Welcome to Community Photo Critique! This week we are diving into dramatic portraiture with Magmod genius Trevor Dayley. If you want to learn how to control, shape and color your light with MagMod modifiers, he’s your guy!
WATCH OUR LAST VIDEO ►
Purchase our NEW Lighting 3 course (advanced off-camera flash) ►
For More of The BEST Photo Education:
Subscribe for MORE VIDEOS! and turn on POST NOTIFICATIONS.
► FREE Downloads, Guides and Contracts:
Gear We Use:
what's up my YouTube friends my name is PI welcome to constructive critique this is where we critique your guys's photos and today we are featuring a guest critique star Trevor daily everybody I like I like star can we put that in my friend of mine emo is Trevor daily rock star photographer no seriously though Trevor daily if you guys don't know about him you should really check out his work Trevor you're based out of Arizona it's like I'm telling him where he's based out of I'll tell you guys Trevor is based out of Arizona has been shooting wekki wek aids weddings for about a decade in other words whack AIDS yes and also in addition to the incredible work that he creates he's my best friend well he's one of my best that wasn't what I was gonna say I was gonna say he also works for magmod he is that fantastic educational instructor that goes around and teaches you guys how to shoot and how to lay your images using magma products so you can find him online and in fact this is an episode that is magmod critique yeah I would say even just lighting critique but but I love it because we pulled some images from the magmod community some of the incredible people over there and the community submitted some photos and i'm looking forward to it should be a lot of fun yeah so guys the magma community is fantastic great place to learn whether you're using actually magma products or not it's a great place just to learn how images are shot so be sure to join up that's where you can find us often times as well and want to thank all the members that have submitted their images a quick little note we're gonna go through 11 images Trevor the rating system goes as follows okay we're gonna count it down we're gonna go like put up a number it's a it's a thing that we ripped off from F Stoppers Liam Patrick won't mind let's let's be honest they don't care no reporter Rico they're not even here they're not gonna see this so what we're gonna do though is we're gonna put it that number so we have a place to kind of start of where we think an image is that if an image gets a 10 that means that it is portfolio worthy this image has nothing to change it's an award-winning image that needs to be submitted everywhere dot so forth if it gets a one that rarely ever happens neither does a ten we've only given out one ten so far we haven't given out anyone's because we're nice one is an image that is just not redeemable in any possible way whatsoever and generally we're not gonna give out too many of those either a five though is what we consider to be the average for what a professional should do okay so that gives you kind of a basis five doesn't mean it's bad it means that it's what we would expect somebody that has experience to do all right so we're gonna start from the top and get into this by the way little side note we had like 40-something submissions to this we actually had to cut out almost half of them because they weren't submitted with a proper resolution so guys we saw amazing images if you're not seeing your image in here it was probably cuz it was nixed because it was too small so be sure to please read the instructions and submit images that are appropriate size two thousand pixels on the long edge you know Pike tonight can I add something really quickly I would love for you to add something and so I gotta say this is gonna be a and I was telling you this prior this is gonna be tough for me because I hate critiquing anyone's work because every photo that I'm sure we're gonna look at is is is in my mind better than my own foot work you know I think that's same posture syndrome we all think we're hacks at least I do you probably don't PI I'm definitely a hack I don't even know why I doing this critique right now Hey but but I just want to add this real quick about ten years ago I sat down with WAW PPI with Brady per year and he went through my portfolio and just told me how much my photos suck like one after another after another and every way every so often out of one out of every ten or so he'd be like oh this one's good this one's okay this one's a five right and I hated it I like literally I thought I would never want to talk to Brady again but then I realized how helpful it was and so I just I hope people don't look at me and say man these guys are so mean like I hope hopefully you guys get something out of this Trevor's gonna be very mean to every single one of the people that are submitted their images that's really what he's saying in short so look guys this is constructive critique and as Trevor said is one of the best ways to learn so be sure to submit your images because honestly hearing what other photographer especially those that have experience like Trevor have to say about your images is one of the quickest ways you guys can see things that you wouldn't have yourself so should we do this dude let's do it I haven't even looked at these yet so that's the idea right you are the guest star so here's how it's gonna work I'm gonna put up a two-minute timer you talk as long as you'd like and I'm making this up as I go and I'm gonna take up the rest of the time story of your life story of my life make it up as you go alright so we have our first image from Adrienne on of let's make a memory Adrienne what's up brother long time no see hope you all aware well like I can't even talk right now Trevor we need a number you got a number in your head I think I got it so so just real quick five is like a a professional should be able to create this 10 is like portfolio worthy and won awards you know award worthy you know world-class portfolio not a single change whatsoever okay all right are you saying right now that yours gonna give everyone tens because if you are okay you got your number here we go hold it up three two one seven all right brother sorry I did a five all right two minutes are up go okay so so I guess being in at seven I guess I'm gonna tell you what I like about it what I like about the image is is obviously this nice balance of light and flash now I do think there's just a touch a little bit too much flash