Children's Posing Guide

Lesson 20 of 37

Critiques of Students and Photo Contest Submissions

 

Children's Posing Guide

Lesson 20 of 37

Critiques of Students and Photo Contest Submissions

 

Lesson Info

Critiques of Students and Photo Contest Submissions

So we're gonna jump right into photo critiques. We were fortunate enough to have to make these go wide were fortunate enough to have, uh, just so many contest entries, and we just popped in to facebook and scroll through and found a couple of images that caught our eye, and we want to do some critiques on them. This first image is from jennifer seem s I e m, um, this little girl in the sand, I want to start talking about what I'm going to do, by the way, is, um is look from my screen, which is the image I know that this image, this screen's a little bit different, someone who read it off my screen. Um, what I find right away is, um, I'm immediately drawn to expression, like I said, that that has so much impact when it comes to children, and I do love that, but I do see that if we had when the shot was when this image was taken, a couple small adjustment could have had a very large impact. First and foremost, I think memory talked about all the details, talk about all the details and li...

terally dropping to your knees, pulling your hair back away from the face, jumping back up or whatever, and you want to choose? Um and then shooting that again we would have been able to see more of her face I don't mind threads of hair as I've shown you I have a few images that have threads in here for a digital image or to share when I do print it large I'm gonna want those gone because they become extraordinarily distracting when it becomes a large print um but an image like this you can either have a little girl do it or most likely what's happening is she's got sand all over our hands you jump forward and just kind of pull the hair out really quickly and then and then keep her engaged and get the shot. The second thing I noticed is I want some more fill light it's not difficult when you're out and about we do have some fill from that sound sand bouncing up if this were photographed on a black tarmac we would've had almost no light obviously khun see that sun is coming from up and to the left that's where the sun's coming through um if we had a light absorbing bottom like a black road or something or dark great carpet we would have lost anything in the face in the way of light is certainly catch lights so luckily we did have the benefit of the sand bouncing light back up but a simple a small reflector answer is small because this looks like it's on a beach or just a very sandy living room. I don't know I'm thinking beach, um, and a large reflector is a nightmare on the beach wind and just it's crazy, so but I will take a small one simply for things like this. So a small sort of thing or phil flash you could use or just reposition your subject so they get the full benefit of the bounce light so that we would had a lot more light on the face because that's, what we want to look at when you look at this image member, I talked about the trick of squinting when you look at an image and what pops out to you first, obviously the highlights are gonna go first that that hair let up a little bit with the teeth. But I want you to go right to the eyes and the crinkle in the nose and the beautiful expression on this little girl and she's, a really lovely little girl, because I think that has an impact. This to me, strikes me is clearly a kind of a fun out and about kind of image versus a let's start a real portrait, you know, session it's, summertime joy, so that's entirely appropriate, but if I wanted transform, transform this into more of a portrait that had that that more feel that we could have long term I would do an outfit change so we didn't have so much distraction with the patterns I don't like like I said, I don't mind patterns but when it's what's really contained it's very bright and vibrant and it's only in one spot you tend to look there versus if it's all all of the clothing is in the pattern so those are just a few shifts that could have made a difference um you know what I'm photographing adults had tried to avoid shooting top down that often because I think sometimes that can uh it doesn't look at a lot of people like to shoot top down you feel like there's a flattering look to it I think that if you can pull down a little bit it's a more of that full frame adult look with children however um I think shooting top down can be a lot of fun it can really highlight the the size of the eyes on deacon should emphasize that little that little child I feel that you still have so I don't mind the angle at that level I would've also want to drop down and shoot something straight on to does that make sense? All right very good um what I can also do for you is just very quickly show you what I mean um if I'm gonna go into this image again, I kind of like tio I like tio I like to basically what matters and can I emphasize it? So an image like this I'd probably tighten the crop up just a little hair. I don't mind that again. I like to crop for what looks best, the image not necessary fit anybody's preexisting frame um and, uh, unless I've been instructed otherwise, but this actually does fit any by ten better when you squared off because that everybody's frames right by tens, right? That's just what that gets old uh, and then I would expand a little bit of room over here. What I just did was edit free, transform I went into edit, free, transform I used the selection tool here of the square, and then I squared off a space and then I just pulled it, and when it does is it stretches the image, you don't stretch it too much because it looks false and weird and animated and, uh, but just a little hints we'll give you a little bit of room to work with, um in that way, then I can go in and then reframe this a little bit to be what I'm looking for, so just to show you real quick, the difference between the cross the crop with before that you see how tight it wass and I want a little bit more room on when I'm facing her on her right side, and then so I just allowed myself to go in and and have more of that, and then the other thing, too, is I can use dodge and burn what I'm trying to do here instead of using I have a number of actions