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Professional Photographers Critique Student Images

Lesson 3 of 26

Engagement Critique Part 3

Sue Bryce, Scott Robert Lim, Bambi Cantrell, John Cornicello

Professional Photographers Critique Student Images

Sue Bryce, Scott Robert Lim, Bambi Cantrell, John Cornicello

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Lesson Info

3. Engagement Critique Part 3


  Class Trailer
Now Playing
1 Engagement Critique Part 1 Duration:33:35
2 Engagement Critique Part 2 Duration:29:38
3 Engagement Critique Part 3 Duration:39:13
4 Wedding Day Critique Part 1 Duration:31:12
5 Wedding Day Critique Part 2 Duration:22:28
6 Wedding Day Critique Part 3 Duration:16:39
7 Bridal Party Critique Part 1 Duration:27:27
8 Bridal Party Critique Part 2 Duration:26:25
9 Bridal Party Critique Part 3 Duration:20:54
  Class Trailer
Now Playing
1 Landscape Critique Part 1 Duration:27:18
2 Landscape Critique Part 2 Duration:32:13
3 Landscape Critique Part 3 Duration:25:13
4 Advertising Critique Part 1 Duration:28:59
5 Advertising Critique Part 2 Duration:29:29
6 Advertising Critique Part 3 Duration:22:46
7 Fine Art Critique Part 1 Duration:25:54
8 Fine Art Critique Part 2 Duration:25:09
9 Fine Art Critique Part 3 Duration:16:28
  Class Trailer
Now Playing
4 Illustrative Critique Part 1 Duration:29:20
5 Illustrative Critique Part 2 Duration:13:46

Lesson Info

Engagement Critique Part 3

I cannot stress to you guys how important it is that you just get after it you know, just embrace your fear just embrace it you know? We all have fears and I mean I will never forget the first time I ever submitted a print a photograph for competition and I didn't do very well and one of the judges actually was a little bit on the roadside and I don't like I think that's that's sad but you know what? I'm gonna I'm so glad that I did it because we don't learn from the stuff we do right we learned from the mistakes we make and when somebody brings up something to your attention and then they show you how to do it it's like ok tomorrow morning and let's get after it and we are going to do better and I always believe like scarlett o'hara tomorrow is another day on in fact, for those of you that are out there what this is what my challenge to us okay learn from the critiques this week that we do and the next time we do critics because I know this isn't the last time I want you to submit ano...

