Wedding Critique Part 2
Sue Bryce, Lindsay Adler, Brooke Shaden, Michele Celentano, John Greengo, Peter Hurley, Vanessa Joy
Wedding Critique Part 2
Sue Bryce, Lindsay Adler, Brooke Shaden, Michele Celentano, John Greengo, Peter Hurley, Vanessa Joy
2. Wedding Critique Part 2
Wedding Critique Part 2
Beautiful, beautiful capture of a beautiful girl but you've got to get rid of this little thumb thing. I was confused. Yeah, because that is creepy thumbs a creepy from hand to creepy I call him creep a hand a so they don't need to be in the mid to get them out. If you get them in the image every now and then you get a little creep a hand I still get them retouched it out get rid of it what's magnificent about this image is the sharpness into face there's some lines going on in the background which I'm assuming is kitchens because it's not her back that I either need to be more in there or out of there. So we need a little bit more detail and tim's off posing just remember the rotation of the shoulder she's sitting in a very flat position. I'm going get up and do a live demo for you. This is definitely one of like go to this's one of my go to poses and beauty and one of them is we photograph somebody square and this crop and then we slowly bring their body around and we bring their bod...
y around and there's a moment right here with a on the neither shoulder back or open out and you really need to be one of the other if you sit directly in the center you do get this odd body shape I always want to try and get the bris line I can see now this arm is actually like this which doesn't need to be there you've nailed this face if nailed this image you could have either open to shoulder up two inches this way or close to shoulder down two inches that's when headed looking back and you would have this image would have bean covergirl flawless image so this is like one of those so close just a little tweak get rid of it and bring her shoulder back two inches or four two inches but I mean and jim's off critiquing an image that's already done I mean beautiful absolutely beautiful girl and I it was the photographer me agrees concede the little spots the film in sort of distracting but as a bloc editor I would publish this so quickly because I know that she is well she's so sending what inspirational bride you could see her hair a cab tacular hair d'oh hey really way beautiful jewelry beautiful makeup beauty shot and so this and it's very stylized right she's really gone with uh gorgeous hollywood woodland yet and so that is so much inspiration on train to swell makeup in here why also I love the one sided I get ok so okay question if you were publishing this christie would you ask the photographer to remove the thumb? Probably not because if I were you, I would be publishing it in, you know, a daily blawg post, and we would publish one to two posts a day and there's a lot of different images in the post. And so you have to be a little more forgiving of, you know, every photo doesn't have to be like the best photo and the whole entire world, like you would look for in a contest. Okay, but this would be sort of a daily blawg post showing showcasing this wedding, or maybe just a feature on her as a bride in her particular style. So maybe we would choose five or six or seven images just of her gorgeous fashion and hair and makeup, and maybe the bridal party look on, just really feature that. But as this photo in a group of others show show showing all those details, right, beautiful. Yeah, yeah, okay with the guys, that beautiful, publishable image and something that would get you a lot of attention. And I hope the rest of the wedding was is beautiful. Is this because what a beautiful girl and you know what a great opportunity to create image for them images for them just remember get those sounds down and watch for hot spots in the here hot spots and they hear us when they hear go see through very easy to clone out really easy to use your healing told you just a woman that I don't care when they're around the hairline but hot spots in the hero one of the most distracting things you can ever have an image is particularly when you're photographing women and it makes a really big difference but well done and gosh, I'd love to see what he has been all right, my initial reaction in this image my initial reaction is I like it and as I look more here I feel that she looks two quid I like the connection between the body language I like the role of foods yeah, a good job, but I feel I'm very particular with eye lines there their profession I lines when official model looks like this away and it's very fashion that suits the image, but when a bride or a portrait you know, a client looks away it doesn't make sense they could look down and they can look up to there, but they very, really look away at somebody else because the body language about looking so high with your eye line is I'm looking at somebody else this image is a bride connecting with her husband but she's looking at the groomsmen over the shoulder of the photography and I said what's, your eye lines feel like the airlines are very, very important and if she was connected to him kissing her, her ice would be looking down at the ground or at his chest do you agree with that? I do, I don't that's interesting that you say about the airline and almost a distraction because this is a very typical post and I feel like it's a wedding that I may see it a lot I do poses like this well, I like the post yes family you do see more of, like