Taken on a training day in a Cornish woodland. Let’s look at a few points about why, in my opinion, this image succeeds. Firstly, lighting in woodlands is notoriously difficult, especially on bright, sunny days.
Dappled light in portraiture can give rise to conflict regarding contrast and the points of emphasis. This can be tackled but generally needs greater skill and careful consideration. Here we had diffused light (overcast) creating soft and low-value highlights which reduced the need to deal with that issue.
The path leading through the composition tells a story that can be perceived as Alina having come into the scene via the path, or about to turn and exit the scene via the path.
When given a choice, a viewer will usually choose what he/she perceives as the most pleasing and aesthetic of the imagined journeys. This can vary from person to person.
Aside from that. A feeling of static melancholy is being wonderfully projected here. Did this just happen or was it encouraged? This will usually conjure our inquisitiveness as to what’s causing her to trance or look a little disconnected.
What is your interpretation of this feeling? Allowing ourselves to deconstruct an image can, on its own, be enlightening.
To learn topics like this on location and so much more. Please get in touch.
Bjorn.
