I didn’t let the mirror be “symmetrical “, but let it overlap a little “mixed” with the subject – this sense of overlap just corresponds to her half-covered posture.
In terms of composition, I nailed the visual center of gravity to the blue light of the eyes. Bright eyes are very good for expressing emotions, coupled with the surrounding cold tone gradient, so that the focus does not have to be supported by the “complete face”.
I think the shadow on the wall is not a simple light projection, but more like a better expression of emotions. Her posture itself has a sense of relaxation, and the shadow overlaps with her outline. Let the portrait change from “shooting people” to “shooting the emotional atmosphere of her”. I blurred her outline and shadow in the picture, and there is no complete facial presentation in the composition because the posture and shadow can better convey emotions.
I like the role of the mirror image here very much – the relaxed posture of the subject leaning on the arm itself has a sense of alienation. After superimposing the mirror image, it is more like I have captured two “herselves”, like a narrative appeal. In addition, there are many details in the portrait. The texture of her clothes, the small metal hair clip, and the state of the nails in this photo are relatively loose . These small details keep the identity connection of “her”. And in terms of composition, I cut part of her hair – I don’t think the portrait has to be a complete face. The eyes and hands in this picture can already convey emotions. With the cropping of the mirror image, the visual focus will flow between “face-hand-mirror”, which is a little more imaginative than taking pictures of the whole face.
The edge of the mirror image is a little too hard. Next time, i can turn the angle of the mirror to make the focus of the reflection area a little weaker than that of the subject, so that the sense of reality will be stronger, and the main can be clearer.