an interaction or, you know, hug into shoulder where she's not as distracted looking away, but I think if she was smiling and looking away and maybe that would have been more of a moment, moments where it was just like I like, you know, take a look away because because she is a little bit ducky mouth he's kind of pocket, right and she's posing so to me it she's posing and looking away. If she was smiling and looking away or smiling and looking down, they would have nailed this image been more moment unopposed for the body language than oppose I'm more of a body language, more of moment now I don't know how much exposure we have in the background we're not seeing a lot in the low light we've got some bone in our highlights which I'm really contributing to this image but in terms of pose and crop well done I find it very rare that a photographer would do such a beautiful shot of a gram kissing and not the bride is normally the bride's working it and the guy looks like a little wooden you know I think the girls are like yes I'm getting married and he's just looks like he's going to eat it for breakfast and so you've actually done a really beautiful job of engaging him but and she is beautiful but she just does look pose that's all the post production in terms of the color balance there it is very you know very red very pink on dh that's something to look out for with when you're submitting your work for publication ah consistency you need teo I mean I think that than the sort of natural color balance tends to be what is the easiest for someone to publish a magazine or a blogger because it needs to match everything else that's going on there and what are they using action it'll filters or color tones that sort of you know you see it entire winnings air going towards a pink time or I think the first thing you want to choose if you know you need to have your distinctive style every photographer should do their thing absolutely and so you know, I don't think that every fiber needs to do their post production exactly the same or have it be exactly natural you know, color, balance, natural light color bounds but um consistency is the most important thing so if you're gonna have you know this tone to this wedding photo, you should have everything from the wedding b match matching time matching tone because for publication we're putting blog's magazines are putting all the images together in a collage on a page and they need to look cohesive together like it's one story and similarly for that albums if these couples are having, you know, getting beautiful alums published and it's part of your revenue stream is a photographer as well. It's much, much easier to have a cohesive looking album if all of the post production is the color balance of white balance, tell me if you've got a great image in a wedding, would you publish it? But you look at the rest of the wedding and it's not good would you still publish the great image andi be bummed that they didn't have more of a car chase it looked through the winning it's really hard to choose at all to publish it if it's not a cohesive look because we rarely published just one always looking for out to feature are full right and so the full body of the winning is beautiful hands down you're like magic I mean you must be really bound when you get a winning and there's no surgical he's a story or doctor or basically you're looking at killer shots over here and then that these away can you like s so frustrating because you can see there's you're so money they're you know, five just killer shot that you want to publish so badly and then the rest don't match okay where's the exit thousands of winning teams of thousands of weddings where are people going the best and where they're going the worst when you look at that winning is a cohesive publishable story to advertise yourself is a winning blogger is the photography is you know where you're looking at it and going we're seeing so often that they are failing at uh well one major thing for publication and it's tricky because not a lot of photographer shoot this way or want to shoot this way but you have to cover the details if you want it published unless it's in a photography on ly magazine where it's being published in, you know range finder pgn or somewhere that is on ly speaking to photographers if you want to publish anywhere where the main audience of that publication is a bride, you have to cover all parts of the wedding day, but this is about you think that's, right, it's all about the vendors, it's about everyone who contributed and what the bride of the couple is looking for inspiration for their wedding, which which includes who's, my caterer or what kind of food I'm not gonna have what's my decor. What are my bridesmaids going to wear? One of the wedding favors? I'm going to give their so many details to a day and that's what they need, they need all of it. They also need the photography, inspiration and the sort of emotional inspiration of what kind of atmosphere they want. Tio, you know, create which so many, you know, just pure, you know, like art photos give but if you don't cover the details, you will rarely be chosen to be published on it's, not a photographer style to shoot that way, but it is it's kind of tough talk. No, they were over some people, but, you know, in your audience and that details right through to the you the reception absolutely, you know, and it's it's more, much more difficult to actually capture the details, the place settings or the wedding favors