A Muse Visits! Presence: Woman with a Yellow-Green Scarf

I have deicide to share work with a muse, who seems to just place herself into positions of some ethereal form for me to capture.

So lets start with her sitting late one evening with little light left in the sky. Sp photography must be needed to justify lifting the camera. But here, there was no choice.





Hope you like this and if so, more to follow!


Asher

P.S. The yellow cast on the right arm, I liked and so I left as is.

Asher Kelman said:

I have deicide to share work with a muse, who seems to just place herself into positions of some ethereal form for me to capture.

So lets start with her sitting late one evening with little light left in the sky. Sp photography must be needed to justify lifting the camera. But here, there was no choice.

Asher Kelman: Woman with Yellow Green Scarf #1

Canon 5DII, 50mm 1.2L

Asher Kelman: Woman with Yellow Green Scarf #2

Canon 5DII, 50mm 1.2L
​

Hope you like this and if so, more to follow!


Asher

P.S. The yellow cast on the right arm, I liked and so I left as is.

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keep them coming asher - they are in risk it for a reason...

pleasant start.

cheers

Thanks for stopping by, Mark. Yes there will be more!

Asher

I like them. The color of the scarf is a great addition to what is obviously a beautiful young woman. The f/1.2 lens gives a wonderful ethereal effect.

Asher, these are both wonderful. The second one is amazing, there is a rare depth and vividness. And what a model! Camera just loves her!

Jerome Marot said:

I like them. The color of the scarf is a great addition to what is obviously a beautiful young woman. The f/1.2 lens gives a wonderful ethereal effect.

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Thanks Jerome,

I had no intention of taking a picture but then it overcame me. I had no choice. The light was not there but the subject was. so here, Michael A. smith was on the ball! One has to work when one sees what one sees that needs to be photographed. There's no coming back at sunset!

Jarmo Juntunen said:

Asher, these are both wonderful. The second one is amazing, there is a rare depth and vividness. And what a model! Camera just loves her!

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It's so thrilling to work with someone that really presents some gesture or position that goes right to one's inner stage and yell, "Camera!"

Asher

Here's the next set. I cannot remember the order, but I turned of the room lights so color is different but I liked it too. Then derivatives




I hope you like these too. Thanks for sharing your comments.

Asher

Now we go a little further with the last set of 3 portraits. I wanted to combine them giving some impression of my feelings of transience and lot so of ideas about her potential both to my work and more so to her own future.





The large area of white is intended and may be used for over-painting with acrylics, once I have the prints before me. But I also like the effect as is.


Asher

The three overlays are nice, but may still need some work. I am not so sure about the straight lines arising from the individual shifted picture frames. As to the set with artificial light, I think that the expression of the model was more interesting in the first set. I also feel that the post-processing of the two bottom pictures does not go well with the smooth ethereal effect given by the lens.

Really, the very first series is exceptional.

Jerome Marot said:

The three overlays are nice, but may still need some work. I am not so sure about the straight lines arising from the individual shifted picture frames. As to the set with artificial light, I think that the expression of the model was more interesting in the first set. I also feel that the post-processing of the two bottom pictures does not go well with the smooth ethereal effect given by the lens.

Really, the very first series is exceptional.

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Thanks Jerome. The point about the natural look of the 50 1.2L is important. I'll have another look at originals. Yes the first set is special. I even added straight lines! however, the ones from overlap are worth thinking about more. I will be printing before making any changes.

Asher

Asher Kelman said:

Thanks Jerome. The point about the natural look of the 50 1.2L is important. I'll have another look at originals. Yes the first set is special. I even added straight lines! however, the ones from overlap are worth thinking about more. I will be printing before making any changes.

Asher

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Asher,

the progression does make sense - I have seen you use of lines before in the LA sunset work - like the judder of the offset.

printing makes sense - to work through the ideas and also get it away from LED.

i am looking forward to where these go.

cheers

Jerome Marot said:

The three overlays are nice, but may still need some work. I am not so sure about the straight lines arising from the individual shifted picture frames. As to the set with artificial light, I think that the expression of the model was more interesting in the first set. I also feel that the post-processing of the two bottom pictures does not go well with the smooth ethereal effect given by the lens.

Really, the very first series is exceptional.

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I was trying to synthesize my thoughts, but Jerome made it for me.
Beautiful model, beautiful catch(es).
Simplicity makes it! The first set is awesome and, personally, I see no interest of making it more complex, except for the pleasure of research…

At the first glance I like what you have done.

However, it is incomplete as the acrylics are missing. Right ?

Personally I would like to see a better balance among the three images as the one in the middle looks denser in chromatic terms than the other two.

I also wonder why the one on the right has a different size... Oh yes, it is just me being too picky !