that have either created or purchased or mega tweaked a big fan of finding an action that I really like and tweaking it so it could be mine versus look like anybody else's action eso instead of doing that, I'm gonna use what's directly in photo shop so anybody can use it, and you don't have to rely on an action on dh what I have found and working in photo shop five gs five and what I find is with the dodge tool this protect tones option has really improved the usage of dodging burn. If you take in a workshop with me four years ago, I'd say do not use dodging burn, it's horrible. Um, I had a lot of problems of dodging burn, but the protect tones I feel from my perspective has really helped. And then basically, if you notice in hear what I'm doing is I'm trying to dodge out the shadows, and then, um I'm going to use, probably about there. And that's that's just general clumping in what do I do? I tend to overdo it and then pull back kind of like season to taste and then go in and make a difference. This is a little tough because I'm working with a low resolution facebook image. I'm not going to do this like a full on thing, but just give you a feel of what I would do is I would come into the paint tool here, bring the flow down to about thirty thirty and then select around these little red lines. Thes red lines are pretty emphasized. Um, I don't know if this is sunburn or, uh, color casting, but I do a little bit of that, but you've got to be careful with that because if you've got freckles and things like that, you don't wanna lose them. I love freckles, as you know, uh, but just like two small things like super fast take that from that to that, and you can see where we're going, right? I've got it without getting, um, terribly into it and then maybe just a hint of boosting curves just so I can see a little bit more what's going on, or do you see how we're getting closer to what I wanted to make it okay? Data don't work with or if it was a matter for kay all right so thank you very much beautiful child um and and again I'm not I'll be doing photo shop later right now I'm just doing critiques and showing you very, very quick things um so another one let's go into this file um I think we're going to go with contest so let's go large on this little better um so I'm this image ah one of the first things I noticed is I love those fields I love fields everybody has their thing I always think about you know, when I am I really calm places like running through a wide open field with this really long tall flowers and just running like probably like a skirt like I love that uh the reality is probably was like ticks in there you know? And but in terms of like this kind of look I think there's something to shooting in these kind of flowery field the kind of place is that just feels free um this image s oh, I love a lot of that structure I love thee house behind it and the little girl is obviously just adorable s o that all works for me when I had talked about where the viewer's eye goes when they go into a frame where my eye goes is it goes into where she's looking that's what I want to go to and and it kind of takes me right out I go in and I go right out I go right out to the right side of the frame very quickly um earlier I'd showed you a composition that was split screen where we had a subject doing something similar but there's enough interest on the left side being very different with the graffiti and it led you in that you still stayed in the frame you kind of went in a circle here unfortunately you don't have that the left side is pretty plain in terms of areas of of things to focus on so you kind of go in and go right out the fix for that is twofold and every fixes to fold it's either how I change it while I shoot next time you go out what can you d'oh um or since you got this now and you can't go back out, what do you do with it now? So it's always to fall? What would you do when you shot this again to fix that and what would you do in post processing? So as I'm looking at right now, if I were to shoot this again, I would switch my angle for a couple reasons one I'd want to be more towards where she's looking I want team or the center of that focus um and I also don't want the corner of that house to be right behind her head uh, I like that there's a distance between her and that house. I like that quite a lot because that's easier than her being right up against it, but still I don't necessary need the house to be right there it's kind of the more interesting for to be off the side, and I would get that if I changed my angle and I shot more to the right of her and more straight on, so that would solve that issue right right out of the gate in post if I'm looking at what I can d'oh, I could then try to adjust this by cropping a little bit differently on I have a couple options like, ideally, my favorite option is going to be making this panoramic, which dramatically changed the portrait and then and then involves some photo shop effort. Um, obviously you can choose whether or not you want to do that, but if I want to do something like this, this would very strongly change the portrait because again, we lose the roof and we change everything. Um, I am not going to take the time to do this like in crazy detail because you'll get bored, but it would be end up being something like this slowly cloned and transformed across to get me a look where she's actually looking out and I go long all right, once again, do not try this at home. This is by no means a good photo shop job. This is a bad is the horrible photo shop job. This is the worst thing you can ever do. Do not do this at home, and yet this gives you an idea of how that could be transformed. You see what that could be? And you see the difference between this and that incredibly different, incredibly different she's looking out, you want to go across that way? Um, apparently time is moving very quickly over there. You want to go see it? Uh, but that would give you an idea of something that could change this quite a lot. Um, if you had shifted your angle to be shooting more on with her, the house would have been a little bit off are off to the right. And you could have had more room to do that in post as well. If you'd shot this image vertically um I think there's so much that house it's very interesting in this