ther image and do it better than you did this time I promise you you're going to grow as a photographic artist so quickly, so much more quickly than the people out there who are just the spray and for your kind of guys that just do everything and just say well, this is my style of love love law I think that's the biggest bunch of baloney I've ever heard in my life I think that as humans were always on a strive to do something better and and in a more interesting way and if you always only do what you've always done guess what you're only going to get what you've always got so you know don't be afraid I can't tell you not to be afraid be afraid but do it anyway you know just do it so I got to share a story for the very first time that I submitted an image for anybody to see with a bambi's workshop was it it was about seven years ago eight years it was he did something in atlanta so I don't know whatever whatever wass you know she had that amazing what was that book that you had that was a best seller that came out the art of weddings or something like that and talk and then she's having weird sounds like I've got it ghosts I gotta learn from this person so I went to the workshop and everybody's submitting images right and still my image comes up and it wasn't very good that the entire class started laughing at it and my heart just suck a little bit a lot right? But I always remember the band didn't laugh at it and she gave him a constructive critique about it, you know, it hurt it really did hurt, but I learned a lot from it, and I just kept putting one foot in front of the other, getting better each year and slowly but surely I got to the point where I, you know, could tolerate my imagery, but in the beginning, it does hurt it's not easy, but you have to put it out there to learn and, you know, to this day, I've never taken a good photograph, I'm not getting you I still to this day, I know that maybe some of that's ridiculous, but I'm not kidding you every single picture I take this crap, I go, oh, I wish I'd done it differently. I mean, literally, with thirty seconds, I'm going, oh, if I'd only done this or only done that, so get prepared this your whole life, you're gonna have that so it's all right? You know, I think if you start having that attitude where I've already arrived and I'm a big deal, you know, and I don't care how good you think you are or how far you you think you've come, you always feel like that, and so you're always going to feel not confident about doing something, no matter what point of your life is so you just have to get used to of your fear and embracing it and putting out because you're gonna have it your entire life I don't care how good you think you are because you're always going to be improving, innovating, pushing yourself in, trying something new all the time so it's just with us the rest of our lives and our you're only as good as the last picture you took so if you know if you just crawl under a rock and don't do anything and guess what, you're not going to get better and it's just gonna be one of those things that happens, okay? Okay uncle scott, what do you think about? Okay, well, it's one of these kind of hdr pictures again showing the detail that the place of this this whatever this opera house or wherever this is was completely beautiful, but the subjects to me are kind of getting lost in this picture. S o I would like to either change the camera angle, maybe move them closer to the camera uh t get them a little bit bigger, but then you can still keep the background in the lighting to me is a little bit too obvious and what I mean by that he said, I see absolutely no this the shadows on them are you don't see it you don't see that drama in the photo so in a particular picture like this where that background has a very dramatic feel to it and then you like the subject so obviously, which I like I like to say without any child, so I would like to get the lighting off the camera mohr to create more drama in the photo to match the background and to move them up I might have in terms of post processing has a bit too much yellow in it for me, so I would like to meet the colors a bit so it's not so saturated there, but I applaud the photographer for trying to incorporate the background um and the subjects in the photo and what happens, I notice a lot of this particular style is that I noticed that a photographer gets confused and what they're trying to do is show two things at once, but coming from a graphic design background, you got to choose what you want to create the impact is that the background worth the subjects? And once you start doing both, then the viewer's eye starts they don't know what to concentrate my concentrate on background, concentrate on the subject and with that confusion you lose the impact of the image great images you see, whatever that that photographer or that artist wants to see first bam, you see it first and then all the other elements compliment that picture so in this particular case, you know, you kind of look at the back and you look at them and then there's equal importance on both, and so I would like to see probably a shift and choosing what they're trying to feature here. Yes. So for this to improve this shot, would you have brought them closer to the camera then and shot more wide open? Well, you could have kept the same angle and everything if you just simply moved them up to chairs or so right, so they would run. Yeah, they're a little bit larger. Um on dh c I don't know that it doesn't bother me where they are in the photograph there are three elements that are making this photograph. Not work for me is the fact that she's got her arm ah, horizontal up around his head. If she had that the arm that's up around his neck, if she were, like, leaning on it to lead towards him to get cozy, I would feel more that it would feel more believable to me. I actually like where their position because I can see her legs. I think it it to me it makes it it is a nice line that leads to them as a couple, I do believe it that they are too the whole scene is too bright the background does compete for attention with them as a couple on I find that this might be a good opportunity to use one of those smaller video lights for instance the ice light, the jury gayness I slight or even the little g g l one would be a fantastic tool like a small spotlight and that way it's not so bright in the picture and it's not so there's not so much light and whole scene because I feel that the whole image needs to be just a bit