Photo Week Image Critique Hosted by Sue Bryce

Lesson 4 of 8

Portrait Critique Part 2

 

Photo Week Image Critique Hosted by Sue Bryce

Lesson 4 of 8

Portrait Critique Part 2

 

Lesson Info

Portrait Critique Part 2

I feel like is a halfway point between opening the shoulder up and then closing the shoulder down and looking over the shoulder I prefer there looking over the shoulder it's a shock that that makes a significant difference. I feel like this too much light on here and you could abort it down a bit and also just watch with your maker baddest however did he make up if it was here make up there is nothing you can do about it if you've got to make up at us do not put shiny shimmer I should add up to the lead that's for you know transvestite make up only watch your shimmers they shouldn't go to the brow you know that's very nineteen ninety come on, bring it down, bring it down and more definition in the brow fashion right now is all about the brown it's all about a nice solid brown, so if this is about a glamour shot makeup, then make sure that you're modernizing your makeup and teams of connection. You've done a great job she's looking right at you. Her face is relaxed, his shoulder is work...

ing but there's not a lot of beautiful in this beautiful girl that she's a beautiful girl, but I want to see a beautiful image that makes me wanna look at it and spend time looking at it there's the loss of her neck as well I mean there's very little neck in this image so lifting and just tilting back a little bit framing it a little bit differently just posing her body a little bit differently too long gave her neck I think would have helped quite a bit wait that shoulder though yes and always to be out of workers shoulder is really good because that means a photographer maybe to do it but when they're short or curvy or short and cody we need to drop the shoulder down longer and just left through the more space we get here the longer we look that then we look the more model like we look in the more elegant it is it lengthens and meek and it makes it not to cut off. You know, this is one of those portrait's that you say not many people get it right like this beautiful posing of the baby killing out like that well done the hands are incredible. I think this is just a classic image stand statistic time there was a shop in the eighties there was a post of man with a baby you can google it apparently sold eighteen million copies of five million copies five million women border poster of a good looking man holding a baby it's awesome I know it's so weird because he was a model wasn't even his baby some model, and they took this beautiful shot. Five million woman bought it in the eighties. That means he probably made five million dollars from this photograph. And yet there's something about it that just says man protective instinct, father child, I mean, you can't could take this image it speed of no it's, very strong. I mean, literally strong the hands are so strong and it makes me feel safe looking at it. Yeah, I want my only critique would have been to tone down the father and bring a little bit more attention right to the baby because my eyes are going to the some of the hot spots into dead's nipple and so it's just to put a little bit more emphasis on the baby would tone down the dad just a little bit more and well, then I'm getting that child to be that relaxed in that pose again. I see. I think it's not a lot of critique in these images from a they're just good solid portrait images if it's validation or you're doing a good job well done, it's hard to get little kids to sit still and look at you like that. It's an honest, open, beautiful expression there is an appearing alive that's not gonna like it, well done. But there's not a lot of critique I can give it there's nothing wrong with it and yet there's nothing incredible about it but it is a good standard sellable portrait so I do like that the lack of depth of field that just his eyes or sharpen his ears go out executing look at his little eyes well styled you know this is beautiful, magnificent image but you cropped are about to close on the left hand side he's looking out of the image he should be looking through it. His negative space should have been on the other side, not on this side in terms of lighting, whether this was taken with natural light looks like a window. It could be a soft box. I'm not sure, but this is beautiful. I love the remoteness of his expression. Dust is amazing. I love the dust on the hat and the jacket and how dirty it is and how broad it looks and the black and white was a great choice for that. I like the logo. I just would have seemed like to see a little bit more space on the left inside that would have been really good fasten shop too I'm not a big fan of natural light outside images that have been lit from a secondary source because I see it straight away and I don't like it um, the left hand is beautiful, that right handers curly again, that's paying attention to this front handers absolutely gorgeous, and this right hand is not there was too much going on in this image that white rock could have gone, you could have photoshopped today, we've got flowers and embraced it in pink nail, so in go to the mirror, take one thing off, so I would have got rid of the bracelet because the flowers suit the tine of the image more. And when I say I'm not a big fan of images that are lit from the secondary source, phil light or whatever only because I'm a natural light photographer and I prefer the dips and, you know, blowing out my background more that my style, but there isn't most people would never notice that they just see a beautiful image connection is outstanding poses excellent on the only the curly fingers would I complain about this image to me if you had pushed it, push that I sew up a little bit more, got what if you feel like put a little