field. I would have just wanted her to the left of it. Remember I showed you that layered composition with a little girl, the bed and the window up top I could have seen a very similar composition here with that house and you have been very striking so those were those were the changes I would have made um for this image there's a lot there's a lot right with it and small shifts would have a huge difference we have on that last image I'm so sorry I just breezed by that that last image was by terry tr y and we think terry thank you very much um this next one is by savannah and it's called some summer ninja uh summer ninja oh the pics elation let me bring him down and probably just a side note you might wantto let people know that when they enter images into contest that they could go with a little bit more resolution in this um when you end your contest like on facebook any sort of photography contest I've judged a number of contests online in person in prince digitally and I can tell you without any reservation that when I see an image that's extraordinarily lo rez and it's put up lo rez with the effort to protect the image I can't really judge it I can't really see it I have sat down as ana panel a number of times and had ten images in front of me and two of them were solo rez that when I went to look at what the shadows were like on the face but I would tow look at expression I couldn't see it I couldn't give an accurate judgment so I couldn't judge it so if you were entering contests online digitally um and and you're worried about your work being stolen so you want to make it really low rez that you know, I think you have to call that for yourself, but if you want people to be able to see it and properly judge it, they need to be able to make it larger so they can really get a look at it because we're trying to do is simulate looking at a physical print in a print competition house on dh when you're looking at a physical print, you walk right up to it and you look at all the little nuances and you look how the shadow falls off the moves and you step back and you look at catch lights um and you can't do that with the super low res image, so just just enough why I for contest participants going forward um so on this image um yeah, we definitely have expression there's no doubt about that I I love how I love it that he did that that's actually really impressive. Um I like that I like the fun feel of it. I like the angle quite a lot that it's shot low to the ground teo really emphasize the impact of the jump the and that that makes a big difference the same shot um shot from on high would have just killed the whole effort so shooting from lower makes a big difference. Um he's got some great form, so the two things that strike me in terms of composition is its center composed and it should be this is a great use of center composition because it's impactful it catches your attention it's striking its arresting good job centre composing this uh the other thing I really like is the horizon line is nice and straight I love that I have a love these street horizon line that's wonderful that works really well it also looks like there was an effort to mit made in terms of background if he if he had been jumping and angle been too low, he would've been up with all that speculum highlights right behind him or it would've looked kind of like that light gray sky that you can get sometimes andi would have lost some of the impact of his jump, so we like him contrast id with the background that's that three point lighting one of the easiest ways to get the rim or hair light uh, component taking care of when you're out in the field is simply to separate your subjects from the background and that has done very well here, so I like all that what do you think I'm going to say about it that, I think, could have had improvement. What would your guess be? I'll give you a hint. It rhymes with phil, but with an f get it filthy h, that was horrible. You guys are not for I'm sorry. Uh, eso feel like I feel like I would have had a big impact on this because you can't obviously we're dealing a little bit with resolution issues, but when you go in, you can kind of see through that picks elation, dark shadows here, right? What I said, when you're photographing children in natural light, you are very, very likely to get darker shadows under the eyes. If you don't use feel light simply because they have such light to skin here and it's, this kind of transparent skin on a lot of subjects, and it doesn't matter. Skin tone. I see this all the way across the board it's just it's, very light, delicate area of our face, and it continues to be our whole life, but as children, you're more likely to get a shadow under the eye in natural light, and the way to correct for that is tohave fill light in a shot like this with action and movement, I would've gone with on camera flash it's really tough to be able to use a reflector on a super fast moving subject like this so on camera flash would've been a great way to fill in the shadows on the shot and really emphasize expression quite a lot some good I think that image was from savannah that was from the sedation summer ninja yeah, thank you very much. Savannah okay, we have here this is from neil house. Um very fun, vibrant image have yes, a very fun, very vibrant image I love the sharp colors and I think that it adds again we're talking about the hole point of the contest the context of the contest was summertime joy and that's captured really well regardless of what the season is feels that way um like that was shot dead a winner so you know I love the movement as you know I love arms love what arms do to him fingers and hands see how delicate the hands look because of the way the arms go that's done very well we have from a composition perspective and our access points are subject is in the upper right hand area and the access point that's wonderful we've got foreground because of the angle he shot really low so we got four ground that's out of focus it's obviously shot with a more shall it up the field on dh then so that works very well to see was a lot going on that works very well here um the other thing that strikes me about this image is when you print this image that fuchsia fuchsia l say fuchsia fuchsia is going to pop and pop I mean it's going to go