Here we go this is our number three out of our top three was the number three and this was from grease bucket photography uh we talked a lot about obviously the composition in the framing this this has done very well here especially that you have some place to go when you leave the subject's eyes you have somewhere to follow either way you're going from the eyes out of the frame or you're coming in to your subject and you've got these acting as these really cool leading lines I quite like that um I love the soft warm feel this is very much speaks to a summer evening I like that quite a lot or a summer morning I can't either way summer I think the fact that she's very active blowing them and she's not really paying attention she's not posing for the camera and overly posed away and like that it adds to just that feel of it a ziff you walked in and found it regardless of how it was created and set up I love her hair her hair is very cool uh what it would've been interesting to see it dow...
n to same sort of shot would have been fun for me on ben you know, I think in terms of finalizing this image that little strip of light at the top I think we either show more of it or we take it out um when it's coming in but otherwise uh there's a reason this is number three it's a beautiful image sarah mccarthy breeden congratulations that was amazing shot congratulations okay world uh number two uh okay this one's just awesome I love this one uh who photographed number two who photographed number two that was jessalyn thorne okay I think this is lovely I think this is one of those things we talked about the use of negative space and how it can provide a lot of whimsical feel how you feel very invited into the scene because of it I don't know the fact that the subject's not looking at the camera does that matter at all no it's very cool with the hat and the way it's craft in the way it's set up in the blue of the sky and the clouds there's there's not a lot to this that I would have any sort of issue with if you were to be like oh my god sitting on the judging panel you might wonder if the bottom crop going through the belly button is of concern if you want to go a little bit higher a little bit lower but I otherwise I just love this image I think it's very striking and I think it should absolutely be r number two place in the contest out of thousand less congratulations all right number one um okay so number one is photography by lorna lorna nightingale um this is obviously there is a set up to this there's a there's a feel I doubt this child fell into strawberries but sometimes that pop of color and the mix and the way it all works makes a big difference. There is a really interesting interesting composition to this remember I said that a lot of times when the subject is looking off up and out to the right we lose them unless there's enough interest in the frame to keep you there the strawberries provide that interest and they're fun and they're scattered and the red in the hat and the red the strawberries and the red in the face and the red on the lips um kind of all those together we've got the blue in the eyes and the blue in the shirt um and just laying in the sand just fun and carefree er very, very much like this image I even like how the strawberries replaced so we see a little bit stem and we don't see a little bit of stem um they provide a very natural vignette which I quite like of course I love the cash light in a life in the eyes um it's soft it's warm it's inviting um lovely image big fan number one congratulations I know right just really cool entries so big thank you to everybody entering and um they're getting some really great price packs right there were there were some, uh, questions about the hazy look of the winner did you like that haziness to it I did I thought is very soft and nostalgic I didn't find it to be hazy in that it was, um like wow do they not know how to make a sharp shot? I thought it was very much a purposeful the thing that kind of emphasized summerfield um and so I quite liked it I didn't find it that hazy did you guys find it hazel now you guys don't either way also don't know what what monitor people are looking on um maybe they're looking for some sort of gauze tape. No, I'm teasing. Uh, you know, everybody has a different, different different definition of it. One of the more interesting things that I have found in um competition judging is albeit on a panel of judges and an automatic challenge is when the top the top score and the bottom score are so dramatically far apart that we need to stop the competition and figure out why and everybody has to weigh in and then you you defend your position that's how much people see things definitely, you know, two esteemed judges on the same panel will be like this is the worst motor ever saw this is the best photo ever saw e I mean that's not abnormal by the way, the prices are listed on the facebook the creative life facebook page under tamara lackey the for the first three winners started listed their fantastic so you can go check those out on facebook okay? And the reason we're taking uh the rest of these four seconds is because I literally came back in the chute uh through the images into my computer pulled them up and and then they and then they said, well put in keynote so it looks better I'm like, okay, I'm gonna put in keynote and I'm sliding the images into kino this is happening so real time it's ridiculous um and I am a lawyer look at that pudgy bas we do have a question about the child on the beach yes, with the watermelon way were asked him where exactly you meant for the horizon lines to hit? There was a little confusion on that. Oh, so what I found was that the horizon line was at an angle okay, it was going on it wasn't exactly straight across you look behind you. Okay? So if you look at this image um the horizon line is, uh, not straight across like ramrod straight and there's actually a function that if you if you're not familiar with how to do this there's a function your camera that allows you to to do this, to create their horizon line very straight and it's a little ruler function that you put on there and automatically tell you the percentage that it needs to be moved to get the exact straight horizon line. I have used that frequently until I was able to eyeball it. Um, but using that will help get you in the mode of being ableto more quickly. See, um, when something's very, very straight or not. But if it's a little straight or little diagonal, um, just pick it like I want one of the other, you know, but you didn't want the kid to be out of the horizon line. You still wanted some of the horizon line through the child. Is that right? I just want the rising wind be straight, right? Yeah, no, I didn't want to throw the child into the horizon. E I didn't want to do that.
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