Which size have you printed the image ? It looks to me that with the acrylic paint it would be a success in a large dimensioned canvas like 1.00 meter large or bigger. Too early yet to decide but early enough to have in mind.

Which printer do you use ? (I am thinking to buy one in order to have a consistent output)

I am looking for the evolution ...

Thanks again Mark, Jerome, Nicolas and Antonio,

All your comments are helpful.

Yes Nicolas, simplicity is important. Lack of consistency? Yes that's right. Images processed a little differently as I was playing around with ideas. I'll discuss that in a separate thread on Portrait Professional . Glad you found me out. Subtle signals are really important. The brain can't be fooled.

Antonio Correia said:

At the first glance I like what you have done.

However, it is incomplete as the acrylics are missing. Right ?

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That's an i portant statement. I appreciate the extra pressure.

Antonio Correia said:

I also wonder why the one on the right has a different size... Oh yes, it is just me being too picky !

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Interesting comment. That means the brain expects all three of a triptych to be taken from the same position as in one glance.

Antonio Correia said:

Which size have you printed the image ? It looks to me that with the acrylic paint it would be a success in a large dimensioned canvas like 1.00 meter large or bigger. Too early yet to decide but early enough to have in mind.

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It's planned for 1 to 1.5 meters wide.

Antonio Correia said:

Which printer do you use ? (I am thinking to buy one in order to have a consistent output)

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I already thought off that. Having my own large printer would allow a fluid continuous creative flow. But which one?? They all are so good!

Antonio Correia said:

I am looking for the evolution ...

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Yes, more to come!

Asher

I am sorry, but I have to come back with more comments.

We have just had a discussion where a very important sentence was written. Let me cite it here: "Some photographers, I have found most instructive, not only by studying the photographs, content, feelings and structure. Surprisingly, perhaps, it's their way of relating to the subjects they choose and their social interactions that are most helpful to understand." (emphasis added).

I don't know whether you have done this on purpose, but these two photographs are a wonderful example of that special quality. Looking at them, I can actually feel a connection to the model. It is as if she allowed us in her own world, in her intimacy. And that is the result of the photographer: getting the right harmony of colors, using that special lens, catching the decisive moment of the right pause, building that social interaction which allowed the model to trust the picture. And I am terribly sorry to say it, but you don't have that in the subsequent pictures. The magic is broken. The second series are perfectly good pictures in their own right, but fail to reach that special level where we get the feeling that the model is somebody special which we can relate to. Or, maybe, they don't reflect the model's personality, I cannot know.

These two pictures are precious:






Now, at the same time we can answer the question which was asked in the other thread: "Can one have a picture that works brilliantly when the composition doesn't?". On the first picture, the arms are blocked, the right elbow is abruptly cut out. On the second picture, the general composition with the arms encircling the woman face works, but is rather weak: the bottom of the pictures conveys no apparent information, the left hand, right shoulder and especially end of the scarf are cut abruptly, the right elbow strikes out. The two compositions are supported by the oblique lines in the background, this might be what saves them, but they have a lot to be criticized. Yet, we still get the feeling that we relate to the person, and this is what is important: the message, the emotions conveyed by the picture. So the answer to the question is yes, maybe.

Jerome Marot said:

These two pictures are precious:

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Jerome Marot said:

I am sorry, but I have to come back with more comments.

We have just had a discussion where a very important sentence was written. Let me cite it here: "Some photographers, I have found most instructive, not only by studying the photographs, content, feelings and structure. Surprisingly, perhaps, it's their way of relating to the subjects they choose and their social interactions that are most helpful to understand." (emphasis added).

I don't know whether you have done this on purpose, but these two photographs are a wonderful example of that special quality. Looking at them, I can actually feel a connection to the model. It is as if she allowed us in her own world, in her intimacy. And that is the result of the photographer: getting the right harmony of colors, using that special lens, catching the decisive moment of the right pause, building that social interaction which allowed the model to trust the picture.

Click to expand...

Thanks so much Jerome,

I was hoping that someone might realize that non-stellar composition did not destroy the soul of the human values that dominate the picture. I felt that this might possible be an example of where humanity would overshadow any failures. We do that for our lovers and friends.

Jerome Marot said:

And I am terribly sorry to say it, but you don't have that in the subsequent pictures. The magic is broken.

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Yes, these are separate studies and more sufficient than inspired. Magic moments can't be conjured up, they happen and one has to be there!

