T B O L wrote:
For me they're fatally flawed and I wouldn't use them. Any chance of getting something worthwhile is ruined by the shooting angle. Sorry

They're shot at different angles.
Specify

Ashley Riot wrote:
3 and 4  are you strongest, take the other two out of the collage because they're a little distracting.

Thanks for the advice! I don't think ill keep any of them collaged, I'll probably have 4 by itself

Rachel Reilly wrote:
Thanks for the feedback!

I know this is probably a stupid question but what do you mean and whats the forum code?

Post an example

if you go into your port, then click on a picture, it will make it larger. Right below the image it will say mm forum code. Select it and copy and paste the link it has there to this forum.

Rachel Reilly wrote:
Thanks so much!^

Your welcome.  Thats much better.

Mandarin Art wrote:
I don't like the cropping of the photos. Most of them are missing part of a hand, part of a foot, part of an elbow, part of the top of her hair, etc.

Like I said most of them are cut off bc I put them in Picassa collages

Mark wrote:
let me help you- none of them.  All they show to me is that you lack lighting ability(seem under exposed and unattractive shadows), poor posing directions, bad cropping, poor make up decisions, bad camera angles,

i would agree with this.

Rachel Reilly wrote:
I have to disagree mark but thanks for imput!
:-)

OK. have it your way though I work for a top fashion magazine and have modeled with some top photographers in the world, but not good enough for you

)

Rachel Reilly wrote:
Eh, I see what you guys mean by the angle, I usually wouldn't shoot down on a model but I had some studio limitations decided to do some shooting down and it didn't work.

Occasionally, shooting down can work, but you need to be doing it to deliberately enhance the shot rather than to get around a limitation.

Generally also, when shooting down, I find that getting in fairly close, cropping to lose the legs below the thigh and angling the camera diagonally to emphasise diagonal compositional elements helps to make it a 'strong' image with a sense of dynamism and purpose rather than just a "this was the only option I had" kind of affair.

Hope that helps!



Ciao
Stefano

www.stefanobrunesci.com

-B-R-U-N-E-S-C-I- wrote:
Occasionally, shooting down can work, but you need to be doing it to deliberately enhance the shot rather than to get around a limitation.

Generally also, when shooting down, I find that getting in fairly close, cropping to lose the legs below the thigh and angling the camera diagonally to emphasise diagonal compositional elements helps to make it a 'strong' image with a sense of dynamism and purpose rather than just a "this was the only option I had" kind of affair.

Hope that helps!



Ciao
Stefano

www.stefanobrunesci.com

I will definitely intentionally try this technique. ;-)

And I actually quite like photo 6, should I crop it? Although I prefer if full body.
This is why I asked for critiques because my eye isn't trained well yet, obviously.

-B-R-U-N-E-S-C-I- wrote:
No, no, no!!

Kudos for trying a different lighting setup, but you've ruined the whole shoot by shooting from the wrong angle(s).

Ditch them all, and next time don't shoot DOWN at the model.




Just my $0.02

Ciao
Stefano
www.stefanobrunesci.com

I agree but I want to be more constructive here.

I hate to be discouraging but the camera position is important here. A common mistake that some Photographers make when shooting fashion is to shoot at head level or shoot down on their subject. Not so say this couldn't work but the emphasis is more focused on the person (as in portraits) rather than the story of the styling and posing when you shoot from that angle.

I think the lighting attempt is not bad but not great either. I don't see a hair/kicker/rim light for subject separation or evidence of a fill for paramount lighting. Looks like a one light with some diffusion (possibly a small soft box or beauty dish with diffusion sock, just guessing here) high camera left. If I were shooting this setup using one light I would make it very large and close to wrap down around the model and shoot close to the background to bring it in or grid it to focus it so the background goes dark if I'm shooting away from the back ground.

Don't have tender ears here. I know its hard to take in some of the critiques  but this is how you get better.