more moody. Yeah, you could take this exact same image, right? If you would have brought that back a background way down they would have popped off more on even the chairs leading to them if you could take that down um and then you could see them but it's just the dizziness of everything kind of being equally lip that causes confusion um but it is a very sellable print, so for that if the makers out there I don't want you to be discouraged because I'll tell you, even though there are a few little areas of imperfection in this photograph this is a really the interesting photograph and I'll tell you what in the mind of your client, I think they would love it this would be the kind of photographs that I would want on my website or in my marketing material, because it is a bit of a surprise, it looks, it looks a bit different, and while we might critique it from my mom or of a technical standpoint, it's still going to be a very nice photograph for a client as a well factor do it. This photograph falls a little bit short for me. First of all, I love when people incorporate architecture in their imagery. I think this is this environment is absolutely beautiful, but we have seen so many pictures where you have the little people, and I'm not talking about people of small sch of short stature. I'm talking about where you take the the subject, and you make him a little tiny person in the picture, and the problem with that is that you have to really fight to see them, and with very few exceptions, it's been done by everybody and their brother. So I mean, markets fell, I think, are a ryan chamber where maybe the to the first two people I ever saw you do that, and they did it very effectively where everything, even though the person was a very a tiny element in the picture, you could not miss that person, they were absolutely they were, they were, it was very obvious that they were there, whereas in the scene for a few minutes you have to kind of really look around to try to find the bride and groom and even though they're placed right in the center, I just feel a cz though there's there's other elements that are competing for attention like the white lines that are underneath where their feet are, see how there's that white line that goes across on that the yellow, the yellow strip there's white kind of the flooring is a bit bright on many of those, and so those those white lines compete for my attention immediately think my eye goes right to them and so I have to kind of fight to find the subject I think he can make this photo work, but you have to do a lot of editing, teo I mean because like them said, the the subjects are completely lost thinking, where are they what's going on here? But the architecture is stunning, so you would have to bring down this a lot and bring them out a lot to make them more obvious and I'm not sure if it's worth it to spend all that time you know you can do it I'm sorry to meet you recognize that there is a really pretty easy way to do when you do your editing process there are some companies like like a graphic authority that makes some beautiful dark textures that are fantastic that can actually look great for bringing down the tone ality of a photograph, and then you can paint the met, paint out your subject by using a layer mask. There's also another cool company that has some killer textures, and I'm a texture junkie, so I I absolutely admit it. I own him from everybody just about but there's a new company I found that I love and it's called shutter stock, dot com and here's the deal with shutter stock. They don't pay me anything to tell you this, and I want to know all of the other texture. People are going to hate me for this because I'm not getting in. They have a bazillion textures, but here's the deal with them, they had this thing where you can buy five for, like twenty five dollars or something like that, or you could buy, like, you know, one for twenty five and like five for fifty or something like that or you can buy. I'm like thirty chester's a day for a month for two hundred fifty dollars. Let me tell you, guess which one I purchased on every single day I went and I downloaded loaded more, but it was great because they have a variety of different kinds of things that you can add to your portfolio and there they're really they've got some very beautiful textures that would make that could actually look great on an image like this that are not busy because you don't want something that's going to that's going to become a distraction now if you were to take the same images you wanted to incorporate the background um I I love looking for circles and lighted circles I don't know people saw my recent images from china but I kind of had a similar situation where there was this circular light that was above and what I did was I brought the clients a lot closer to me and I shot them kind of waist up and then I put that background in the background like that so you could do the exact same thing if you wanted incorporate that but that would just bring their subjects way up to you and kind of just shoot him maybe just kind of waste up and then with that same background I think it will have a much higher impact I love the connection between these two people and you know one of the things that I like that the maker does it looks like it's za bright sunny day so what they did is they found this you know this is like generally the twelve o'clock noon is not like the time of the day when we like to photograph but there are occasions when we're required to do a job under circumstances are that are not ideal and I'm a firm believer in, you know, letting and doing the best job I can under the set of circumstances, so that doesn't mean some there are times when for affection does not apply in this photograph I like the way that the the atonality that they've chosen to process is I think it actually works for this couple to overexpose it a little bit I like the fact that the groom's hand is on her face and his thumb is right by her cheek I don't it looks believable to me, I think that what I would have probably done was moved my camera position around the subject slightly so that I'm not looking just at the back of his head I feel that that is pulling my eye away a little bit and I'm also wondering if I couldn't have if the maker would crop off a bit of that area like where the back of his head is in his arm do we really need to see so much of his shoulder and so much of his back because it's brighter than her faces? And so I feel that it competes and I