Professional Photographers Critique Student Images

Lesson 24 of 26

Glamour and Boudoir Critique Part 1

 

Professional Photographers Critique Student Images

Lesson 24 of 26

Glamour and Boudoir Critique Part 1

 

Lesson Info

Glamour and Boudoir Critique Part 1

When you put triangles into images, they look more interesting, so you just have to be careful that when you do the recline, you open this triangle up here so don't make it clubby and don't make it short and don't make it too high open that triangle out beautifully gives you this line but it's this harm that gives you the shape of the body ok? So we go chin forward, shoulders elbows around the body and just make sure that instead of being high, she should have been on the edge of that here triangle open nice big triangles around the body makes the body looks slim and long and it's interesting when this triangles and images and never is that I'm sitting up so if I was being trying to be sixty or talking to someone or flirting with somebody, I wouldn't be like this okay, I'd be like this all right? So just elbows around the body so I always look at it like this if they're near the body make it go make it shape to the hourglass so it goes boobs waist hips face is beautiful and it it could...

have just seen absolutely perfect with that album back amy um you know, I have to agree with you, sue and part of what's making me feel that is not flattering to this subject is the fact because the chest she's like right straight in front. Her bus line is like strike right straight in front of the camera. One of the things that you should so can you can position yourself again. I want just want to point out something that that you did that I think I'd love to just notice what part of her hips she's sitting on she's not sitting on her but she's sitting on her thigh. And the more that you sit on the side of the thigh, it pushes the heaviest part of the body, which is the back side. It hides it. It pulls it back this arm right here because it's tucked back shows the shape of that waistline and I think that's really, really important thing. The other thing, too, is this part of the shoulder. When she pulls its four like that, do you notice it? Get what body language? What is it saying about her? You see how it kind of gives her that little bit of an attitude? So it does it's not only important from from just from a shape standpoint, but it also gives her body shape the it also gives her body attitude. Rather, the other thing that I love is that if you move yourself around this image round your subject I'll tell you what, there is a beautiful thought. If your look your q t better look there right here, this angle you can now, because you've laid her body properly, you could move yourself around your subject and create a variety of different photographs without moving her very much and be able to create them just like that. Come and sit down how I was sitting down on your left, but check with your elbow there with some space between you in the chair. First thing I asked when I, when I posed anybody, is to create in space between whatever the opposing on in the body, because the second she presses her body up against here, she loses the ability to shape it, so I make sure they always create space. Then put your hand on your thigh and slide your elbow back, so ditch it, and then that shapes the body. So I always go hand on your thigh elbow back, and now she can get that shape. Now the more she comes up onto a hip, the more help out she goes that way, which gives him more shaving her body right, and the more she angles it. This is where we go wrong as photographers, we then go and take city images in one spot. Instead of doing what bambi said now, remember, move one hundred eighty degrees and if you can't, if they can't move one hundred eighty degrees, you move one hundred eighty degrees. So I look at it like this right here. She looks really incredible, but if I just stick to the right chin, follow may and then step to the right and follow may and then I step to the right, push your shoulder forward, there's a different chocolate every single time, but look for it and, you know, if it doesn't look good up there, tried up here, and if it doesn't look good out there, try it down there and but try about five different things. Just move. People don't be afraid to move people. We just gets a seat in our ways. What would do you with her fingers are here with his fingers as long as they are, via always a nice little being in the wrist. Inside on belly hands myself, bella hands it's. Only when we get the stiff hand that people do that the thunder bid, I call it and then you know, we get the fist. Okay that's a very I'm looking relaxed but I'm really not and you often get the fist on the shoulder and siblings you know they're like I want to punch in the face but really when I put my arm around because of photographer made me so there's always the first and then there's my all time favorite is the chlor you know people do the clo up and you see the court a lot a lot around the face you see the claw and it's just so wrong but the truth is is I always walk up to people and go out there and just shake their hands out and I just go soft hands belly hands change away from the camera and if you get that flipped hand to the camera it looks clubby