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Professional Photographers Critique Student Images

Lesson 23 of 26

Illustrative Critique Part 2

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

23. Illustrative Critique Part 2


  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

Illustrative Critique Part 2

I love the halo on like the textures even though they're very strong and I like the here even they can see the clear cat you know what I don't really like with here when I couldn't get away from with this big gold booth thank you on it was just like as a woman you look at other women you don't often spend much time on the boobs but I tell you what, I'm really struggling to get away from her babes they compete with the face I mean, this part of the picture from her hair up is like an opera singer. It is so beautiful but then those boobs just call for so much attention and they're so that's such a heavy part of the the baby is the way because I would have taken the gold halo made it bigger and brighter to balance the big gold boobs, but if you could take down the gold nous off those boobs take down there sort of or ganzoury I think and just take the light even they read wrapped around here would have been magnificent so that reid had been around it but those boobs are so heavy so again t...

he weight off your composition is you're learning composition where is the eye drawn? Where is the weight of the image? You can feel the white in an image and as you get more experience is a photographer half look at where your eyes going why is your eye being drawn down? It's gone from the face because here she's got these beautiful lips in this mass gone but then you just go eyes let's boobs those both and you don't come up and there's this big horizontal highlight across the boobs with which accentuates them even more boy here if you're the makers out there, please do this concept again because you're you're so close because this is really an interesting image and I love the follow through I think they did a really nice job of style izing with the exception of that gold lemay across the chest so baby of a miss miss is with us in the chat room and she said thie images mind I had a wonderful opportunity to photograph a foreign exchange student from sweden for christmas for some marketing images, so yeah, you know what if she couldn't photograph that person again copy and paste the rid, bring the red over the boobs or just time down the gold make the halo bigger and brighter balance the image up so that your eyes come up because nobody wants anybody looking at their boobs I love the idea of the halo of adding of making the halo bigger I think that would really I think that would be a great great edition so shot through glass and shop three texture is always interesting I feel like this is an example of how not to do it because the shadow off the glass is going over the face which you either remove and even though it's out of focus you still look it because you know what I want to know what is that and if this I thought it was fish and a fish ball like I thought it was through a fish tank and then I look again and it's kind of like is that paint isn't now polished and I shouldn't be feeling like that I should be looking at their go going amazing when you shoot through objects it has to be so almost and insipid the object that you don't know what it is it has to be even light texture but it cannot be identifiable but then I've shot through twigs and it looks really good so just be careful that what you were shooting through it's not making you look more at the thing and it kind of looks like just um well I'll say what's really bothering me about this is that it's so the light is such a small light source and the skin sucks the skin is just awful and so because of that I can't get past I mean all of the I think the light source is part of part of what's really bothered me because that it takes the skin and it makes the skin look so ruddy and so unpleasant it makes it look very hard and because of that, along with those dark shadows, then we start seeing all of that stuff on the outside looks messy. It doesn't look like it's harmonious it doesn't look like it really belongs there and I can't get to the eyes because I'm so distracted by the running nous of the skin and it makes the skin looks so bad I can't get past that to see her face or to see iran's to bring the texture closer to the camera and the subject further away that helps. I had this really funny thing with levitation shots that whenever I see them, I kind of think to myself fist, I love underwater shots, but I hate the softness in the face again underwater and the highlight of the top, so I always think, why don't people do like fake underwater shots where they look like they're underwater, but they're not and then I look at them and I think, you know, they just looked like did people floating in the air and very few people do it really well, this was a case of I think they've done this really well, but why is it to lift him? Because they're not back flipping or do anything that this if it was just that one girl on the right or the one girl on the lift totally believable. The background of this image is masterful. It is masterful. If you look up close it is it is so beautifully done. I just don't understand where this too did gilles flighting the birth the first one the one on the right, I think is it makes me go oh it's just really, really? And I think it's like sometimes if you have too much of a good thing it's too much of a good thing and that girl on the left competes for attention and the one on the right is so beautifully done she looks very graceful I love the texture in the dress and in the garment it looks very believable. It just looks very beautiful. The other one looks just a little bit sloppy and it's competing so much for attention that it kind of looks more gimmicky. Yeah, so that it's like stop you head it, you headed and it was perfect. Well done, please do it again do this again and take that of the personnel it looks just greatest gorgeous. I see arteries and a strange blue person and I don't I'm neither um I don't understand it and I don't like it when you make somebody smith blue you have tio have a reason why and it's not toned in the same way so I just feel like I see blood and then I see this weed blue go and it's kind of odd head this pain in its dark times like that go