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happy) with your end re­sults. This is def­i­nitely an im­por­tant step to­wards tak­ing bet­ter pic­tures.

We feel your strong­est im­age in this se­lec­tion is the por­trait with the ferns [3]. The sub­tlety and soft­ness of the light­ing re­ally com­ple­ment the model’s ex­pres­sion. The light­est parts of the im­age are the model’s face and hands, which pro­vide fo­cus for the viewer. And you’re stick­ing to the rule of thirds, with the fern, face and hands all in dif­fer­ent sec­tions of the photo, al­low­ing the eye to flow nat­u­rally through it.

The head-and-shoul­ders por­trait with the or­ange back­ground [2] is also nice and fol­lows this com­po­si­tion al­most iden­ti­cally, but the back light (if a flash) seems to be gelled or­ange and the key light (on the model’s face) seems to be bare. It would be nice to see this shot with a dif­fer­ent coloured fil­ter on the key light (maybe blue) to jux­ta­pose the warmth in the back­ground.

In your out­doors shot [1] the fog def­i­nitely adds to the mood and again com­ple­ments the ex­pres­sion of the model (you seem to have this nailed!), but we won­der whether it might ‘feel’ nicer on the eye if the com­po­si­tion were to be tweaked just a lit­tle. If you’d used the power line cables to draw lines in to­wards the model more clearly, and the model was placed on the left third of the frame, the viewer’s eye would ‘en­ter’ from the right and end up at the model. Cur­rently we find our­selves fol­low­ing the cables in, com­ing to the model slightly below them, and then dr­fit­ing around the open space on the left, be­fore mov­ing on to an­other photo. Also, it might be in­ter­est­ing to see some (sub­tle) flash light­ing up the model, to brighten up her fea­tures and draw the fo­cus back to her, but we ap­pre­ci­ate that this might af­fect the moody feel – which is a key in­gre­di­ent of all your im­ages. Keep up the good work!

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