so always turn it ten u hands soft hands, belly hands and one other thing because david the hands is I sometimes will tell people that want you pretend like you're holding a pencil because look what happens with my hand if I'm holding it like pretending to hold that pencil it just kind of makes this part of the hand look very elegant and long and it's a great way to just kind of keep the hand from looking like that claw so here's another interesting thing when their hands around the face they need to heal perman again when they hang down they need to heal palm down so that's the hell palm of your off your pound, the heel of your palm. So whenever the hands are in dancing movement, they never like that they're always either healing or hill out those air, those two. So so if you can actually practice that movement, you can say to people, just soften this risk itself in this risk to spring this one, and around here you don't go like this, you go soften it, he'll pam. So you framed the faith. So practice with your hands because you know what? I can always tell how experienced a photographer's by with hands opposed in an image, and if this stiff cloth, fist, thunderbird or club to the front of the camera, I know that they're not they've got the face look at this image cut a handout, and she actually looks really beautiful straight down. I mean, I would have dealt with the white light on here ten lines, but again, I can tell that that is just not quite the head. That elbow being around that front hand, been perfect would've been perfect on this suffers from what I call feet coming out of the side of the he'd syndrome so it's, when you disconnect the league's in the body, you know what? Come down to the floor, katie I'm going to show you this this really bugs me when I see but where over the at and are lighted landed tummy that way can you get this powers and the skills lying like this? And then you say bringing me up and even brings this nay straight out like this and from the front just to their the me just grows out of the side of the head or out of the shoulder and somehow we lost the torso ok? So it's kind of happens a lot and you see it with the side on pose when the knee comes out it just means that photographer needs to come out forty five degrees a little bit more don't live there from the front grow out of the side instead go to with these two are shooting from this angle and put it forty five a half way and then if you want to make it really sixty she rolls up on to their hip just like there but stand your elbows so that she gets booty okay cause she is booty little cat a mid drift and she goes out in out which is an hourglass lying down and then she can do little kept with their hands she can use your hands for body language she khun tosel here but it's not just growing out of the side although this is a beautifully lit image in a magnificent face she's just on a half roll it just doesn't it doesn't quite look there she can be on a bag and look over at the at the two thirds or she could be on him albert has just come around a little bit more so that you can see a little bit more of her body and then you get this beautiful flow and you know in addition to that katie right just roll onto your side a bit and I want you to put your knees together look at the difference between her knees and the way that her her body she's a very slender girl and yet because those one leg is right on top of the other it tends to make the legs look like one thick piece now drop that top leg down over the bottom one c now we've got we've kind of stretched her out just a little bit and you create that line that goes you know, down the shoulder creates a beautiful waistline she's got a bit of hip going on and now you give a place for that eye to travel down that side also in the image that we're critiquing her arm's gone and we really need that I'm in there so overall so close to being but this girl is so beautiful and so well let him catch it that it works but just watch that come around a bit more forty five take a step, take a step, take a step take a step take a state was keep coming around and if you you can't move because you lose the background who'd move like she can't just be flat open up open up thanks candy do you want to just address? How do you feel about the background with the light fur on the bottom and then the dark in the back you know what? That doesn't bother me and you know why? I feel like with glamour and boudoir? I don't care what's in the background as long as it's not distracting me away from the girl and that doesn't district me what I look it is here I'm more bummed out about the harm being cut off from the league's coming out of the side of a hit here looking very twisted and uncomfortable more than anything else, I like everything else I'm not rated or by their background if you can stay the case because I say if you meet I have a problem with I have a problem with when you bring in elements and sixteen it's at the same time I guess music makes you feel sixty, but I kind of I would rather he be post on a piano than playing it with the hits from beck is she don't sing? Is she listening to me it's because she playing the music I get it if she's a pianist it would wickets thie angle I mean in my opinion it's it's the angle that's really bothering me because her