Glamour and Boudoir Critique Part 3

 

Professional Photographers Critique Student Images

 

Lesson Info

Glamour and Boudoir Critique Part 3

The face is too soft, it's out of focus. The concept is really lovely. The dress is beautiful, the fabric is beautiful, they probably don't belong together because the black fair, the black band around that really hear the the back of the hands look clubby if you don't bring them around better. But I get where you're trying to go with their and whoever this makers just keep going because you're close. I just am not feeling this image. The chicks cher's good, the backgrounds good, but it's a very soft, very, very soft. I'd love to just seeing them take that thing. That pink thing off, you know, because I don't mind the background now that in the black tie around the waist because I'm not bothered by the background for you just like this, but that tie, I think that would be beautiful or wreck entirely and pink, because the pink thing is such a distraction to me. It competes with her face and it competes with what she has on might have been cool if you dropped it back, opened it out off t...

he shoulder, put the pink around her elbows and then head there like that if you wanted to have the pink element in there. Also be people with fabric over the head like that it becomes a scarf and that's fine I photographed a lot of girls from israel and they all wanted to hit the head we're on, which is beautiful because the remarkable faces so if it belongs here for that reason to hide the here than yes but otherwise be careful of it covering the hicks that does look, you know, like a hick lof you want to talk about the hands you know the hands to the back of the camera don't work how do you make hand quick? You either have to turn them side on but or find a way to but you got to be really careful when they're like this because they this one particularly doesn't look like a real hand this one's better try and soften the hands try and bring them sideways try and bring them like ballet hands like this maybe this one could have been a little asymmetrical and it could have been around and around and remember belly hands always bella hands see this is really good hands on the body cause we're over the hands are you look in fact I like everything about this image except she's looking the wrong way she's looking at a frame instead of into frame and she's looking into frame I'd love it more on this really works good good flare um I'm not crazy about the pose with this because I don't feel that it worked that it belongs it looks a bit to vogue ish and it doesn't to me work with the with the environment, I feel that the environment if the environment dictates something very soft and almost very sensuous and because her hands are on the waste in such kind of almost on a vote away, I don't think it works. The other thing that bothers me is the dress pulled back so far and up in the air like that it looks like somebody flipped it up in the air and then ran out of the picture and to me it takes it doesn't look static, it does not ad grace to the photograph, so look at this look at some options for your hand and I want new order practice stand up, don't hit your head on the boom look at this as a photographer, this is something you're gonna have to learn at a time yeah, practice this even the mail, even the mail for truck of his should practice this and come and stand here to learn to flow your hands like teach people how to use their hands like this, like in a dance movement, you want to direct your client, so maybe she could have been like this maybe she could have been floating your hands maybe she could come up and then down like but not like a little wing like a little bird but more like this okay like ballet hands maybe you can go side to side teach them how to do this it doesn't have to be in front but behind you know teach people had a move but also because they had a touch look at your feet and your legs and then look at the image on the wall see it's not just about the arms but it's also about that would look what happens with her feet and her knees to keep doing that look what happens with her legs as she does that you see how this need gets bent when you when she does this her knee gets bent and it causes the shape look at the shape of the body as it goes down see we've got we've got curves here we've got a curve there so here watch keep watching doing that suit see how you go go this way and then that way it keeps cutting the shape one way or the other so it's not just this see this doesn't work it looks really stupid and it's like the top half of your body is saying hello and the bottom half of your body is bored to death and this one teach them how to move their body like teach them how to just flow with this arm flow out of their use their own shape, but show them and so you can just say, I want I go like this. I want you to rock from one foot to the other and just sweep your hands at this very gently relax your wrists and just pull your hands out and just practice it, get them to move in some people. I cannot do it. And when they cannot, when they're really okay, katie can down. So it because she can she can. Mira mesa, come in. I want you to go out this. Katie, I want you to go that way. That's it. And I want you to marry me now. So I'm going to keep moving and you just keep following the good girl. That's a soft, beautiful slow down on your heel at this down sweet down that sitting there push your chin towards may keep flowing. Okay, don't start now this time smooth at your hips now. A lot to shape into your body. Okay, but most people can't do that. So if they can do that, go for it, grabbed them and say, can you move now? If she got up and she was like, you know, like there would be like, ok, stop kenny I wouldn't go lord, I'll be like sometimes I do that I go where you really can't dance, katie like kenya and they go no, I'm