don't know that it's adding anything to the photograph? Yeah, the angles of it I mean, she looks great at that angle, but then again you're just seeing the top of his head so and so him which would she looks great there but he's kind of just not too attractive in the way that that's being shot and so cropping part of that out would help changing the angle not shooting the top of his head and all those type of things would work and also it's always difficult when you're using like this is the reason why ah weddings there so difficult is that you get sharp contrast of tone and so in this particular in case the umbrellas a lot darker than what they're wearing and so that's kind of competing and creating that contrast eso if they may be used with a lighter color umbrella it might have worked a little bit better and so um you know, maybe that wasn't an option but I totally understand but just changing the angle of it I think would help this a lot and cropping in green I'm seeing this in lots of photos that we've reviewed the crops like half a hand at the ankles and stuff is that becoming less of a no no no it is it is it you know it's it is a no no where you crop like in the traditional realm of photography you're not supposed to crop at the joint like you would not crop my hand here because that looks like you don't have a hand so fingers yes eso in and in the technical riel world of traditional realm of you would not want to crop it like where the fingers are. However there there is some flexibility in that if there is a great deal of energy in the picture, if it's a dynamic photograph to begin with in editorial photography specifically which editorial is photo is photography that is more playful, more fun imagery that does not is not super static and other words it's not super, it looks more like like you happened upon a scene, those rules become of less importance. In other words, they're not like deal breakers. If it was being judged, that would not be practice it, but that would not be the big thing that the judges were would look at in this photograph, they would be the first thing that would be docked points from would be because his jacket is so bright thing that that number is number one. The fact that we see the top of his head, the second area and I really believe that if if the maker had just moved there camera angle around, you could have gotten rid of a lot of those issues like the hand her hand in such I and I don't know that we even need to see where her hand is maybe crop it a little bit tighter because do we really need to see the left hand side where that umbrella area is is all of that important? So you have to think about those elements and and I try not to get too hung up on traditional rules of perfection, but they are there for reasons, and they are important. That's one of the things that separates us from an amateur with a good camera is that we understand the rules, but there are times when you can break the rule successfully. Great question. Ok, in this particular photograph, remember how we've talked a lot this morning about about body language and about the importance of how that the way that you've been joints and the way that you you move the body in her case she's sitting on flat on duke's her her booty is flat to the ground or whatever she's sitting on so there's not. And because of that, it doesn't look believable that she's got her face turned to awards her young man it's like she's turned just her heads, turning us again. Her body is saying no, no, no but her face is saying yes, yes, yes. So there are some things that you can do to make that more believable and here's one of them. Instead of having your subject, I need a chair, so he wanted you all to come up with a chair, okay? Okay, you know what? I would have you do, erica, right? Okay. Erica, sit down. Just sit down on the chair. Just good park your dues. So this is what's happening. She's not turn your face this way. See, she's, that this is like this is a kind of what's going on with her. But instead, instead of doing that let's, try something else. What you stand for second. But this time when you sit down, erica, I want you to sit on your thigh. You're going to sit on this part of the thigh? Not on the back of the five, but on the front of the fye just barely park your dukes. I want you to scripture, but I want your butt hanging off scooter or two that left hand over that started more. Yeah, very good. Okay, now take this arm and bring it down here on the cushion and with your chest. I want you to lean towards me. Now, do you see how by doing that? See now her energy, her, her body energy is leaning in this direction so that if I were her, if I were her, her boyfriend or her husband or whatever, then that energy flows together. Does that make sense so the real difference is where your subjects sits in the chair now just this we've got her seated notice what happens with her legs take this leg and I want to stretch out bring in front of the other leg beautiful okay so now okay see now how we've taken they put it side by side just put your like side by side see how this makes sure likes look thick and heavy now could do that again see how we've taken that energy now and we've drawn that air it's created beautiful s curve on her body she's going yeah this is so I feel like a pretzel but I'll tell you what it's going to straighten out your spine perfectly I mean it's just a great way to go but there's one of the things you're standing for a second one other thing you can do you don't always have to have people sit on the side of the thigh here's another way that you could do okay come and I want you to sit down but this time you're going barely sit on the edge of the seat both dukes I mean just barely park your dukes on that I mean very much now I want you to slide back just like that I wouldn't set up beautiful now do you see how much straighter her spine is? Why? Because she's sitting on her thighs now she's not sitting on her backside so stand up for a second and I just want to sit down like a gold party just sit down here I'll do it so you this's the basic body post e are people I know get a feel for that but I'm sorry I'm just too old to change, okay? But this is kind of what we dio you know and it's not pretty it's not pretty for anybody because look what's happening with my tummy e and our girls were just hanging down it's not good for anyone but by having that person stand up and then sit on the very edge of the seat and then slide back you shift the center gravity so that