bust is coming out of her cheek because of the because of this awkward camera angle and we're and the photographers photographing straight down on her face I feel like we have two pictures one of the piano and then one of her and then her dress her top literally goes into oblivion so her bustline becomes an extension of the cheek I'd love to see her stretched into that piano and photographs from the side use them piano is a leading line into the subject I think would have created a much more elegant photograph as it is because because the angle is literally right above this young lady's head and the light is coming from the same direction it's very heavy appear and then it goes completely black and I don't feel that it's a very flattering angle on this subject and especially it because it is shot from straight down look at the arms and how that they look they look a bit warped are distorted and that especially this arm on the right strangely what it does have is a mood don't you agree it's khun b technically wrong for a few reasons but it actually has kind of a mood to it I can almost hear the piano I believe here expression. I believe she's playing it because of their hands. So you know. Is this compromise, right? We, you know, technically there's. Something wrong with it. But I get it as well. But you use the piano line to lead into who would have been amazing. I love that broke a light. I would have removed that one on her neck. I love this background. And if she had just been looking back at the camera with those blue eyes, I would have thought that this was magnificent. But because she's not, she just looks kind of just me neither here nor there it's. Not a portrait. It's. Not a beautiful image of his face. If she had just clipped around and just looked, I would have been like, wow, this is so beautifully shot. But there's no, her there. I want to see this girl's beauty. Look at it, she's. Magnificent she's, wearing an incredible outfit. The eyes of blue lips of full and she's doing this essentially and it's it's not six e it's not beautiful, but it's so incredibly captured. And yet just that one expression in connection, I would have taken this through right through beautiful, I hope you get to photograph this background again where, but it yeah, this is a beautiful environment, I think. It's I really liked the harmony in the picture what's father needs. I feel like I can draw a straight line from the top of this young lady's head down to her feet. So I feel that it lacks it's very static in the photograph and I agree with you sue, that I'd love to see her, you know, either looking over her shoulder and, you know, kind of leaning back towards the camera and we are photographing or the makers photographing straight into that shoulder and because that shoulder is closer to the lens, it's as sharp is the face it's the first thing that kind of create creates to meet a little bit of a barrier. So I think that if if they had taken this model and crossed her ankle, heard likes, I love crossing the legs and more of an x pattern, because then it makes it very easy to have that person lean back over their shoulders. Sound my shoulder, khun drop a little bit that's one way to do it, there's a million ways that you can bend those joints to make that person to give them just a little bit more attitude attitude doesn't just happen in the face, but it also happens in the body language. You know, if you have your subject lean back that can make them look more aloof if you have them lead forward that can make them look more interested, roll the shoulder into the picture or into the into the face a little bit can give that person the appearance of being a bit more sexy and so with her I think that that's one of the things that was needed in there in addition to that one of the other things that does distract me is this bit of men line that line right there just really bothers I mean, I love this I think this is really, really pretty, but that straight line is really I think of very distracting element when everyone photographing anybody and they start to ten so what if I'm shooting them there and they start to change? I say show me the back of your shoulder, look back and say show me the back of your shoulder looked back at me, show me more of your shoulder looked back at me, show me more of your shoulder and then I decide when they hear whether they look good leaning back at that crop or leaning forward with more shoulder because some people have a good nick rotation and some people don't, but I moved them that in small increments, so show me the becky shoulder look back, show me the becky shoulder, keep going show me the bag. He go and get going then and then decide, but at least try all of those it's the look back that I think there's two the camera is so sixteen. Pretty and engaging would have been so I just wanted to mention one of our students who did take that photograph. People are talking about him in the chat room. He's, sixteen years old way advice and great work for such a young the longer it is. And you know what what it tells me is that technically he's seeing light really beautifully. Now all he has to do is see femininity and beauty and its sixteen year old year. So what else do you look at? Right, this image here. I actually love back light. I love fleer. I like windy