of the overall emotion that is coming from them. In the shot you posted, she *emotes* weariness.. where a different pose, even without a smile, can convey an *entirely* different feel.

debitipton

Canon EOS-5D Mark II

07/27/2005 01:52:40 PM · #217

Originally posted by Artyste:

debitipton, I'd like to see an example of a shot you admired, and led you to choose this

This one is a favorite:

jenesis

Canon EOS-300D Rebel

Canon EF 50mm f/1.8 II

07/27/2005 03:36:51 PM · #218

Unedited.

Crop 1.

Crop 2
I had a hard time cropping this to my liking, couldn't decide between the two.

Unedited...

Edited
After looking at this posted, I could probably go back and try and fix some of the hotspots like on his nose. Because of the shadows versus the bright spots on the original, I had a hard time balancing them.

Sorry about posting both pictures. I have a hard time deciding on things sometimes. Probably my same problem with my challenge entries! :-P

art-inept

Olympus C-5060WZ

Canon EF 35mm f/2.0

07/27/2005 05:10:48 PM · #219

Originally posted by Artyste:

Originally posted by art-inept:
thank you Artyste! i wholly agree with what you said up there and i'll try to incorporate that in future shoots. i actually have a shoot scheduled at 4:00 today with a different model so i'll work on what you said. ill be shooting in a different location though because i feel bad to steal that location from olivia (the model shown in the pic above).

edit: note: oh and i do more like fashion photography and that sort of thing, so is this alright? like so my photography is a little different, such as my models not smiling

Hehe, that's not a problem. I never said your model should be *smiling*.. just to be aware of the overall emotion that is coming from them. In the shot you posted, she *emotes* weariness.. where a different pose, even without a smile, can convey an *entirely* different feel.

i see what you mean now, thanks! im glad i can get this sort of feedback from this group. i think this mentoring thing is a great idea

jpochard

Canon EOS-40D

Canon EF-S 17-55mm f/2.8 IS USM

07/27/2005 08:32:21 PM · #220

This is my favorite model, my oldest daughter Katrina. We did some quick shots for PaD one day not too long ago.

For composition, I wanted something a little casual, not just a straight-on stand up shot, and I wanted to use natural lighting. I have found that having the subject slightly below the camera looking up can slim out the face/chin a bit and it also seems to open the eyes up more than a straight-on pose.

My goal for the shot was a real-looking, nice shot of my daughter. Nothing too fancy or plastic. She was in a good mood and we were joking around while I was taking the shots and the smile seems pretty natural to me. I'm not crazy about the background...all the roots and sticks in the ground there are a little busy looking. When I did the editing, I cropped it in quite abit, adjusted the levels and turned it to b/w and also blurred the background some more. I really like the final version. Here's just a link if anyone's interested.

Katrina bw edit

Message edited by author 2005-07-27 20:46:52.

irishempress

Nikon D200

Nikon AF Zoom-Nikkor 24-120mm f/3.5-5.6G VR

07/27/2005 08:35:27 PM · #221

Kevin...You rock! I can't believe you gave an entire tutorial here -- you have no idea how much this has helped me!!! I am forever grateful that you took the time to do that! And Glen, you're also awesome! You both have given so much guidance!!! Thanks! I'll post my edits in a bit! I just wanted to send a HUGE thank you to you guys!

Canon EF-S 18-55mm f/3.5-5.6

07/27/2005 08:36:27 PM · #222

Originally posted by debitipton:

Originally posted by Artyste:
debitipton, I'd like to see an example of a shot you admired, and led you to choose this

This one is a favorite:

It's interesting that you've chosen to go with a portrait orientation for your shot vs. the landscape orientation of your favorite, but it works for your shot. A major difference between the two is the fact that the shot you have as a favorite was taken from a little higher above the subject, and, as such, allows for much greater DOF control. You've done well for your angle, but I just wanted to point that out. Of course, because of the landscape orientation, it almost forces you to shoot from a higher angle to get more of the body in, where with portrait, you don't need to be in the same position. Also, be aware of the background. Your shot is outdoor, the other is studio, and lighting will of course be different for this. To get eyes as bright and clear, you'll want either a diffused flash, or some form of reflector.. which we'll be touching on in an upcoming assignment.

Just some tips and observations.

Message edited by author 2005-07-27 20:49:56.

Nitin

Canon EOS-300D Rebel

07/28/2005 12:41:04 AM · #223

Message edited by author 2005-08-03 21:38:08.

smilebig4me1x

Canon EOS-400D Rebel XTi

Canon EF-S 18-55mm f/3.5-5.6

07/28/2005 08:10:44 AM · #224

orginal

dark edit

light edit

I didnt really "copy" anything. when assignment said "posed" this was the one that popped in my head. i think i have more of a school yearbook photo pose than i really wanted( i saw more of a high end studio shoot feel envisioned) but its been a wonderful learning experience for me and it gives me more one on one time with my little one(which is always a great thing). i couldnt decide which edit i liked more. I tend to really like dark BG but for this photo i like the brightness of it. so i did it both ways. please tell me which you all think is better for this photo. thanks a bunch!