 Lle dde du, youllad, heils? Felly mae'n gweithio, ychydig anybody oedd ychydig i ddweud rwy'n gyעu fel y gallwch yn fawr gyddu, fel ar hyn, beth bydd mi haf y byd. Mae'n gweithio ffeillad. If y gallwch yn gweithio. Rwy'n hwnny'n bod, fel rydyn ni'n gweithio, fel y gallwch yn fawr gyd, rydyn ni'n gweithio. Rydyn ni'n gweithio, mae'n gweithio, rydyn ni'n gweithio. Felly mae'n gweithio! If everybody is going to say hello in the chat, there we go, all right, okay, so yes we are live because I could hear this ridiculous thing going on in my other window, so there we go, all right, here we go. Lovely, how is everybody today? Yes, it's better later in the month than anything else, live and key, that's always a good start, so we're live and everybody can hear us. We'll just wait a little bit just so everybody gets a chance to jump on a little bit and while we do say yes, so I may look a little bit flustered today because it's a nice day outside, which means that I have had to mow part of the lawn of your lucky and half acres, so it's a lot of mowing and unfortunately the bit that I had to mow doesn't, we can't get the ride on into it. And what else? Oh, and I cleaned the car because the young man decided that popping an ice cream down on the seat. Hello, hello. Yes, the colonies are gone, hello colonies. I got a message for you later on, there's been some update on the passport side, which is very positive, so yeah, I think I'm going to go back to the original plan, but we'll chat afterwards. So yes, so it's all lovely today, we've been, yeah, all sorts of things and stuff and just as a quick update to everybody as per normal, obviously this is a critique, it is not designed to just say how wonderful people are, you know, sometimes there will be obviously some feedback, Well, it's, you know, it can be hard a little bit to take on those, but always turn temper things with a, you know, something positive, somebody a little while back, I think, you know, said, oh, it sounds like, you know, you're trying to sort of balance, or you're trying to make your subscribers like you by saying nice things about your work. I think credit is where credit is due, you know, if you do a good job, or I think that, you know, something is positive in there, then by all means we should celebrate those things. But it doesn't mean obviously we must just say only nice things, so it's a bit of a balance. Yeah, the resolution, I don't know, it might be, Cliff, I have a mobile internet, so it might be that, I might have you, also I've been messing with the camera, there things a bit, so it's possible. But there we go. Yeah, so obviously with a critique, you know, you guys are free to, you know, sort of say, enchant the sort of things that you like and all those sort of things. But do obviously be mindful that there is somebody, you know, there is a person on the other side of that photograph, so it's all, you know, it's nice to just be, well, nice. That's the thing. So cane, yeah cane, yeah it's, so we do a monthly thing, it's, there is, as part of the membership, if you are a supporter of the channel, either through the Patreon or the YouTube membership which is, there's a link in the description box, below, you can add in an image to the, there's a like a collective folder and once a month give or take, obviously upload them all or download them or other, and then sit and sometimes talk for like three or four hours about the photographs. Corey, if you're looking for one on one critique, let me just, I'll give you a direct link to that now in the chat, and that's the same if anybody else would like to have either like a, you know, half hour just chat about their images one on one, a little bit more of a deep dive, or, you know, we'll do something a little bit more long term in regards to mentoring, and what have you, I will pop a link here. I do the image review, if you give me two seconds, view image review, there we go. All right, so we've got, there we go, all right. Okay, we've got the pop out. There we are, lovely. Okay, right. So we, I think there's a lot of people here, sounds like, and we've got a lot of lots, we've got, we've got Enver Schnecki in here, Corey Gorm, how are you? How's it? Man, you will spend some time in Enver Schnecki. Kane, awesome dude, thank you ever so much. There will be a link, I won't have you that I put out later on, which will let you know how to add for the next critique. There we go, so yeah, some North West Hines, a lot of Scottish people up here. Oh, you know, I've spent quite a while in Scotland, and we've got some Floridians in the house, that's all pretty cool, some Midwest US, and Germany, good and target, or it was good in Arpen, there's not even Arpen, no it's not, I don't know what afternoon is, in Germany, Tennessee, Corey, so this is all the images from May, and then there will be one for June, or due towards the end of the month. So there we go, lovely, right, good stuff, ecstatic oranges in the house, Steve Madlock is in Jesus' house, and Steve, always good to see you, and yes, so without further ado, let us bring up the first images, bam, bam, bam, bam, bam, bam, bam, bam, here we go, all right. So I'm just going to flip back into bridge so we can see, and then I've got some chat all over here, lovely, so this is a lovely sort of vibrant looking photograph, and I always like it when you start to see photographs that people are creating of, let's say everyday things, at least starting to see them in a different context, and this is certainly something, somebody's obviously either at a cafe or what have you, and they've seen this lovely shadow plate on the floor, my immediate reaction is that I like what you're doing with the break, the paving, that line through there and what have you, that sort of breaks, it makes it feel a little bit like a graphic design sort of feel, what I'm not awfully keen on though is that chair, I don't know if you guys would agree with that, that the chair that is there, it's, the shadow is interesting but the fact that some of the chair is intruding is kind of distracting me from the graphic design element of this. So it's, I think it's one of the, you know, the shadow of the chair is interesting, but there's something that doesn't sit right with me about the chair itself, like it looks like a little eye