here. What I don't like is that she looks constipated. Ok, I want to show a little bit more than that look of like. And the thing is, is when you have unlike the here, missy, I love the window left the light side. Don't buy the expression or the over whitened in the eyes adjust you got it would be better if you screwed up the background with amazing connection than getting made good background with weak connection, and some people have really awkward mouth so let's talk about the mouth so um I photographed katie before so I know how she moves him out to come and stand beside me I'm going to show you something if you focus on katie not me but I'm going to look at here so stand here if I'm not the way the first thing I'll do is for election mouth katie no smile okay, now I would not take a fighter of katie like this because she's going like this ok now that's what I call fish face but now some people look really good with their mouth naturally open so when I ask it to relax him out I get a very quick idea of where her mouth is shaped you know how some people have message teeth and they look good with the mouth slightly open because it shows the chief like they just look good like that and so I always go election mouth in a soon as I see them relaxing mouth I can see it and then I go now election mouth now put your bottom lip up. Okay now tiny little smile on your lips just yeah so I look at where her mouth is the most relaxed the most pretty but when I get to hear it means nothing if she's not smiling up here so what I do is I do this I'll stop and I'll go katie look at me just bring your chin towards me a little way that election mouth so there it is when your bottom lip up touch lips that's a tiny little way smile in your eyes now see how it went lips eyes and it bounced straight up and you were no longer looking at her mouth because now you're only looking at her eyes make me believe it now not a lot of people can look down the barrel of the camera and smile with their eyes impact a professional model conduct in thirty five different ways your average person either goes fish face or they put all the teaching and the mouth and all you want is for a relaxed mouth with smiling eyes so regardless of the shape the lips the size of the mouth whether they look it smiling or not the second you see it relax you can tell some people look incredible with their bottom lips slightly open and some people just looked like they really for some food to be put in you know and then the smith in the duck face to different things okay, you can smoke without being ducky but what we want is it all up here tio work your way up from election mouth and just a beautiful little smile in the eyes okay, very important thank you. I feel like this um looks like it's going to just snap off and not because it's a skinny am but because it's so flat to the board and it's actually oh really oversaturated in color and over softened but it had the potential to be a really great shot I just really struggle with the armpit remember whenever people do this one and it's just you can do it when they hear is long and it kind of covers the armpit but when it's just amp it or these oppose that some people do that's like this where they cover the bris and they put the amp it up into me it looks like a breast examination I call it the breast examination it's this because to me it's not sixty to me it looks like I'm examining my breasts and so watch the amp it you know, because had she been lying on his side like a little cat, a slate with their hands she so she looks like penelope cruz you couldn't have gone wrong but that pitt has a big flare and her arms so lean it's gone flat and skinny and being cut off and it just looks like she's broken doesn't it? She looks like a broken bobby and I'd rather see a girl that was fully engaged to that camera and killed up you know, and just had those hands and a little bit more and you know, in addition to that, the treatment is so overdone, it just it just it's not a good thing. It looks very datable it's an image that won't have longevity to it because of that. In addition to that, the turn of her face and she almost looks like, you know, like the exorcist where she's almost turning that around sideways. So you want to be careful about how far you turn the head if she if they later on her side, I think it would've been a little better not shooting into the the armpit. I think I agree with you on that suit. Uh, it's the creep of fingers that get me on this it says little creep of fingers um, this is a really hard post to shoot. I've done it a million times and it's, I struggle with it. I show you something with someone like katie. It works. I'll tell you why, katie, with your right hand with this hand, I want you to touch just past your headline and with the other one up and over. Okay, it works for katie for two reasons the cattle she is because I'm in like, six inch heels so she's talking she's lean and she's got really long arms, ok, not so much for me, right? I don't have the distance I have a thicker arm so you team to with you could be a client's crop into here instead of making his sit back through her waist and doing this gorgeous beauty shot we shape her waist up like this and get this gorgeous line and then chin around that is magnificent so the problem here is you've