Professional Photographers Critique Student Images

Lesson 6 of 26

Wedding Day Critique Part 3

 

Professional Photographers Critique Student Images

Lesson 6 of 26

Wedding Day Critique Part 3

 

Lesson Info

Wedding Day Critique Part 3

We have two photographs here this is uh this picture is the picture that I want a love I love all the zombies and everything in the background I love the bride and groom but I don't like them together as much because what why? Because the pose doesn't fit the scene I think this maker has got some great ideas and I'm really, really, really excited about there thought process there they're quirky and I love that and this is the kind of picture this kind of concert would be awesome at a bridal fear or on your portfolio because this is hey, I'm different and I can do things that people aren't willing to do but it's the pose on this couple that looks a bit too static for me well, what happened what's happening here is that the trying to be zombies but they're smiling in the background right? So I kind of feel like if you're going to go this ralph thing go all the way so in this particular case if the maker would say, hey, this is a movie poster what what I do I think that's the feeling that...

you want to convey here excellent way have to move on a little bit so ok ok love the expression good scott I just I love it I think it's great um you know uh it's a little bit bright they're on on his side of his face there, maybe just take it down, shade it just a little bit right there and then she bam it's a good shot and I like the camera angle. I think the maker did a nice job where they cropped. It I think, is interesting. One thing I think would actually have looked really good is to take that gentleman. The next suppose I'd like to see is for him to have that gentleman straighten up a little bit and turn his entire head sideways so that we only see maybe just his jaw line as he leans his head on her under his chin on her head. Because this is really about her. And I love the feeling of where they went with this, but I'd like to see them do something a little bit different but still beautiful image very nicely done. Love, love, love the idea posing is not quite on it. Why? Because she is not. See I love what's going on with him. He's done he's got this wonderful, cool, funky vibe going on, but she looks too to pose perfectly for the little bride. She needs to be like it needs to be very much more dramatic, like maybe she's late leaning across those rocks with your legs. In the other direction, just kind of leaning back on him is he listens, so tell so when you're taking pictures, don't just think about the elements that go into but think about how they connect together and yeah, so to me, like with music and saxophone is very kind of sexy and whatever. So in my mind, if I'm having him play the sax, maybe in the background, I'm having her seductively dance and just getting into that mood, that he's setting, which is, you know, foreplay for what's happening that evening, ok? I love this. I think this is absolutely beautiful it's very, very elegant. I think that I like the idea showing like like the the this shows the back of her dress beautifully, I think it also showcases the environment in a nice way. I'd love to have seen a little bit more finesse on the pose remember we showed you earlier? We've shown you guys like how you can take and you've been won me well, when you have a dress like this, there's a couple of things that you can do to make that dress and make your back side look even better, and that is you can cross the ankles, seeing in her case that she was doing this. You know, maybe she's holding on to those women and then she's got those legs crossed like this. What happens if you're looking from the back side? You know, if for feeder just together like this, then we see just a broad back side, whereas cross those ankles like this and see how we get theirs, we get weighed on one cheek and then wait off the other one. And when you have a dress that's like that, it'll pull that dress forward, which gives you this nice shadow across the back side, which will look even better. I think I love this photo. I just feel like he didn't sell it enough, and it means that he didn't get that bride to really sell the feel of that, right. Another thing, too, with the hands when you haven't equal, you should always have them slightly separated. So yeah, like just a sell it mohr to feel it and to sell it. Mohr. It would have just to give you that extra room to put it over the top, and I want to see it cropped less. That bottom of that skirt it's killing me that we don't see the bottom of that dress, I feel like this is one of those occasions when I feel like it's cropped a little bit too tight. I'd like to see a bit more space and there this would be one of those photographs. I'd hang out a bridal fair because I'll tell you what that would sell you all day long. Yes, stephen is there every time when you don't want to see the booth. You personally? Um, good question. Yes, there are times, but I can't tell you exactly in this context. The reason I would want to see it now is because that's what I was reading about the dress teetering address. Great question, steve, I love this picture now you know how we've talked about, you know the posing of the hands and of the feet rather and how you shouldn't have people pose flat footed. Ok, ignore that for this picture. Why does it work? Even though his theater together I feel it it's the passion between them that you feel this is a a magnificent image. I love the treatment. I