in other words that I can tell that a flash was used and I would have loved if if I wasn't able to tell that if it just made a couple pop without that flash if I'm making sense of that in other words I I know a flash is needed to be able to bring it down but I wish it was just a little bit lower power just a tiny bit I love the leading lines going into the couple it I'm gonna draw on the image while you're talking okay um I there's nothing about the image that I see immediately that I say I would change I I guess maybe it looks a tiny bit off you know like like maybe just a little bit straightened out the horizon needs to be leveled a little bit yeah but but otherwise I feel like it's a solid image and and I like I said I like the balance of light and ambient I just wish it was a little tiny bit more balance is all I would even loved to see maybe a little bit of color in this guy if he use like a gel on the couple bring a little bit more blue or something else in the sky but otherwise I think it's a solid image nice alright I got 40 seconds I agree with everything you're saying I I honestly don't mind the like like this shot is really meant to be it looks like it's shot to be dramatic so the issue that I have with it though is that everything from the inside kind of out is all the same brightness and I would have like pulled a vignette in to kind of lead all that attention into them in addition for me the the light direction is my problem like we're not getting the light far enough away from the camera angle the light was probably placed here and then there's probably removed in post and what that ends up with is kind of a flat light so Adrian I would push the light out just past these bushes and light across so that you get a little more direction to it and you get a little more shape to the bodies and something that looks a little more that's it that's it you get more direction and a little more shape to the bodies the last thing I was gonna mention is that the composition itself Adrian I know you can do better in terms of I know you're trying to frame them like right inside of this arch and everything and and it's everything's leading up to them I just find it to be a little bit boring it feels like a bull's-eye and I think there's something more interesting here to be had fix your perspective distortion as well it's a simple click and Lightroom and your lines will straighten up on the on the building yeah I agree about that last one I was gonna mention that as well what you didn't like when you mentioned two minutes I thought you meant I had two minutes I almost took all two minutes from you no no the way you have two minutes per photograph and you're the guest man so you need to you need to talk a lot you need to talk all right so this is from Alan William it I'm sure I slaughtered that and I'm sorry Alan this of lighter focused photography so thanks on for this mission this is a really beautiful image Trevor you got a number I do oh girl how many fingers I hold up here three two oh look we both gave it an eight all right okay brother you got two minutes are up let's go all right I go first again huh cool um so I love there's a couple things that I really really enjoy about this shot I love that the the couple is high enough that he got really I'm really low and he used that foreground element with the water I think that's fantastic I love that blur I love the the the aperture that he chose to really bring that out I love the light on the couple the only thing that I wish is while I love the focus on them I feel like her legs get really dark really fast and I don't know if that would be something that I would do with light if I would just add a little you know moving my light down just to feather it a little bit more or even just going to light room and just touch it up just a tiny bit but ideally I would do it with light so I don't have to you know do that extra post-processing work love the sunset the only other thing is maybe if I would have changed or if you were to change this angle just a tad bit more to the left we would have lost that brick wall on this side or whatever that kind of wall is over on the side yeah for some reason my eyes get drawn over there a little bit yeah that's honestly probably my biggest distraction to you is that that right side that we just highlighted here I just feel like it doesn't belong in the shot there's also like one little tree do you see that one little tree that like sticks out on the horizon right just just mix that little lollipop there these are like all very nippy things and I gave this an 8 because I felt like there were so many things that you're doing that are above what a typical photographer do for example Trevor said getting low to the ground choosing an aperture and a focal length that really emphasized the water leaning after the couple placing them above the horizon line adding in that kiss of light I agree 100% that the light is a little bit dark on the legs but the other thing that I wanted to say was keep shooting this until you get the right pull on the dress for me the way that the dress is bunched up around the legs and the way is kind of floating behind is not flattering and I would have had to pull it down and kind of get a better flow of that dress remove this thing in layer and make those changes or sorry remove that little brick thing and make those changes and I think you're really close to a portfolio or world-class image here I you know can I just add one more thing on that I do love I want to emphasize that he has her stepping into the the guy which is fantastic is so often and I tend to make this mistake a lot too is we have our couples just statically stand there and looking at each other so he's having that that motion that step even if it was just a fake step the other thing is I was just gonna mention it if you move a little bit to the left now we don't know what is to the left I mean there might be another wall over there might be a parking lot for all we know but it would also kick their heads just a little bit more in that clean space that bright area of the clouds which I think would have really you know done look nice as well yeah I'm gonna add one tiny thing to not because I have to have the last word but I do have to have the last word but I have the HSL saturation tool selected and one of the things that I do a lot of is I coach my clients in wardrobe you know I really try and help them to choose the right options for when they arrive at the shoot one of the things for