bit of a reflector in front of you, maybe just a white board just to get enough back to her face to give it more dips would have just been remarkable and unfortunately, looks a little bit just too boring portrait for me, but well the thing that I notice is the color because I'm really big on color I love to focus on one single color and an image and so of course you know this critique is coming from that point of view but seeing the purple and the blue and the pink in the sort of you know greenish brown bronze of the bracelet all in the line there that is where my eye goes in it it doesn't quite go together for me no job so I would take a yeah I would have been my inclination to sort of dis actuate a little bit with this image and choose one main color to let pop also his skin tone is going very towards megyn turn right and it's it's not I always go toward a warm time that's more yellow skin or or a cold time that's more science magenta unfortunately is too close to a hot skin and made into skin means I've we've been running and my skin is paint right or is yellow skin is some tend and and science skin is cool and de saturated so magenta is on not skin time that we want to go towards you know this is a have image to capture because at the end of the day you flipped for him you've looked for this big space and you've got it all um I think I would have liked to have seen a little bit more um, contrast, if you'd pulled back ever so slightly and tilted down it's the feeling that's really bothering a there's, too much ceiling in there, or maybe he's just sitting too high in the image if we brought him down, even set him down lower? Yeah, I've even make clients, neil, so that that is behind him. Now the ceiling is more behind him in the truck. Yes, and I think I would have liked to seen a little bit more light on his face and a little bit less on the truck, so bring a little bit less it attention to the front. You we just need to see the detail of the truck right now. It's a fine track so you're right, yet what I love about it is the lighting on him and how it looks like that hyper realistic sort of feeling where, you know, you look at a man in a fire truck and stuff like that, and you want to feel like you're seeing a movie version of that instead of seeing how he got here is exactly, and he looks like that in this picture. Yeah, and also, I feel like there's, a slight believe being put on it that I don't like and it's not take the field it's, almost like, um I don't know I'm sure it's not a compass it but it looks a little there's a softness and there that I don't know you could have made that ceiling. Dhaka gorgeous riel pretty I don't know if it's how well it some you know, it seems to have good detail in there our screens probably not the best it could take on, but it needs to be darker, obviously the whole image, but it looks like there's enough in there. Um, I could have just had a few more inches just give me three more down here, you know it's a little bit too tight in the reason that that I say that is because the hand is so out of focus that it finishes the image, whereas if he hadn't had that beautiful shot, teach it line going all the way down, but I like I like it great about space, the idea to him always a fan of pulling back a little bit when I shoot because I love the story element of it. I love seeing the details of a person if they're the right details, you know, if that shirt has a big logo on it that maybe I don't want to see that, but I would love love to see the collar see if it's a little bit dirty and tattered and stuff like that also, I'm always been a big fan of smoking shots, there's so much storytelling in the way people smoke a cigarette with their they try and the old way of making it glamorous. So are gritty, and it suits his personality and sees everything about it. So it's an interesting study and I want to see more. I hate it when you see something and you want more and this no more because, you know, it's done, yeah, and endlessly took other images where they like oh, I did pull back, and I just thought it was too uh um, you know, otherwise the author's going well, that's all I got so, you know, this is what it is and for what it is, it's great, but storytelling is paramount, and it makes him image amazing. It makes your audience engage, makes people want to work with you if you can tell an image with a portrait and if you're having highest that's telling a story with a name it's children are cheeky and fun, and I would have loved to have seen the siri's that goes with that because I'm sure there was laughter followed quickly by lips coming through the air in the head, poking through. What I love is that every now and then is a business owner you figured to just do the standard portrait and do something that's just a little bit fun sure and sometimes the kids do it and sometimes you have to remind yourself to be a little bit more creative because I think the biggest curse off the paid photographer not the find out photographers we get stuck away from our creativity and to do something this simple is like the tower shot that we first saw yes yeah okay, well, this is for you, brooke it is you know, I feel really like it, but the first thing that I think about is sort of the where the horizon line is there because I noticed you know the subject and everything first but my I immediately goes to the background and I feel that it could have been blended a little bit more with the sort of fog effect that was put in the background. But aside from that I love that she has such a blank expression in a sense it's not like she's, you know, trying to a moat or tell a story in her face it's the whole surroundings that are allowing that to happen and I appreciate that about this and the fact that it makes sense that you know there's there is a wind coming through the image in a believable way and it doesn't look