and that's pretty cool, and I wonder if just a change of cropping or something might have made that the shadow of the chair feel more, as its own thing, right now we can sort of tell it's part of the chair. I think that the table and its shadow work together quite nicely because they are, it's a wonderful sort of splayed colour. Yeah, I think, you know, do more of this, it's certainly your lovely image, I don't think you, it's one of those photographs that you don't really need to mess too much with, I don't think you need to kind of go crazy with the process and what have you, but it's just, yeah, I think that chair, it doesn't quite gel with the rest of the image. So next time you see it, or if this is somewhere you go to on a regular basis, think about how you can either, you know, add these, that chair shadow in without the chair being in it, and that may require some, as thinking about it over a beer or something, but I like the fact that you have thought to include just that little element of something extra than just the one shadow, but I just think it needs a little bit more thought in its placement and certainly it's the legs of the chair that are the real thing. Yeah, it's, as Warren is sort of saying, it's a tiny, it's such a small change that that's looking at. So yeah, yeah, really nice. I like the colours, interesting looking chair, I can always feel that tang of the metal and stuff on my fingertips. So there we go. And then the complete opposite. We've gone from the sun to the snow, so I'm now feeling a little bit cold. So yeah, I quite like this idea. You know, I wouldn't say it is certainly not a novel idea and the photograph. I feel in this case it's been done reasonably well. You know, I think that that's kind of always a thing. I just wonder if we were sitting like one to one, you know, and talking about this, I think my question would be that you've got a solid image, you've got a sound thing going on here. And the fact that you haven't been completely obvious by having the, you know, the footprints in the snow lead directly to the trunk of the tree is well done, because these are being a little bit more sort of so thoughtful. And of course we've got a traditional kind of rule of thirds thing going on. But yeah, the question would be like what else could you add to this? What else could you, what can you do to raise this up just a little bit differently? And I think the reason that my mind jumped to raising it up is that as I was looking at this, I thought, well, one of the things that you can do, and obviously it's a very minimalistic image. Adding too many more elements is going to detract from that minimalist sort of feel. It's either change your perspective to squat down in the snow so that the footprints are now far higher in the frame, if that makes sense. You've changed the angle of how you're looking at this. So they kind of dominate. At the moment it does definitely feel like you're photographing on eye level that you are standing in the snow at five and a half feet, six foot, whatever, you know, and just shooting straight through. How's it, Peter? I'm going to be in Cape Town in October for a flying visit with my father-in-law who's not seen his young grandson yet. But anyway, I digress. So yeah, it feels like we're up here at this normal perspective. And we see, all of us see that every single day. It's changing the perspective, right? Change it up just a little bit. You don't need to go crazy. You don't need to go mad. But I think an image like this that has been seen a number of times, you kind of need to just add a little bit more to it. You don't need to add just a little bit of a change up from the norm. But I think, you know, snow can be very difficult to expose for correctly. On my screen, I'm seeing a little bit of blowout just on the horizon in the middle. But again, that may be the screen. I'm looking in the thumbnail for the image. It doesn't seem quite as blown out. But I think it's a nice sort of handling of the texture of the snow. And maybe one day we'll do a think about the science system. Michael Oaks has asked, as I said, to add what. And I think, you know, because obviously the comments are a little bit behind my talking. The what is I saying is just to change something up a little bit. This is this is an image that we've all of us have seen kind of like, you know, 1000 times before. And it's not necessarily adding something extra into the image, because you take away. I think when you do that, the minimalist feel of the thing, it is to change the perspective, change the eye level of how you're photographing, you know, where you are. And just messing with our perception ever so slightly. So it doesn't feel like we've seen it all the time. So they go two o'clock in the morning, Australia, a tragic old hipster. Either you've got insomnia, or you really like this stuff. So well done. And here we go. So we've got let me just check because this is a let me just check that we can still see, right? Yeah, it's just it's a little bit on there, but we kind of we we're okay. So with with this image. And I think one o'clock in the morning, Jesus, you guys are dedicated. So I like to see dedicated. Yeah, so with this image is this is a I'm not sure if this is your family or this is somebody else's family. So let's look at the positive things. First and foremost, the light. This time of day, some nice light. You know, this is kind of this this golden hour kind of light, especially in the I'm going to give it that is cold because of what the people are wearing. So it's got a sort of a chill filter. But yeah, the color of the light is is is lovely. And you know, that's that's the benefit of photographing at that time of day. It's a very forgiving light, very flattering light. So that that's good. And I think, you know, the way that you've handled this exposure. Let's assume that you've you've you've exposed this because I have a feeling if a camera had exposed for this, that this would be a very silhouetti kind of photo given that the lights reflecting off the river, the water, whatever behind. So so that's that's a positive thing. You know, if you have worked out this exposure or exposed for it manually, then they might have. I think you've got a good solid exposure in regards to the image itself. It's it's