me that's a little bit distracting is that his shirt is so darn blue that it kind of sticks out in the frame now for this image we can make a simple and easy fix by just kind of pulling the blues down and that blue is so deep but it's actually not even gonna affect the rest of the image that much so as you see me pulling it out you're not really affecting much else of the image but if you find that you are you can always just brush that instead with that simple change you can see how it already tightens up the color tones in the image quite a bit hape I can I want the last good story of our friendship though take the last word it's fun no no this actually is even about the image it's about the HSL slider that hue saturation slider you know where I use that desaturate the Blues a lot is when I'm shooting rings a lot of times the Rings will get a little bit of blue bouncing off the diamond and if I don't want that blue in there I'll just take that hue saturation slider desaturate the blues and now you get this beautiful ring shot with all the color but without that blue bouncing off the diamond 100% I never sent alright we're going on – Alexis Rodriguez Montalvo you know what you speak Spanish so why don't you say his name Alexis Rodriguez Montalvo Alexa Dali Kissimmee entos fotografia oh so much better much better okay so Alex this is a great image really love this let's go ahead and think of a number here okay I'm stuck on this one okay are you ready you know there's some things I really like about it but only because I find some things I can kind of critique about it that I'm you know I don't know well I'm gonna give you the hard job of starting first but you get it for your number yep okay here we go three two I gave it an eight yes oh my goodness okay that doesn't happen often okay two minutes go okay so the the only thing that that really or I wish I could go in and fix is the guys on the camera left side I I just feel like they're coming off darker than everyone else and so I kind of feel like they get lost in the shadows maybe maybe they're not as good of friends as the rest of them are it's just a joke but but that right there the other thing is that ball the cue ball sitting over on the left hand side I just wish it was even by the rest of the balls or somewhere where it just wasn't right on the edge of the frame over there so those two things now I congratulate Alex on making sure there was some kind of rim light to help carve out some of those guys I think that's fantastic I love his use of light there and I love the control on those guys without spilling all over the the billiards table so and I love the low angle as well so lots of really good things I just wish I could go in there and get those guys on that camera left side a little bit brighter I agree it's these guys right here and the simple fix of that is honestly just to feather the light towards the left side so really when you add a light source like that you shouldn't be lighting towards the center you should actually be firing that light source across and aiming towards the opposite side it's one of those big kind of simple lighting tricks that we talk about in our lighting courses is feathering – the opposite side of the group I I agree 100% that ball was like the first I was like why is there one ball that's like right there so the only other things to me was like there's a couple things I felt like you're doing so much right with this you know in terms of getting low to the table and getting the table to kind of lead up into them the posing of the subjects like the way that they're lit the way that the backgrounds pulled down the the all these things are things that are beyond what a typical photographer would do and I've kudos of that so I also would have removed a few other things like this top right there's this weird like little light thing that isn't lit up and it's kind of distracting me the other thing is watch your shadows do you notice the shadows on the arms of the men on the other side most likely we're hitting something there's an object that we're hitting that's causing those shadows and my time is up so that's it yeah I think what it was hitting I think it was hitting those light fixtures yeah it could be for sure so cleaning up those things I think it's a really great I think it's great as it is but it'd make it even better yeah I like I like his logo as well it was nice it was small it was it's nice I like it well I just like the design of it okay there was a few logos submitted that were like huge and I was like a nope we can't we can't use that it is nice nice all right this is Alicia Lynne of Alicia Lynne photos okay you've got a number II yes this is hard man this is hard for me like I said five five if you guys rated any of my images they would all be like threes and fives on a good day so so if I'm giving you guys higher numbers than that then just know that that you're your I could put your photo on my website and be happy okay all right I'm gonna go I'm ready for this one you ready yep uh-huh tied six okay two minutes up go yeah so I mean the biggest thing that comes out to me is the light on that grass in the front that I think that could have been taken care of either with a crop if they want to crop it in maybe like waist high I thought that would have been kind of an interesting look or just taking a graduated filter in Lightroom and just drawing some black light up in there I just I keep going to that I can't even tell if it's grass or gravel or something over in that right-hand side it almost distracts me from what's happening with a couple I love the light on the couple I love how there's lots of light right where they're at I love the use of smoke it's not easy to use those smoke bombs I know you guys have put out some really good information about that but it's not easy for someone using smoke for the first time so I you know applaud her for the efforts in doing that but the only reason I give it a 6 is because of that bottom right corner I think you can clean that up and you easily got a really outstanding photograph yeah so I actually cropped it while you're mentioning it and you're right that we get a we get a much more kind of compelling image by cropping in just that we see only essentially that smoke and fog and I have them frame kind of like towards the bottom and leaving that negative space at the top is like a triangle that kind of leads into them and I think already the image would be like a seven or a you know a notch higher from just that