Critique: Watching Edges
So Natalie, we looked at this and we believe that this has potential to be a really good moment, but we think that a you need to be closer if you can, because this is distracting, and when we're looking at photos, we want to think about the edges, right? And we really want clean edges or edges that make sense all the way around. And so we feel that this is distracting from what's actually happening here. The other problem is you have this highlight that's bouncing off of here, and I remind my students all the time that your eye is gonna go to the brightest part in the frame. It's just what the eye does. And so the eye will go here, but then it'll instantly go here because it's bouncing between the two brightest spots versus if you get close and fill the frame, because none of the other stuff around is adding to the story in this situation. So might as well just fill the frame with this, right, with what's going on. I prefer not to cut off his head, but if it's a matter of cleaning it u...
p, just go really tight with it. And this is in camera you need to go tight. I'm not talking about cropping it this tight. And then you just need to wait until the moment is stronger so that her hand is not covering his face, 'cause we kind of want to see his reaction to her.
Or at the very least her face isn't intersecting with her arm so we don't miss her emotion like this.
I feel like if she was doing this, she probably did it for more than a second is my guess, yes?
Well he was asleep, so ...
Oh he's asleep.
He was sleeping.
That's even better.
And she just tried to wake him up, and he didn't want it so he was totally ignoring her.
So what does that, that tells me you have a lot of opportunity because kids repeat their behavior whether they're succeeding or failing. In this case, she's failing to wake him because he's ignoring her, so what's she gonna keep doing? Irritating him until he responds, right? So that gives you a lot of opportunity to keep shooting through this. If this were me, I probably would've made like 100 frames of this and just stuck with this composition and waited until there was a really good moment.
So one of the other things Tina had talked about is just you were almost squared up on it, but if you were exactly squared up from above, we would've seen more of her face potentially already, so that could help compositionally that problem. The other thing is, is this a trundle bed? Like is the mattress coming out of the ...?
Yes, it was my first family I have tried. It was after your course, I have tried to make the day in life session, and they have five kids, like father and mother they had each separately kids from the first marriage, then they moved all together, and they didn't have a lot of space because they were but living in a small apartment, so the kids were like everywhere they could, and this was like the child that was moving from the bottom.
Which I think is kind of cute, right, like when kids sleep together it's a cute little thing. So could you back up and show us the whole trundle bed? Like could the context of that tell that story of the family in one photo?
I wouldn't see the kids themselves, because if I move--
It might be a different moment.
Yeah, just a different way of approaching the same sort of setting.