Daisy Lovely trained as a make-up artist at one of the most famous schools in Hollywood.
Her hobby is to create collections of images of females that constitute outstanding examples of make-up and photographic artistry.
The topic of this Vol. 9 is the art of utilizing flowers as props in portraits of women.
Here is Daisy’s comment on the cover of this book:
Note from the fabulous image on the cover the following: Our eyes are automatically drawn to the model’s head not only because of its position within the frame but also because her head is brighter than her legs and feet. Another reason is that her head is framed within her arms — a frame within the frame of the entire image. Whenever I view this image, which is often, I find that my gaze always enters at her head but then, instead of exiting the entire image as we discussed in Vol. 8, it proceeds down her left hip and leg onto the bed of flowers in the background, where it lingers, briefly, on the flowers in the lower left portion of the frame. My gaze lingers only briefly for the following reason: Because of the positioning of the flowers in the lower left of the image, my gaze proceeds up the stems to the petals and from there up to the head of the model and then onwards to make another complete circle.
Here is another characteristic of this image that makes it fabulous: the magnificent posing of the hands. Posing of a model’s hands is considered by many artists to be an art form in and of itself.
I agree and shall therefore devote an entire volume to it.
As in previous volumes, the organization of this Vol. 9 is simple: Each page consists of one high-definition image plus a link to the portfolio of the photographer who created it.
Daisy’s hope is that readers will enjoy viewing this collection of images as much as she has enjoyed creating it and then periodically viewing it on her HDTV after downloading the appropriate Kindle app for her computer.
Her hobby is to create collections of images of females that constitute outstanding examples of make-up and photographic artistry.
The topic of this Vol. 9 is the art of utilizing flowers as props in portraits of women.
Here is Daisy’s comment on the cover of this book:
Note from the fabulous image on the cover the following: Our eyes are automatically drawn to the model’s head not only because of its position within the frame but also because her head is brighter than her legs and feet. Another reason is that her head is framed within her arms — a frame within the frame of the entire image. Whenever I view this image, which is often, I find that my gaze always enters at her head but then, instead of exiting the entire image as we discussed in Vol. 8, it proceeds down her left hip and leg onto the bed of flowers in the background, where it lingers, briefly, on the flowers in the lower left portion of the frame. My gaze lingers only briefly for the following reason: Because of the positioning of the flowers in the lower left of the image, my gaze proceeds up the stems to the petals and from there up to the head of the model and then onwards to make another complete circle.
Here is another characteristic of this image that makes it fabulous: the magnificent posing of the hands. Posing of a model’s hands is considered by many artists to be an art form in and of itself.
I agree and shall therefore devote an entire volume to it.
As in previous volumes, the organization of this Vol. 9 is simple: Each page consists of one high-definition image plus a link to the portfolio of the photographer who created it.
Daisy’s hope is that readers will enjoy viewing this collection of images as much as she has enjoyed creating it and then periodically viewing it on her HDTV after downloading the appropriate Kindle app for her computer.