kind of it. Again, if we were standing like one to one, I would probably say to you like, you know, what what is the what is the focus of this photograph? What is the point? What is what is it that you are photographing? And are you photographing the light in which case all this stuff in front of us is somewhat superfluous? Or are you photographing these people? Actually, photographing the people, the family in the tree, this, this, you know, this boy, you know, this boy about to working up the branches and things, then it feels like you're too far away. It feels in my initial thing is this feels like you've kind of seen a scene from from across, you know, a park or what have you. This is a nice scene of a parent and a child playing in the tree and what have you. And I appreciate that you think maybe that's kind of like a physical photo. And what happens is you've got the bench in the corner here, the tree is kind of it's it's it's it's it's kind of obscuring everything that's going on. It's just a really busy whole sort of thing. And then you've got the pram buggy, whatever you want to call it down in the corner. So so I was kind of going all over the place and we're not really sure about the point of the photo. You know, as I mentioned at the beginning of that, it's what are we photographing here? And I think this is a question always to ask yourself is like, if you if you are drawn to this scene. So there's the kids playing in the tree or the mum and the son playing in the tree. Then if you if you sit down to go, it depends on how comfortable you feel doing this. But you could go up and say, you know, I couldn't help to say I saw you across the way. It looks great. Would you mind if you know, you guys just playing the tree and what have you. And if I just took some photographs, you know, and give me your email address and I'll pop some over to you later on. You know, it's entirely up to you. Obviously some people may feel, you know, that it's a little bit kind of, you know, a little bit sort of too much. But yeah, it just the thing is just the more I think about it, it's just it's all over the place. And it's a good example of we need to, I think Corey has mentioned, like to get to the point. Yeah, in the image, what is what is the point of it? You know, and if it is those people, then you need to get closer to them. Okay, so now we have a fisherman in Cambodia. Here we go. Sorry, there we go. All right, fisherman in Cambodia. Right, okay, so here, you know, some guys, there's some kids, you know, they're playing in the water where they're not playing. Sorry, they are fishing in the water. You know, and there's a lot going on. There's a bit of an action sort of thing. I like the fact that you have, you know, it's all lit from behind. So, you know, the leaves have become alive. Those leaves on the left hand side have just begun, you know, lovely because they're being lit from the back. The net, the same thing is going on. That backlighting is making that net glow, absolutely glow. You know, it's really, really beautiful. The guy's facing the wrong way. You know, he, I would love to see, these are young men doing something that it looks like play, but it's not. This is, you know, this is not, I wouldn't say it's a deadly serious thing, but you know, this is something that's important. You know, they feel like they're men. And we've got the guy on the left and Cory's, you know, sort of talking about that. So he's kind of, he's there sort of looking at us and, you know, he's aware of you taking the photograph. The real subject here, the person who we are drawn to is completely oblivious. Now, you know, I would say that you think about images that we have seen in the past of fishermen who cast their nets, who do this kind of fishing. You know, they cast them out and that net does what it's doing here, which is splays out and it will catch the light and stuff like that. Now, that's the photo. That's where the photo is. I think you're kind of, you're missing some beats here. And it may be, obviously we don't know what photograph you've taken before and after this and what have you, but imagine if this was, if he was turned around and, you know, really kind of giving us more of his expression as opposed to the guy on the left who's looking at us with a kind of, he's looking, yeah, he's got this kind of like, what? You know, what's going on here? Man, you know, it's just, yeah, that's not genuine. I think you've got so many elements here that look great. The choice is shutter speed because you can see that the, you know, obviously there's just a little bit of motion in the net, which is great because it gives us that feel. This is something that is always worth mentioning. When you have an object like this kind of net that is supposed to have some movement in it, if it is raised a sharp and there is like zero movement in it, you've taken all of it away. If there's just a little bit like you see on the edges of this kind of motion blur, it imparts a feeling of motion to the thing, but you also have within the frame because you're using quite a shot of shutter speed, it looks like there's a drizzle going on. It's certainly down at the bottom right, and then up that side where there's a darker side. So there's some rain. So that rain is a kind of pinpricking through it. I want to see this lad. I want to see this guy with his net fishing. That's the photograph. That's what this photograph is saying to me. It's like that there is a beautiful light here, which you've recognised and worked reasonably well. You've got the right shutter speed. You've got all this stuff. But my mind wants to go, I want to see this guy fish in this light, in this rain. I'm just like, oh, it's one of the things. But yeah, a nice interesting photograph. All right, and then a complete change of pace. Complete change of pace here. Anyway, lovely. I can see a name on here. I like this. Really good. The thing that strikes me initially is that the tones are really soft. People often make a lot of talk about having a full tonal range. Today's show is sponsored by Brew Dog Hazy Jane, which is a low alcohol beer. I'm trying to watch my weight, so I figured out I would go on the low alcohol. It's actually not too bad. People make a lot of things. The zone system, we have the full dynamic range