Cap Haitien 4 Photo

Photographer’s Note

This handsome guy is another kind soul who more than happily posed for my picture in the streets of Cap Haitien.

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Critiques | Translate

wolf38 (13011) 2007-08-15 4:33

Hello Nana. A outstanding Portrait. The view of the man is very direct and intensive, - it can not be interpreted. The photo is strong, it pleases me very well. Best regards, Wolfgang.

bombilla (3402) 2007-08-15 12:43

A subdued character and his subdued character. These faded colors in a fading city, sharpened by the intensity of eyes that have surely seen much and do not share all. -Hugh

dareco (17104) 2007-08-17 0:32

This is another of your great portraits!! The background is great, and his expression as well. Excellent!!

noborders (14201) 2007-08-18 7:00

A great portrait, from a great country... I wonder what were your impressions of that poor country, so rich in colours and culture ? (I returned there not so long ago...)
Regards,
Cath.

eleparc (24059) 2007-08-19 9:54

Bravo Nana, I Love the soft colors and the portrait. Superb POV!
Eric

batalay (21112) 2007-08-25 9:59

Hello Nana,

I just critiqued the most recent photo you submitted, and had a quick tour of your site, www.visualgeography.com. It is imaginative and well conceived.

Regarding your portraits, they are all excellent. But in the spirit ot Trekearth, I would like to make a small suggestion:

I like this portrait of the portrait very much. It is a highly effective portrait. The technical aspects — composition, perspective, resolution — are all excellent. Beyond these, however, you have intuitively (or inadvertantly) positioned the subject so that one of his eyes (here his left eye) is very close to the vertical bisector of the frame. Either consciously or intuitively you put one eye of the subject right on the vertical centerline. It was discovered in 1998 by the British-born psychologist Christopher Tyler that in all great portraits (from Leonardo's Mona Lisa to the pyshological masterpieces by your countryman Rembrandt, and even the portraits by Picasso) the centerline passes through one eye of the subject. It can be the leading eye, or the trailing eye (when the head is slightly turned). No art school teaches this principle. The great painters intuitively practiced this principle. I wrote about it at length in one of the chapters of my book, "Math and the Mona Lisa."

All your photos are excellent, and especially this one. You might think about that principle. (I am writing a new book for the National Geographic, "Leonardo's Universe," and in one chapter I will again focus on such technical issues.

Warm regards,

Bulent