chromatic lee crazy um and so what I would do before I print this image or even when I'm delivering it is what you could do is select that area and do a fine feather remember I talked about color casting, managing color casting in the face that one of the best things to do is to do a feather around the offending color casting area in the face and then slowly bring down that color um oh I'm in front of photo shop why am I talking about it? Let me show you um a nice, simple thing to dio is literally this I'm not worried about everything else selected because I'm not doing a saturation de saturation thing what I'm doing is I'm going into selecting the area that I want to control the chroma I'm going in to refine edge I'm going into radius and I'm going into feather I'm assuming this is high res images it looks tyrese sure and then I'm going to go into image adjustments hugh and saturation and choose this's always fun magenta or read I'm going to say this is magenta ish yes I am um and I'm gonna pull the saturation down just a bit now tell me if you see that impact can you see it on there on that screen everybody's got a different view can you tell me if it's seen or not on my screen it's seen you can definitely see it it kind of pulls it back in let me do it very dramatically because since I got I didn't get any response I'm guessing no since I got her plate no response let's go down to here and basically when I say it's gonna pop what I mean is when you get a printed image back with that fuchsia and this is really common with futures and neons such which is why it was one of the original rules for not having clothing with this color it's very common to get the image back and to give you the best example have you ever had an image come back from the print lab and it shot on a white background and the white just disappeared like it looked like it was gone the speculum highlights took over and it looked like those highlights broke and on the image it looks like a pop of white is out of your image do you know I'm talking about yes all way around so in future it's the same thing that image color is gone um and when you have a highly when you have a deep saturation and image when you have this color's really pushed those colors will leave on you when you're printing it so I did a large feather I'm going to image adjustments er saturation I'm going into magenta and I'd pull it way down I'm gonna go into reds put way down gosh it's more red the magenta that's why you didn't really see it tricky little bugger and then you pull that down so do you see this versus this now wouldn't necessarily go that far down but it would bring it down enough so that that part look at the jacket look in the back of the jacket it looks like a steady color now right that just has waves in it when you go up here to see how these color areas have popped he's going to be gone when you print now that you will have them back when you print and that'll make a huge difference especially you paid for a print um okay so that's one of the things I would do is that we check with the saturation and make sure I have managed that um tell me also your choice for the vignette um actually have this hanging in my studio meeting spaces a sample is a big campus how did that how did the reds go? This is processed like I've this is like one of my signature images it's kind of like I love kids in motion and it's yeah it's one of the things that people come to me for so I've done like so many renditions of it yeah so you know version yeah it's not really printed it doesn't have this heavy vignette in the studio a print but you know, when I was looking at it for now I was like, oh, this would look actually really cool to dial in the tension even more on the subject, you know? And it shot from like, laying down with your land really far away it like two way it's just I don't know it's just like one of those peering in kind of like shots it was the end of the shoot where I normally put the camera away yeah, but I learned never to put the camera away until the client is like at their car because that's when this came on their waving its a bonus shot yeah, wonderful! And what lens did you choose? Just like yours? It was a, uh seventy two hundred. So yes, s ome I thought of the vignette is the point of a vignette is to simply bring your focus closer to your point of interest in what you want and vignette can either be on purpose or could not be on purpose and a lot of it is personal taste kind of what you like or what you don't like I think that you know you sound like you have it orations of this image I probably would prefer for the image with a little less heavy vignette um just because sometimes it would been yet to get a little heavy handed and this is simply my perspective but my perspective when I look at images with a heavy vignette unless it's it's uh meant to be a certain very strong vintage look I feel like, uh I would rather go to the point of interest myself than be forced there if that makes sense if I'm trying to put words to what I feel when I see an image so one of the things that I would do is one lesson that yet or just crop in a little bit so it's just not so much um I have also found that my images have changed over time if you look at one of my images from eight years ago I'm like vignette it all baby on and that has calmed down a lot teo or like to do the reverse vignette where it's a little bit of a soft later ej I said just to kind of change that field but yeah there's a lot right with this image I see why you love it those those shifts with the chroma um and you know, some that saturation and the vignettes shift a lot the other consideration is you may want to think about making it all here, you know we've got this matt pretty matt um all here and less of and make it look almost endless that's another option to in terms of whether you want them going into the trees or not it just changes the view of what's happening so thank you very much thank you way should clap clap for everybody in this town is getting a lot of yeah everybody yesterday yeah all right so then we have you don't hate that guy no way you've got to let the hate thing zhou wei must say that guy is this your guy know you love this guy oh right the whole argument let's go up full screen would alright nice. Okay, so on this image um