think that this is one of the times when that treatment works with the picture. I really like this photograph and even though his feet are together, there's so much passion in his hands the way he's pulling her towards him in the way that wind is blowing her dress that it makes me feel yep that's really that makes it feel real to me you know I love it I just you know if I'm not totally sold on the hands exactly right there may be just a little bit back mohr um and so I could see a little bit of more of her face and another a good idea to have when the wind is blowing and that hair's going all over the place a good place and take the groom's hand to use as a to position that hair you can do that too I don't know if this is a particular case but the passion really shows there it's great image and for me if it's windy like that I wouldn't I don't want to hold the hair down I would want I feel that that's part of that scene also for the maker if you're listening to this there are some images that we shoot for clients and there are some images we shoot for competition I don't know that this one would do amazing and photographic competition but it is a one hundred for a client it is a great image for cell ability for the kind of thing that I would want in my brochure I would want this this would be a big eighty inch print in my trade show booth I would love to see a little bit more room because this would make a fantastic ad in a magazine if you do magazine ads I shoot the cover for mitch falls from bride magazine, which is in springfield, missouri, and they do they have magazines all over the place, but this kind of photograph would make a killer cover on a different magazine or a big full page spread in a magazine. So you know, think about that, but I just think it's great awesome maybe if you just pulled back a bit more cropped it a little bit have a more majestic field to anyways good job and the internet love that shot as well. Did you really buy that as well? Okay um I love the bride I love the scene but they don't mix they don't go together. I love this picture without the bride in it actually to me this photograph looks amazing with the groom in the background and this scene because why? Because they're in their their mood their posed kind of fits with what what's going on there but she because she's just standing there and she kind of is looking towards the camera I feel is though it doesn't make sense that she's there um it's a little bit too awkward to me for her to be positioned there in that post I like the scene I like the tone of it yeah the way that they're posed I don't necessary like for me I would well they I'm different but if we pull the guy out and we just posed her and since that light is coming from above and we had her polls like this and looking up and put her in between um place to write in here instead I think it would have been very powerful so I feel that this photograph that this seemed needs movement so in for me whether you put him in here or not where scott mentioned where she should be I like the idea of those firms being in front of her where that she is walking through our running through this scene I feel that that would make for a much more a much stronger photograph because the light is definitely coming from up above and because she's looking in the camera in this recognize we're getting raccoon eyes and that's what we want to look at when you have somebody looking at you we expect to see their eyes so in a case like this it doesn't mean you can't use that scene but it means that you have to use that scene and that you need to two if you're going to manipulate your subject that you need them interacting with that scene whether it be even if she has her face if even if she's looking down if she were running through that scene looking like and like this but she's not looking in the camera, we don't expect to see her it makes more sense to us that she's supposed to, but she belongs there. But when she's looking at us, we expect to see her face questions you doing okay? Um, this particular photo um I think it would have been better if I know I understand the concept of bringing the subjects into shade and then lighting them, but it kind of looks very unnatural when you do that if you don't do it the right way if you don't have a lot of get a lot of shadow on your subject um I think it would have been a lot better. It looks like there's some bright sun there I would have broader to an area where maybe it was less distracting and just have that back light come against them and get some of that lens flare and then shoot him and then you could uh the posing is a little bit awkward, but if you would have cropped it in tighter and shoot him with just some back light coming through, I think it would have been a much more powerful photo what's really bothering what's really hard in this photograph is that there's there? We see too much of the scene we see too much there's too much information going on here, and because of that, then we start dissecting the photograph and in the areas that we don't want to see we showed you posing a little bit earlier notice he's standing flat a bit flat footed on this, however, if this photograph were cropped really tight here through here where we don't see so much of her it makes it starts feeling a bit better, so I would tell the maker you've got to be really careful of things that grow out of people. These two elements right here this one die sex the picture because it's a vertical line this one die sex in through them so it's not going to be it's not going to work the best for that