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07-16-2010, 06:09 PM   #1
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Аbout girls (The same but for the critics)









07-16-2010, 07:44 PM   #2
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Great model!

Most of the time the environment (bricks, within leaves of a tree) doesn't work for me.
Also the poses look contrived most of the time, for me personally.
The biggest problem in most photos is the light though. It is much too harsh; you get a lot of blown out areas because of that. Try to get to places with softer light, using the light to model her face.

My favourite is the first one (I'd cut off a considerable portion of the bottom though). See how the light nicely models her face?

I hope for you that you can have a session with her again, looks like there is lot of potential.
07-17-2010, 02:06 AM   #3
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QuoteOriginally posted by Class A Quote
Great model!

Most of the time the environment (bricks, within leaves of a tree) doesn't work for me.
Also the poses look contrived most of the time, for me personally.
The biggest problem in most photos is the light though. It is much too harsh; you get a lot of blown out areas because of that. Try to get to places with softer light, using the light to model her face.

My favourite is the first one (I'd cut off a considerable portion of the bottom though). See how the light nicely models her face?

I hope for you that you can have a session with her again, looks like there is lot of potential.
Thank you. I largely agree with you. But with the light now the problem - is a terrible heat and shadows is almost invisible.
07-17-2010, 02:37 AM   #4
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The pose in #1 is good, the others look awkward.

07-17-2010, 08:48 PM   #5
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Read some of the post online about lighting in strong sunlight... it is tough but possible...

How do you talk to you models... it is something I am weak at, but when I have it you can set your models at easy and it just works...

I find a huge difference if I smile during a shoot... the model seems to reflect it back...
07-18-2010, 08:54 AM   #6
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QuoteOriginally posted by icywarm Quote

How do you talk to you models... it is something I am weak at, but when I have it you can set your models at easy and it just works...
.
I've worked as both a professional (agency) model and a photographer, so I think I may be able to help you out here

It really depends on what you want from the shoot, that would really dictate the type of direction you'd give the models. We always got told "you're not paid to smile"

Usually when I worked i'd appreciate it if everyone knew exactly what they wanted to get from the shoot, even showing me example poses/expressions they wanted me to do

it depends on who's shoot it is too- if you've employed the model then the honus is on you to know what you want, but if the model has booked you and paid you as the photographer then it's your job to do what the model wants, if they don't have an idea of what they want they basically they're a poor model who clearly doesn't read magazines (the agency should tell you what they want you to shoot in this instance)

just be honest about what you want her/him to do, models are puppets, hangers- you're the one who can see through the viewfinder, you can see how the shot will look; good models will do what they're told, great models can sense how they look in your viewfinder- modelling is a real skill, great models will cost you 100's of pounds to hire



regarding the photos, what were you shooting for? Because in some of the images the model can hardly be seen, so i'm guessing it wasn't a fashion shoot (especially as she doesn't change clothes) the first one and the second to last are the ones that work the best- the others have some pretty bad lighting problems, and the poses are quite weak
number 2 would have been great if the lighting had been balanced, the pose is well worked here

the first shot has a red cast though, so i'd cool the image down a little, and maybe straighten up the bottom of the image

when you're shooting in such 'masculine' places like an industrial space or an abandoned building it's nice to push the femininity to create a contrast within the subject- the first image does this, but the others dont, so the subject becomes lost within the scene
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