What's a good portrait?

Over the next few weeks, I want to explore portrait trends. What are they? Who’s commissioning what portraits for what reasons right now? Where might these trends be leading us? And is there any money in it for me...ahh...I mean us?

Phew! It’s some project! Fortunately, I’ve stumbled onto Conscientious—a web site dedicated to contemporary fine-art photography—and, in particular, an article by Joerg Colberg on ‘What makes a great portrait?’ [http://jmcolberg.com/weblog/2008/02/what_makes_a_great_portrait/]

Colberg emailed a large number of photographers (fine art and commercial), as well as photography bloggers, curators, editors and gallerists, to ask them “What makes a good portrait?”

Here’s my edit of what some had to say—under headings that I’ve added to help group their responses. I’m sure we can appreciate most of their explanations for what is a good portrait. So, can anyone add new ones?

In my next post, I hope to compare these with understandings of good portraiture from the past.

PORTRAIT RULES AND THE INTANGIBLE

Timothy Archibald—What makes a great portrait is almost like trying to figure out why it feels good when someone smiles at you or why it is disturbing when someone yells. There are these rules and structures—and then there is this intangible human element. Everyone seems to know how to play by the rules and follow the structures, but as far as the intangible goes, that’s where it all falls apart or comes together—it allows the portrait to sink or swim or really transcend.

Timothy Briner—I have specific ideas of what a good portrait may consist of, but I am often amazed at the portraits I come across that do not abide by any of these rules. Many of these images are truly spectacular. And it further reminds me that good art is made up of many things, and this question can almost never really be answered, at least not with any certainty.

GOOD PORTRAITS ARE ABOUT THE PHOTOGRAPHER AS MUCH AS THE SITTER

Thomas Broening—I think for a portrait to be great it needs to say more about that maker of the image than the subject.

GOOD PORTRAITS SHARE SECRETS AND EMOTIONS, AND INVOKE EMPATHY

Chris Buck—A great portrait can have beautiful lighting, a curious location and a pleasing composition, but it’s a sense of vulnerability that really makes a picture exciting for me. Vulnerability and awkwardness are access points for the viewer, and a suggestion of real humanity.

David Burnett—In the end, what strikes us is the feel we have for the subject, and not, strictly speaking, how the photographer ‘shot’ it. Do I feel something inside, a reaction which I cannot express? Do I sense a moment of tension, humor, a subtle knowing flutter when I connect with the eyes of the subject. Does he, does she speak to me? Do I want to know more about them?

Joakim Eskildsen—A good portrait for me is something that gives an insight into the portrayed inner universe, reflected via the surroundings and the mood of the light and the person’s mental state. It must somehow also have a secret that you want to take part in or that makes you wonder.

Dylan Vitone—What generally makes a good portrait for me is the subjects gaze in the image. Whether they are looking outwardly at the photographer or turning inward in thought if the person has expression on their face that I can empathize or connect with the emotional state I get sucked in. It does not have to be a overly emotional or intellectual state.

GOOD PORTRAITS CAPTURE TRANSCENDENTAL MOMENTS

Kalpesh Lathigra—For me it is a matter of “what were they thinking the moment the shutter is clicked, both of the subject and the photographer. I want to try to capture at least a moment where my subject transcends the expectation of being photographed and moves from posing to a state of grace. I am not naive enough to think that the subject is not directly interacting with the photographer, but what I say to my subjects “is to focus and concentrate on the most important thing in their life, whether it is a moment of happiness, sadness or indifference to the wider world, just a very personal moment, from there the interpretation of capturing that is down to me.

Amy Stein—The qualities that would make an image stand out to the photographer are the same qualities that would hopefully translate to the viewer. The primary quality being the obvious and cliched quality that makes all good art good; there is a tension in the moment. The tension could be there for any number of reasons: the photographer’s attempt to unsettle the subject with words or actions, the subjects desire to control the situation, a mutual trust that produces a raw and honest exchange, a chilly day, the cold water of a stream, etc. I believe there’s no recipe, no replicable means to these moments. They happen and it’s wonderful.

Bill Sullivan—A good portrait allows the viewer to momentarily step outside his or her own reality giving a glimpse of another. It is an emotional exchange between subject to photographer and ultimately to viewer, momentarily caught somewhere in between, experiencing a moment of visual sensory and curiosity from an immediate feeling of invitation.