subject. So maybe if you're going to use a shady area, I might consider moving them to an area that's over here versus this because because there's the contrast of the highlight, the bright sky and then that dark piece that is creating a bit of a problem. In addition to that the way that the photographer flat looks like they flash filled it it's a little bit too bright and too hard with her we're photographing straight into her gown so and straight into the body so you want to pay attention to that and turn that body your standard beauty so we're going to treat wherever you do with him here turn this way towards the camera it doesn't mean that you like in that case he's turned away and we want to show you that pose a little earlier but notice for you can even bring her behind him um can you push it that way a little listen and then lean towards me here with your shoulder the sip this way you just did this one just like that see how I can still be behind him and now we have a little bit more believable or you could even bring her arms like this so there's a variety of different kind of posing techniques that you can have but just remember we want to flatter are the subjects and because they're both wearing white you're already that already is an area that we have to that part is going to be is going to show up brighter than the face especially in the context of the chess club trying to pose in sort of behind things to minimalize the little bit that you might be offending them at all you know that's a great question I I have to say I my approach to that and I cover a lot of these concepts I find it really with their comfort zone is in the engagement session I think that's an important element for me and find out who my clients are I have not ever had a client say, oh baby, you maybe you make me uncomfortable because you hit me behind things I'm not going to be overtly like I'm not gonna hire behind a tree, but if you have a husband and you've got those two this way and you choose to place her body behind him but the results are the same or you get beautiful results of their faces doesn't really matter as long as you flatter the subject that I think is a key importance or climbing, maybe sometimes I'm just I'm so aware of it like I'm thinking, I hope she doesn't think I'm doing this because I think she should be you know I love the picture is gonna look better it's not even about whether it's that we're not even talking about plus size bride the real point is are you flattering the subject that's the point but it could be a skinny little girl you know she wants to look good in front of the camera justus much is that larger bride does or that larger girl does so is the real question is are you flattering this subject? And if you are, then you have a really great because like the whole thing is like to me is make a woman look like a woman and so what she's? So if she's angled this way and leaning and you've got more shape in her your accentuating who she is mohr and that's in that case you're shooting or so flat that you couldn't get that shape come through ok um I love the composition of this photograph and I love the way that the maker chose to to have her look back away back towards the camera I think that's very very pretty scott, I you know was very stunning when I saw this picture she has a view beautiful expression on her face, shoulder slightly turned um it's great, I'd like to see a little bit less of a crop for some reason the crop I felt was just a little bit too tight on the head I felt was just a little bit too tight but still a very, very nice image. The other thing too that I'd like to point out is if you have a choice, if you've got a height with so much high key going on other words light things like that bail I think this this concept would work better on a lighter background if it were against a lighter wall or, you know, some sort of lighter environment I think that it would there would be a bit more harmony, but as it is that dark area behind her head to me kind of sucks that that it just looks like you have dark spots and then bright spots and then you can see the darkness through the veil so I think it would be I think it would look prettier if you run a lighter background I love the expression on these two people's face they have just got the greatest connection going on. I also like the choice that they chose tio bring it outside with a little bit of a couch the high camera angle works very, very nicely I have to say I really find this image very nice um I like to I loved the expression I'm not quite sure about the posing of him reaching all the way across there and cutting her off and then the fact that two heads are on top of each other that kind of bothers me too so they kind of separated the heads and maybe he doesn't quite reach all the way across there in that way I think it would be even stronger but it's great. What would help this image is if you turned his entire body towards her so that if she's going to lay across his lap if she's going to kind of lean across his lap if both of his legs returned in the same direction is her that would give her a bit more room to lean across him and then it would he would not look so awkward, but that's his body energy feces, front leg his bottom half of saying no and is don't think yes, but still very, very pretty image and a fabulous expression on. I love the way they tied in the chair with the background looks beautiful. Good job. I mean, the maker of to get them to give that expression was very that's, commendable.

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.