taking, but what I would do is I'd go kick this hip out and they put this hand up here being your elbow, he'll pam down or she looks like she's dancing. Okay, this one can go behind you a little bit and the launch in this way now, if you're scared was flying now, that looks like movement to may but she's completely still and I can photograph her all the way around. Okay, thanks, kay. Ladies, you should have seen stephen working and over here he is in his hands work he was battling it. Remember the touch on the body you've got a touch the body. We don't touch the bris we don't touch the belly we don't touch about a case that we touch everything, but we can go down the center, out on the shoulders, out on the arms, across the arms down we can go down her hips all the way down, but we don't touch here. We're not touch here, and if we have a hands on their hips that's more that vote strong vote post as opposed to, you know, flow the flow and you'd be surprised what happens if you just bend any so for instance, if you're working with a client one of the things that that sue mentioned that is really important is just tell your subject's taken you mirror me and if you just start by simple, simple things like telling them hey, I want you to bend one knee and then push your hip one way or the other I learned this technique by watching hula dancers in hawaii was on vacation and I noticed that that really what moved their hips was not their hip it was about them bending the knee and that bending the knee was the way to make the hips move and that's a great way to get your subject to start moving into that kind of flow posing I love the shot um I feel like she's a beautiful girl I love the sinner I love the choice of underwear um you gotta watch that back line's not too hard on her lean torso because it does make her look a little bit skorney, which I don't like and I'm sure she wouldn't like her rounds look a bit scrawny too but she has lain in lane bodies do can look a little harder like that and headlight if anything what I just am very concerned I just the only thing that clear to me because I think it's magnificent image is just watch this when we talk about body language, we don't touch her boobs and we don't touch our belly because when we touch our barely were pregnant and we just don't touch her boobs so we can cover our boobs but we don't put one hand on each boob or like this because it looks like with the human breath I feel like she's a little bit over her boobs with two hands and she could have been just a little bit more down like this or in prayer position or one of the two are capped but just watch that's not covering the boobs because I did here act on look she does look like she's hiding her birds and I would rather be looked more like this. So this hand looks really beautiful when you do ballet hands at the bottom of the brown it's a gorgeous boudoir type post when you have the hand here or out on the shoulder and at the bottom of the bride looks good just tying capitalized babes out but it's beautiful it's very beautiful before we switch over to this slide here you guys thiss workshop is presented for professional photographers and discussion of photography concepts in this next segment will include adult subject matter and brief nudity, so I just want to give you guys that heads up before we move on and ladies, I think we're ready to roll this is one of those awkward note poses where she's covering both boobs with one hand which looks or quit her chins tact in and it looks like they're having six um you've got to be really careful when you pose a couple because what happens is particularly when he's knowed as soon as his hips go towards her hips he looks like he's been like this and it can just look you know I mean I want obviously they wanted a nude shot together and that's cool but they could have done that so gracefully without being like your baby I'm coming on in because it's kind of sits on a borderline of not being flattering and being a little bit in between erotica and yet a beautiful finance nude um maybe if she wanted to hide her boobs he should head them but clearly he's hiding his crutch with his hands so he can't hold her boobs says she's holding both boobs with one hand wouldn't it be better if he held her boobs and she covered his crutch on the hip with her hand so she was like this covering him and then if you're front leg was across then you wouldn't be getting this which is where you look and you look at their awkward shaping her crouch so you know, I think of the d me more opportunity pose who front league is the higher said that you can't see her craft your hand is between her belly and his eye this one is covering both boobs from the front they look like they belong there this is the opposite this is being tend exactly the opposite to the camera which is all wrong it should be here and had he been like that and I think if they're going to laugh he should have probably been looking down her belly kissing her shoulder laughing with her belly not going in for the for the slide because it's kind of how it looks that's absolutely true and in addition to that I think with this kind of photograph the lighting to me is really what is one of the things that bothers me in addition to all the other things you mentioned suit because it's being lit from up above I feel that those shadows air very strong very hard I've loved I think that this could have been a photograph that could have been interpreted in a very subtle deep moody way you've got this fabulous rich dark brent background I think I would have almost had him in complete shadow and just shown portions of his shape I feel we see too much of him I don't think that we need to see the whole picture teo still tell a great story and where she is concerned I do think that the smile on her face is inappropriate for the for the way that the photograph was captured also with that shoulder, because