when it's not natural light, so photographers who really work in advance with the wedding planner with the venue I'm talking about the time line ahead of time making sure they've got the space in the schedule to get in there what he spent twelve of its natural light needed before all the guests get into that reception room and start to move things around and it's really busy see if you can find time to get in there in advanced during natural light to really document beautifully all of the gorgeous details and I bet that most of your couples, if they have a wedding that have a lot of details they've planned that they've spent money on that they've been thinking about those details for months and months and months they're gonna want documentation of that as well. That might not be the shop they frame and planning gorgeous campus up in their home and they want to remember all these gorgeous he doesn't get a lot they actually child they paid work and they put it to give us here tonight for three weeks in a row d I y and you know they're really important see my girlfriend's day that like hot glue guy making faces like really room were on pinches may also be a bridesmaid I just bring the wine and cheese and then I watched you you you know the truth is that the day your pleasing the bride you're pleasing your vendors you're making bring two connections and you have more chance of getting published so there I love that. Yeah, all right, you're a the end of the day you like clear situation sun's going down it's nice and warm, you suddenly have inch are shooting in the clear there is so much right with this image and so much wrong with it that it's one of those images that makes me kind of go um if you have placed the bride over here instead of in the negative space, you would have been able to balance the light that's on her face and the light that's on the background to create a non silhouette picture. But they would have been any other tree move, right? But I'm thinking more long lines and just getting the bulk of background kind here, but since you went with more because the exposure is so wet, type look definitely means a stronger pose so that her chin isn't so weak. She's either totally profile are totally not so that you just have stronger body language when you're working with a so yeah, that in between where it is, it is a silhouette, but the more I look at, the more detail I can see in her face and in the front of her, then I kind of don't know all right or to look, talk to me, vanessa, about I know how I pose buddies in silhouette can you tell me your vision of it? I want to hear your vision of it. Can you give us a demaio? Sure, I feel like it's really important that I too may I'm all about the female body. I'm all about the posing. I'm more about opposing the name about anything else to may, putting a bride in this position and moving here in the sunlight would have bean to made the greatest thing I could have done it. I would've moved your hips. I would have moved the body. I would have directed it to use your heads. But how do you do it? So whenever I'm looking at a still what I again, I'm thinking in my bride of thinking, how can I make her look within this? And silhouettes could be easy to make people look thin because of the light around the body around the body. So if I were to demonstrate, and especially in this kind of scenario, um, you know, you just go for that that s curve. So I would start off, um, just creating smaller waste, so pushing her waist and then separating her hands for waste. And just as much as that works. So just curving cousin, you've got curves going hipster spinning out the waste and separating the hands creates you can see the waist and then turning the head one way or the other and lifting the chin and then that creates a stronger body language as opposed to this even even on camera right now do I look better like this or do I look better like this? S o it's just moving her a little bit and in the silhouette you need to do it almost more dramatically because it seems so much more of the body shape remember when we move our feet our hips move when we move out hip we get more shape throughout waste remember ballet hands remember when we've got a veil there is no better way than tio used floating hands which don't really make sense a the other way the floating hands make sense for the veil practice you're floating hands practice your hands coming up and down practice this where you're leading with the heel palm of your hand if you practice it you can direct your brides to do it it's about going hell palm using a hell prom floating your hands using a body you should shoulders push that chin forward okay because it's the end of the day there's no reason anybody should have a weak chin and the images and teaching your bride's had a whip their bodies is one part of it you know I feel like the the most connection that we can have with our clients before we photographed them and after them after we photographed them is about connecting with them as clients because they're the ones paying for you. I would have no trouble now coaching my brides and posing before I got married just to I say, you want to talk about how to do beautiful feminine lines with your body, because all day I'm going to be let's. Follow your hands, let's, move your hips like to push your chin forward and that's something you practice is a photographer, but it's also something that your bride wants to hear. She wants to know this because she wants to look the most