the only thing I'm gonna mention as well is I have I have two reasons why so one of these is like very subjective let me start with the objective thing first the highlight behind them is too much now the reason why that's happening is because you're only using one light so to get one light to fill all the smoke you have to keep it a high-power setting but that one light blows out everything behind them so the key to this is lowering the power settings and if you need more light on the smoke then add in a second light you know that's just angled toward the smoke or even a third light coming from the outside to light in so you don't get that super bright blown out hotspot directly behind them the last thing I'm gonna mention and my timers gonna go the last one I mention is just I guess I don't necessarily see the context or purpose of these types of smoke images particularly for wedding photographs like this because I trying to think of it from a storytelling standpoint and where this fits into the day and you end up with just having like this one engagement photo this one thing that like so this is really a nitpicky thing but if I were gonna use smoke bombs for the wedding day I would almost tell the bride and groom like let's make it part of the event you know like let's make it something that everybody does together or it's party event so there's more than just that one single image with a smoke bomb ya know that's good feedback I I will I do love her use of layering those smoke bombs I see it looks like to smoke bombs one behind and one in front yeah I love how she layered that so I do enjoy that the only thing I'm curious what's going on in the top-left part of the core of the image I saw that – it looked like almost like hair strands or something it it almost looks like it was trying to be edited or fixed or something but I can't really tell what's going on there it could be there there's something strange going on up there yeah solid solid shot I I the only other thing with smoke bombs I would to also mention is unless the persons holding her unless it's somehow part of the image I usually try to get the actual source of the smoke kind of further out of the image that way you wouldn't you know you don't see this like streaming smoke coming out of these little devices but again solid solid shot I agree with some of the things you'd mentioned as well just some of them though not very many of them I hardly ever agree with you you know as long as I got like one thing that I'm good Christina Lewis has this really lovely shot of the couple in the car okay take your second on it all right you got a number yeah okay three two all right you gave it an eight what's here brother two minutes are up what did you give it I didn't actually see what you gave it I gave it a seven seven okay so I I'll mention the things that I love first I actually it's funny when I first saw this shot I'm like oh it's an old classic car why didn't they scoot back a little bit but then I also kind of loved how it is cropped in I love how it's actually close and it kind of you frame it so they got the this couple sub framed as far as composition terms go but but but it you immediately know like oh it's a classic car so I know there's something interesting about it I would have obviously shot one further back as well which I'm sure Cristina probably did so a couple things I love the lighting on it it looks like it's just one simple flash that was probably sitting in their lap lighting bouncing off the ceiling coming back a wrap and wrapping around in the front so it's a very simple lighting setup and I love that the only things that I think I would change is I and this might just be Cristina's editing style it just feels a little bit saturated to me and it could even be my monitor for all that and the other thing is the the subframe when I try to create a subframe I try to make it exact and I feel like on the left hand side it's not symmetrical with the right hand side cuz it just crops off a little bit and I know this is totally ticky tacky very very small but I would have just opened my frame just a little bit to be able to include the entire window and maybe a little bit more of that handle that's on the trunk there love the lighting everything else love the emotion of the couple those are my only two things I like it a lot I agree with everything there I was also going to mention like it looks like they it looks like there could be to me it looks like almost two light sources because it looks like there's a backlight as well but either way make sure that they pull the hair behind her chin back and up and over so you're not lighting up that hair underneath her chin it kind of looks like it's beard there's also a little bit of a highlight here behind his neck that I find a little distracting if you just lean them over towards the left side both of them a little bit you'll end up with a more symmetrical shot like what Trevor was saying in addition like correcting the frame there's also this line right here that I don't think is adding anything to the image it's above the handle of trunk my time is up and the last thing I was gonna mention is if I were to do that same thing again and grab my HSL so I'm just gonna grab mine HSL tool real quick I'm gonna show you that for me the colors are a bit distracting here because I love the the warmth and the color tones with the greens and everything that we see inside the car but these magentas are just so dang strong that it almost like kind of pulls me out of the photograph a little bit so I wouldn't remove those per se I would just tone them down a little bit so the Blues and everything else aren't pulling away from the other colors in the image I'm gonna dial down their their skin tone a little bit so with those adjustments I think you have something really solid here I really like it it's great okay we go next this is from Daniel Fugazi Oh of Daniel Fugazi Oh photography Daniel you're 200 pixels short but we took it anyway it's cool image okay you got a you got a number I think so oh wait are you counting okay ready hi I'm ready okay here we go three two okay see he's he's sit okay all right you set this up on like how nice of a guy is and he's more critical I'm just kidding he's a super nice he's a nice guy no no no no you know what again this is one of those shots like you said it's it's one of those shots as a portfolio as a professional you definitely you need to know what you're doing in order to nail this shot I just feel like if this was