the biggest part of our body, which is our booty is in the back and then and then it makes your back it just naturally makes your back stand up straighter not unless you're asian guy, then you don't have any way we're going talk tio I'd like to say core and who this is her image, she says I love that bambi doesn't just say that that is what is wrong instead she shows me what I could do right to improve the image thank you so much for that, okay, so you know what your homework is now for next time I want you to work on that pose because I'll tell you what you're doing right? She's got a great connection I mean, of the groom in this picture, it looks like he is all over that chick he looks like he loves her to death and so I just want to see her feel more part of that scene. I think you know, what we've been learning is that the lean help creates the connection, so when you're opposing your subjects, especially, uh, when you're posing a couple together, you got where they leaning everything that obama has been talking about, it is legally he's not leading, so that lean creates that energy in that direction so you can see the lean as an energy it's just like posing right let's say, here's a camera, right? And I'm standing up straight like that, but if I kind of lean towards the camera, I'm pushing my energy towards the camera, same thing when you're dealing with subjects, too, and so you've got to be always mindful off where that leaning process is. There's there's there's has a great date, they I love the way that they feel. I mean, this photo has potential being really amazing because of look at the way that they're looking at each other and they're feeling and usually to get a guy to the internet and feel like that that's not easy to do because usually that the guy it's it's really hard for to get that emotion from the guys that they talk about did a really good job with that. The lighting might be a tad. It looks like maybe there'll be using reflector or something like that. That questioner but it's a ten, strong and I would pull the lighting because ok, this is what I like to do. You see the highlights in the background and see had the highlights on the trees. Okay, and see how the light hits the trees. So whatever. However, the lighting is hitting the background. I like tio have the same lighting on my subjects, so it looks believable. So when the light is just in front and to kind of on camera ish it's not gonna have that drama like the background is so if you move that reflect her a little bit more off to the side and you can see some shadow on her cheek and you create a little bit more shadow on the subject is going to be a lot more believable in regards the lighting. And so you put all those things together posing in the lighting and wow, bam, you're going to have a beautiful image there. Just to say she did use natural light with a silver reflector only ok, so maybe with that silver reflector turn it on the white side because the silver was a little bit too strong. The other thing about that just really quickly I know we're running out of time but is many people like for instance let's say that this is the light source here let's say that that light is the sun many people turn a reflector like this and use the full strength of the sun right on the flat part of the reflector you're better bed is to turn your reflector like this so that the sun barely skims across it to just give you a whisper so let's say that scott is our subject and the sunlight is right there so rather than go like boom and then cover most of his face and flat light his face I might want to go like like this and and just have just the edge of the life see where I'm standing in relation to scott so the reflector there's the sun there's, the reflector and just the edge of that light is going to highlight his face and a white side the reflectors going to be much softer, softer side so I think it could be absolutely absolutely beautiful in this particular photo I like that they're trying to create a dark mood here um but they just it kind of missed a bit because the lighting is not even on their faces and he's post awkwardly he's like, you know, leading there's no connection there between their bodies together and the lighting is this lighting is not even on their face it's on his ear so his ears being focused on here? S o I think if the lighting was done better on and he was posed better, this could be a very dramatic image because I love the way they treated it. I think the way that they have this up, what the subject were wearing was great. I like the idea that their subjects are lit by light, but I agree with you, scott there's something about, you know, a couple that is it in love just it is just wrong for him to have his hands in his pockets like, ok, I'm going to kiss you now like that, it doesn't feel like there's what they are asian, it looks like, okay, well, you know, we're a little bit shy, but I have to say for the maker, if you're out there, I got to say I really like where you were going, and I want you to pursue this again because I'll tell you this close to you, it really is just cool because I like so many elements in the photograph and I love the way that the subjects are isolated from the background and I love the environment and the clothing and everything worse I just feel in this particular case that you miss the mark just a little bit because the lighting is is a bit the way that you're lighting isn't is it in the way that you're suddenly was posed don't match yes stephen do you feel any different about it this affection as a fashion photograph oh absolutely if this is a fashion shoot it's all about the dress or the suit then in that case yep it works and it works well great great question stephen because that's how important context is in what you're talking about because this category is engagement category in an engagement category this may not do well however if you were judged for instance at the w p p I competition that we have every year engagement this would score probably low but if this photograph were were entered into the editorial or into the fashion category or illustrated it might do a lot better because the dresses are are limited nicely and the way they've done the suits is very believable great question okay very very simply love the scene I just don't want the couple to be there it's a beautiful scene and I love the effort that the maker did you know there are two things that separate to me photographers there are some photographers who just you do as