of zone 10, like pure paper, what's called paper white, and zone 0, which is just pure black. This kind of image, it is a beautiful example of somebody who understands about tones and how they can really elevate a photograph. The lighting on this is great. I think if it was harsh lighting, you would destroy the image because the shadows would be too much. I don't use that feeling of softness that I'm getting from the leaves. I don't know if anybody else has noticed here that the only leaf that is facing up towards us is that one. There's this chap here. That's really lovely because it makes that leaf stand out amongst the crowd of the leaves that are all the same. I really like the tone. What I would, and I'm going to be very nitpickety, super nitpickety here, is in the bottom of the frame there is that leaf that's coming through. There's this guy here down the bottom, and there's this guy over here. On one hand they work because they're pointing to the leaf subtly that we want to see. On the other hand, they were drawing my eye away from the leaf that we're supposed to be focusing on. Probably what's going on here is that if I squint, they're like the same tonal range as that leaf that we are focusing on, so they're competing with our eye. I think if you just tone them down, just a little bit, just a tiny amount, it would help keep our focus in. You burn it in just a scooch, and possibly while you're doing that, maybe just that hero leaf bring him up. Not even a stop, like a quarter of a stop, something like that. Really good example of tonality in an image. For people, especially when you're new to photography, you see how sometimes, especially when you look at an image that is pretty good, it's like subtle differences, subtle things that are the things that you need to make a change or you need to look at. The better your image becomes, it's less hammer and chisel, and it's more sandpaper. Touch is just to finish it off. Really, really nice drawing. That was fantastic. My wife came home from work the other day with one of her bosses. They've started up a mushroom business, so she came home with a bag full of unusual looking mushrooms, which we didn't need. Again, so we've got a bit of a change here. We've got this woodland scene of the mushrooms, and immediately what I'm drawn to is that little bit of sunshine that is kissing the cup of the small mushroom at the front, or in the mid-ground. We're certainly not even mushrooming something. Unfortunately, it's like an intruder. He's just come in and said, look at me, and to completely destroy the feel, the quietness of these fungi just hanging out. The rest of the light in the entire image is soft, and it's blue, and it's shadowy, and it's all this stuff. There's this tiny little piece that's coming through and hitting that mushroom at the front. You can solve this because of the nature of your photographing. A piece of wood or something just off camera would probably have blocked it. It's certainly something to consider. There's been some comments about the blurs in the background are distracting. Yes, I think more so the one on the left, the very bright one, that goes back to what we were talking about with the leaves just now. It is, with the exception of the white of the sunlight, it is the brightest part of the image out of focus mushroom. The brightest part of the image gets so much attention, like full-on. You need to figure out, either you could burn it down, burn it in a little bit in post, or if you were... I hesitate to tell people to go and rip up an offending fungi in the way. If you don't want to do it, there's lots of lumen, loamy soil around here. Maybe you could have put some loamy soil on the cap of it just to break it down and be quite handy. Again, I like what you're doing. The fact that you're in a wood and you see these mushrooms in it is really cool. One of the things you have to think about when you are using these very close focus lenses, either like a macro or something, is that the depth of field is so... It's a razor thin, even on F16-22. It is so shallow. What's going on in here is it never really seems to feel right when you've got a very small thing in front of you and then something just behind, and there's a thing in focus. With something like this, I really like to see all of it in focus. It's fine when you're isolating, say, an insect or something. Had there been, let's say, a butterfly or a caterpillar or something, if you'd isolated the caterpillar, that's fine. But when it's a group of fungi who are hanging out together, I really like to see them all in focus. That's pretty cool. It's good to see. There are some great photographs here that just need a little bit. It's lovely to say, look, just a little tweak, a little tweak, which is pretty good. Here we go. Speaking of memories, a little bit of layering going on, which is pretty cool. What have we got here? I was talking to somebody about this, this kind of street photography, layering something, or having an element that is interacting with something else within you. I like the fact in this case that the portrait of the man on the right, he's an old man, and he's obviously speaking memories. He's looking at this lady with her, I'm assuming, as her child, and could be thinking back to his own childhood or his own children or something like that. There's a bit of story going on there. It feels, to me though, just a little bit on the nose. If you don't know what on the nose is, if your English maybe is not that good, or you've never heard the expression before. On the nose is something like, it's kind of really obvious, that it's trying to think of a practical example, that if there was a, oh, I don't know, I was totally forgotten of examples, but this sort of falls into that. You've got a very old man looking pensive, they're talking about memories. Of course we're going to put a family or a mum and a child or something in there, because it's that first thing that you think of, oh, that's what it needs. When I say on the nose, it means that you're not challenging the viewer to make the connection themselves. You can make it, so they only have to really reach just a little bit, but you want them to reach a touch. Here you're not asking them to engage with the photograph. You are saying, look, here is the