24-FEB-2007
Cris Chen
Krystal cried. She bit the barbed wire and she cried. This was at the end of the first set, by the green wall. Cris was able to catch the tears this time, in this taut and powerful composition. It is amazing to see Librodo at work with Krystal. The workshop in essence is not a 'get 1000 pictures in two days' session but a give and take between a master and the model who trusts him. And we come away with stories, like this one by Cris.
24-FEB-2007
Shaolin Tiger
Gareth's composition moves the eye with ease. The lines of the building in the background lead to Krystal's face. The line from her elbow to her shoulder does the same. The line of the column she leans against echoes the same action, so her face becomes the intersection of the lines. This photograph stacks its elements to produce an attractive and pleasing composition.
24-FEB-2007
Jimmy Sin
In his deliberate composition, Jimmy captured Krystal in a diagonal pose, with her eye in a hotspot, using the rule of thirds. A classic tight composition, this black and white focuses on lines and contrast to bring attention to the emotion on Krystal's face. Like Jimmy, we learned that sometimes it is not necessary to show the whole face to convey an idea.
24-FEB-2007
Fazli
The workshop began at the green wall, where the morning sunlight created shadows and wonderful side lighting. At first everyone was calling, "Krystal! Look at me." Krystal was a little perturbed by the call and exclaimed, "There's so many voices in my head!" as everyone laughed. Librodo later made the point that yes, eye contact is a traditional studio maxim for portrait, but that sometimes, the catchlight is elsewhere.
24-FEB-2007
Andre Tong Ann Lik
Andre chose to compose with Krystal slightly off center in this photograph. The diagonal lines of her right side and the leaves on her left leading to her face frame the photograph naturally. Sometimes, a center focus works, if the elements surrounding it maintain a dynamic relationship to the subject.
24-FEB-2007
Majdi
In Majdi's photograph, Krystal seems lost in a leafy forest. Shot in a space of two feet by twelve, amongst giant bird-of-paradise plants, this photograph uses contrast effectively to bring out Krystal's face.
24-FEB-2007
Fazley
Fazley tries to catch Krystal's eyes catching light. Librodo taught us the importance of finding the light, and how to ensure that the catchlight makes the model's eyes brighter and clearer, one of the crucial criteria for a successful portrait taken in available light.
24-FEB-2007
Suhaimi
The shadows lead the eye in the photograph, creating dynamism in the composition. Suhaimi added mystery with the postprocessing, effectively using blending modes to add depth.
Joe Low
The workshop included postprocessing techniques in the afternoon of the first day. Many participants have done minimal to no postprocessing in their own work, and the instruction focused on how to artfully enhance the photograph so its elements bring the eye to the subject. Here, Joe uses a masking technique Librodo taught to emphasize the soft lines of Krystal's face and arms juxtaposed against the green leaves, so that the lines of her arms lead the eye to her face.
25-FEB-2006
Thian
Thian perches the balance of this photograph right on the edge. Edgy in more ways than one, this composition creates depth and mystery, depth with the play of blur and sharpness, mystery with the angle of Krystal's body and face, and the tilt of the mask. Timing was crucial in the workshop, as Krystal delved into her emotional repertoire and gave a carnival of captures.
24-FEB-2007
Cindy's Take on the Workshop
Cindy Tan, the wife of Andre Tong Ann Lik, came on both days. She was extremely helpful in helping us with lighting on both days, inspite of the mosquitos and the long, hot hours outside. Here, Cindy presents a behind-the-scenes collage of the first day. Thank you, Cindy.