beautiful on her wedding day, when she does not want to look at this image the fist time and say, I have a double chin, and then you've ruined an entire image for here because she's saying something she doesn't like, as opposed to something she loves and you know, she may very well have loved this moment. She might be looking at her, her husband and just having the day off her life, and she may look at that. But if you want to create images that make other people fall in love with them, you need to make her look like the sort of bride like christie said that you want to be, because then other people will fall in love with anybody that takes the time to move the couch into the woods in my opinion is done a great job and once he finished and amido I have this fantasy that one day alone emilio and I have a whole lot of furniture in it and that you know I'd be able to have this beautiful outdoor studio this is a very big hit and miss image for me because it's got some good stuff it's got some bad stuff going on so let's talk about what's wrong with it and what's right with it and that girl's shoes beautiful very fun shoes car for beneatha give detail eso it's interesting because this would be close to what we were talking about before where the bride and groom are both interacting with something off camera but they're almost they're not connected even though they're both looking at the same thing if you wanted to make them more connected while having them off camera bring them closer together make their body language more intimate holding the hands in front, bringing their faces closer together and maybe looking down rather opposed to looking up off camera where do you think they're looking? Do you think maybe they've looked at but somebody in the party and then they've just taken this net because it's kid and what do you think they're actually being told to look there? I think they were told to look there because of where the life issue think they're probably told me, but imagine if she was leaving on his shoulder, like, imagine if they were both looking dreamily away and he was leaning on his shoulder. The tree on the left is killing may you couldn't move that couch of foot to the right and you would have been a bit of light and you would have not had that lightened act tree on the left, but I can see where you're going with this and, you know, it's, look, you're doing good and it's a great start and you've got this idea and you've made the effort to get this couch out there, and that is magnificent, but what we want to capture is the moment where they look like real beautiful moments that they are, you know, everyone says, we want to look candid, and we want to look and posed that's not actually true, not the best photographs of the most posed that look, the most candid, and the idea is, how do I create a moment where I look like I have I have catching a moment in time that was so perfect and so beautiful that they do not even know I was there, but you're the one that sit it out, I mean, as a photographer especially, and a photographer off a life event. That the moment that you're trying to create so what you've done is set to people down on a couch that look it and told them to look off and you haven't captured that moment yet but keep going because you know again that's what we do that's what we do but that's what we captured do we have a question that's a common persons what's cooking class, the last image ok, so we're finished critic in this, so I think we can go back because we've got time, right? She was very uncomfortable posing the opposing advice was great she was so uncomfortable posing okay sorry everything toys thanks for the critique, how it was fun and scary can I just say being critiqued and being judged is one of the hardest things you will ever experience as a photographer? I started to inter awards very young because I wanted to get noticed and I wanted to get recognition of my industry. I remember the tears and crying I've seen people stand up and cry and be critiqued you were very brave for putting anything in a critique. Unfortunately, I feel most people want to be critiqued in order to get validation that they're good enough you did a beautiful job of capturing this image, but now as you extend yourself into a bit of photographer, you're going to learn to have more control and more confidence I feel that now that I teach posing that really the better I got is that photographer was about being assertive in so much control that even when somebody felt so uncomfortable I could take control of them long enough to pose them that it wasn't just about what they were doing but what I was making them do so you know, you've just got to really take control of here and yes should be uncomfortable, but if I look at somebody and say push a chin forward, then I'm giving them direction and I'm telling them what to do and when they're actually stopping and comfortable when you take control and so posing is about control and confidence and being assertive and, you know, extend yourself through that and keep finding the beauty keep finding the beauty and what you're saying because you did really good and thanks for writing that because I'm sure everybody feels the same way, okay? They were obviously close to their winning this is obviously where they maybe did their veils they've got a beautiful chandelier hanging above them. You've got lots of heart light it's out saying girl from the image before beautiful kiss by the way and hands really good hands, you