man, here is the mother, I'm assuming the mother, and the child, and that's all works together. You need to kind of make them think. Matt Stewart, and I'll put his name in the chat. That's not how you spell it. So he has, if you go to Matt Stewart, so he's a very good example of this. If you go and look at his photography and his street, and it does similar things to this, is that the connections are not immediately obvious, but they only take a few fractions of a second for you to make them. So it is, and that makes it more of a fulfilling thing for the viewer when you watch it. So that's kind of, you know, I would say, you know, Dmitri's asked here about, like, texts that require to read, or images that have required to read a text. You don't, I think, you know, it's obvious because he says speaking memories it, but that is just, you don't need to read that to understand this man's expression and this feeling. I would say anything that does require you to read something in a photograph to understand it or to get it, the point, is probably leaning in the direction of maybe not what we want to be doing, first and foremost, but, and I'm going to, I was about to say, is anything that is in there that there is text that I will be drawn to because after faces and stuff like that, text is quite high in the list of things that the eye naturally looks for. And apart from the speaking memory, say, you have the taxi rack that says the taxis, and I don't know what language this is, but this feels like there's like a taxi rank, you know, and it says, you know, sort of, not between these hours and that hour and stuff like that. And your eye is drawn to that, which is a sort of thing. There's, so I hope that, you know, it's helpful, I think, you know, there's images here, but you could probably have, may work with this a little bit more. I think that there's more here. There is a technical thing, which I, I'm not sure what's going on here. I don't know if you can see this on the screen. There is some weird, like, sharp band thing going up the whole frame. See it all like that. Now, I feel possibly, and I'd stand to be corrected. I've been wrong many times before, that if this is film, but that's going the wrong way. Something is up. Check your camera, because that's something that is not right. If you're shooting film, something's amiss in the processing here. I was going to say it might be a bit scratchy, but it is so uniform. It just doesn't make sense, but there's something weird. Just go and check it out in your camera. Very strange, who knows. Hello, doggy. It's all about focus. Here, I think we've been talking about, oops, about, we've been talking about aperture, depth of field, choosing the subject. This is a really good example. We are drawn towards this. Teddy is waiting. It's Mark Hempel. Hello, Mark Hempel. Thank you for that. Teddy's waiting there. He's waiting for his family to come home, and he's got that expression. Lovely expression. Very, very nice. Love the selection of focus. The depth of field choice is correct in this one. The exposure is really nice. Again, it's a soft light coming through the blinds and what have you. Now, krytystimmer. Sorry, I'd hope butchered that. Has kind of preempted me to what I was about to say. The crop here is a little bit off. Teddy's face and his body dominate the frame. Teddy's waiting for someone. He's like the para in Monty Python. He's pining for the fjords. His wonderful expression, his face, should be on the left-hand side of the frame, and the emptiness should be to the right. At the moment he doesn't have anything to look into wistfully, he's got a very small thing, and yes, his collar interferes and stuff like that. So if you change the crop, so his head moves more to the left-hand side of the frame, and then he's got more empty space or negative space, whatever you want to call it, on the right, then he's got something to look into. The moment everything on the left-hand side is dead space that doesn't contribute to the photograph at all. So that's kind of... There's my biggest thing. People are talking about maybe dodging with the bottom and stuff like that. Those are very personal sort of things. I think in this case, maybe not so much, it doesn't really bother me too much, but it's more Teddy's positioning in the frame. He needs to be off to the left. All right. Winter. Hello winter Schwarz. My German is appalling. I speak very bad Bumble Deutsch, which if you're still watching, then you know what I'm talking about. So here we go. So an interesting landscape. It's very chaotic and it's interesting. I mentioned earlier about the family with the people jumping out of the tree where the tree was interfering and it was just too much. Now this landscape, I get the feeling it's in the winter because it feels like there is... Well, it says winter snow. Schwarz? But it's definitely like that kind of cold filter. And I think it is that chaoticness. In this case, it is working for the image. However, I don't think you've tamed it quite enough. It still needs to be chaotic. It needs to be all these dormant trees that in summer are like... You wouldn't not see any of this because it should be a mass of bushes. Strangos things is all the rage at the moment like that. And so we're talking about the upside down. So in the upside down, all the trees are devoid of leaves and foliage and that sort of stuff. And it feels chaotic. But there's still a bit of purpose and a bit of point. The fact that you've focused in on this limb that is kind of too much is coming in from the bottom. I think you need to kind of give the ice somewhere to rest to at least allow it some refuge from this chaos. And that limb there of this fallen down tree I think is the place for it to do. But unfortunately it is at the bottom of the frame. The pieces very much closer to us in the foreground is out of focus. So we're not feeling a place to relax on it. I think possibly if you look at this and if you change it around and you change your perspective and you come down so that limb is more cutting through the bottom of the frame so you're dividing the frame up into three parts then you might have something there. So you have the limb coming across the bottom and then that's a place of refuge and then there will be some of the broken down