too forced in that sense. S so I think that's really interesting. I wonder what's in that box that can't quite see. I can't quite tell either, but I feel like it's going to tell us a story. So I really would somebody has to send in a closer. It almost looks like the head of the peacock from which the feathers it is that's exactly what it is. You're right. I can see it now. It is a oh yeah. Ok. I see it now. That's. Very fascinating. Very cold. So I get the paper out. Can I get the dress? That's? What? Really? Well, tell me about the house. Because that sky is amazing. Yeah, the house doesn't belong in. Yeah, I also would have probably left it out. I can appreciate it in terms of at least it's in the background that it's placed to the side and it's not intersecting with her dress so much great thought put into the peacock head in the box with the feathers and so much thought. Why is it important? Tio have houses in the background. And why is it important to speak through finance like that? What is and what is enough in to match, what is you're going take one thing off with finance right, well, I actually I would say the background because I tend to work with nothing in terms of my subject to standing there, usually a nude underwear. I don't have anything happening and then I look for a space it's just his neutral so that I can start filling my subject with a dress or with a prop and leave the background be that's not always going to be true, of course, but I like to work from sort of foreground background where I tried to fill the foreground as much as possible and then leave the background to just be a neutral space from a subject to shine a little bit, because otherwise, if this there's no reason that house should be the arming, the bird is in the sky, which is its flying the peacock can't fly, it will pick up comply, but doesn't and you know, that makes it so everything in the ties and elemental e except for that house so it's not enough for me to be a cohesive story but it's a beautiful image had to get skylight that chosen yes, I wonder what you think. It sends a neat tip. Yeah, definitely I take sky shots everywhere I go, I go. Anywhere I see clouds and take a shot and make sure that the angle matches and once I put it in there I try to use a blending mode to sort of get it tio fall behind the subject and blend in with the horizon line and that's where I am noticing in this image that it's not blended with the horizon line it's actually on top of it and then erased off and that's where I sort of see a little bit of that sky not quite actually going with this image partially the angle and partially just knowing that a sky would never sit there like that and I think that there's a really fine line between something being surreal and something's still being believable it's something we don't get right it's family portrait photographers to photograph the older people in the family such a lost its makes me so sad and I love to photograph what I call a real seniors you know people really saying you really senior it's okay always thought that's what senior portrait if I did I thought it was your citizens when we don't there marginalized and pushed aside and left to feel unimportant and they really are so important in our history I love photographing elderly well senior peace our first speaker take this image and then second of all tell all the photographers in the world why they should be marketing to the shona looking at his I I mean, I say eyes, because I feel like I can really see the other side, but it's it's so reflective and there's so much there's, so many stories to be told at this age that we could learn so much from you remember loving listening to my grandparent's stories? I grew up with them, and we're in such a rush that we failed to stop and listen to stories of the people who've come before us that have way more experience than us and he's reflective and he's beautiful, and every line in his face tells a story of his life and we all want perfection, you know, we all want complete photo shop and take everything out, and we we remove the story of our life. I think that way, and so I almost don't do any retouching with the elderly because I want that whole entire story and it's so important because this is the way we remember people. You know, I don't remember my grand parents in their twenties and thirties and forties, I remember them elderly and the portrait I have of them at that age, when I remember them are so important to me, and so his grandchildren will remember him this way, you know, his children remember they will love this, this will be so treasured any time friends or clients have grand parents immediately have you had a portrait with your grandparents? No, we need to do that yeah, I love everything about this image and I think though that it would have been a very different picture had he not been wearing what he's wearing in this because the light and could have been the same the expression could have been the same but I'm looking at these clothes and they look like they were pulled, you know, sixty years ago right on past closet and exactly and that finishes the story yeah, also the light is always band light in the wall is almost like is he's looking at his land like to me if it's telling a story here what a contract you really yeah older life you alive? Um, you know, the newborn genre is very specific now and, um, I feel like the little feet a little bit too out of focus, I know that we're trying to focus on the little smile. My first instinct is we're always told at this age it's just guess so I'm kind of like it's that giggling baby or is that a guess he baby it's against yeah, you got a raise hit the green bottom and I just want to go like that ten tinsley just a little bit because the distracting part of the his will shortz just is pulling me away it's still take one thing awfully because there