Jerome Marot said:

Now, at the same time we can answer the question which was asked in the other thread: "Can one have a picture that works brilliantly when the composition doesn't?". On the first picture, the arms are blocked, the right elbow is abruptly cut out. On the second picture, the general composition with the arms encircling the woman face works, but is rather weak: the bottom of the pictures conveys no apparent information, the left hand, right shoulder and especially end of the scarf are cut abruptly, the right elbow strikes out. The two compositions are supported by the oblique lines in the background, this might be what saves them, but they have a lot to be criticized. Yet, we still get the feeling that we relate to the person, and this is what is important: the message, the emotions conveyed by the picture. So the answer to the question is yes, maybe.

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Res ipsa loquitur! You analysis is exemplary. Now we just have to find accepted works like that in a prestigious collection and my point is proven.

Asher

..... And I don't agree to the simple idea that magic moments can't be conjured up. That is a non-explanation again. Why did this particular magic moment happen?

Jerome Marot said:

..... And I don't agree to the simple idea that magic moments can't be conjured up. That is a non-explanation again. Why did this particular magic moment happen?

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Jerome,

We were discussing the final parts of a scene were are making of her arriving across the Rio Grande in a tiny boat, to be discovered by immigration officers and all arrested.


We just need the little girl and we decided to shoot with my 2 year old grandson and then perhaps swop a the face or hair if need be. Then went over some other setups planned with our nude model. So it was a really relaxed time and she liked my preliminary sketch of the boat getting to shore. We have a model for the woman in the water in the final shot and then we just have to add the police, trucks and lights and its done!

Doubtless we can conjure up such moments with enough acting skill and atmosphere, but when they happen naturally, then that's a gift not to be missed.

Asher

So, I will continue with care not to spoil the natural softness of the 50 1.2L Canon optic. These images were snapped at 3200 ISO, f 1.2, 1/395 sec with +0.7 EV extra exposure.

I have processed the next 3 image in Capture One with just minimum adjustments, no noise removal and then added 17% of a file minimally processed for skin, (but not shape) with Anthropics Portrait Professioana to open up the picture and soften the skin a tad.


I like the natural sequence as the pictures were taken in the dim kitchen light by the garden windows with overhead tungsten adding some warmth.







I then thought of how the picture might be read differently by changing the order of shots:






So I'd love to know how you like these and hope you do have opinions on how order might make a difference in the reading of the pictures.


Asher

Asher,

I am no expert on critiquing photographs of people but I will say what most have already said, your first set and specially Image # 2 is brilliant. Playful innocence and a hint of intimacy is very evident in the way the girl's hands are wrapped round her face. Having her eyes closed makes me feel she is lost in her vivid thoughts, maybe of a secret lover. Like I said its a very intimate photograph and reveals the personality of the girl in a way that other photographs in your series dont. If I were you I'd perhaps crop the lower part of the image to take out the chair. It takes away the mystery of her posture. I tried zooming out and zooming in but I enjoyed the photograph more when I couldnt see the chair. Without the lower part of the image, the photograph takes on a much more mysterious appeal. I'd like to imagine she was dancing and got lost in her own world of mysteries. When I first saw the photograph I couldnt help think of Sherilyn Fenn's dance move in Twin Peaks which made her a cult star. The photograph has a very similar feel to it except its much more innocent than perhaps Sherilyn Fenn,

Zee

I think in your triptych series, the first image makes much more sense to me. The natural transition leaves the viewer guessing after the third picture.

However I would also suggest a diptych. The first two photographs in image 1 are almost identical with the second one having a slight hint of a smile. The first one therefore loses much of the interest. I'll keep the second and third photograph in a diptych and arrange them either ways to see which ones presents a more mysterious appeal.

Zee

Hi Asher,
what I'm missing in the second pic of the first and in the third of the second set is a slight reaction on the lips, such as a subtle smile ... it would increase the emotional movement in the series.

Wolfgang Plattner said:

Hi Asher,
what I'm missing in the second pic of the first and in the third of the second set is a slight reaction on the lips, such as a subtle smile ... it would increase the emotional movement in the series.

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That's so interesting a response, Wolfgang! I tried to work on that idea. It so happens that at that point, she started to break into a huge smile. However, in doing so, and preparing to laugh, she was moving backwards and the image is smaller, so I have to match head sizes slightly and then have another go.

Asher

Zeeshan Ali said:

Without the lower part of the image, the photograph takes on a much more mysterious appeal. I'd like to imagine she was dancing and got lost in her own world of mysteries. When I first saw the photograph I couldnt help think of Sherilyn Fenn's dance move in Twin Peaks which made her a cult star. The photograph has a very similar feel to it except its much more innocent than perhaps Sherilyn Fenn,

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Wow, Zeeshan, what a good idea. Yes, that's an interesting exploration but I'll make a new picture for that motif. These pictures are pretty factive. If you were there, and you had my impulse and camera and were sitting there, that would have been what you'd have got with the 5D II and the 50 1.2 L sitting next to her, as I was.