got to get that space around the bodies that's a really hard shot to get and also the hands are really important so I make them touch the top of the head but I crop it I crop it off their hands when the creeper hand comes in I can't looks like a little like octopus it number hid there and that's what you end up looking at secondly she's looking to the heavens and it's just what? What is that? That is not I'm in my energy that is not time to the camera it's not a beauty shot it just is that little creeper hand and then looking up to the ice and bring it back down to the eyes drop that shoulder down if you need to create some space and cut his hands off this would have really worked with those little simple adjustments thanks k I actually really like this I'm really big into shooting through the twigs but I feel like with this because the twigs are all on the right it's like he took two images and put them together so head she bain between them or had been around her I would have got it more but I love the color and everything on the right hand side um she's got a mouth open and not in a good way do you see what I mean by relaxing the mouth? Some people can relax the mouth and some people just have it open and it shouldn't be open. You know, if I said to you in the audience there every one of your election mouth completely relax it all right, now bring your bottom lip together so you mouth is completely relaxed. No teacher in the mouth done that's it it doesn't seem right to have your bottom that hanging open does it? And so when I see it, it doesn't quite look right. Yes, I see that all the time in fashion oh, I often with models and, uh, magazine covers and so what do you what do you think about that? Okay, so this this about four or five different ways to open the mouth and you have to make the mouth has to suit it. So with models they often have beautiful big lips and so a lot of them can have their mouth open so there's the bottom lip open, which is when they do this it doesn't suit me but it sits most models and then there's you know there's about four different opens there's one that's open to wide and that's generally for porn stars I'm not kidding and that's why when I see them but where I'm like that's a points down mouth that it's not a good one out okay well you can have your mouth open but if it's open like this maybe this is a family show so you just watch the mouth open it doesn't belong some people can do the model mouth but not many people can do it katie looks like a bottle she can't do it okay because soon she dropped a bottom up she looked like this and it's just everybody has a different shape but you'll find most normal people can't do it it's a different liam oddly thing a perfect mouth thing big lips you know and they just suit it and then they shaped them out so there's you can have it open with a show that bottom of the teeth when they go and then the top you know it's quite know it's really interesting when you study fashion um how many model looks they can get but they do it I mean I photographed a model when they just they do all of the expressions for you nice people the real question is this can they do magnum I mean really you know, I mean I mean let igra I just don't know I mean, I know I'm still working on latigo myself how about you guys everyone can believe lucille I know see blue steel I got in the bag universal everybody can police deal yeah, I don't know about that. I mean, you have to have the right lips for blue steel can you do blue steel? Yeah, they're pretty good blue steel ok could take this image okay? Actually, I do want to like this photograph, but there are some things and I think soon mention a lot of them I'm gonna mention a few things that she didn't mention this forward arm I feel that it's up to high and to me it creates tension between the shoulder and the face and the arm in the face. I wanna have this I want to feel some length between her, her chin and her neck and that arm in addition to that I want I want to see you finish your images. You know, when you do a critique these when you send something for critique, I know I'd like to see what you would show a client and she's got a lot of these spots on her on her chest I'd love to see you go in and retouch that the retouching on the face is very obvious I mean, I could really see the retouching, so be very careful when you re touch, but going into and smoothest, they don't make him look like plastic dolls. But I do. But it is going to really go a long way to make, make an image look the best that can look for critique, or for a client, for that matter. Because when they see themselves and they see you, the photograph, they want to see the way they think they look, not the way they look in real life. I know I would. I retouch on my images before a client ever sees them. I wouldn't dream of showing them unfinished image, and I think that this is one of the little finessing. I think, what I would recommend.

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 in this category will tell a vivid, emotional story of a major life moment.

Commercial / Fine Art Commercial 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.

Portraits This category is all capturing a person’s essence, mood, and expression.

Reviews

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.