GOOD PORTRAITS ARE INSIGHTFUL

Rob Haggart—A great portrait is surprising and insightful for the viewer. The insight comes from learning additional information about the subject beyond what they look like. It can be subtle (expression, body position, bits of context) or it can be dramatic but it should never be obvious. The surprising part can come from making an unlikely context to subject pairing or creating an unexpected situation for the subject to react to.

GOOD PORTRAITS ARE RESPECTFUL AND HAVE GRACE

Bruce Haley—Call me a dinosaur or whatever, but for the most part I like portraits to be engaging, not chilly—and sympathetic, rather than demeaning or cruel. I would say that my preference is for portraiture that imparts dignity as opposed to stripping it away.

GOOD PORTRAITS DON’T HAVE TO CAPTURE THE EYES (OR WINDOW ON THE SOUL)

Bill Hunt—I have collected many hundreds of images of people in which the eyes are obscured. They can be closed or veiled or hidden. The photograph must also have a magical impact on me. With the collection, I have always been fascinated by what happens when the photographer does not attempt to capture some poor soul, literally through their eyes, but by denying that or by offering parts, not the whole. I am engaged when information is withheld. When the artist insists that I collaborate on the meaning or significance or power of a photograph, when I am brought into the work, it behaves much more powerfully. My overall take on portraiture is its overwhelming failure to transcend its basic information gathering, to offer more than the most superficial report, the well lit ID photo. How rare and surprising to find the powerful and transcendent.

Olivier Laude—I’ll have to admit that I am not a big fan of portraits as a whole. They are over valued as works of art or as general gallery and magazine fodder. Portraits usually feel staged and temporal, because they are, by their nature meant to be illustrative and propagandistic. The myth that the portrait, the good ones, the bad ones and everything in between, are an important and enlightening window into the soul of the sitter is just as much of an insipid cliché as the soul itself.

In a vacuum, what makes a portrait interesting and successful is the subjectivity of the photographer towards his or her subject. The idea that a great portrait can, and should capture the essence of a human being, is as absurd and deifying as to ascribe god like qualities to any human being, photographer or subject alike.

Portraits for the most part describe an edited moment within a window of personal and theatrical opportunity. Nevertheless, there is a style of portraiture which comes close to achieving the portrait’s mythological goals and that would be the vernacular portrait. Those images taken without pretensions and with minimal expectations on the photographer’s and the subject’s part. These kinds of images are very rare and only seen when you see them.

GOOD PORTRAITS NEED SOME S&M

Brian Ulrich—I’ve come to the conclusion that photographic portraits are some of the hardest photographs to make. In many respects the photographer is the lead in a crazed power dynamic; the sitter must lend themselves, their time, patience and likeness to the photographer in a relationship that has to have some degree of trust in how the photographer might represent them. The photographer, in some cases knowing more or less about the subject, has a opportunity to describe them in a number of ways. All this often leads to the eternal portrait question: From the sitter, “What do you want me to do?”.

The Age Old Art of Black and White

Black and white photography has been a rather large photographic trend since the beginning of its time, largely due to the absence of colour photography until 1861. What is most amazing about black and white photography is that whilst technology was “upgraded” and a newer and better version came upon us (colour) the old wasn’t thrown out the window like most, and still today, nearly 150 years later, black white images are still commonly used.
E.g. one of my own

So how do you know when to use Black and White?

Truly? It’s up to you!

Black and white photographs show us lots of things we often miss in a colour image because our eyes are often drawn to all the wonderful bright colours. In black and white we see the highlights (bright areas) and the lowlights (shadows) more easily; however colour does affect our black and white image. For example, if we have a photo of a red flower in a green field it may show up as the same tone of grey meaning a very dull image but there are many photographers out there that have mastered black and white and know before even taking the photo, how it will look in the end.

Black and white photography is also used to express emotion. With the absence of colour we see finer details sometimes tugging at our heart strings or just making us think about the image itself. With this in mind a common field in which we find black and white used often is wedding portraits. Who hasn’t seen at least one wedding photo in black and white? It’s to symbolise the freezing of a moment, it gives that sentimental value to it as well as stripping the distraction of colour to bring out the emotion in couples big day. If you think about it, what do you see first in these two photos?