a photograph that I was submitting to people to be critiqued then then then I would try to clean up some things and there's a few things in here that I think I would you know take note of so let's hear it you got your two minutes are on man you're wasting time you're wasting time hey I'm just kidding I'm a researcher so so the thing that first stands out to me is the blue behind them I actually I wish it was either really blue or somehow balanced with everything else it just feels unnatural it feels like there's a flash there I wish it had a gel on it or something to kind of balance it with everything else so that was the first thing that stood out to me the second thing is on the right hand side of the frame the the first off that red part I wish it was just cropped in a little bit and second off even those pillars behind them either open your shutter speed and bring that in a little bit more or kill it but I feel like it's just kind of sitting back there like it doesn't really fit it doesn't really stand in the frame very well the only other thing is I don't I would be experimenting with those lights back there I don't know one the colors look a little strange I've never seen those colors of lights happen before it kind of again I think it's just the white balances a little bit off but either I might consider taking them out entirely or if I'm leaving him in at least make sure that they don't have that weird white balance to them so those are the only things that stood out yeah I do feel like to add to this my big thing is that most likely this was shot at too high of an ISO and at like you said in you know in correct white balance so we end up with just tons of green and kind of that that nasty like street light kind of temperature all over the frame and then with a blue that doesn't quite blend and match and so what I would say is before you actually take the shot white balance over to the building so if I actually click and white balance to the building you'll notice just how much more blue that gel gets because you're probably adding a blue to it and notice that we're at a plus 60 now for our tint so plus 60 magenta to get that out but now with that you probably wouldn't notice that you don't need a blue gel there you could probably just shoot it without the gel and have something that's a little more neutral and I also agree that compositionally it feels a little bit boring to me there's not really anything leading up into the couple except for that curb we have empty dead space on the right side that doesn't belong and the lights up top kind of aren't used in a way of like last thing when you're pulling your highlights just don't pull them so much that the whites turn gray and here they're turning a little bit gray and it also buddies up the color of it you know I actually think this image would look nice if it was a portrait aspect yeah I'm gonna do that right now I'm gonna while you're talking and only include the one streetlight and then also turn it black and white I think it would look really solid it would almost look like that light is what's casting light on them I agree yep got one light and then I'll flip it black and white and I'll remove my little markings on it so you can see yeah I agree it's it's much much stronger great suggestions that's why they pay you the big bucks man okay Elizabeth Lloyd of Elizabeth Lloyd photography submitted this next shot let's go ahead and take a look it's almost like we're facing some of the same issues here you know so it's interesting because Elizabeth Lloyd happens to be a really good friend of mine like super sweet friend and so I had no idea that one of her photos was here so Elizabeth I love you and I was he's gonna destroy you she's actually an extremely talented photographer at st. Louis incredibly talented awesome okay are you ready with this one yeah let's do it all right I'm gonna go this one's tough okay three two one five we match it up all right you got two minutes go okay so yeah it is kind of similar to the last one I feel so the first thing obviously is the cake to me it doesn't feel like it fits in I I can't tell if it's if that's a wedding dress I mean cuz it is if it is it's a little bit unnatural wedding dress which is totally fine and I love that but for some reason it doesn't it doesn't work for a couple reasons the cake one it happens to be a little bit darker but it also is kind of like pulled away from her so if I were bringing that cake in if this was a wedding dress I would definitely make it closer to her make you know kind of combine those two the also the story is kind of strange to me so if again if it is a wedding and that cake does belong it's almost like she's looking away like like I don't know if I want to take this cake or not so and then lastly the flash is while I love the knowing that she used a you know high aperture in order to get the little stars and everything else and the the colors it's beautiful it just I'm trying to understand the purpose so again this goes back to the last one I would almost portrait you know aspect ratio make it portrait turn it black and white only have her in that that light there and I think you got a really solid image but including everything on the right hand side just doesn't work for me yeah honestly dude I mirror every single thing you said and when I first saw this I thought that cake was actually a fire hydrant with just the tones of the lights that were coming through I thought she was outside and that we were seeing a fire hydrant I was like why would they shoot with a fire hydrant then I realized it was a cake afterwards my big issue with this is just story and purpose it's I can't see I don't understand what's happening with it I don't really know you know why we have two lights placed in the scene I don't know what she's doing like you said you pointed every single thing out the last thing I would add is the colors just feel so off we have these really red kind of tones on our skin we have these kind of weird orange almost greens in the in the cake and in a dress and the blue lights those things kind of just throw me off a little bit so the they're the reason that like there's certain things happening here where I would have given this a three or four but I feel like you are doing certain things like adding in the lights and you're thinking of let's make this interesting and compelling and it is more interesting and compelling than like you know if you just walk into this and took the shot but I think the story and the