was a fine yeah, yeah, this could be simplified in a little bit more. We're all moving her head go, brooke. Yeah, well, I'm personally on this is really personal, just not such a fan of rotated images so much and this feels like she was standing on a wall or something like that. She could have very easily been laying on the floor, which I can see completely with the flowers. But that just kind of makes me say why, you know, like, why am I looking at it at this angle? And is that important? And part of me wants to say yes because we're moving into more of a surrealism john right here. But then the other part of me says well, but this also looks like a fashion image so I don't really know which way to go with it after it was tilted the other way I think it's magnificent I love a good arms could triangles beautiful, beautiful, beautiful flowers good extended chin, nice expression well down almost wish it was going diagonal so elbows created a dying this way they could it's again I just want to maybe the photographer did rotate the camera your natural instinct when you shoot down on someone is to find it very hard to find your portrait because you're doing a lying down comes the jungle it's only when you look at it upright but you realize you're mistake you and then you think oh she looked like she could have been standing up if I'd shut it there but I didn't so you always have to go move around horizontal vertical do and do your shots they very well could have taken five six shots in the rotation or not I really hope they did because you're right if I'd seen it on the left lip I would have been started to shape saying is michelle very few because she's a young girl so I'm just gonna instantly shot it's a scene you shoot I feel like she's lost I don't know I don't know nightclub and she's seen a boyfriend kissing someone else yeah like I don't feel very much like it's fashion and I don't feel very much like its portrait so how would you improve this image? I think it's a little bit busy almost crop it to remove the green neon on that side and just clean it up a little bit yeah and she's still very static even though one foot is in front of the other on her body is still very static very centered I would like to say least see more movement in her in her body just for maybe your expression when you created expression and image that if she's an affection style pose and more fashion oriented image she needs to have more of affection expression and what she has is a sad face right she doesn't have the fashion face doesn't have the looking over the shoulder or the look away she looks sad and pensive so it's confusing and it's seeming as an interesting message that is not and because of the business of the street we have lost this idea that it's a sit up smoke shot it looks more like a moment and then without their bright light and so overall it's just conf fusing and it's not kind of giving me any directions to what I wanted when I wanted to say yeah I feel the same and I think that just technically a little bit of the smoke needs to be worked out so I can see some cloning in the background and stuff like that so I think that even just cropping like you know like he said would be a good idea just to get rid of the duplicates there that I see but yeah I think just a working out what that story is and what the intention is would really help can I also say it's a photographer going getting a smoke machine or wherever that smoke was coming from getting a backlit source and shooting at night it's one of the hardest technical thing she could dio and so the fact that you haven't quite now that yet is not something that we're too worried about because you did take on one of the hottest executed I couldn't do it I wouldn't I would a stat that's two years to figure that out would yeah so don't be too worried that we were hatched on this image it just overall doesn't have much storytelling it has some really obvious fault and it doesn't have much likability yet, but in terms of it you know going down I would go back out there and do it again like you trying michelle I love the light in here but I don't love the subjects I think the rap is a little bit too busy and the baby's face is lost and mom doesn't have any kind of neck and there isn't actually a connection between them I almost feel like the baby's kind of pushing away um so this this one doesn't actually work for me the light is magnificent I love the color off the rap so but yet they just bring them around and keep shooting them and take it that one winning shot because in terms of background and the luck's father yes, magnificent you just haven't quite got that connection yet man sneaks just a lew but pinched this I love magnificent but what is wrong with it is that doc people shed on that? Yeah for sure it was stopped right here yes. Do you two ever shoot into the backlight? You don't usually sometimes sign up but you would with porter yeah, you just gotta watch that those shadows don't go cold that should I was strong into the merge into it looks like bruising way see bruising and magenta on the skin we think hot skin it doesn't break but everything about her face is just that little light it just it's kind of right in here. Yeah horizontal image would have plowing us. Why? I think they're this. Yep. I hope that's the same author and just get your healing till and remove those little straight here lines that go over the eye people like that so easy to correct yeah beautiful shop and you know just a little bit more or remove whatever that isthe because it was it's cleaner down here without that that that's competing with her head piece I think you know, that doesn't even bother me because I can't look past this town anyway. Speech ful I want that headpiece so about you wanted just to wear it or just to shoot it go just aware wow favorite part of this images over the eyes now it takes a bit