The first thing I look at is yes ok there are people in it, but my attention is almost immediately drawn to the colours around them. Being in a white gown and black suit when there are all these amazing colours around them, why would I stay focused on them? I see the beautiful colour of the ocean and the green flower boxes. Don’t get me wrong these are still beautiful photos but if you then look at the same photo in black and white....



Your attention is now held by the people in the photo, you see the emotion and it creates the atmosphere your wedding day is meant to have. I don’t suggest you all go out and get your whole wedding album done in black and white but a few are always nice.

Ok so far we have straight black and white covered and although it is, I guess you could say, antique... it has been brought into the 21st century as well.

Can’t decide between colour and black and white, or just think black and white is a bit too boring for you? Why not both??

Yes it’s true; you can have both black and white in one photo! How you ask? Simple! Of course you can’t have something so classic and chic without giving it a bit of modern re-vamp so here we have it. Many photographers have begun playing with the cross of black and white with a hint of colour. To do this they make the whole image black and white and then erase the black and white over a certain object or area to bring back the colour. Don’t quite understand? Let me show you...

Pretty cool isn’t it!? Anyway, that’s all from me for now. Enjoy and happy snapping!

Bree

the power of software with the flexibility of paper

Is flipping a page going to get lame? Is scrolling up and down going to become the future and feel as natural as flipping that page?

Personally I feel viewing a magazine on a computer or a tablet is taking away the whole environment of sitting down and getting comfortable instead of been hunched over at a computer looking at the screen. As if we all don't look at blaring bright screens enough.  

 

Creativity flourishes with paper and what ever capturing tool (pen, paint, camera etc) you may prefer. It’s tangible with no technical errors. Then again it’s a great solution for the news and media if it catches on. But I am leaning more towards the photo-imaging industry within this discussion.

For example you may have a meeting with a client and he or she wants to see your images for an up coming job. Instead of having your portfolio with you, with actual pages, you pass across a tablet (Ipad). The chances are they may have not used one yet even though it may be simple as sliding your finger across the screen you will have to show them and they may make a couple mistakes. You are wasting your time and the clients.

 Also the size of your photos are not going to be any bigger then A4, unless that is what you are planning on. You are not going to get a choice on a paper type like gloss, luster or matt. The closest type of paper that it is going to resemble may be gloss.

 

These tablets are obviously going to be awesome the first time a person lays eyes on one .But anyone or I can keep arguing about the pros and cons of a tablet or digital magazine and I think we may not get anywhere as yet.

 Would like to hear everyone’s opinion .

Ryan - a little bit about my photography... finally

DOCUMENTA

With photography lies my deepest respect and passion, for the still image is a language spoken by all and undertood on a multitude of levels - each specific to the viewer.

My photography aims at telling a story (hopefully the truth) , in the fashion of social documentary photography. Freezing that second in time when that something special is generously revealed. Great images will often tell us a secret about a secret, nothing more, nothing less, to let our own imagination come up with the "answers".

Diane Arbus once said "A photograph is a secret about a secret. The more it tells you the less you know"

Here are just two examples of my work, I will put more up soon, promise guys...

One is a doco I did of the Gold Coast, the other from my Sydney series.

Emerging HDR trends

There has been an emerging trend in photographs lately of HDR. HDR is an acronym meaning 'High Dynamic Range'. HDR is a technique used to create greater dynamic range of luminance between the lightest and darkest areas of the image.

HDR is achieved by taking an image multiple times with different exposures, 1 image correctly exposed by 1 stop, 1 image underexposed by 1 stop, and 1 image overexposed.

The amount of images created with different exposures will vary how the final image is created, the exposures step up equally for each image (e.g. -2, -1, 0, +1, +2). HDR can be achieved with different programs, a simple form can be achieved in ‘photoshop’, but many choose to go with dedicated programs such as ‘photomatix’.

There are two forms of HDR; Tone Mapping, and Exposure Fusion. Both forms are HDR, but quite different in terms of visual impact.

Tone Mapping; a technique used to facilitate the display on output devices such as monitors, projectors etc. It creates a more surrealistic image then Exposure fusion by addressing strong contrast reduction experienced in beforehand mentioned output devices. The amount of surrealism in the image varies on the way and amount the image is tone mapped. The surrealism in the image gives an almost cartoon feel to the image, and I believe it is for this reason that HDR is becoming very popular within today’s culture.

