Giuliano, I agree with almost everything Hugo said. The photo is absolutely superb. The slight tilt adds an element of tension that very effectively pulls us into the moment and makes us care about what is happening. Bravo! I do agree that the left edge of the photo could be altered slightly to not have our attention drawn away from the main focus of the photograph. In my case it isn't the bright edge of the scene piece that's bothersome. Rather, the person on the left is one too many people. The prompter (?), the man in back of him, and the person on stage form a perfect tableau. The person on the left pulls us out of that. I created a rough of idea of what I think can be a solution which is to dodge the left edge in such a way as to create a shape that could plausibly be there but be unrecognizable as a person. There is also a slight burn on the lower left edge of the photo that you might want to correct. No matter if you change the photo or not, I want to reiterate that I think it's superb!! Steve
Per certi versi, mi ricorda "From the backstage", cambiano i personaggi, ma soprattutto il piano di messa a fuoco, a me piacciono un sacco questi giochi con la ghiera dell'obiettivo. La figura a fuoco attira l'attenzione e l'occhio cade anche sul copione, quasi quasi viene voglia di controllare se l'attrice se lo segue passo passo ;)
Domani mi chiudo in camera oscura, ma a scuola ;) Prima lezione di stampa (abbiamo già sviluppato il primo negativo), i ragazzi sono entusiasti e ti aspettano ;)
Hi Giuliano, First of all, I find such scenes, hinting at a candid shot, always very appealing. There's a tension in it, that arouses my curiosity....
As to the tilt in this image, I think it's one of those rare occasions where it actually has a use and has been applied very well. It creates the feeling we're trying to look around the corner too, observing what happens on stage without being seen by the audience.
Another very strong thing in this photo is the suggestion of the stage, created by the already mentioned tilt, but also the other (normally) peripheral subjects. The script, the old wall, the concentrated look of the man in focus, the out of focus, yet still recognisable exaggerated pose of the player and, of corse, the use of a wide aperture.
THe Shallow DOF, creates a very strong perspective.It focusses on the director of the shot (in my version of the story, that is).
As usual, the tonal range is spot on, but I wouldn't expect anything less from you.
The only thing that bothers me is the lack of something to block the viewers eye from wandering off on the left side of the image. IMO, the preferred scene would have a dark, out of focus shape near the left edge. The reference of the man cut by the left edge is, in this situation, more of a distraction than an addition. After toying around with the image a bit, I think it's not so much the man that disturbs me, but the brighter side of the wall on the left. Maybe you could've cropped the image a bit, even though there's something to say about using the full frame... I've attached the alternative I have in mind.
Either way, there's something very intriguing and powerful in this photo. I think this has everything it takes to be a winner.
Superb storytelling shot! Use of B&W is an excellent decision. The B7W and the great use of DOF confines the viewer's interest to the focused subject, which in this case is the director of the play. This is important since the lighting, frame/crop, and shooting angle seems to imply that the center of focus is out on stage. By excellent use of DOF (and also B&W) you have powerfully led the user to ignore the drama onstage and instead focus on the drama off-stage! The posture of the director conveys high tension. By shooting over the shoulder of the director you cause the viewer to adopt the directors point of view. Fantastic shot!!!! 7/7 and a favorite. Many congrats!
al momento giusto e con una tonalita' fantastica..definizione e luci da favola..ciao giuliano..sempre dietro le quinte..eppure prima o poi ti troviamo pure a recitare
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