JLC Images wrote:
I like the muted color tones of you images.  I also enjoy the feel and model connection with the camera.  The only issue I have is the cropping.  I don't like when the tips of fingers and feet are cut off.  Some of them are very nicely done (like your avatar), but others you just needed to bring it out just a little.  I realize part of your style is the tight crop, but I would be interested in how you frame an image where there was a lot of negative space.  Let it breathe!

Hope this helps

Ah, yes, the finger tips   That was one of the things I needed to work on from my last critique as well.  I get caught up in the moment and unfortunately start overlooking the fingers. I will have to watch that, thank you

How about this for some negative space?  I realize there isn't a ton of negative space, and I have another one I can upload later tonight
https://scontent-b.xx.fbcdn.net/hphotos … 6211_n.jpg

That's from the "edgy" shoot, I'm interested to hear what you think of the image posted.

Thanks for your critique

paragonfl wrote:
The light from the window overpower 2,3,4 and some others.  Suggest a look at your histogram.

That was purely intentional and I quite like the effect.  Thanks for your critique

Dan Dozer wrote:
Hard to judge your lighting progress because many of your images have the "background flair washed out look" (which I don't like when done to excess).  It can be done very successfully, but watch out that your work doesn't start to look  too gimicky and the flair overpowers the model which a couple of yours do.

Do you think I did the background flair/washed out look to excess?  Which do you think are overpowered?

Each model that has a flair or washed out look also has normally lit photos, and they should be grouped together.  Oldest photos at the bottom and newest at the top. Does that help in judging it?  I'd love to hear your opinion.

Someone else told me this photo was lit too strongly and it "hurt their eyes" to look at it, and I'd love your opinion:
https://www.modelmayhem.com/portfolio/pic/35196544

I shoot about 80% with strobes and soft boxes.  I've never used umbrellas.  It's not that I don't like them - I have just never used them.  Occasionally, I'll shoot bare strobes if a harder look is what I want and sometimes I'll throw a piece of shear fabric over the bare strobe to soften it just a little (but not as much as a softbox).

I've never used softboxes, I like the effect from them that I see on other people's images though.  My next modifiers will be a couple of softboxes to play with   I do also use bare strobes, like the model on the stairs photo both strobes were bare with no modifiers.

The image of the model sitting on the stairs - I really don't like the dark shadow across her face and I think this really kills it.

Yeah, the two photos with the pink gels, were a little out of my comfort zone and I'm a little uncomfortable with the results.  The model specifically wanted "edgy, dark, mysterious" which is the opposite of what I normally shoot.  This was the only image with a shadow on her face and I specifically chose it for the added "mysterious" nature.

Many people will say negative comments about cropping and cutting off parts of the model, but I applaude you if it is done intentionally.  There is no set rule that says you can't do it, although many photographers think it a real bad thing to do.  One thing I would consider/recommend if you like that tighter crop look is do it for a reason.  Many times, I intentionally shoot the image with all of the model in the photograph with the intent of cropping later when I print the final image.  My general rule is that if you crop or cut off a tiny bit, it normally doesn't work.  However, if you "crop it like you mean it", then you will succeed much more often.

I started out shooting with strobes about 8 years ago with no training at all.  Read up on how others do it, but getting out and doing it is the only way to really learn.  Keep shooting and trying new things.

Hope this helps.

That was quite helpful, thank you very much for your critique

Lee_Photography wrote:

This would be my favorite image from portfolio
Has a very natural look

Details:
Tie string could be moved behind models right shoulder
Show all of hands and fingers

Wish you well

D'oh, there's the fingers That's one of my favorite's as well, thank you very much for your critique

Charlie-CNP wrote:
OP: Going to be honest as I feel that it will help you improve.

That's what I'm hoping for   Thanks!

1. Rule of thirds and compositions are your friends. Psychologically your eyes always go to the points where the thirds intersect in the frame. Keep this in mind when you go forward. Rules can be broken to play with edges and such too, but if you are going to break composition, do so with purpose and to make a statement vs. the cropped missing fingers for example.

Those darn fingers

You're right on with the composition.  On some of my images I do have the person on one of the lines, and in a lot of others they're just dead center.  Thank you, I will pay more attention to that and study up on composition.