of a self portrait of the alien colony that is so cool and I wish it's the parent of the hold you but it is because it almost feels like the child is I almost feel like the child looking out at the parents like I feel like I'm the child's eyes looking out at this. Can you say that that this looks like these people? I didn't know if it is I think it's a building like it almost looks like mom and dad behind it. The top? Yeah, but I probably had to the case that the photographers dead? Yeah. It's a portrait of what your child sees when you think about what I feel like I'm looking through the child's eyes in this natural I can see that it's outside that's a beautiful study and it's awesome well, the nice high key shop way study. Yes, this is totally interesting. You know what that newspaper says? Uh, ok, like I don't know if that's a picture of an animal or what? Yeah, it's a really interesting like somehow that animal made the front page of the news and it's in here exactly or and she's saying I had nothing to do with. There are so many different ways we could interpret that I think it's a really great way of storytelling because this is over the top story telling, you know, what's wrong with it so what's right with it what's wrong with it, like what's stopping it from being in award winning image and so I mean the color of a road matches the curtains the breakfast for two the look on I would have just chosen a different back paid for that newspaper because I think maybe to learn and to practice killing it's just killing that otherwise it's a great concierge really would like to be the big story around I love the hair in the rollers with colors it's so great and the pink lipstick first thing in the morning that's awesome yeah she looks like a little actors yeah absolutely perfect beautiful he'd shot beautiful expression nice and shop well lit thank you can actually it's either not pulled back far enough or it's not close enough in because we're just missing the feet it's like not all there I almost wish it was like here well I think we're seeing a reflection are we I think oh she in the water oh yeah you're right I can't quite make that out now yeah well maybe now it just looks a bit wobbly down there like you're starting yeah, but the crazy pat is is it's just I think that I know the line yeah I don't believe it was shot there yeah and sometimes when you get a secretly light source like then they come constants that was shot there but it looks like it wasn't and because there's no water chilling in or around her body you don't believe she's actually standing in water tricking supposes or quit because the shoulder stock too far it was just something about it that makes me no believe it right? Well I think that if the sun were that strong she might have a little bit more of ah bring light on her but doesn't but aside from that, the only thing that I want to say is I love the framing of this actually I love where she's placed there and she's not intersecting with the tree coming out of her back or anything but for me it's the dress choice with the location and wondering why she in that dress why's that person in this place and and I find that it could be really amazing to bring a really ornate dress out on location and see what you can do but it has to have a place and a reason I don't feel that here is this is don't eat thank you and it doesn't kind of have a theory or ethereal sort of you know our romanticism to its that's more fashion and then she styled to be quite fresh in so maybe it's just trying to be a high fishing on location and you know that there's something that's not quite there yeah like a brilliant idea or this yeah, well done good if it great styling, incredible expression could win an award that's perfection I love it well then you know what? Sometimes you could just put the hand down this image would have been perfect without it it doesn't need to be there we don't need to have thinking poses you know it just doesn't need to be there what a beautiful girl with a beautiful catch an image I want you all those photographers just to remember every now and then to just take the hand down just take my hand down camera height is off for me here uh back the camera is not quite right and her neck looks unusually thin with her head something looks disconnected to me almost wish the camera it was just a little bit higher well, that's the thing about it is that I love how disconnected it way but I don't think that it's quite there because of the the modernization of the dress that we do see in there I would love to see this is a quirky portrait without the fabric in the shop and just sort of straight on and love her expression it almost looks like a man again yeah because she's going to say I agree if he'd taken that hole to make down just had bia shoulders and showed me two more inches of shoulder with the magnificent and take magnificent were mean about what we're doing in a portrait tells the story and she's testing the water so it's not a beautiful pose it's not it's not you know, she could have been lying in that water sitting in that water, standing in that water, dancing in that water, moving her arms and that water it's none of those things. It looks like she's hopped in and got all this it's really cold and then the shot has been taken. I want to see more if it put into creating a body language in a mood. What I was talking about before is I photographed people up closer. I'm all about the expression brooke photographs people in a scene and she's all about the body language that the body is creating. So what issa saying in what is the finnish mood about it and it's not really telling a story? Yeah, I think that the colors are a little bit clashing here because we have magenta, green and blue together and they're all very strong color choice. Is that sort of it's great if you're going for that happier feeling, we're