Posing Critique of Student Images

 

Portrait Photography Fundamentals

 

Lesson Info

Posing Critique of Student Images

Let's get into the posing critique of students. How's that? Okay, so here we go. All right, so, we've got a pose here and you've got the weight shift and everything and, actually it's not that bad. I think what this could use some help in is that, really, I don't see a lot of shadow on my subject here. And so I think this actually could be a very, very good shot if we created some more dramatic lighting on it, right? And not just straight. I can tell by the catch lights there's two 45 lights just lighting everything up evenly creating absolutely no shadows. So if you were going to do even lighting I'd rather take one light, put it up above, and then fire it. At least we would get some shadow on the cheeks and some more shadow here. But, yes, they evenly-lit it and the posing is not bad at all, actually. But it's just the lighting is not really bringing that out what it could be, right? 'Cause with some great lighting, that could be a really good shot. But the posing-wise, it's not too ...

bad. Maybe the hands could be a little more symmetrical or maybe less there, but, in general, I could see that being a really good shot with great lighting. Okay, here's the next one. And she has a great expression on her face, right? And it looks nice. I just kind of feel, again, post-processing-wise, I could see the light was a little bit higher, but that is kind of really hot and heavy right there. That shoulder. And so, actually, if you put more side light on that that would have made that pose a lot better because you would see some definition there. But, I would maybe instead of hitting that shoulder flesh on like that, just move it off to the side a bit to reduce that, okay, with the addition of some more side lighting there to create shadow on there. I think that could be a good portrait, but pretty close. Not bad. Okay, this is a good casual shot. It's a buds shot, right? And it's nice and they have a fairly good expression on their face. The thing is, too, there's no real light, I don't any catch lights too much in their eyes and so this would be, if you put them in excellent lighting, so I picture this shot, if you got them in an area where you used, maybe, open shade or something, and you saw beautiful catch lights in their eyes, and you turned it to sepia or something like that, that could be a great casual shot. But, what really makes a good casual shot like this work is those beautiful catch lights in the eyes and I just don't see it there, so maybe a different position there. Maybe re-crop it a bit like that and that would be better with that. Okay, but as a casual shot, you know, that has some decent expression on it and so I'm not gonna kill it just for that because it's in a different category for myself. It's like a candid, right? Okay, here's a shot that's a bit more posed here and I think it's got some potential but I think what's happening here is her body and her face are in the same direction and so it's kind of has that stiffness feel to it so maybe if you would have closed her body off and had her body more at an angle, so see the square shoulders you're shooting at? Maybe if you closed her body down this way and then had her head looking off that way, and then you fired some light in there then this portrait would be a lot better, I think. But it's getting there. I just, this head and the body in the same direction is not really bringing it out and if you simply just changed those angles whether you push the body back and turn the head this way, or pulled the body, maybe, so, here's the tree, right? So let's say here's the tree and she's turning back this way. Maybe she's doing that hip-to-hip just with the tree, you know? Boom. Light this way. It's gonna have a better feel to it, okay? So just needs to be a little bit more finished off there. That's kind of, the hairy chest guy back there is kind of distracting. (laughs) and so maybe if you used a shallower depth of field there. Maybe the choice of just getting a cleaner spot, too, would help that a lot. Okay, here's another photo here. I kind of, I mean I like the idea with it. I mean, I think that you're trying to show that she cooks a lot or whatever, but I just think the prop maybe is not used in the right way there. It just, I don't know, maybe she's holding it or something like that. But to be leaning on it, I'm not sure if that's exactly what it is. Maybe it's something else. I'm not quite sure what it is but I think it's a rolling pin, am I right? No? I don't know. Right? I just think it's a little bit awkward because this prop is too high, first of all. And then, I don't know if this should be used that way to lean on it for that particular pose, especially if she's using it to cook or something like that. So, but, you're kind of doing the rollover here, right? And so you've kind of got a line there. It just needs to be fine tuned a little bit more and maybe a better use of the prop there. Then that would be better. Okay, now we are getting on to this one. I really like this shot a lot. She's got a cute expression, right? And I see some nice catch lights in her eyes and every parent would love that. You got the blurred background there. Possibly, if I could have her head not so covered in her hands there, that would be good. But those eyes are really cute and appealing and she's got a nice expression on there. So maybe take away a little bit of the distraction of that green back down there but it's not too big of a deal there. But posing-wise, I like this. I like the diagonal of the line going across and so that's not bad. All right, so, let's get to this slide here. And I like the ways she's posed there, okay? And so she's nice. She's got that leaning forward. I think what would make this work is, see how she's leaning in like this? What did I say when you're doing that type of post? Just arch the back. And so you can see that her back is straight. I just think that if she was coming in and she was arched her back, and his nose was right there and you could totally see his profile and you could see her beautiful face there, bam! You'd have a really good shot there. But, as it is, you can see that his face is hidden behind her's and so she looks beautiful but his face is kind of covered there. And so I'd really like to see the beauty of both people there. And so I think that's another issue. Again, that light is firing and it's lighting up this tree here and so that's competing with the couple, so maybe if they find a cleaner spot, maybe over here or something like that. But, it's a pretty nice shot but I think the composition could be done in a way where it's a little bit cleaner. The second option for this, which I would probably do, is I would pull them over here, I would take out my longer lens, maybe my 85 mm lens, and shoot it at 1. and all those lights behind them would be blurred out. I would get my video light and just shine it up like that and then the blurred out lights in the back and I think that would look really good too. This one here. It's really nice. I love it. Nothing too much to say about this. It's a great shot, right? Maybe if I could see both hands a little bit more? But look at the catch lights in her eyes, right? She has a nice expression. I mean, she has a really great look on her face, right? It doesn't feel like she's intimidated by the camera at all. She's just, I don't know, maybe a relative's taking it. Maybe not. Maybe it's just a good photographer where they just kind of eliminated that where she just looks like she's comfortable looking at the camera and it looks really good and you got some nice soft lighting because I see the beautiful catch lights there in the eyes and I'm sure every parent would love that shot and so that was a good job.

