This image is very sloppy. Nothing against the maker. We have decent lighting, a hair light, and some nice light dripping on the shoulder, but there’s other issues with this portrait. When I say something like this is sloppy, I’m talking about retouching. So, from a retouching perspective, if you look closer, you’ll see what I’m talking about here.
Join Sal Cincotta, Canon Explorer of Light and Profoto Legend of Light, for 3 setups for soft light beauty portraits. Sal will take you behind the scenes and show you how to work with different light sources in your studio and show you the results.
Not every event requires an expensive album. Clients want a high-quality way to display their images without breaking the bank. Press Printed Books are an economical way for you to add value to your product offering and give your clients the quality they deserve.
Look, there are all sorts of options when it comes to light. Different prices, different sizes, different power options. “Cheap” rarely works with anything in life, and it surely doesn’t work with professional lighting. I’m not debating that there are give-gets with every decision we make. It’s truly no different than the decisions we make with our cameras and lenses or the computers we buy. There are always trade-offs.
In this video, Sal Cincotta, the editor-in-chief of Shutter Magazine and a small business owner himself, breaks down some of the key points of this relief package and what you need to know for your small business to benefit from it.
We've got one goal; help you get better by learning from the mistakes of others. There is no other goal, no other agenda here. I am not trying to hammer photographers or embarrass photographers. It really is about giving you constructive, honest, and direct feedback.
Guys, sometimes I just feel like I’m being Punk’d. This is not a portrait. This is very bad. And I mean it with the nicest of sincerity. It’s just not a portrait. If you are the maker, and you submitted this, and you really want feedback, I’m going to give you feedback, okay?
You've got a choice to make. You always have to ask yourself, the space that's being left when we leave some negative space, some head room, is it helping or hurting the image? And you know, when photographers get together and they start critiquing stuff like this, if it's not helping, the argument is always made that it's hurting, right?
A for effort here. I see what you’re trying to do, but this is poorly executed. You’re trying to drop the kids in, all to the same scene, looking the same way, and clearly our little child on the far right, who is not listening to what’s going on, is more than likely the problem child.
I feel the image is lacking expression, emotion, connection. Sometimes, as we're doing critiques, we're looking at the obvious. We're looking at lighting, we're looking at posing. Here, I'm just struggling with the connection of our subject. Maybe that's the goal, but these are things you want to be looking at.