trying to add a lot of burst of color in, but if not given her expression and her pose and everything, I might have just chosen chosen one color for this or muted it a little bit, but I agree just, you know, incorporating her into that space and a little bit more of a believable way I like it I like the grain to think the hands a little bit contrived but I really like it like the grain I like they like I like the dark and you know I like anything craig lee faces I like dips and anybody's face like that is beautiful I like it too. I feel like it's too centered for me there's a lot of space above his head I would have liked to have seen it just come down like that's patio it's so subjective I'm really into central faces but I would have gone central but pulled back even more like more space, more space around it I love those I so wanted get closer to those I like the shadow on the eyes how it's so clear and then associate it and you can tell that's because of the way his island sure drooping. I love that just with me but when we bring our hands up to our face we never really hands on our face we always leaning on the heel of a palm or so when we go clamp on it does change the body language and it's just not a realistic body language, so unfortunately, the hand stops that from being one hundred percent for may but we just really need you say way lean on it why else would you have a hand up and we lean on it so it needs to have just a tiny little hookah needs to tiny shape but we'd never be like that yeah there's no reason we would be flat to our cheek it's just a beautiful moment sure family showed some sit at the beach dine early gorgeous and what can you say? Right gorgeous little girl just remember when you line up a mom and dad to make sure he's got his arms around here but make sure he's engaged in with the child she's leaning towards the child he needs to be in there with them deads job is security of the family he's going to look at everybody to represents around the two of them in case them and he's got his hands on his way on her waist and he's smiling but if his head was more engaged and it would have close up that whole post is a family pose the way he's standing would be hard for him to totally get his head in there and he's you know the very stick figure like that need to be apart. Feet need to be apart but I won't go probably moved him to the other side so they would encompass the baby and he would lean over the baby shoulder this way little separation and his feet to create more of the triangle between them because really? The portrait is just the mom and baby and like, dad was stuck back there as opposed to being involved with them. So if they had have corrupted at the hips and then you see the top half of this image in his legs were further apart with his arms wrapped all the way around here and look at the background. Look how beautiful it is if you just cover there. Look at the background. And if you'd really bought that triangle in the shade, it's leaks further apart, she could have squatted down just a little bit to be lower so that he could get his arms around. If she separates her feet, she'll get lower. Naturally. Yeah. And he would have got this beautiful sort of image with the guy leading bottom leaning their heads together, uniting a diagonal line. Beautiful. Well done. Beautiful, gorgeous, creative thought. Beautiful times you get, you know, I could have done without this little acute amman in the background there. This is designed so much. I don't know whether it was fiction on maybe it's part of the wallpaper, but he is a black thread. Yeah, those two have to go it's so easy to fix healing toe yeah, I went from here. Two they're also because here chen's down she's a little chin and a big around here so you could have shot the slower come down we don't really need to look down on children this is standing in a way that shows the height sure you know and then they look small thing and she's care looking up if they're looking up again but not with your eyes I love the hair in the slow really appreciate the motion happening motion pictures always amazing well but if you bury that correcting it is correct well yeah she's like yeah I love it why do you like it? I love how they took a risk with all the different colors in here it's very discouraging it's it's the kind of image that not you know, it's not somebody trying to do something different it's somebody doing it fully and they're not making any apologies for it. I love all the different tones I love the sort of harsh lines that are happening in this image and I think that the styling was a really nice choices. Well, great shot. Yeah uh see central image square against the role of the army you know, I think that on I want them to take my picture tells a story love that image there's a reaction to this image it his main styled is appropriately is it's being posed as appropriately as being directed as it's been shot as it's being places doing finished this is perfection yes, I adore it perfection I was really just really I mean the space is so slight but it's purposeful so they can see the shape of the body but it doesn't look like they're trying I hope this author is an hour chat room and if they are please bring yourself forward because yes, please because I honestly would love a portrait like yeah says just magnificent and we have really, really in priest um why tell me why we all feel like this because if we can explain why then people can start working towards creating a mystery that has the magic with this image has yeah, well, I think that it's the expression in her face the fact that we concede detail in our outfit the fact that it's really neutral it's not going over the top with the styling the location is beautiful, the diss saturation makes it feel very timeless to me. All of those things contribute in the bold choices of having that round hat