she's bending this need the shoulder being up, it doesn't work this shoulder the one that's closest to him pulling it up like that when that front me is bent, it looks very awkward. She has two to cover the front nipple, otherwise I can get both nipples covered, unleash your shoulder comes up because otherwise this one puts out because it's, just how you're made and also here, right arm is not even in the shot, not anywhere in the shot, so to me, it's just backwards just remember with a rodica if you're shooting erotica, that's ok that's a whole different vibe, but if you're going to shoot a rodica, get both of them in the mood because it looks like she's sort of laughing fun, carefree, pregnant and he's kind of going for the erotica shot, and it doesn't look like they match. I don't shake down on a client this slim, and I'm very conscious of the shape of women's brace um, especially if they have implants or anything like that, because if you squeeze or push up the breast, the line of the breasts and cleavage in the shadow on the brace is really important when you hold the boobs up and you shoot down on the boots that focuses on the boobs. Interestingly enough, it is a move that male photographers do over female photographers I'm going to say it because it's true and I get it you guys appreciate form um it's a photograph of her boobs not his face and I feel like if you just taken the the perspective away from her cleavage dropped her hands down and put the shoulder forward it would have been her face, her mood and her boobs instead of being like look at my boobs in fact I didn't look at it I looked at your face ones but you know in addition to that the lighting is wrong because it's so flatly lit it doesn't enhance her shape and you know if she is if the idea of this photograph is to show off her cleavage and you know the form then I think that we need to have a bit more directional light and not so flatly lit from the look in their eyes and syria flat light everything so this is my kind of lighting I don't but I don't I get my right but it doesn't it's not in this context with her bus line number but I get my shape from posing not from light so when you look at traditionalists that she was light I'm not one of those people on the flat light but I'm all about shaping the body so this is a flat light with nobody shape you know one of the other things though because it is flatly lit waist look at the collar bones on this I think it just it does not do her justice I love this picture I when I saw this come up I was like yes yes yes I think it is very interpretive I think it's interesting it's very clever I just absolutely love the idea of covering her body with those leaves I think it was very interestingly done I'm a little bit distracted by that I mean, I'm distracted a bit by this branch right here so I'd love to have seen that tone down a little bit I don't know how I feel about the smile on her face in this context but I find it clever I just find this very clever I feel like if we're part of this shot is amazing except your expression yeah yeah she was looking down her body line it would have been an at peace instead they've taken this finance image and put a portrait heat on it yeah it's not a portrait that's not a portrait nobody has leaves flying off the pregnant body in a stream this is a piece of artwork so why would you have a looking like she's with a gramophone on a sunday barbecue? Looking smiling all sweet I would have put the face down and just completely had that in my okay, I always look at it like this a fine at peace is when you look at an image and say I would I mean this image this is an image of a woman, but when she's looking at the camera smiling at you like that, you go that's a photo of jane, not a finance piece that just make sure the mood of your expression and the mood of your eye line and your body language matches your image otherwise it's just wrong but you know it beautifully captured gosh, if the maker is out there, the posing is gorgeous. I mean, it is so flattering of this pregnant woman I mean, I love the way that highlight is on her waist line on the right hand side I love that front knee bent I mean, we see just a beautiful soft belly and then just a nice outline of her, her body on the just gorgeous? Probably not. I don't know looks frail, I wouldn't I wouldn't excitement in the am I wouldn't assume and I wouldn't I wouldn't care to assume side like this so boy would try to seymour you're doing you know I love your posing it's really pretty I love the idea of this photograph I love the composition of this image I like the fact that she's in that right hand third of the photographs that front arm what's going on with this? I can't I think she's painting announce yeah, but this part of her arm looks looks doesn't that look a bit thick right there? She painting her fingernails I feel like this image has that got see roar look about it that's almost really documentary newt had cheeping leaning back on that wall and just looking at that when I die I would feel like it should be in a museum but to me it looks like she's painting of thing announce but if she has been courting the roar but if she were painting her fingernails you see how important that see that back of that hand because we see the back of that arm it's making her arm look it doesn't look graceful there if she had that risk turned to the side you know, as she painted her nails or whatever she's doing over there it would look so much more graceful but it just pulls to mean it takes up so much space and it looks really thick that looks like a tube through their I love where the makers going with this I think they've got a great idea I'd like to see them do some difference in more finessing with this though that was the last pick that is our last pick leaves and everybody a big round of applause really for everybody

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