I think the main problem that I have Kirsi's editorial is that it's shot digitally (Roversi has been shooting digitally a lot more these days, which is probably the reason for his abundance lately). Roversi's work that I'm most familiar with and a fan of, is usually about his mastery of traditional, meticulous photographic processing. In many ways stylistically, it's very much like Tiiu's editorial, A Poetic Spirit. Stylistically, it has the same elements; they both have a look made regal by the styling, drapery decorative backdrop and vignetted light. However, it's so different because there's no special touch, no intimacy. The focus is so sharp, showing you every intricate detail-there's no spirit, no omnipresence, it's just what it is-just fashion; and for me, that’s where it becomes less interesting. When he was working with film, you could see the process so much more, therefore you could see the care.
Throughout the editorial, Kirsi's expression does have range, it's just very subtle, just like Tiiu. Their consistency makes it all the more about the garments because that's what Roversi does-create beautiful portraits of beautiful gowns and dresses, which is why he does wonders for couture. Kirsi does a good job; I always love how Roversi brings out this beautiful humbleness of whoever he photographs. But I think that this, like most of his work lately, lacks that silent passion that has became his style.
Throughout the editorial, Kirsi's expression does have range, it's just very subtle, just like Tiiu. Their consistency makes it all the more about the garments because that's what Roversi does-create beautiful portraits of beautiful gowns and dresses, which is why he does wonders for couture. Kirsi does a good job; I always love how Roversi brings out this beautiful humbleness of whoever he photographs. But I think that this, like most of his work lately, lacks that silent passion that has became his style.
Last edited by a moderator: