Anika-flkr-1 by Richard Jones, on Flickr
Anika-Flkr-18 by Richard Jones, on Flickr
Anika-flkr-7 by Richard Jones, on Flickr Anika-F8-flkr by Richard Jones, on Flickr
Anika-Flickr-28 by Richard Jones, on Flickr
Anika-flkr-1 by Richard Jones, on Flickr
Anika-Flkr-18 by Richard Jones, on Flickr
Anika-flkr-7 by Richard Jones, on Flickr Anika-F8-flkr by Richard Jones, on Flickr
Anika-Flickr-28 by Richard Jones, on Flickr
Richard,every one a Belter....Dresses are nice too...
Nice series, that shadow at the feet is different yet a bit off putting. It sort of spoils the shadow-less look of the rest of the image.
Bernard, it was hard to keep my mind on my work. The model second down is my choice for classic beauty and she was very sociable. By her features I'm guessing she is from NE India close to the Chinese border, but I may be mistaken.
My favourite textile is the third from the top, Its less complicated, although I love the colours in the others, this one has an extra appeal for me. It was one of the hardest to PP as the sheer panel had background clutter showing through that I had to remove yet keep the detail and colour in the sheer panel. I can't for the life of me remember how I did it. Thanks for looking and for your comments.
Nicely captured Richard, though again I see two of each picture which I suspect is a Flickr issue
Beautiful women but I think you could use a little help with some post work. The shadows on the first two ladies look like they wet themselves.
I always create at least two layers of shadowing on most all shots like these. First shadow will be the contact shadow. A very fine shadow just next to where the shoes meet the surface and usually only blurred about 2 pixels with a gaussian blur. Sometimes I'll smudge some back just below the show too. It connects the person to the surface.
For the bigger shadow, try making a circular selection below the person and try to create the circle as if it is on the plane of the floor. Then fill with 100% shadow color and instead of a guassian blur try a motion blur from left to right. Then when you get a soft edge out and around the shape lower the opacity until it looks natural and then a slight gaussian blur but not to much or it will float them. You can also use your transform tool to stretch or tweak the shadow layer. Lastly, add a layer mask to the shadow layer then select the shadow, invert the selection and add noise to the layer mask. This will soften the edges of the shadow and look more natural.
Great series, really attractive, and appealing. Would love the story for this. Something that struck me right off is how well the loveliness of the models and their dress is conveyed without the tawdry and tease, barbie doll anorexia, transparent fabrics and precarious exposures rampant in western fashion modeling.
I like the third one, Richard...She is very pretty...and her make-up is very simple compared to the heaviness of the others...
P.S. What is that Anika title? Just curious....
It was a new experience for me, the fashions were very traditional and so very attractive to me for the same reasons you give Mark. Model # 3 as Izzie points out has less makeup and so allows her youth to show through. Her gown is very appealing as the textile is exquisitely designed. I had a lot of fun with this, but was very hard work carrying my studio lights and gear to a location shoot. Thanks for looking and commenting.
Now I know why my one and only granddaughter is beautiful...her name is Anika. I wonder if the parents knows about the meaning of that word...I'll surely ask them...I only asked that they chose a name that starts with "A" because most people I know or acquainted with, with the name that starts with 'A' are intelligent if not smart. Welll...my little girlie is too smart for her own good sometimes...no, read that as "most of the time"...