obviously and I love how everybody really paid attention to how we want to show feeling in these images because all of these images air having some element feeling in some a lot more striking than others clearly he's having an experience he's having an emotion which I do love and so is this like one of those jumpy, jumpy things where those officially called it's a bungee jump there the kids up with high up yes and no his sister had gone up twice already and I have a lot of shots off our o and he was not willing to go, so we can't even reason yeah, but he was he was not willing to go but he was enchanted by what she was experiencing yes so he said ok, I'll give it a trial and vent but he was your doubt yeah he have freaked out okay, so from the perspective of the expression in the fielding I love how that just jumps right out of you could tell he's feeling things and I love that uh, you know, one thing that strikes me is that when you're in a situation when you've got images uh with something specific like the lightning mcqueen car or a cable set up or a long plastic slide that's bright red and kind of, you know playground looking the way to get around that are really easy way to get around that is to say you know what? I don't come back combat the colors and the rope feel and stuff I want to go to black and white and make less distraction and put more emphasis on his face because what I am distracted by is all the harness and all the ropes and the things coming in the composition in terms of that blue sky and staff is cool. I would actually move in a little bit more over to the right simply because of you see how his body is going right to left as it's hanging that tells me that I want him over I want his head to the right and his legs to the left versus the center composition because of of the that I I have multiple crop so far have multiple shots off this in which his left god got you play I just picked one I just think yes yes no and and again I am not saying you did it wrong I'm saying suggestions for how you could do it different yes exactly so right like what you're trying to tell me how it was give more impact if we asked second bite or yeah and I think if we did that let's try that let's go in there let's adjust the composition a little bit I'm going to take the mat in frame out for the purposes of this of this critique goodbye matt in frame um and then I'm gonna pull up s o is you if you can see on this image um he is you know where is the state we have our grid show me your grid it isn't crap tool that ah all right so he's clearly right in the middle right he's a little bit like if you think of the focal point is his expression his face and that's not so much in the middle that's kind of up here a little bit off right it's not that he's standing on the middle of this is kind of where you really want to look and when you want people to look s so what I would be interested in is pulling him in that way more um I like his the way his uh how he's hanging in terms of his feet in his legs um I would like this to be a little bit more of that and then pulled over um and again this is gonna take a little bit of photo shop work and you want to frame it this way you certainly I'm showing you what you can do because I want you to do it on the spot I don't want you have to go in and fix everything and photo shop that's exhausting and is too much of your time but as you're as you're on the spot what things you could do again this is the edit free transform tool this in no way is correct do not do this at home it's horrible ben's rop hate it but it at least gives you an idea of what I'm talking about by the way, I love how online even though I just settle that someone's gonna say did you see your horrible photo shops? S o I think this gives us a little bit more I'd like some room underneath him too I don't know if I just cropped that out but I'm gonna but that's what I would want um more of that blue sky underneath him so you can show him in the air you certainly don't make it seem like he's standing there that be kind of weird um and then this all just gives you an indication of, um, kind of how I think that would be a little more interesting if, of course, the magnolia tree was correct, and then going into the saturation, I'm going to really just chop job on the black and whites just to give you, um what I just did was de saturated, I'm boosting the curves, um, and then I'm going to go into, um, just give it a hint of color. I will go through all of this much more slowly in just a few minutes, so I promise you, I'm not racing through this, I'm just trying to really quick you quickly give you ah, black and white. Um, this is a preview of what you'll see in just a second. So now some of the harnessing and stuff isn't so prevalent, I'd wanna have some more fill light on the face. Um, we obviously have a little bit going on here with resolution, but do you have a feel for how that could be different as we go there? Yes, so we start to go to a place that's a little less. I'm dated, I'm in a harness, I've got red and guys I dated, I mean you dated specific to a location where it was just this one thing and it's something that you could kind of frame and keep up regardless, and you're not as distracted by the conflicting colors and the rope twists and lots of stuff. Um, you guys see that? Okay, good. Thank you. Thank you very much. I like you. I we're like two are actually was, you know, I didn't know howto deal with the colors because it was evening around sunset and everything. Wass what's happing? Yeah, that black and white. Yeah, you don't know, and I never taught a black and white for this, the set of the majors because I love the blue sky last guy, so I just left you there, but I'm thinking what I'm doing is I'm I'm looking at these images from the perspective of what do I want to keep is a long stating port I'm not looking at it is like that was a great shot. I'm thinking what I want to keep is a portrait frame in my home that's, how you're taking everything, by the way, how do we turn this into a portrait that I want to keep in my home and frame and put up and and not be very segmented for a certain this so that, like I have this incredible photograph of my daughter climbing out of a kiddie pool she's on her hands and knees and feet are still back on the pool and she's