Exposure Fusion; is a technique where the best parts of each image is taken and seamlessly combined to create a final ‘fused’ image. So in practice, the image gains detail in where otherwise would be no details (eg. Over exposed light onto a wall or under exposed shadows in the corner of a room). This form of HDR gives a much more realistic image compared to the tone mapping form of HDR and is less noticeable. In theory, Exposure Fusion creates a much more detailed image.In conclusion, HDR can be a very effective and useful technique, but is not for every image and may not be for everyone as the surreal form of HDR may be very unappealing to people. Ultimately its up to you, you must experiment on if you like it and the amount toning/fusing you apply to the image. So what are you doing? Go out and get snapping on those things we like to call cameras.

Hey Alex
Just to add to this post, I emailed a facebook photographer "friend" of mine (who often uses HDR for his photographs) so we could see his reasonings behind it !

His Response:
"I like the clarity it gives a shot because of the hdr that it creates . it is a very interesting tool... if you use it in small amounts on shots it can really improve their sharpness rather than the over the top effect that you can see in some shots..." (www.chuckysphotography.com)


Photograph by www.chuckysphotography.com

The Importance Of A Photograph....

Today I went to a funeral of a young man aged 22, who I have known most of my life. But the only photographs I could find of him were those with a hand across the face, to shield himself from that split second where the camera takes a piece of your history. In the past I wouldn’t have thought much of this and just moved onto the next person to sneakily take their picture, but when a horrible situation like this comes about and you have nothing to show of this persons life but the memories in your mind (which with age we often loose) it starts to hit you just how important a photograph can be.
Another situation was just the other week I went to a photography exhibition on my own. This is unusual for me as I don’t usually like being alone. However I believe I benefited from this experience as I was given the chance to truly soak in the photographs and almost feel a connection with the subjects, almost as if I was standing right next to the photographer when the moment was captured. If it wasn’t for that photograph I would have never been exposed to that moment of someone else’s history and in a way that is extremely concerning.If it wasn’t for photographs or video footage we would never have understood the power of the 9/11 bombings







If it wasn’t for photographs we could be standing next to osama bin laden without even knowing


If it wasn’t for photographs I still wouldn’t have seen what my two cousin in England look like.

If it wasn’t for photographs I wouldn’t be able to see just how similar I looked to my great grandma.These things may not be very important to people but for someone like myself I believe they make us who we are. They help our brains to form ideas and thoughts and provoke emotion within.

A Picture’s Worth a Thousand Words....I don’t remember exactly when or where I first heard this saying but it seams to play an important role in my mind, like a reminder to my brain that every time I’m in a happy, sad, unusual, new, scary, beautiful situation…I feel the need to record it. Whether that be with my camera phone, a disposable camera or my SLR digital camera. People often say to me WHY Emily, WHAT are you taking a photo of that for, When do you think you will ever look at that again? I can either choose to ignore these questions or just say to them one day you will thank me.

TO BE CONTINUED...

So from the comments Casey made I was excited to discuss this topic more. {NOT PRINTING OUT OUR PHOTOS} About a year ago I could easily say I was guilty of this crime…If my images were not being used for an assignment or a framed gift to a friend or family member, they pretty much remained hidden in the black cold box of wires. But I became sick of this and wanted to be able to see my favourite pictures on a daily basis. And now as you can see my bedroom is covered in them!





So I have a challenge for you all…if you are a member of this group add to this post with 2 pictures from your life that defines you. And for anyone else passing by this blog please feel free to post a comment with one of your photos (and explain the meaning behind it). They could be of your first birthday, your graduation or perhaps a photograph of you and your friends all dressed up ready to go to your first school dance…I know I have one of them lying around….but that’s another problem, as soon as I started taking my own pictures and didn’t have my Mum placing them in nice albums and adding the little side description etc they started becoming lost in all my junk and you begin to forget – when was this taken, what was it for, who are the other people in the shot. SO girls and boys we need to get our act together! Whether that be putting your photographs in photo albums, making scrap books, creating beautiful coffee table books or even doing what I do and create wall paper out of your photographs…the options are endless!
CHALLENGE ACCEPTED:

Casey here, just adding a little to this post with my two images.
Both my images define me in that they are the reasons I started shooting in the first place. Of course one of the pictures had to be of Oliver, this one was taken when he was just a fresh little newborn at one week old. Its so lovely to look back at how far he was come since this precious beginning.