Class Description

Want to be able to go into any situation with your camera and have the confidence to know you’ll get the shot? Award-Winning photographer Scott Robert Lim goes in-depth on the four foundational elements you must conquer if you want to develop your creativity and style.

Scott will give you the guidelines you need to master:

  • Lighting
  • Posing
  • Composition
  • Post-Processing

Once you master these fundamentals of portraits, you free up your mind to get creative and ultimately get the shot.

Lessons

1Class Introduction 25 Shots That WOW 3Four Fundamentals of Photography 4Create a Visual Impact with Composition 5Importance of Foreground and Background 6Create Depth in Landscape Images 7Photos Don't Always Follow the Rules 8Composition Practice Exercise 9Composition Critique of Student Images 10Keys to Posing 11Shoot: Classic Elegance Female Pose 12Shoot: Modern Female Pose 13Shoot: Rollover Female Pose 14Female Hands & Arms Poses Overview 15Shoot: Hands and Arms Poses for Female 16Seven Posing Guidelines 17Headshots Poses with Male Model 18Shoot: Headshot for Male Model 19Shoot: Sitting Poses for Male Model 20Shoot: Leaning Poses for Male Model 21Shoot: Standing Poses for Male Model 22Keys to Couples Posing 23Shoot: Couples Posing 24Couples Transitional Posing Overview 25Shoot: Transitional Posing 26Keys to Group Posing 27Accordion Technique with Groups 28Shoot: Accordion Technique 29Shoot: Best Buds Pose 30Shoot: Talk with Your Hands Pose 31Shoot: Lock Arms and Hold Hands Pose 32Run at the Camera and Dance in Your Seat Poses 33Shoot: Pod Method Pose 34Posing Critique of Student Images 35Introduction to Lighting 36Soft vs Hard Light 37Difficult Lighting Situations 38Bright Light Techniques 39Overcast Light Techniques 40Low Light Techniques 41Lighting Techniques Q&A 42Drama Queen Lighting 43Laundry Basket Lighting 44Make it Rain Lighting 45Smart Phone Painting with Light 46Mini LED Bokeh Lighting 47Choose the Right Lighting System 48Hybrid Flash System 49Innovative Accessories 50Gear Overview 51Theatrical Post-Processing 52Ten Keys to Post-Processing 53Essential Skills to Post-Processing 54Headshot Post-Processing 55Bright Light Post-Processing 56Flat Light Post-Processing 57Low Light Post-Processing 58Introduction to Fine Art Post-Processing 59Light & Airy Fine Art Post-Processing 60Dark & Moody Fine Art Post-Processing 61Post-Processing Critique of Student Images

Reviews

Vitor Rademaker
 

This course is amazing! Scott is extremely straightforward. He goes directly to practical problems, tips and etc. He explains every thing very clearly, and he is also very funny and charismatic, making you laugh as you learn. He shows that you don't need a lot of expensive gear to make very nice pictures. So I have saved some money as well, cause I was about to buy some gear that I wouldn't need right now. It is for sure one of the best photography courses I have ever attended to! I highly recommend! Thanks a lot Scott! You are the best!

user-9994d2
 

I have purchased a number of classes, this being one of them. The quality of the information was good and the level at which Scott spoke was appropriate for me. Having a course sylibus would add greatly to the value, which usually is not part of the programs I've purchased including this one, unless I've missed it. I believe the speaker should be required to provide one. After watching the videos, much of material can be recaptured by seeing it in writing. I would like to hear back from Creativelive their thoughts. In sum, good topic, good speaker, good technical audio and video quality by Creativelive

user-b48fe5
 

Another fantastic class with Scott Robert Lim! The combination of his knowledge, willingness to share, passion & entertaining personality makes him a top choice for photography education. Learning not only the "what", but the "why" & "how" can transform one's entire approach towards MAKING pictures. A constant inspiration to get better & better through practice.