know it's hard to get the good hands and a good kiss like that good did on a good day yeah it's a great way with the line of dress because it is that a line that front short and that's very now like very eighties revival but you know and she's got great shoes I like the placement of that the rule of thirds are like the symmetry and even the asymmetry in the vases, which is interesting what stops this from being well for me and the image before it's actually one's choice for me I look at this flag that's very flat and the backgrounds very distracting because there are lots of highlights and darks if you I'm assuming this is probably around like a thirty five to fifty ish um that would be my guests for them we'll meet a range if you had taken a step back and you're in the woods, so I assume you have some room to do so maybe not maybe there's lake, but getting late but a longer lens still keeping a similar crop but a longer lens was when you're looking at a longer land so longer that lands the biggest of the zone, the wider the background compression also, the shorter your if start that you know the more narrow it is, the more you're going to bump out their background, the compression will change its way really, really important as a photographer to learn the difference between what your lens is capable of in the compression I do not shoot with that's you know, two hundred the big lancers but all of my winning photography friends have the big lenses because that big zone gives you that incredible compression play with it take different images at different I would walk up so I did a teeth where I got all these lenses and I had a girl standing there and I took a photo of you and then I stepped back and then it took another fighter on that I did the thirty five did the fifty I did the eighty five and then I did the two hundred andi just keep walking backwards and zooming in and just watching the compression watching it change watching the background pull away from here watching the broker watching and then what? You're not just play with it because it's significantly will create a more beautiful image everything else about this image the way it was posed, the connection his brilliant so I feel like yeah, you're right, but that's would have made it would have made it great. Okay, hey, we owe somebody just made a comment I'd screwed him through to me that they love the idea of pre coaching you know, on saturday I'm doing a inamoto showing you how to eat it make great storytelling that effective that's affordable that's really easy one of the things that you could do is a wedding photographers make a little coaching video imposing a bride's just to get traction on facebook, peter here, lee said the other day he recorded a video about the jaw line for photography and head shots on his iphone and head two million hits on youtube. Everything you do in your photography business is about marketing it's about trying to get published on blog's that christie designs it's about trying to get published in magazines it's about trying to get brides to see your work so that you get more winning so that you get noticed that you become a bit of wedding photographer. The whole point of everything we do is potential marketing. If you want to create more connection with your bride's by teaching them posing, you want to practice with them about posing if you want to create little videos to get noticed about posing. Watch me on saturday because it's exactly what we're going to talk about. I made you to start thinking about the periphery of being a winning photographer so often when we stopping a wedding photographer, we're just trying to get paid. We're just trying to get seen, but we don't think of all the millions of ways around us that are actually going to get us noticed. That are actually going to get people to pay attention to us to say, hey, this this guy's interesting while this girl's interesting get published get seen get online you know, create connection with your clients that they're going to make and talk about you like I believe the chin forward and down moment revolutionised chin foreign down revolutionized photography because people come up to me and say I know no longer have a double chin get that online teach people how to do it show them how to do it and you know it really will change the amount of traffic coming towards you it will change the man attention you're getting you know all right let's go beautiful beautiful shot beautiful lightning connection I love the light on them hate this ribbon it's obviously a winning women which makes it a winning shot which makes it interesting it's really cut off for may, but everything else about you know, if I was to take it away it probably wouldn't be is interesting it's really part of the day it's so easy for us as outsiders to look at this not having been there, not seeing the whole car and knowing on that's the difference between you know uh probably us is doing the photography critique and the couple looking at this image and saying, oh yeah, our car was decorated like this and it was you know, part of the day um so there's no it's easy that you know they're different things that we're going to see that the couple are going to see so differently, but really the the core of this photo is that so I tell you, that's a winning she's not wearing about she hasn't got flowers it's very self it's descriptive is telling a story that is my wedding day beautiful light do you often shoot into the car like they're on the same day? Is