in the square frame just make it so your eyes drawn there no matter what else you try to look at pretty much it has great impact and it's just the eyes alone eyes air saying so much and even though there's there's a lot of elements I just keep coming right back to those eyes it's timeless it's almost timeless it has a quality about it that's almost team time almost back in the tune of the same train really? Yeah, very beautiful this to me is it's here in snapshot of poetry agree and what stops it from being a portrait is too much light in it I mean it's so it would be so easy to get their child towards a window and do that natural life on the mustard color is really throwing me off but and I guess it's cute chilling the banki but the bank he's gotta go yeah, I agree and you know sec ordered a big cake news and then we call it a dummy oh yeah yeah wow that's amazing love that if those eyes were on the camera I'd be blown away by that the highlights to highlight and they need to be brought down but there could be a screen but the line of this you're pushing an envelope here where you're making a young child look very glamorous and a lot of people struggle with this but if your eyes had been on the camera I would have been so taken with it um but I like it and I want to look at it more and I want to see more images from the shoot yeah this is the closest I've seen probably two seeing a child being photographed where I would actually hang that on my wall I mean I like it that much yeah and I think the fact that she isn't looking at the camera makes me like it more unify our perspective my goodness doesn't feel glamorous I just wanna hear blowing and the mascara and look in the eyes and lips are open it's very pushing a boundary of appropriate pricing for children but I'm so drawn to the beauty of the image that I'm so taken with that I wish I could see what I see it more with the highlights down so I don't see what else is in there I'd love to see the rest of these images obviously they took more around it it's very compelling and almost looks inquisitive to me like I'm I don't get as much glamorous I get like youth and inquisitiveness because it has an innocents yeah and the glamour goes with the innocence the true innocence of it and I love the movement in the here again motion done well change is a world move them fantastic what a great image if thatwas an editorial um I think you've now that I love the detail in the here on gets a beautiful shot with great energy you clearly got an incredible subject it's being beautifully lit hands it's got a really good overall focal length so throughout the whole image and I think it's been tested on who are you wondering if he's actually making noise and you know if he's like actually like back or is like but I feel like he's making noise because his throat is thick in the air muscle in the name of the photographer of the gorgeous photograph is eve north she is from ireland and she has worked as an assistant for emily sato, his beautiful fashion photographer and maybe you can go to ireland and beautiful workshop over there brooke actually, I'm planning on it next year, so wait, that is amazing eve north is her name congratulations even have differently spack us all his portrait photographers and made us all feel very happy to see you work. Um, you know, levitating shots always freak me out this's problem really quite really compound is captured into motion is supposed to have been complicit. I there are millions of ways I would have opposed here's a downturn this wasn't wouldn't be one of them, but in terms of it being what it is a limitation style shopping it's kind of freaking out and I love the rooms queen iss and the composition. So is it in terms of fine out brock speak to me that yeah, I think that in terms of fine art it's a little bit on the break and I say that because I find and this is me, you know me speaking from not only my perspective, but also from a galleries perspective, they have a little bit of a difficult time selling anything that's too modern looking and this looks like it's sort of a modern space and modern person. I think that it would sell really well if you were selling to a dancer. If you were selling to a studio down there saying if she had, like, a vintage nightgown, it would be more peter pan. Exactly. It would tell a little bit more of a character story instead of this person's story. I think that's really important. Yeah, but I mean it's well done, it looks it's very interesting and oppose. I've never seen a pose like that kind of like butt up, which sounds like it wouldn't be a good thing. I guess if you say but but I do like it in this case. Yeah, I think it just a little bit more editing finesse and it would be perfect. I just want to show that to leave north if north dotnet, you know, if this really, really deserves to have l attention today, I don't know where you are in your photographic journey, but magnificent work and props because brooke said something today that really changed my change by morning, and that was when we see an image that makes us want to create that is the greatest gift that we can have its photographers to inspire each other, to be inspired by other photographers. If you're new at this or you're just coming along, or even if you've been at this for twenty years, you created an image that made us feel something that made us inspired to be photographers. And that made us excited about going out and photographing maura. And for that, I am. I highly commend you and, yeah, what a beautiful segment. Thank you so much to these girls. Thank you, thank you. That was really cool. It's, so neat to have you both as a family portrait photographer awaiting background and to find out photographer to be able to speak across the genre and off portrait checkers. Portraiture is really anything that we take of somebody else and all of that genre's.