It was not planned and that I do, as in the preliminary planning sketch of her arriving as an infant across the water in a dingy. All mapped out. This shoot however was impulsive and then we went to the garden and shot some more as I will show shortly.


Thanks for the reference to Sheilynn Fenn. I'll look her up. I didn't see that!

Asher

It was not planned and that I do, as in the preliminary planning sketch of her arriving as an infant across the water in a dingy. All mapped out. This shoot however was impulsive and then we went to the garden and shot some more as I will show shortly.

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I think thats the beauty of it. It doesnt look posed and has a very natural appeal to it. Most often planned shoots never turn out with exceptional images. I remember watching the Genius of Photography and in one episode Tony Vaccaro was photographing Picasso. He tried to pose him but it wasnt working out. Suddenly in a spur of moment he saw the true Picasso face and caught it on camera. The picture is one of most adored Picasso portraits.

We'll be looking forward for more photographs of the girl

Zee

Asher Kelman said:

So, I will continue with care not to spoil the natural softness of the 50 1.2L Canon optic.

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Asher, I am sure you forgot the rules because you were distracted by this beautiful young lady: if you want a portrait you should use a 85mm f/1.2. With the 50mm, no head shot or the perspective will be unflattering...

Asher Kelman said:

So I'd love to know how you like these and hope you do have opinions on how order might make a difference in the reading of the pictures.

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Of course the order makes a difference. At least for people used to read from left to right.

I am (gently) teasing you, but then... you are not really serious yourself either. Now: what about you and this nice woman meeting again, you find the same light that you had the same time, sit at about the same distance and then tell her that on your forum you have a dozen old men expecting new pictures of her? But only with the scarf or course, because we all have a strange scarf obsession. "It's their way of relating to the subjects they choose and their social interactions that are most helpful to understand."

Jerome Marot said:

Asher, I am sure you forgot the rules because you were distracted by this beautiful young lady: if you want a portrait you should use a 85mm f/1.2. With the 50mm, no head shot or the perspective will be unflattering...

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I used the 50 1.2 for head shots and they work especially on men but even better when it's head and torso. Of course, the 50 1.2L is far better but I need to sell some excess gear for new purchases and the 70-200 2.8L II is first on my list!

Jerome Marot said:

Of course the order makes a difference. At least for people used to read from left to right.

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I thought your read Arabic and Hebrew too, LOL!

Jerome Marot said:

But only with the scarf or course, because we all have a strange scarf obsession. "It's their way of relating to the subjects they choose and their social interactions that are most helpful to understand."

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I can deliver pictures of another muse, an actress, without the scarf or with a different scarf? Which do you want or both? But that will be in another thread coming here. This muse's job prevents me taking pictures of her as you request. However, she'll helps with much that I do. What I do depends on the future plans of the model and I make it clear that they are going to be published and so according to career planning, posting great nude pictures can be a career help or looked at in grave disfavor as a lapse in personal judgement. But it's the same society, just different positions from which we look at folk.

Asher

Asher Kelman said:

This muse's job prevents me taking pictures of her as you request. However, she'll helps with much that I do. What I do depends on the future plans of the model and I make it clear that they are going to be published and so according to career planning, posting great nude pictures

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Oops! I never intended that. I meant no pictures without the scarf, not pictures where that person would wear only a scarf. This is embarrassing.

I was teasing you, but the suggestion was serious: try to recreate the situation of the first set of pictures, have a conversation with the model and from the social interaction interesting pictures may occur.

Asher Kelman said:

I have deicide to share work with a muse, who seems to just place herself into positions of some ethereal form for me to capture.

So lets start with her sitting late one evening with little light left in the sky. Sp photography must be needed to justify lifting the camera. But here, there was no choice.

Asher Kelman: Woman with Yellow Green Scarf #1

Canon 5DII, 50mm 1.2L

Asher Kelman: Woman with Yellow Green Scarf #2

Canon 5DII, 50mm 1.2L
​

Hope you like this and if so, more to follow!


Asher

P.S. The yellow cast on the right arm, I liked and so I left as is.

Click to expand...

These are wonderful captures. She is so calm, collected and comfortable in the settings. I like the second better as it evokes a peaceful emotion and it also has better photographic elements like the lines created by her arms and tilt of her head and how they all fit in the overall composition. The colors are more vivid in this one. But I believe that can be changed in the first picture as well. I think the second one might be even better in B&W.

Thanks for sharing them.


-Abhijit

Asher

For me the art is in the triptych
There seems to be a very real connection between Photographer and the model-
There are sweet secrets here- unknown -a mystery for us perhaps- It has such a tantalizing euphoric effect- I kept coming back to look at them!
nice job-

Charlotte-