2. Your port over all looks like you are experimenting at the moment. That is not a bad thing, but work on other types of light also. I would suggest checking out a book called Light, Science, and Magic (the photographers bible). Once you fully understand light, the possibilities are endless. You might even want to get hold of a couple reflectors/diffusers and play with natural light for a while vs. strobes. Once you know things like direction of light, intensity, color temp, color theory, proximity, different types of light (reflected, direct, diffused..etc), you will have more tools in your toolbox to create with.

You're quite right, I'm experimenting and port building right now.  I actually DO have Light Science and Magic and I'm working through it, and I do own a 5-in-1 reflector/diffuser.  This is a great suggestion from you, and I will put some work into it.  Thanks

3. Your sets seem pretty fair for what you are going for, but one thing that most photographers forget is that even beyond the technical aspect of the camera, a good bedside manner to interact with the subjects that you photograph to put them into a mindset that will allow them to emote for the camera is crucial. You can have the best technical abilities in the world, but if your model is not on point to sell the photograph, the whole thing falls apart. A great photograph is comprised of technical, art, and the experience of the individuals in the room when it comes to people.

Thank you very much for this. The bedside manner is an area that I could use improvement on.

Start with some of this, and keep checking back. I did not see your prior work, so I cannot comment on that, but it looks like you are on the right track. good luck

My current work is like 20x better than my prior work LOL.  Thank you for the praise and thank you very much for the critique

Canvassy wrote:

paragonfl wrote:
The light from the window overpower 2,3,4 and some others.  Suggest a look at your histogram.

That was purely intentional and I quite like the effect.  Thanks for your critique

Dan Dozer wrote:
Hard to judge your lighting progress because many of your images have the "background flair washed out look" (which I don't like when done to excess).  It can be done very successfully, but watch out that your work doesn't start to look  too gimicky and the flair overpowers the model which a couple of yours do.

Do you think I did the background flair/washed out look to excess?  Which do you think are overpowered?

Each model that has a flair or washed out look also has normally lit photos, and they should be grouped together.  Oldest photos at the bottom and newest at the top. Does that help in judging it?  I'd love to hear your opinion.

Someone else told me this photo was lit too strongly and it "hurt their eyes" to look at it, and I'd love your opinion:
https://www.modelmayhem.com/portfolio/pic/35196544

I shoot about 80% with strobes and soft boxes.  I've never used umbrellas.  It's not that I don't like them - I have just never used them.  Occasionally, I'll shoot bare strobes if a harder look is what I want and sometimes I'll throw a piece of shear fabric over the bare strobe to soften it just a little (but not as much as a softbox).

I've never used softboxes, I like the effect from them that I see on other people's images though.  My next modifiers will be a couple of softboxes to play with   I do also use bare strobes, like the model on the stairs photo both strobes were bare with no modifiers.

The image of the model sitting on the stairs - I really don't like the dark shadow across her face and I think this really kills it.

Yeah, the two photos with the pink gels, were a little out of my comfort zone and I'm a little uncomfortable with the results.  The model specifically wanted "edgy, dark, mysterious" which is the opposite of what I normally shoot.  This was the only image with a shadow on her face and I specifically chose it for the added "mysterious" nature.


That was quite helpful, thank you very much for your critique

I think overall, you have good sense of composition and balance and your images reflect that. Learning about lighitng just comes from doing it over and over again.

The two images that the background flair bothers me the most are #4 and #11.  On#4, the window seems too overpowering being such a large element and in #11, you almost see what looks like direct sun in the window and the lens flare that shows up green in the lower right bothers me. 

The image that the other responder said was "lit too strongly and hurt their eyes" I actually like quite a lot. 

One thing you might try before you get any soft boxes is to just drape a large piece of white shear fabric such as silk over the umbrella to soften the light a little more.  Not sure if you will notice any visible difference, but it's worth a try and might create a look closer to soft boxes. 

Here's one other thing to consider.  Any time you have the model look directly at the camera, it's an automatic response by the viewer to look directly at the eyes of the model.  The image is less about the overall appearance and look of the model and more about connecting with the model herself.  Looking at your images, I get a very different impression/feeling from those images where the model isn't looking into the camera as those that the model does.  There is no right or wrong with this, it just is, and your overall compostion may be impacted by this fact.