stuff in the middle ground and then some of the taller branches in the background so you've got a bit of progression through. I think that's kind of where next time when the autumn comes around or winter is in again, think about it more in that kind of mentality is rather than photographing the chaos of a winter wood for the pure chaos try and give us at least somewhere to take a bit of refuge within it to pick out something that can quieten our minds just a little bit. So this feels like... So just a quick sip of the older Hazy Jane alcohol for you. This is New England IPA. It's never been to New England. So why is it New England? It's British England so it's not new. Anyway, be that as it may. Okay, so here we go. So this, again you can correct me if I'm wrong. This feels like it's photographed on an old phone so I'm not going to discuss the image quality of this because if it's an old phone then it's an old phone. That's just one of these. I'm intrigued by this because I don't know actually what it is. I've got an inkling, I've got a feeling for what it is but I can't put my finger on it, which is kind of cool because I'm going, I should know this. I should recognise these sort of things. Is it a chair? Is it a dog's basket? What is it? And yet we're not entirely sure. So it's a great way to say look I'm photographing something that I'm sure all of us will then recognise and then go mmm, don't know. So yes, it's well spotted. And if you are photographing a phone, especially if it's an old phone I appreciate that you're going to have a number of limitations from a technical point of view. So one kind of thing, it's a garden chair. Of course it's snow. Wonderful, lovely. That's why I can't put my finger on it because we don't get much snow in the UK. And that's what it is. So yes, it's an interesting thing and I think it's great that you have spotted some sort of a shape, an interesting shape. Something that is worth just appreciating for its everydayness. I'm sure that those of you who live in areas where you do get like proper winters will go well, I see this all the time. But you know, a shtimmer. I do apologise. You're seeing something that is everyday but you are choosing to photograph it. And you're choosing to photograph it in a way that intrigues us. Now, I think the composition is kind of a... I don't mind it, but I feel that the bit on the right-hand side, let's call it the upright of the chair or what have you, because I'm sort of looking around, it's not one or the other. It's not in the photograph. It's not out of the photograph. It's on the edge, kind of just going, you know, and it's not really contributing. What might be something to, because it's kind of moving, the whole image is slightly sort of this way. So this kind of sweep of snow goes off to the top left and then this triangle that's being formed by, I don't know what it is, maybe there's a snow-covered table behind it and then the darkness of the garden in the background. You know, to include some of that, right? Doing something like that. Sorry, Sarah, I've just seen your comment about my German. You are so right. So it is, now you've thrown me completely. If you can make shapes like that, I think that kind of works really nicely with these sort of things. So I applaud that you're saying, if this is an old phone or something like that, then by all means, if you want photographing with, let's say a more traditional camera, then the image quality, I think you need to just look at it because either you've cropped in really, like you've had a big photograph and you've cropped a tiny piece out of it, in which case you've got some really dodge stuff going on. Sorry, dodgy, I should say, rather than look at me throwing out slang words. So, just do be mindful of that. Just make sure that if you are trying, you can't just crop into things because your image quality is really going to suffer. Try and crop as much as you can in camera. Okay, so this is all interesting. We've got Harriet. Here we go. Harriet's got some nasal piercings and all sorts of things. Now, I like this kind of photograph. I like this sort of portrait. I think it's getting there. I like the processing on it. I like the lighting. The lighting is all nice sort of soft lighting coming from, which works really well with these wings. Whether they're attached to Harriet or not, I don't know, but they work quite nicely. I like her pose, but... I'm sorry, there's a big butt here. I like a big butt, big butt. Or we could do Queen, like fat bottom girls. I don't want to see how Po knows. She looks interesting. Her blouse is interesting. Her wings are interesting. Her hair is interesting. Everything is interesting. She looks like an interesting person. I don't want to see her boogers. When she's like this, I get what you're doing. She's kind of like an angel on earth. But she's too far back. It's all her nose, especially dead centre in the frame. Everything in this is so nice. With one or two other little steps that we'll come to in a second. But it's her nose. If you're going to have her pose like that looking up, then not so much with the chin, more kind of like lean just a little bit back and just a little bit and then more with the eyes. She doesn't need to look up there. Let's assume she's looking for heaven or whatever you want to call it. Heaven doesn't need to be directly above her. Heaven can be over there. So like this. That gives you the same kind of feel. But without all this up the nose. So it's kind of... I love the picture, but I just think her head is too far back. I know what you're seeing with the doorway and those other things. I'm finding whatever that blue thing is on the left hand side. Looks like a lighting box or something. Because evidently looks like a creative space is just too distracting. So maybe just jiggle it a little bit. She could have come forward if you obviously can't move it. She could come forward because she's got these wings. If she comes further away from the door frame. A, you can also do something about what looks like a 19 behind her that's on the wall. You can come forward. Those wings can cover whatever's behind her. Because she's now further away from the door. And also means that you could probably shift your perspective just a little bit so that you're not... So if you come