little as possible to get the job done and they do an adequate job. You can tell that the maker that he had to go or she went to the extra length to drag them out into this environment. I think that that's a really? I give him a lot of credit for that. I think that where they placed the subject is not bad. My issue is what? What is the problem? You guys could probably critique this now. We've talked about it all morning. What's wrong. Started the base and work your way up here in your beauty. Okay, she's, you see how body energy says get back. Okay, you have proof that ok, but there's more than that wrong with this number one to see how he is bending it just to check the chest. His knees there you could. You can't there's no there's, no bending of the hips or you know, moving the lexx will wear the other. However, if you had them if you had once you turn your feet this way a little bit, scott, good job. And now separate your feet a little bit for me, good, and I want you to rock onto this hip. See, first of all does not make his flat duke's look better okay I'm sorry because you know he's he's he doesn't have any do expect needs a bill to keep a chance but you could take her now and instead of seeing the back of her hand see we only see a nub this is what we were talking about how you only see how we see just the number of her hand but now if you had them just holding hands like this you could bring her in front of him and now you see how now that looks more believable she they could hug she could even turn her face and you could see the better side of her face hugging with the cheek oh love it see how my shoulder is kind of leaning this way so there's a variety of things you want to so that you have to start with the base which is the feet, ben one of those knees and you know one of the things that I do tio practice when I was starting out, which is how I talk myself he's posing or this posing is I stood in front of the mirror and I said, ok, I'm standing in front of the mirror of my theater together how does that look? Well, it doesn't look all that great I look, it makes me looks like a statue well, what happens if I just separate my feet? Okay, well, guess what? My weight kind of shifts to one hip when I do that and then take that foot and then start turning your body okay, how does that look? Do I look thinner and more curvy now than I did a minute? Yeah, absolutely. Well, what happens now if I just been my knee and then bring it and drop it in front of the other legs so you can you can practice sees in front of the mirror and it's a great way for you to be able learn to communicate that with your subject. Okay, scotty scott anything else now just again when you see two sticks that's a no no in desiccant when you have two people posed in the ucc statistics there, do something with it. Okay? Uh, next image ok. Uh they have a good connection with the photographer there feeling comfortable they have a nice expression but everything that we talked about before the posing um it's very stiff. Right? And it looks like a just a typical snapshot taken that anybody could take with their point and shoot camera and click on dh so there's not a lot of kind of skill in regards to opposing them correctly or with have a role more romantic feel to it and it's just they're so um there's a couple of things first of all I would say move your subject away from that background because the background competes with your subject if you move that subject those two kids away from that background about three feet and used a shallow depth of field about two point eight that background is just gonna become a model just a soft model background so it's not going to compete for attention that's number one but the second thing that I encourage you to do and I need a couple of subjects for this lorene give me have you come here kitty and let's see and mark come here dad so here we have our couple of you guys okay if I put you together okay, we know you're not a real couple so it's all right it's so on the first thing I'm gonna have you do mark turn your feet towards lorene and lorraine coming a little close you're going to stand about this post upon another marine separate your feet for me about a shoulders like and I want you push your hip towards marks here just a little tiny bit coming closer with your feet good you're back me needs to stay straight this front news the one that may be indeed we would bend any so now we have choices let's try a couple of different things let's take and now student on both of your feet flat and now I want you to turn your feet more this way lorene keep going and now this hip push it towards mark beautiful bring this storm instead of bringing it like way out here with your still bring it right on his chest come in cozy right here and with your shoulder when she's kind of getting cozy right here my camera position might be here turn your shoulders a little bit this way lorene beautiful and now more can you put your hand on her back just a little bit for me please excellent, just your backhand and that will put this one just like right back down here with your back shoulder I want you to lean into her a little bit this way and now with your chin lean towards her come in real cozy getting cozy right there beautiful love it so now we could do we could take her hand relax your hands just when I have a client with a guy like you because that's what I do I take my hand see where my finger is on her hand right here and I just shake it out shake it out take it out but what do you see what happens with her face that's one of the reasons I shake it out because I'm trying to get I want energy between the two people I want that kind of fun connection so now with your back shoulder lean towards mark a little bit beautiful and then getting cozy with this just beautiful and now just for something different standard flat footed from a second marine good and I want you to teo bring your feet closer towards me towards me right here a beautiful and I'm gonna have you push your back it towards him and ben this need for me beautiful bringing these agreeable clustered here the leg beautiful and now with your chest lean towards mark beautiful bring your chin forward to me lovely and now mark lean into her with your head just a little bit with both your chest someone should lean towards me one two three I want you to bring your faces close together and go through the same thing on the count of three I want you bust out laughing for no apparent reason whatsoever excellent beautiful okay great