It is totally cliche but the honest truth - he is my inspiration and motivation to grow and learn and become the best version of myself, both for his and our happiness. I honestly never knew I was capable of loving someone or something as much as I love Oliver.

ps. the teddy is one of those DIY bears. Made with love, literally.. he has a little heart and note from me stuffed inside. Affectianately named 'Peanut' which is what we would call Oliver in utero.

Now this next picture isnt quite the tug on the heart strings, but it is one of my very first commerical images. Shot in all the wrong ways, to be fair I didnt know any better at the time. Auto everything in the settings, small Jpeg, NO color balance, NO photoshop. Just point and shoot and hope for best. Although I have to say, I dont think I did too badly for a complete amateur, I even had a mini cardboard syc settup next to the window so I could get a nice clean backdrop.

I initially purchased an SLR after a run in or two with some very expensive photographers who were commissioned to shoot for my then business, Ten Sticky Fingers. An online boutique of all things deligtful and handmade, I decided to stick to the old adage, if you want it done right- do it yourself. A shortcourse in SLR basics to get the grasp of things later, I was hooked and havent looked back since.

Funny isnt, how life twists and bends in mysterious ways.

xx

EMILY:

I didn't even have to think about which photos I would choose for this challenge...These were the first "pro looking" photographs I took in high school with my families (chuncky) compact camera. After this photoshoot I fell in love with photography and every object or friend passing by was captured with my shitty camera!

Many of the photographs that I take I will love at the time but a month later they often make me cringe, but for some reason I still love these photos as much as the day I took them. They may lack “technique” but I feel that the photos shows that I had some sort of talent with composition, lighting, texture etc. before I actually learnt about these things…which in a way gives me hope that I may have some sort of smidgin of talent inside me haha

Alex:
Well the immediate thing i began to think about was riding, as i not only love to ride bikes, but it is the thing that intrigued me about photography in the 1st place.
I then began to think about what defines me as a person and describes my personality, after a look through my photo's, 1 in particular caught my eye...This image in particular caught my eye, as since I had captured the image the of the wild, elusive proboscis monkey whilst i was in Malaysia. I chose this to represent this image to define myself as many have described me as cheeky, inquisitive, bound full of energy, and just a monkey in general =D

The Evolution of a Lie : Photoshop CS4

Once upon a time..  photo editing was a painstakingly long process that was undertaken within the dark room.  Before the computer revolution, photomanipulation was achieved by retouching with ink, paint, double exposure, piercing the images and working directly on the negative.

The first recorded photo manipulation was in the early 1860's when a photo of Abraham Lincoln was

altered to include the body from a different man and the head of Lincoln. As seen below, Lincoln on the left has been cut from a different portrait and imposed over the image of John C Calhoun.

For more information on the origins of early photo manipulations check out this BLOG

Fast forward just over 100 years and Photoshop started running professionally.  Along with the increase in manipulation comes a significant moral dilemma that remains an issue within the photographic industry and society in general.  Where do we draw the line within an image to be an honest representation of reality.

Is an image bound to being the capture of a moment or can we extend the realms of a photograph to include objects and ideas that weren't originally within the frame?

A notable case of a controversial photo manipulation was a 1982 National Geographic cover in which editors moved two Egyptian pyramids closer together so that they would fit on a vertical cover.  This case triggered a massive snowballing debate that only increases with further technological advances and the increase in social acceptance of manipulated images.

The question remains, is photojournalism an appropriate genre for photo-manipulations and selective editing when the nature of the genre is based around representing truth and found scenarios as opposed to perhaps fashion photography which relies heavily on created scenes and emulating life in a surrealistic and desired manner in order to sell.

The growing popularity and accessibility of image manipulation has raised concern as to whether it allows for unrealistic images to be portrayed to the public. In her article "On Photography" (1977), Susan Sontag discusses the objectives in photography, "which fiddle with the scale of the world, themselves get reduced, blown up, cropped, retouched, doctored and tricked out". A practice widely used within the fashion industry, the use of Photoshop makes it increasingly difficult to differentiate fact from fiction. With the potential to alter body image, debate continues as to whether manipulated images, particularly those in magazines, contribute to self-esteem issues in both men and women.

Key example of this altered reality within the fashion industry is a recent campaign for Ralph Loren wherein model Fillipa Hamilton was represented in such an overly photoshopped form that her body appears to frail to be supporting her own weight.  The image sparked debates world wide about the appropriateness of these images and the implications they have for woman's self image.  It also added to the increasing support for a world wide standard to be set in place requiring the media as a whole disclose when an image has been retouched and to what extent.