further back then you can drop down a little bit lower and she, her body and the tools on the top of the drinks will hide those 19s. Really nice. I would like to see more from this session if you have Al Stuart. Really nice. For those of you who wasn't sure what I was talking about the box stuff, it's this stuff over here. All that. That is really... Again, it comes back to this. It's not in the picture. It's not out of the picture. It's just a little bit there. But I think if you styled this good job in the styling and that lighting because I think you're inside a studio so maybe it's fluorescence which also... And if you are shooting this with fluorescence yeah, I think... Nice. Yeah, lovely. Infrared. It's infrared time. It's like a ding-dong bell. She's like, hey... Infrared. The... What about the right hand? Was it her pose? I think just the one hand was fine there. I think two, this kind of thing would just be... And less is kind of what... She could have done this but that's kind of... I think you're being overly pedantic with the hands like that. Yeah, I'll please... Yeah, I think Harriet with the Wings. Yeah, I'd like to see more of that. So if you have another one maybe next month's grip. So we have the Tempest. Okay, so now I'm gathering that... Yeah, I think... AMV is talking... When he says the hands to get the prayer pose would have been better. I think going back to the kind of on-the-nose thing like this. I'm an angel. It's too obvious. It wants to be something different. This is... I think that kind of... What she's done with the hands here is nice. I think if she was supposed to be an actual angel dress up then it's this thing. But I think that's probably just... It's probably a little bit too linear, a little bit too kind of straight down line. Sorry, jeet, we've been distracted. So we've got the Tempest here. Now given that this is called the Tempest I'm going to gather you're talking about this coming storm which I can sort of... We can just about see it. Now this is kind of the problem we're running into with this is that the tree line and all these sort of things in the sky with this infrared approach are obviously very bright. And once this coming storm, snow rain, whatever you want to call it or whatever it is, is being lost a little bit. I'm not getting a sense of... I'm not getting a sense of impending tempestuousness. I'm getting a sense of just a very wavy cloud. There's something that is missing in the photograph. Something is just not quite gelling because what you're photographing is being lost. There isn't any sense of... There isn't an ominous sense in this. And I think probably this is maybe... because you've titled this photograph. And if you hadn't a titled the Tempest then I wouldn't be kind of focusing maybe on the storm. And I would look at it in different ways. So if you are going to... This is probably a good idea about... if you're titling photographs don't push the viewer in one direction with the title too much. So let's kind of look at it as a wider thing. In the foreground you have this river and there's some trees and then there's a sky. I'm fairly traditional sort of setup so far. I feel that where you have this landscape where the trees go very white and the sky goes very dark you want to really use those elements to the fullest in your infrared photography. They have this kind of ethereal quality. They have this ghosty quality. Make the most of them so you want skies that have drama in them. And this has drama but not an infrared. The difference that's what's happening with that sky has just become a very lost tone. It's just one big tone of shmush. But in colour or black or white or something like that I think you could probably bring it out a little bit more. If they were very cumulimdus these very defined clouds that were stormy like if you live in Florida or Africa or whatever you know these kinds of clouds then you get there's drama and there's things and I think they would work. Clouds that have wixi washi like kind of storm clouds because it's full of rain they've lost any definition and they lose some of their impact there. So I think you know it's not a technical failing order I think you maybe just kind of possibly focus on the wrong kind of tempest. I hope that seemed a very kind of wavy all over the sort of place sort of feedback and I hope that you can listen to it and go alright I get what you're saying. It's just that something is not quite gelling gelling with me on this one because I don't get that feeling of what I think you're trying to get across with the photo. Maybe you could go back into post on this and see what you can do to give it a bit more drama possibly in the sky. I think maybe there's some detail in there that you could pull out a little bit in Photoshop and give it a bit more post processing to really give that sky some punch. So there we go. So we've got some streety kind of kind of hairdressing going on sort of over there and this is interesting. It is I'm trying to think where it is because obviously it's not because it's not like traditional street because this gentleman having his hair cut is aware of us and he's doing his thing and again the talking about titles the title here is three cigarettes for a haircut three cigarettes for a photo of a haircut so you sort of go well I'll give you some cigarettes we'll take some pictures. So it's in it. What I kind of feel while this gentleman having his head shaved is interesting and the setup is interesting I would prefer him not to be looking at us. You obviously are able to photograph these people. They are aware that you have said I'll give you three cigarettes or I can't take your phone I'll give you three smokes so you could have possibly gone a little bit further with this that you want to be not necessarily connecting with this gent here having his head shaved but there's a real the guy who's doing the shaving he's got all the tats on his face and he's got this denim gile kind of thing with some studs on it all the painting and all that kind of stuff and if you kind of go around and you'd focused more on the side the profile of the guy having his head shaved so then we could see the person who's doing the shaving he's got all this kind of he's inked up to the max kind of stuff and I think they would make a