it something that you still do is I don't see as many cannon shots as I used to see crowds were really big in the nineties nowadays, it's not so much something that we're doing, and we've seen two in this critic that get pretty buses more than I get you get patty buses, party buses more than and limos and a lot of times the limits are so very like way right, but you could wind the windows down. What do you want to take this woman? I mean, I love the mood that connection between the two them is absolutely perfect and the light fell on the bride's face just, you know, the beautiful rembrandt lighting there, so I love it, I think it is gorgeous and that was violent thing was the ribbon, but then looking at it you know you're working for your clients that's not gonna bother your clients know that probably went in well then and beautiful light now that's a beautiful moment saying poses what we're talking about before she's looking down he's connected to hear great details you know I don't know how much is in their background maybe they just didn't have a great location looks like a pool but that doesn't bother me too much because I'm really drawn to the connection between him and it's a really good um you know, very good sellable image I love the way she's looking down there's a prize for me you know just that moment is what you're trying to create and what you're trying to capture well that's very publishable too because you have the connection between them it's romantic it has the mood of the wedding the atmosphere of the wedding but it also has his fashion great detail on his bow ties pocket square his suit the color the texture of it the detail of her dress and her jewelry her hair or makeup so it really shows a lot of inspiration there for weddings how do you feel about this hand? Is this a hand you know it hand a an interesting thing if they pull back a bit more just to show the connection between her like show that their hand on his back we differently back of the hand is something that's hard do you ever get him to hold the hand and the front is this something like this? That's what I loved about the other post was the only difference between his posen whose was more connected here but he was actually holding her hand between them which I really loved and so it wasn't so much this is my hand on his chest but we're holding hands and we connected and we killed up together which I really love and in terms of teaching people posing that's definitely something I'd like to see or so if you're going to see a little bit of a hand on the back it's easy to pull back and after just to see it on the small of her back you know the way men support woman in the lower bag and their upper back the way they hold them is beautiful you know the feeling of it when you see it you know the feeling over on your own back when they put your hand here and I feel like that body language makes me feel warm like I know this one because I think about that but when I see his hand on here I can feel the support of a strong arm around me and there's something very beautiful about that and he no woman are very emotionally connected to scenario like this I feel the love between them I feel his hand on here I want to see that I want to feel that and, you know, we our emotional creatures and we do feel like that I feel like it's really beautiful, all right, I love that you've gone under this light and I absolutely loved everything about this image except for hippos she's doing what I call holding her crotch he's actually rocking it so if she had bean between him and the wall and his elbow had been up on the wall or if you just managed to push it, push it through, then I would love this I love the darkness I love the deep I love that the film no our look about it, I love the silhouette of the light on his face but it's a moment just a little bit mist, you know, it really sucks when you've taken a great shot and again I be they love it when we're sitting here going, you should have you could have you should have and it's too late it's done it's beautiful it's a hit miss it's so close it wouldn't win an award because of those reasons it's still a great shot well done, but the truth is is we want you to work this girl's body, but christie is just saying that everything about the bride she chooses to publish is going to it's going to please that bride it's going to make it I want to look like here I want my body to look like here is I want to wear this dress and when you capture a couple together sell me they love tell me there the connection's tell me their energy east you know sell me thehe passion cell made the intimacy and you know it's close but I just want to see a little bit more to given us and they oppose remember when a couple it together their hips must be towards each other if somebody is physically or sexually connected the lower half is always towards each other and body language so when you turn the crutches away from each other it's a body language that says we don't physically like each other that much so if you put the crutches away from each other but their faces toward each other it says were kissing, but we really don't like each other that much down below the waist way and then don't give two below the waist where they're like stuck to each other down here and they're all party downstairs and everyone's like going get a room but the hips that weighs toe ward's body language means the hips or towards and it's really simple just look at this it makes a difference kristie come and