going like this and she looks up and just water dripping on your face and her expression is just like I'm the happiest I've ever been in my life she's too and but the kiddy pool is horrible looking it's like a blow up pool with like funnies and flowers on hit and it's bright purple and green and orange and so the whole things black and white and it's late it's in her home and it's striking that score just and it would be horrible in color you know so the the decking look terrible's before we anyway that's not thank you you're welcome but if you looked at my portfolio if you go to my website and go to my gallery what you'd see is about a third of all the images I show nearly all the time or black and white I love black and white wind done well and I love it for specific reasons when it comes to removing distractions and helping me to really concentrate focus on what I want you to see uh okay uh huh um okay so right uh right when I look at that I'm struck by that golden light coming through the trees that's one of the first things I see because I'm very drawn to that look I love that look myself when I'm out and I'm just I see golden light filtered through green trees it just makes me feel like I just well it's gorgeous esso I love how that's capture and love that it softly out of focus um and I like that twinkly kind of gorgeous look that you get from it I have coarse and drawn to the diagonal in the frame I think that's very interesting and it does interest me a lot we can't see our subjects face at all and that's not a bad thing that's not bad at all I think from a composition perspective then if he's looking from my perspective it looks like he's looking out and a slightly to the left that's that's how I see this angle from from my eyes oh, this is yours, isn't it? Hey, I forgot to start out by saying that uh yeah, deep breath um so, uh you take the breath because I have nothing negative to say I mean, we're just saying, how can we I'm just saying, what could we do to shift this a little bit? So from a composition perspective he is even though there's a dying on the frame he isthe center composed um I want center composed when an image is striking and arresting and this and that but he's more reflective and at least in this frame for all I know is climbing in being crazy and just stop for a second, but in this image it strikes me that he looks proposed and reflective and having a moment and kind of looking out into nature and for that reason I think center composition doesn't work because it's not visually arresting, striking, commanding a place in the center of the image in fact, what I think is if he were in the bottom right hand corner and that image went up and out to the left and we saw a lot more of that greenery, the toning on this image is really lovely it's obviously a little softer it's a little bit more muted. Um, I don't know if that was a function of the color balance on the shot or what you didn't post or both, but the toning of this really draws me and I'm very drawn to that look, um I would love to see this go up and over to the left to really see where he's going and to get a feel for his place in that world do you know? I mean, um, so by that token, um, I can see us doing, um again, my, my, uh, wizardry with free transform is meant to do nothing but give you a feel for what it could be I'm always saying save the e mails I don't vote it out this way way but just very quickly teo show you what this image could be not at all exactly like this do you think I've done enough disclaimers on that yet rest with that have I just have I don't have disclaimers on the edit for free transfer terminal maybe like frieda's seven more okay this's not how I would ever suggest you photoshopped anything uh but this is to give you a sense of what I'm talking about which I do want you to have so ignoring the horribly warped thing do you see how different that looks yeah yeah you know as soon as you pulled it up after it got having gone through framing and composition I was like oh it's center framed I shouldn't have done that because that automatically I was looking at he's looking this way yeah and I was also looking at the tree up in the corner and I was like if I either should have maybe gotten rid of it or have brought it in so it actually even frames him come down a little bit more with us with a sentiment kind of layered diagonal frame absolutely yes yes so exactly so I think you know again we're going to ignore that little line of what we did and and we're gonna look at this as in if this everything in this framework perfect and beautiful I am now way more invited into this image I want to see what he's seeing I want to kind of enjoy what he's looking at and enjoying and I can do that because he's kind of leading me in through the image and I'm going to linger on it significantly longer then um then this image where I'm kind of in and out all right good. Thank you. Thank you very much. Um do we have any questions on that desert thunder says omg what is she doing it photos did you make up desert thunder? No, actually desert thunder's a regular and I love these avatars that's awesome. All right, um no, I think we're good to move on right now, okay? Wonderful and what I'm gonna dio is, um a pull in some raw images of what I've been shooting in front of you guys to show you exactly what I would do to deliver it to the client if you wanna give me thirty seconds to do that, I will set us at cannes so students, you've been critiqued. You've been picked him prodded at how does that feel? And actually physically if I could ask you someone was asking specific questions like, do you remember settings for that particular shot because they were asking about achieving that golden light um what was what was the situation like I see. I feel like I should remember, but I don't remember on it's such fun. I think I shot it with a seventy, two hundred that's. Why, it was, like, nice and soft, and I was further back. Um, and it was already kind of hitting golden light hours. So I think that that warm light was already coming in, and then I bumped it up a little bit, um, with color, balance and photo show. Okay, so and then I added a little bit of, um, like a curves layer, just to bring in the wood on the tree. Just kind of bringing that red tones a little bit. You nicely done.

