Blacksmith in action - disappointing

[DanK]

Camera Position.

In your shot the Viewer's Eye enters from camera left, runs along the un-used anvil, into the furnace an then either out the first window - or - across the Blacksmith's profile and out the second window.

If you want to attain (and maintain) Viewer Interest in an Environmental Portrait, especially a busy environment, then attaining the best Camera Position is critical: arguably more critical than any other form of Portrait Photography.

My view is that you should (secondarily) consider all the other (excellent) considerations and arguments which have been provided, but as to the 'best' improving for next time - Camera Position is the answer.

WW

I’m not the the OP, but I found this a very valuable comment.


Sent from my iPad using Tapatalk

[Manfred M]

Camera Position.

In your shot the Viewer's Eye enters from camera left, runs along the un-used anvil, into the furnace an then either out the first window - or - across the Blacksmith's profile and out the second window.

If you want to attain (and maintain) Viewer Interest in an Environmental Portrait, especially a busy environment, then attaining the best Camera Position is critical: arguably more critical than any other form of Portrait Photography.

My view is that you should (secondarily) consider all the other (excellent) considerations and arguments which have been provided, but as to the 'best' improving for next time - Camera Position is the answer.

WW

Very eloquently explained Bill. In an environmental portrait, the subject is the person and the camera position must support this premise. The rest of the material in the image supports the subject and must be handled in a way that complements the subject and not distract from it.

[Jim A]

Many, many thanks for all your comments, folks! – much appreciated indeed. If I were to try to respond individually, as I sometimes do, then I would be here all day. Suffice it to be said, that I have read all of your comments at least thrice each. Plus I have had comments from other sources. Am determined to go back and have another try. Will take my tripod, though understand the reservations, but will only use it briefly. Will take my speedlight and bounce of the ceiling even though the roof is brown (thanks Manfred). I will move to the right and get the blacksmith and forge seemingly closer together (thanks Bill). Regarding the suggestion that I go there at other times, eg, in the evening - am afraid that is not possible. He only is there in daylight, winter and summer. Will also try bracketing whilst noting some reservations about that.

It had not occurred to me that the embers going up the chimney would cause confusion. Though everything else is pretty much as is, I did add those from another pic taken that day/timespan. Would have mentioned it, but did not realise! (apologies to Ted & Manfred).

[Jim A]

Just as one more thought. I don't have too much worry about the windows, because even if I do not cope with those when I take the pics (preferable), then at least I can fix in post-production like I have here. If I had thought it worthwhile I would have cloned out the cloth, top left, but my next attempts should at least be better result(s) than this.

Also, as a matter of interest, I had puzzled as to what the colourful cylindrical thing was out front. Recently occurred to me that it would be a boom-box. As it doesn't really suit the tone of the ancient craft, I will ask him diplomatically whether he would move it out of the way for my shots.

[William W]

. . . I will move to the right and get the blacksmith and forge seemingly closer together (thanks Bill). . .

It is not only that element: moving to the right might be the answer, and it might not be all the answer because it might create other problems.

Environmental Portraits tend to be 'busy'.

Phrased another way, these Portraits will usually have lots of 'stuff' in them. This 'stuff' are the Elements in the Scene.

The key point is - ALL the Elements in the foreground, middleground and the background must blend together to support and focus on the Main Subject.

For example - the first thing I see, if you only move the Camera Position to the right, is the hard edge of the top of the window skewering the Main Subject in his Head - so maybe you've got to go higher, or lower, or move the angle of the Anvil . . . I don't know the exact answer, but it is rarely really simple, in such a complex scene.

In any case, baby steps, are the best it gets whittled down that way.

Good luck - He's a great Subject and it is a good Environment

WW

[Manfred M]

It had not occurred to me that the embers going up the chimney would cause confusion. Though everything else is pretty much as is, I did add those from another pic taken that day/timespan. Would have mentioned it, but did not realise! (apologies to Ted & Manfred).

In the "old" days, looking at an image could tell the photographer a lot of things about the image, but as PP tools have improved and users have gotten more skill, I have learned that you can't always trust what you see.

The photo club studio group I belong to will often look at the lighting a photographer has used and try to reproduce the look in the studio. Often we can figure it out, but sometimes, the image has been so well retouched that we can only conclude that this is what the photographer did as we can't get our images, working with just the lights, to look like the sample image.

[Manfred M]

I had puzzled as to what the colourful cylindrical thing was out front. Recently occurred to me that it would be a boom-box.

I suspect the explanation may be even simpler. Working as a blacksmith is hard, physical work in a hot workplace. Lots of drinking water nearby would make sense. I suspect that is what the object might be a refillable (possibly insulated) water bottle..