be my wife my husband if we pose your hips away from each other but we're trying to connect up here we've got a story going on up here but there's another story being told down here when you post couples you posed the hips together but you can open them up here but what this is saying is we connected you know physically and that's why you don't pose sisters like this because this's going on for the couple down here and so for sisters you open them up to here and he just turned the hips away but when you tune bodies away from each other you're saying our crutches don't want to be evening lee mere each other so this is how you pose with your father in law, right? This is how you pose with your sister and this is how you post with your lover and so he's a really distinct different in those hips and that body language tells me a lot but mostly what it tells me is the mood of the image straight away. And so remember with couples work on your body language is very, very significant. You know, this is a happy thing to do getting a whole lot of girls together flattering a whole lot of body types is like herding cats andi it's it's more of a moment than oppose, so I don't feel like I feel like what they probably did wass did a really good job of capturing all these girls laughing together and looking at each other on you've got a bit of foreground you got a lot to hot spots just remember girls are girls and you you put all the bin arms on all the thin arms and you've put all the straight arms on the coup via girls and that's not fair to the curvy girls because the truth is is the curvy girls want their arms to look better and you've put the rotation forward on the lean arms so the idea is this however is curvy has to be tipped towards the camera with a bean arm and you've done a really good job of doing that on the lived but these are the girls that need your help here and when girls don't like their images they get really bummed out so making sure that you always flattering the body you did tip them ford and just make sure you're saying chin four girls chin forward and you're trying to control a gaggle of girls which is hard to do but you know I mean it's a good shot and I'm sure that they're happy with it I think something about I get a little distracted by the uh until the tilt of it and I see some some ladies shoes and not others on dh for this in terms of you know, a publication seeing a little bit mohr um of of the full body has to be a full body shot. Let's go for a full body from from head to toe let's see the whole thing a little more, crop it in and get those great faces and get those the laughing together and really the emotional connection kind of going one direction or another. But I have to say I totally grades like herding cats trying to make the wedding party, so it is to you for forgetting the oh see, this is hits two hits, body language. This is a a beautiful example of working those bodies, and sometimes the man hand can be a little bit big on the throat like that. But you know it works and it's six c you can see the mod interesting choice of background. I mean, I don't know whether this looks looks like brazil. I mean it's quite amazing and but beautiful shape love the diamond that's coming through the back of her body through they are even like the kid that's watching, leaving the frame obviously it's a hard time to shoot your losing that light. And I don't know how much details in this image, but this is a beautiful example of the body language of lovers. And you know, you've got a little bit of a hiccup, they were his suits popped up because he's lifted his arms up around her, and if you'd had five seconds, which he probably didn't, when the sun's going down, you would have pulled it back, and seeing that light through there with a country would have made it perfect, but my props to the person who used her body in his body in that way also he's, a very tall man, and she probably was in very high heels. But her heels would have sunk immediately on that saying, so he's come down to kiss here, and that that's beautiful. I believe it, I feel it and well done, you know, I I know how hard this is to do, and yet it looks so simple. And so this is a well done capture in terms ofthe there's, not too much light this detail in this dress, I love that they've gone to the effort to even get a good coat hanger, and that they can't do that, because that girl the hangar makes or breaks the shop for me as an editor. If it's not out of anger, right, it was just like her married name is mrs something so somebody's bought that for here, and that they have made the effort to capture that well done what do you see in publishing a lot with these sort of shots kristie and what could you say about it? I love the way with this one you really concede and see the full dress was it isn't always possible in terms of length train it's great that they were able to actually show the whole thing there's detail you can see the lace texture in the fabric which again is really difficult to do when you have that backlight and there's so much brightness to the photo so I love that you can really see the dress itself often you don't actually get as much information yeah it's just all white and it's really hard to see and then the hangar says the more I look at it the more I think this is an outstanding image because I also know how having this ticket they detail and even if they worked in post production well down this is the sort of image that would you put this on the block I would