Since the release and further apology from Ralph Loren the model in question has been release from her contract with Ralph Loren, reasons stated were along the lines that she no longer fulfills the requirements of her contract.  However Hamilton has informed the media that she was fired for being too fat.  More info HERE .

There is a growing body of writings devoted to the ethical use of digital editing in photojournalism. In the United States, for example, the National Press Photographers Association have set out a Code of Ethics promoting the accuracy of published images, advising that photographers "do not manipulate images that can mislead viewers or misrepresent subjects." 

Clearly though this is not the case within the following examples all sourced from blog site, Photoshop Disasters 

glasses... an afterthought perhaps?  

boobunderarm-syndrome.. or maybe some cloning an body dismorfication gone wrong.

What an interesting looking right hand you have Ms. Portman.

Just twist your body this way but keep your arms that way and extend your arm like its made of rubber

Just when you thought photoshop only distorted womans perceptions of reality, its all balanced off with a stolen six pack.

So.. what's the solution?
It could also be argued that a labeling law of any sort would then open up the forum to require warnings on nearly all ads, including those that alter reality in other ways. For example, few roads are as serenely traffic-free as those in car commercials. But here’s the distinction: Although that open road deliberately conveys a bogus sense of driving delight, the road itself is not the product. The car is the product. In fashion ads, however, whether for clothes or makeup or shampoo, the model’s beauty is the product, or at least the direct result the product is meant to achieve. Because that beauty cannot be obtained via the merchandise or is simply easier not to, the touched up image becomes the cheapest and easiest way in which to create the desired selling point.  Is this then considerd false advertising?


It’s also easy to imagine even broader warnings that would flag beauty achieved not only electronically but also medically, denoting the particular bits on a model that have been surgically enlarged, reduced or smoothed out.

Warnings or not..being told that you’re watching an ad, even a deceptive ad, does not stop you from desired its effects. We like to think we’re too savvy to be seduced by clever commercial trickery, yet at the supermarket, we are strangely drawn to Coke. Or Pepsi.

The Question Remains

Who is ultimately responsible for an image and its content?  Are we to us our own judgment in determining whether we allow ourselves to believe the content we see or should images be passed through some sort of governing body?

Is it ok to remove the pimple from the face of a bride so she may remember all the perfections from her special day not be reminded of that one blemish every time she views her wedding album?  If so, does this open up the doors to further editing in the global market as we see in commonplace advertising?

Where do we draw the moral line in the sand... or is it ok as long as noone can tell the image has been altered??

A few more links to help you decide:
Dove Commercial
Retouching: Before and After
Photoshop: The Perfect Lie

You, me and everyone in-between

Here's some info about us and our styles!

Hi, im Alex. Born in 91, currently studying in my 2nd year of Photography at SBIT (pronounced spit). I like fluffy bunnies and crayons, and enjoy long romantic walks on the beach and pina colada's. I mainly photograph extreme sports, but photograph many other subjects such as fashion, food, portraiture, etc.

HI - Casey here. I am not so much into the technical side of photography as the amazing stories and interesting artistic styles blended with a dash of fashion and portraiture. I am also majoring in commercial photography with QLD college of art and balance the intricacies of study life with a healthy dose of coloring in with my son.

xx

Okay, over to me...David. I'm a late starter with photography. I used to do words professionally. Lots and lots of plain bullshit words. But now I prefer the ambiguity of images to the imagined certainty of words. I especially like portraiture; individuals rather than corporate imagings. And I like the potential for images to defy orthodox understandings [What the!]. Enough... Here's one of my images before I go............................

The name is Emily... 20 years old and still so unaware of the world out there. I believe in order to discover who I am as a person and photographer I need to get out there and EXPLORE!

Hi my name is Nic Gossage, I am currently studying at SBIT in Brisbane. I enjoy shooting a wide range of photography and capturing the image's on different formats .

Hey i'm Yasmin. I'm 19. I love all types of photography from sport to fashion. I prefer my images in black and white.

Hi all, my name is Bree, 18. My speciality is fine art and nature, i like to bring attention to different ways in seeing as apposed to just looking. My photos vary from as shot to lots of post work but i personally prefer a natural look.