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From your description about the message you want to convey, the subject's face is too dark. We can't see what his expression is and have no way to relate to him. As Paul says, you need to light up his face a bit more.
As Malc says, you need to concentrate our attention on his face. That's where the emotion is, and so that's where we connect with him.
Your V3 is much better. It needs to be dark of course, but if you could highlight his face, just a little, so as not to spoil the sombre mood, it might be better still.
Maybe try adding a little grain too.
I'll upload a mod to illustrate that approach... just a suggestion.
Alan
Your V3 is much better. It needs to be dark of course, but if you could highlight his face, just a little, so as not to spoil the sombre mood, it might be better still.
Maybe try adding a little grain too.
I'll upload a mod to illustrate that approach... just a suggestion.
Alan
Scroll down to the bottom of this screen and right at the bottom right, theres a calibration strip.
There are 16 separate, distinct squares, and you should be able to see all 16 easily with the calibrated (brightness and contrast) monitor.
I would guess since your not seeing the images as dark as we see them, the strip will be missing the bright separate blocks on the left when you view them, - you will see one rather than 4 squares?
There are 16 separate, distinct squares, and you should be able to see all 16 easily with the calibrated (brightness and contrast) monitor.
I would guess since your not seeing the images as dark as we see them, the strip will be missing the bright separate blocks on the left when you view them, - you will see one rather than 4 squares?
I do think that you need to look at calibration. If you are seeing reasonable detail in this then your screen is lighter not darker than most...
I like dark images, they convey atmosphere. I remember hearing Don McCullin say recently that the older he gets the darker he prints...
BUT darkness needs light for relief. If you look at the Old Masters who explored darkness, particularly Rembrandt, you'll see that they used seemingly random flicks of white paint to highlight detail. This gives life, energy, it gives something for the viewer's eye to relate to. That's what is missing here.
Moira
I like dark images, they convey atmosphere. I remember hearing Don McCullin say recently that the older he gets the darker he prints...
BUT darkness needs light for relief. If you look at the Old Masters who explored darkness, particularly Rembrandt, you'll see that they used seemingly random flicks of white paint to highlight detail. This gives life, energy, it gives something for the viewer's eye to relate to. That's what is missing here.
Moira
Two technical thoughts.
First, I think that you have underexposed, because you want dark. That's a mistake. Expose well, and then darken in processing is my advice. You can bend the tones as you want - severe underexposure leaves little to work iwth, absolutely literally.
Second, to back Moira - you need some light relief to set off the darkness. Tiny areas of brightness will do: V1 works pretty well.
First, I think that you have underexposed, because you want dark. That's a mistake. Expose well, and then darken in processing is my advice. You can bend the tones as you want - severe underexposure leaves little to work iwth, absolutely literally.
Second, to back Moira - you need some light relief to set off the darkness. Tiny areas of brightness will do: V1 works pretty well.