put it on if it fit with you know a story in the story yeah I mean it wouldn't be a standalone image because there's no emotional connection to it there's not a lot of other sort of excitement and passion to it but it does show the dress really beautifully if it's part of the story and the story is good and the story is good and then the bride talks about her dress, and she really loves it and it's relevant the hook of the story that we're telling absolutely and I would be just jumping for joy that there's a beautiful hangar perfect girl's arms go inside, boys arms we do not want our arms to be bigger it's, acute image and they've got a neat little connection together and it's beautifully shot on a great location. Please get your girl's arms inside, use those hips, you know, together and just make sure that you're just bringing him and casing here, not over. We never won our arms outside of their own body line. Men opposed out women opposed in if you can get his arms wider than hiss, then it would have been so much better. And remember, we don't touch the tummy and when the she's pregnant and bring their bride. But even if she was a pregnant bride, you're celebrating the eleven commitment, not the pregnancy at this stage. So, you know, especially if she's nearly pregnant and they quickly getting married, but the idea is hands on the belly main pregnant, but if her hands were inside and his hands were over hiss, then they protective the holding in again body language, I think, is paramount again, I feel like this is one of our great little moments she's looking up it's a beautiful black of my image there's not a lot of critique that can go on in these moments you getting what you can when you can and well done for capturing it. She's looking up at the bride I feel like this image is about the boobs because she's not looking up at the bride she's looking more at her boobs, maybe she's thinking one day I will have been I used to think that one day I will have been you know, the truth is is, you know that this is a cute image, but, um, it's part of a whole story x prize again, like you say it is, it would be lovely to see the both both of their faces, seeing them looking at each other, the bride and the little flower girl to see the actual connection. But I mean, come on later like the bride. So it's, you either get the bottom half of the bride that it's looking up like you, you know, they're icon or you get the whole bride, right? But it is probably seeing the cleavage means you're drawn up there. You don't often see people going into the negative space like that in the front way I really like it, I think it's beautiful it's I love the texture on love, the background it does make me think of a moment of the actual wedding where maybe she's about to go down the aisle or, you know, she's a about to enter into and who know that that's what was actually happening, but it does. It does make me start to tell myself a story about where she was, what she was doing, what she's thinking is she taking that moment to herself before entering into the church must like a creator and this beautiful she does have a rise close. I also be careful with the airlines when you do close your eyes, you're either sleeping or praying on dh, so I feel like often we can get the same beautiful look by just gazing down when we gaze down our body language says we're an emotional state. When we close, our eyes were sleeping on or meditating were praying, and I often see the eyes closed in and I think where the blinking, praying or meditating or sleeping. But when we look down, the body language for looking down is to be an emotional state, so the more emotional you want somebody to be, make them look at the floor or down their own body line when they connected to their own body line, it changes the body language significantly in an image, and I feel that you know, this is a great shot it's a beautiful sent it beautifully reflected regardless of whether they walk in kissing or dancing they took the effort to pull away to go across the lake to see the reflection at a time where they were losing light and they chose to do that very quickly and well done I mean, I'm not I can't say anything more about that I I like it I'm beautiful simply in the fact that you can see her she's sane and the reflection of that window and that that emotion is so real that it makes me feel something what would you go fight to speak to this? Yeah, what a creative way to capture that moment on dh there are, you know weddings where there is a lot of emotion going on, finding all the different ways to show it and to really be prepared tio get the faces and get that emotion but also show context of what what else is going on? He is great and that helps a lot for publication as well because if it's just the face of someone crying as an outsider who wasn't at the wedding I don't I don't know when that was or why that was so I love the fact that they can show us even though it's a close up shot for her you can see who she's looking at and why she's emotional and you know, it comes down to this is a really beautiful story telling it's a moment that's captured, whether it was in the steak or whether it was seen out. They've still managed to capture the reality of hair emotion. And this is the sort of images that will make you a great photographer. The fact that you could see this, express it capture and then show it well done. That's. Absolutely beautiful.
Ratings and Reviews
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.