purpose might be missing I might reevaluate and knock it down a little bit in my rating but we love you Elizabeth oh sorry oh you're good we do this all the time on the phone me too actually no I was gonna go back and look in the magmod community where you were asked for submissions is that post still there it is actually the only reason I ask that is because Elizabeth her style of editing is actually different so I I'm actually kind of surprised with the colors and stuff I was just gonna make sure it was in fact Elizabeth's photo and just in case it wasn't we give credit to the person who it was but I can pull that up later well why don't you do it right now while you're on that side you have had the wrong well I I got a pulled up right now I was able to pull the thread here Daniel sorry let me just go through these real quick now it is Elizabeth okay we did or dramatic images so that was one thing we were asking for dramatic images and the kind of the premise of the but I understand that you might like her style might be different I see what she's doing okay so what she was showing people was and this is actually one of the things I pointed out in the very beginning she was she was basically this is a lighting workshop where she was showing people how to do what's called I like to call a stadium lighting where I put lights behind the couple and then all and then I'll have like you know the little stars and sometimes gel it and so I think what now that I know that this was a workshop my guess is they were probably doing portraits and then she was showing this really cool stadium lighting idea but again I think it loses the context or the story of the photograph and that's why we're both kind of losing that you know the cake was probably part of the workshop on the side but anyhow well if you imagine you're not gonna bring like 50 people to a workshop to fill in the background but if you imagine like all the guests behind those like where the where where she's placed and where the cake is put 50 guests in there with the stadium lights coming in from behind and now you'd have a really cool lighting setup in a really cool image for sure yeah okay all right Marc Challon nope this is like sense somewhat Spanish so I'm gonna let you read that one again there you go okay nice I'm a little bit okay I'll save it for the I'll save over there goodness you ready yeah I'm gonna give this a I'm stuck between I'm just gonna give it a five okay I was gonna say six so here's the thing I like the the lighting control on the couple again and I like the balance and I like the position of the light yeah I'm really stuck on why they're being photographed in this really interesting room exact problem – yeah and and and I think if I were photographing in this room I would maybe try to use some of those those objects and those frames – kind of like subframe them and kind of shoot through that stuff that way I can show that we're you know I may be this this is like a factory where they met or something to do with the family business or something like that and and and I get that it's just the the stuff around them doesn't you know scream wedding photo to me I can't see them framing this up high on their on their house for example that bike might be totally wrong though but that's the only reason I would give it a 6 the only other thing that I've just mentioned is that light on them some of its also spilling on the on the right hand side those little contraptions that are coming out and so those bars they're compared to the bars on the left you can I lose that symmetry so maybe just try to if I could either darken that down in Lightroom or I just get it a little bit better tighter light control on them so yeah I'm the exact same like if this scene does have a story in context to them I would have shot it differently and you have so many natural frames and sub framing objects here like like Trevor said you can get load of these objects you can also you know place you you could shoot basically through these I don't know what this is you shoot through these frames there's a lot of things you can do where you can still use the that what you see here without necessarily yeah you almost make it more implied as opposed to what it is right now it just feels like very in-your-face my other issues with this is I do see like that kind of big shadow directly to the left of him in addition the color toning and choices of light color and post-production and gel and everything doesn't really to me say wedding it actually says to me the matrix this is like that very kind of Hollywood green toning that you would see in like a cinematic film like The Matrix where everything has that green kind of hue and you can see that because if I press my white balance tool and simply select her dress you'll notice we immediately get a temperature correction with tint going up to plus 11 for for magentas I would take it up even further and then bring the temperature up and I start getting to a temperature that to me around here feels a little bit more wetting ass but I still have issues with everything that Trevor's that contacts story seemed too much of the scene everything you know pile I'll just add if if this was if let's say they wanted a photograph with all this in front of them maybe it's their business or something along those lines I think they could have made this Marcelo could have made this really interesting adding some gels so like if you would have gelled you know maybe two gels one on the left one on the right with some really interesting colors hitting those objects to make them really kind of stand out and also adding some some some contrast some light some shadows something to make it really just different I think that would have helped as well and then like you said that shadow to the left behind him that could have been fixed if the light would have just moved moved a little bit closer to the camera I do again I applaud him on his light control but yeah the light control is good for sure okay Olamide enough wha of enough for photography studios okay got a number yeah all right imma go okay so I swear I'm a super nice guy I I'm I was okay I'm just gonna do it I was gonna go for being a super nice guy has nothing to do with critiquing in fact the fact that he is actually spending his time to critique other people's photographs without being paid means you're a super nice guy now with that said verbally bash away alright no no definitely no bashes here's the thing the image is beautiful and a couples