was just read lips duck skin time with dark woods in the dark grounds and grains I probably would have thought it was quite beautiful yeah I think she's too light blue she's blue but seeing me in my mind I'm thinking she's vampire ish which means that she would be you know, kind of like a dead person but I think she's so light tone in blue that it does not work it just a little bit too literal and the fact that she is to me looking in the camera the way she is I don't feel that it it doesn't seem tio it doesn't follow through with kind of the sinister look of the background in such that's true if it was more sinister she should have almost just being like coming out of it like almost kind of haunting or or even hands down really like you're just seeing me but not just kind of a portrait that spain turned blue in radio this one makes me laugh ok, I think this is hilarious I'll tell you what I think this is really such an adorable little picture you know? I don't want to know why, but I think it's really can't be and it's very interesting and if this were my my little child, I'd want to have a poster in my house of this because it does have it reminds me of a cartoon, a tv cartoon outstanding from different really quirky great piece for your website and well thought out, you know, I hope the authors watching and that they're in check and that they can post who they are because I think what they did was something you know, there are very few images that unique and that's one of them, I think that's kind of cool well done, I wanted to love this photograph, she's not in the right spot. I like the background, I think it's really beautiful, but she doesn't belong where she is. I feel that it's just you took a ballerina and she's right there, but my eye keeps moving from her and it travels down that path and I want to go back, I want to go to the path and she's just stand there beside the road and I feel like she is not. It doesn't look like she belongs where she is this images again masterful, but the poses no masterful the background is masterful, the images beautiful, that vertical takes your too much get rid of it didn't made it the color alone is absolutely beautiful. I'll tell you what this for may she's got three poses going on one is here league is out like this which is not ballerina to arms like this which is ballerina three who poses like this which is family portrait and that's not ballerina either so the league the arms in the face don't match now you can either be a dancer you can eat a bait like a dress laughing portrait or in that legal just doesn't make it since so unfortunately take you see this masterpiece and then you go oh that's disappointing when you look into it take that takes it down and I hope that you've got something wiggling that dress and just watch that your facial expression matches your body language like if my body languages or sixty you can laugh when you're sixty but if it's dancing you don't do the big laugh with the dancing unless it's laughing dancing you know but not not classic poses classic post classic face so just going sorry interrupt ladies, but I just wanted to let you know that tania smith, who was the last image of the baby she said that this the image was called special delivery and the third baby was a surprise, so I think she's got a little siri's going on with those has really cute that I know what you're trying to do and you're so close but you're just not quite there yet I don't it's very had judging images on a big screen because it doesn't look sharp it all it's cracked a way too close to the top of the head and the girl on the right is studying to look a little bit amputee and the needs they watch the cut offs of the limbs but you know very close maybe a bit more hip broom and a little sharper in order to get to people shop with that sort of background compression you differently need to have them at the same eye level which is I had to do I'm very drawn to that knee but you know it leave of the day I can see that you're getting close like the pieces of love outfits it's beautifully styled it just needed to pull back a little actually the treatments quite good you're being looked down more by composition and expose us by composition and posing more than any thanks sorry composition and focus more than anything may like the posing in the styling is actually quite good um I love this and I feel like if you'd crop that building out of the top it would have being breathtaking or you'd have to do is climb those trees across or just get rid of it the mood the reflection the boat and I get the house might be significant but you know if you're going to be illustrative you could have put a big mansion scary mansion in the background you could've put trees in the background but look at this light on this foreground right now this image the color of this image the focal point, the boat the reflection is sitting at gold if you can get rid of the top seat of the image it is just I would own this this is so incredible but I want this piece I feel like the isolation of the boy his age I can feel it I can see the loneliness the boat makes me feel like childhood. Yes, the house even makes me feel like he's got a problem with this family. Whatever I feel the story and I want to see this masterful image what I feel they haven't quite done is put that sky and yet you put a different sky in there and I would buy this and you know we were talking a little earlier about can illustrate a photograph be one that doesn't have texture screens and can it be just right out of camera? This is exactly what I'm talking about because this thing this young person I am absolutely nuts about the way that they posed this young person laying in the water like this to me it is so interpretive with that little boat and I completely grew suit that left hand corner up there where the the white sky is, it pulls my eye away, there's so much to love in this picture, and it really does make you want to question. What is the story about it makes you feel. I think this is absolutely fabulous, beautiful, like, well, then, you know it's, not illustrative portrait, but it's, just a nice shot, she's a bride, she's got twinkled, sparkle, she smiling. Who jury looks great and, you know, it's, nice and shop, I mean it's, a beautifully finished image. I'm sure she absolutely loved it and it's a good, good shot.

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.