all right is that help I hope awesome we talked a little bit about some of the elements that go into good posing in this case part of what's happening here first of all I love the connection between him of this couple and I like that I think glenn sklar can be a really fun thing to incorporate with people I think it gives an image it makes an image just look more like you happened upon a scene and I think that can be a really good thing in this particular photograph part of the problem, the posting is a little bit awkward and that's because the groom is just turning his face and they're a little bit too close to one another. And because of that, it's ruled there's no he's turning his face towards her, but his most of his body energy is away from her. You know, we talked a lot about that this morning about the importance of what is the body saying? Because the body needs to follow the shape, in other words, that it needs to follow the face as well as just you know, you're not just turning your head, you're turning your entire body it's awkward when you have two people looking at each other, they're so close, it's really a heart, like we'll try to look at each other, right? You feel like, uh, because we never look at each other that close, so if I'm going to get them together a lot of times, I'll just have him look down right and her kind of across, but if they're both smiling, then there has a connection, so don't so if you haven't looked at each other and they're like two inches from each other it's going to feel uncomfortable and you're going to get that strange look on that in the end. That's what you kind of see here one of the other things that you could do to hear is you notice with this couple they're very, very close and then they're just like they're okay but they're looking like this notice what happens if I just do this see how by tilting the top of my head one way or the other now when do you determine which with which way did sisterhood that person's head this way or this if someone is bigger has a thick neck right here you do not tilt their head away from the camera because you might as well be waving a flag that this is right this is not going to be good you could do two things have them till their heads of the other side or change your camera angle so that if you photograph from a higher camera angle this isn't bad anymore because you're shooting from a higher camera angle so that's going to make a big difference the other thing you've got to start with the bottom of the feet with my feet if I stand and that's what she's with where she's standing and then her face is pretty much looking up at him like this so till that head one way or the other and that's going to make it make your photograph look more believable it absolutes more believable if he has some tilt their head I think this is adorable um I think it's really, really believable it makes sense to me, I think they look very, very cozy I like the camera angle I think I'd like to see a little bit more breathing room, by the way, this would be a great photograph from my website. I'd also like to see I'd like to see because I'd like to see a bit more breathing room. This would be a great image, I think would be awesome in your promotional literature because it says says we're having fun. It says if you want me to photograph you, then you're going to have a great time and I'm gonna be taking I'm going to be taking photographs that reflect your personal style, so I commend the maker for that. I like the fact that they've used the right kind of lens have used a lens with with shallow depth of field so that the background does not compete and I really applaud the maker for going that extra step with some of the other periphery the you know, the little thing with the the corn and so forth t take to tell a nice story, I think she wants that little bit of that breathing room, why it's? Because they're looking at each other so now like for me, I don't mind that space, but maybe if I were you, I would actually maybe have them a bit closer if she leans her head on his shoulder and looks down and he's looking across or they're not looking at each other than that would work in that distance area there too, so but I loved the image I think has a great feel, you know, nowhere pressed up against time, so we can't talk too long and everything, but it was great job, but still a really good job, and I'd like to convict come in the maker for doing something that was very fun and playful images like this showcase very, very well. So if you have to make a mistake, if you ever get in that situation where you're going, oh gosh, what am I supposed to do? I don't I lost for maybe a pose get crazy and have your clients run around and get something from them, make them laugh, you know, even if you have to trip on a box and fall on your back side, you do what you have to go to get somebody laughing and get get some energy in that experience, because if you get that, then you're going to get great expressions and there is nothing that competes with a great expression.

Class Description

Have you ever wanted your best work evaluated by a top professional? Well, here’s your chance! Creative Live is shining the spotlight on you during this photography critique covering three categories: Wedding and Family, Commercial / Fine Art, and Portrait. World-renowned photographers Sue Bryce, Scott Robert Lim, John Cornicello, and Bambi Cantrell will critique images entered by you, and provide invaluable insight and recommendations for improvement.

Wedding and Family Winning Photos: This category will tell a vivid, emotional story of a major life moment.

Commercial / Fine Art Commercial Photos: Photos will be critiqued on composition, style, and powerful portrayal of a brand or product. Fine Art photos will be critiqued for their unique creative vision.

Portrait Photos: This category is all capturing a person’s essence, mood, and expression.


Dell - DLawrencePhoto

This a great course. It's like you're taking a lot of what we learn into all the classes and applying it to the critiques. Everytime they give a tip I'm thinking "oh I remember X saying this." "oh I remember Y said that". When will the videos be available for download? I see the thumbnails and the link but it says to purchase to download. Thanks

Chris Hansel

The way I learn photography is to watch reviews. but the way I learn is to pause before they pass their comments and then match my reactions to theirs. This was free but is worth more to me than a lot of other courses.