gonna like this photograph like they're gonna they're gonna love it immediately though if I if I were looking at this photograph the first thing I look at is I just think that the angle is just too low I just wish that he would have just our she would have come up just a little bit because at the angle that they're at her chin blends right in with her her robe there and and it's this beautiful cultural robe and it just it all kind of blocks together so I think if they would have just risen up just a little bit another foot or two the other thing is I wouldn't have minded a wall now that wall would have been really small and they have been a really creative use of the wall but I think just backing up just a little bit showing their body showing them together could have helped the other thing I will mention though is I will say when you have cultural robes like this that are big sometimes it's really hard to do a silhouette like that unless you have them back up even more and just hold hands in front or something along those lines because otherwise it all kind of blends together in one big robe you know so that's the only thing with silhouettes like this you might consider just adding a little bit of light and that way you can actually see the difference between those two the garments yeah I essentially raise it up a notch and and was thinking okay if it were a five I'd give it a you know six or seven because hey we're thinking about gelling and lighting the background and then I knock you several pegs back down because of the exact same issue a silhouette is really meant I mean you're when you shoot a silhouette what's interesting about that shot is the action and the forms that are in that shot and we just don't see any of that we don't see any of the action we don't see any of the forms you do see a little bit of a peck on the forehead but like you said with those traditional garments on it wasn't the right pose for this setup for for that I also agree if the wall is continues out like shoot wider like like get a get a shot that's a little more dynamic a little more interesting pull them apart put them in action put them in pose that tells a story for why they're there that'd be my main thing to you know I do love the use the way he or she shot those gels is fantastic because sometimes putting those orange gels a lot of times what I see is I'll see kind of a white you know part first and then it gets kind of gelled on the side so I love their use of gels there and then I loved when you said action the first thing I thought was if he had that guy you know holding the girl by the hand or you know holding her hand walking forward or something with that gel I don't know something a little bit different but but I do love the shot great usage Ellis yeah a few things there okay all right Paco Van Leeuwen Paco Van Leeuwen photography let's do this you're a number think so okay how did too I give it a time just it's just a nice I'm having a good day today I'm having a good day I'm feeling nice you know and scene I'm having like gastrointestinal issues so I'm just kidding that explains a lot actually not I'm not even talk about the I'm just gonna go back to drinking my Dr Pepper why don't you take this one first but you're okay so honestly there's there's tons going right for the image I like the framing all the leading lines like that are leading up into them it's a beautiful balance in the overall exposure and everything between the flash and the ambient light I love that warmth on the ambient light and I love the kind of slightly cooler tones in the flash you did a great job with that backlight honestly I'm probably bringing this down a little bit because we have this strong high light slightly behind her arm which is a little bit odd I find their poses to be just a little bit black like a little bit boring his chest is kind of sticking out and covering up a lot of reform sorry it not his chest his tummy so like I would have had him like kind of stand up a little more tall open out the leg a little bit let us see them holding hands let him see more the forms and the figures in the shot but other than that it's really strong it's a really great compositional shot so go Trevor what are you seeing yeah so the the biggest thing for me was the bright light behind them I just felt it was a little bit too bright and again it when I say these things it's not that I don't make these same mistakes myself all the time it's just when I actually critique this it's opportunities for me to learn as well so I just felt like that light was just a little bit bright and then also I felt like there's this weird I'm not sure if it's because he used two flashes on either side but there's like shadows hitting the left and right side of the stairwell and I again I don't know exactly what it was and then the very last thing was just I felt like we were just missing the symmetry just a little bit it's almost there it looks like it could have been adjusted just a little bit of crop just a little bit differently and we would have got it and so again when I when I critique these things if somebody were just to say hey you know what though it's it's just his body is leaning off the left side a little bit as opposed to so his shoulder is right against that edge whereas hers has that space well that right side could have been brought in I will I do want to just mention though I love the fact that his head is under that stained glass window that's phenomenal great job there you know oh and you mentioned the pose I think about the poses I just his hand in his pocket if you can try to get that you know that action that connection if you can put it on your hip or something along those lines granted her hip is kind of open there but it's a solid shot it really is a solid shot and it would certainly be something I put on my website but you know yeah just a few thinks my main thing isn't that pose too but I agree with like one of the things that you said with one of the things you know it I don't know if again we're not talking about the symmetry you can literally just be cropped in just a tiny bit from the right and you're gonna match those those those stairwells so again it's nitpicky stuff but it just helps your the subconscious your mind sees that and immediately you you know you see that it works so you see that it doesn't but so there's a tiny bit there okay so Tiffany Ryland Aukerman of Tiffany and Ryland photography let's go ahead and do this last image here this is a really fun shot all right