Only two by Paola León
Via Flickr:
Fotografía por: Nicolás Caballero www.facebook.com/a.pao.leon?directed_target_id=0
(via itsukadokoka)
.Natali. by Camila Guerreiro
Via Flickr:
Untitled by Tiziana Gualano
Via Flickr:
2015
And you said “Don’t give me nothing you don’t want to lose” by Lisa Ceinos
Via Flickr:
www.instagram.com/lisa.ceinos
Lay here by Adi Dekel
Via Flickr:
Lay here and just forget the world… facebook page | Instagram
Untitled by ruby james
Via Flickr:
model is kyra karmichael
FOR OVERGROWTH by P. H. Fitzgerald
When it’s so quiet inside by Lisa Ceinos
Chasing the sun. by Tarryn Hatchett
Flower power
Camilla Belle
tkni:
“Bloom (Midday Flower)” by the Knight who says niii!!
More on https://www.flickr.com/photos/knightwsni/
Pentax 67, Kodak tri x
Hello
Khrys has the second largest collection of Hello Kitty paraphernalia. The number one collection belongs to Sanrio :)
As insight into my image selection process, I selected 31 images from this set and after 4 passes finally whittled it down to 6. There were no challenges here, I got enough variety to tell a story with good flow. The only challenge was getting down to a practical number where the edits weren’t redundant.
I feel like I’ve said this before, but it’s worth saying again.
Redundancy is a huge problem. Photographers often shoot redundant poses, camera angles, crop and composition, background, lighting, etc. only to find out later that they don’t have enough variety to tell a story. Whether you’re a photographer, makeup artist, model, agent, or editor there’s never a need for duplicate images. Even if they’re not identical, images that are too similar don’t add value and therefore don’t propel the story.
The other things is flow. The layout of these images isn’t arbitrary. It’s the same way I learned to edit video. The images/clips have to guide the eyes and propel the story. When they’re laid out side-by-side (back-to-back) they should have some contrast and also some consistency. Fortunately they’re all of the same set and all in B&W so consistency is easy. I generate contrast here by juxtaposing shots of different crops and camera angles to create more impact. For example, I try to avoid putting two shots next to each other where the model is laying down. Instead, I will put a shot of her laying down next to a close up of her face or of her sitting up. That way I am propelling the story.