Class Description

Join Sue Bryce, Brooke Shaden, Lindsay Adler and other beloved Photo Week instructors for an Image Critique session. 

Our judges will be critiquing images submitted by the CreativeLive community in four different categories: Wedding, Portrait, Commercial, and Landscape. 

These world renowned photographers will be providing invaluable insight and feedback into what makes an unforgettable image.

Reviews

Peggy Nugent
 

I learned a lot as always from the portrait critiques- I've watched them multiple times because I can see the impact to my images when I follow the guidance provided in the critiques. Sue Bryce is great, as always. I really appreciated Brooke Shaden's and Michele Celentano's viewpoints as well. I found the wedding and commercial segments interesting and informative as well, though they are not my particular interests. The landscape segment -- come on, guys, all the images submitted to Creativelive, and you could not find one that prompted you to say "Wow! Great shot!" Seriously? The closest to an enthusiastic response was for one beautiful Grand Canyon shot, where significantly more time was spent discussing what was wrong rather than what was done well. And it was a great shot! It's helpful to the audience to have you point out what was done well, and whoever took that shot deserved to hear it. (FYI, none of the images were mine, so I'm not fishing for compliments.) Maybe it was a long week and you were tired, but have another coffee next time and bring a little enthusiasm. The other segments were much more encouraging, inspiring, and helpful.