you ready to put up a number oh yeah okay yep whoa did you give it a nine give it a nine oh my goodness okay well you know what I'm gonna let you go first because there's something about this photograph that I don't know if you know about how about that okay like actually why don't I why don't I explain it because I do know I've seen it behind the scenes on this I actually did it how I shot it with them and they told me about this photograph and and so there's something maybe if I explain it then it might help even your rating go up how about that okay so oh go ahead well there's one thing that I want everybody to do when you look at a shot like this and when you're critiquing a shot it's to not go oh it's just another backlight you know rain or snow shot because that kind of bugs me because it like obviously we're all going to be doing a lot of the same techniques what is important is to me in one of these shots is what is going to be a client's reaction to this or a potential clients reaction when they see this in your portfolio and at that I think they're gonna love it I think it's a fantastic image so now I want to hear what your explanation is yeah so the reason I this image really stands out for me especially knowing how it was created what they did with this image was it was it was cold obviously in the snow in Arizona which is kind of unique but this image was shot about 4 o'clock in the afternoon it was far prior than when the Sun had set and so when I think about the execution of this photograph about darkening it down and making it look as if it was nighttime using a blue gel behind them to again emphasize this this you know after sunset type of type of look and then being able to capture that snow and everything and lighting them in the front all that really like I love the only reason it's not a 10 image to me is it just feels like they're just a little bit off which could have been an artistic choice for them but I just felt like I almost would have preferred them either more to the left or more centered I'm not really sure which one but I just felt like it was a little bit off there and I and I I would love to see their skin tones just a tiny bit warmer just a little bit warmer but but again I'm I'm I love this image especially knowing that it was created during daylight hours yeah I'm warming it just a tiny bit too because I agree 100% that a slight bit warmer would be really nice where we have it right here versus that a little bit cooler I think it's a stellar image the fact that they did this you know midday and it's well that it's snowing in Arizona and that they pulled it off and all these things I would raise it to like probably an 8 my main thing here that I think and again this is a fantastic image but there's two things here that I think would be incredible one is to see a little bit more context in the scene like if I were to if I were to this would be that image that I would use next to the wide shot you'd have that wider shot you know that kind of like captured the entire scene you have maybe like some framing objects and things that are kind of captured in there in the foreground and layering and then you put this shot next to it as a square close up to kind of like round out the album right that's that's the way I see this is like it's that supplemental album shot and as such I would crop it as like a square so that you have them directly in the center and you have your your close-up what I'm missing here is that I just feel like there's so much room here to have had that breathtaking wide and I would have loved who has seen that but the light balance is fantastic that's a plus one the gelling in the front and behind and getting it like that close in in and getting your ambient light that's another plus one the pose is a plus one you crop it at their thighs that's another plus I mean you've got a lot of things going for this image that make it stellar I do agree that like the crop doesn't quite make sense cuz we're not it's not quite centered up but it's not quite anything else either in that original composition so I do this all the time where you take one of these shots and you're like oh my goodness I love this so much that you almost forget about everything else and you get caught up in the moment and it's in those moments where it's like I always tell our our team slow yourself down and even though it's perfect and even though you you know just walk around for a second and look at the scene with fresh eyes put the camera down and see what else exists there because I think there are other opportunities too yeah no I think you're right there you know one other thing that I think is worth noting as well and not just necessarily about this image but about any image is when you're using lights when you're using off-camera flash and you're putting light behind them and in front of them don't be afraid of just every once in a while clicking you know F's or lounge has some great presets click one of their black and white presets and just look at it just to learn because when you when you make something black and white then immediately you're able to see the light and and you're able to see does this image work in color as well as black and white and like for me this photo would work in both color and black and white you know but again I think it's just one of those things I actually when I'm focusing on lighting out on a shoe I actually will go and change my JPEG settings my stand at my camera settings so that some shooting in monochrome knowing that the raw is gonna give me the color but just so that I can focus on the light and where the lights falling and hitting so just something a little tip not nothing about that I wouldn't it doesn't have anything to do with that photo by just something mentioned no III actually black and why did it and change the crop low but while you're talking I think looks fantastic as a black point yeah I mean I love the color version of this I just mean it's a little tip for people that you know be able to see the light for sure it looks good this is a shot that really goes well both ways either way so thank you for joining us for this episode of constructive critique yeah absolutely be sure to follow Trevor daily on Instagram we're gonna throw up his handle as well as in the magmod community I believe it's hashtag mag mod community on Facebook right it is alright guys and we will see you in the next episode thank you guys so much for letting us be part of your creative journey see you guys next time