Class Description

TO RSVP FOR TAMARA'S NEW CLASS, Capturing Authentic Children Portraits, CLICK HERE!

Children are not professional models, nor even enthusiastic about posing. While children are inherently beautiful, they aren’t naturals at sitting still. This creates a hurdle for photographers attempting to capture the personalities of younger, restless subjects. However, it’s not impossible to get a child to pose for the camera — you just have to speak their language.

After more than ten years of shooting, celebrated children's photographer Tamara Lackey has developed a language for effectively communicating with her younger clients. In this 3-day course, you will learn Tamara’s 10-point system designed to secure gorgeous, expressive images — including her formula for building to “the final shot.”

By the end of this workshop, you’ll be armed with a toolkit of tried-and-true methods easily adaptable to your own style of shooting, transforming your children’s photography practice into a seamless workflow.

Reviews

Charlene Goldsmith
 

This is my first creative live course, and I was really sceptical that I would be getting my money's worth. But I can honestly say that this has been a brilliant investment. Not only is Tamara amazing, but the content is fantastic. I feel like I got more than I bargained for as I even learnt some things in Photoshop I didn't know. Big double thumbs up!

Mari Sierra
 

Tamara is so good at what she does... Plus funny! This class was great and I learned so much from her... It's one of my faves and in my wish list!

Maira Azhar
 

This course will change the way you...it won't just change the way you take pictures but the way you interact with kids and families...the x factor that takes you from being good to great. Tamara is the greatest in that regard! First of all, she is a great teacher...I wasn't bored even once and by the time the course ended, I wanted more! I love her style, her wit, her pragmatism and most of all...her energy! Honestly, what does this woman have for breakfast that she is so positively charged :) Secondly, she teaches you tips and tricks that will be hard to forget - when there is sooo much information out there and its hard for you to recall everything, you will hear Tamara's voice and it will guide you in some way or the other - she's that good! I would definitely recommend this course - in fact, this was my first course with CreativeLive and now I'm hooked!