far more interesting photograph and it would also excuse me stop me reading the hoarding because this is the problem somebody was asking about text in images earlier and this is an example of text that it can be distracting so the first thing I looked at this picture is African Dospora goods denim tears established in 1619 registered trademarks so then I'm thinking well denim wasn't invented in 1619 and bloody hell you were certainly not so my mind's gone off somewhere else before I even started looking at the photograph and then I kind of come back to the guys and I sort of scooching around and I see the guy who's got some docks on and they're all painted and it reminds me of a jacket that I gave away that I shouldn't have given away and somebody watching this knows exactly what I'm talking about and on the back of this guy's jacket it says I kill your abuser and I go I get that because that's part of him it's part of the scene of this gentleman it's part of his aura it's part of his presence so that's text that works the text that the African Dospora goods is text that infers so if you move around get rid of it focus on what's going on the haircut and the characters that you're photographing you will I think have a far better stronger photograph but I really like that and if this is by whom I think it is this is the mission district Chris if this is yours I think you know we is getting a lot stronger but then again if it's not yeah Corey I used to have a biker jacket I had paint all over it and stuff and I thought I looked the business I did look the business of course I looked the business but yeah then I gave it away to somebody in a moment of idiocy anyway hey look at that so we've got a plague a plague doctor coming in and more infrared it's infrared it's infrared yeah so this is kind of so it's interesting talking about the previous infrared photograph and how it has benefits and where it can work and with that image with the landscape in the sky it really needed something quite it needed a bit more a defined clouds and what have you now here we have the other thing that infrared can do which is to give you an ethereal feel give you an ethereal look to a photograph now Lloyd has said too much foreground and I'm inclined to think this feels like you are you're about 10 feet away or 10 feet too far away from this photograph from this character you know I can see he looks interesting you have the plague doctor thing but then he's got like a fedora okay I like that sort of thing and he's got a walking stick there just I can just maybe see how the walking stick is that a cane rather it looks like there's a cane yeah I think there's a cane there so these are all little details that are very tricky to see because you are quite far away I think if you had gone in a bit closer the framing of the trees and the various steps of this sort of thing work really nicely I think I think it's fine that you haven't put him in between the steps a bit a little bit too static in that regard so maybe if you come around a little bit and keep the framing there but it needs to be closer in and Lloyd mentioned like a square crop I think this one you either need to be a lot closer move him down in the frame and get more sky in right which would be okay so long as the figure dominated maybe like at least half of the bottom of the frame or go landscape with the crop go landscape have maybe some really open stuff and in post dodge that down dodge the outside down so that everything that's outside of this thing of the trees becomes murky becomes dark it lens to the ominousness of the image and then you have this grass which is it's got quite a light thing because of the infrared coming up and then this guy so it's kind of this a very long winded way of saying make more of you having that etherealness yes which keeps coming up and making use of that benefit of the infrared I don't mind the processing so much but it feels like it's too uniform right that it's too it's too welcoming I think that's maybe a point is it I'm not I'm not worried about this guy right he doesn't make me feel uneasy doesn't make me feel oh there's a little bit kind of something going on that maybe just me but he doesn't he doesn't he doesn't worry me and I think that's kind of what is falling down here a little bit he doesn't you know he doesn't need to be in my face and kind of woo so thing but there needs to be a sense of of ominousness and I think again like the other one with pieces of press I think going back into post with this going revisiting it in the dark room would be you know just I think maybe worth trying it out and if there are because this is obviously quite clearly a shoot that you've had you know you've got to if there are some other images where you're a bit closer with him where he is kind of more dominant in the frame and just kind of going come with me like if you think Neil Gaiman's like Sandman and the guy who used to do the covers for Sandman oh I've totally forgotten his name oh he was a graphic designer illustrator who used to do these covers there's like a little bit of story you know it's the sort of thing there so yeah try but overall I think it's nice and I like the addition of the chelby or the fedora it looks pretty cool how weird is this I was just talking about flowers and ice on Friday yes okay so this is this is nice I'm immediately drawn to the fact that rather than just photograph the flowers in the ice you've put it in an environment which is really cool I like that idea a lot because you've taken an idea you've moved it up a little bit I think you probably freaked out when the ice broke when you were trying to get it out of the that thing has been cracking in the block of ice but it doesn't matter it's part of the dargerist charm of doing these kind of things so with all of that so if you're going to put this in an environment that makes it feel like it's in a terrarium or something like that then possibly do I think one of the things you could do to kind of elevate this a little bit more is to light the forest the background from behind maybe with a handheld flash just to give it and I don't mean to light the background so it's evenly lit so if you imagine this is the block of ice photographers over here the light is coming down so it lights the bottom part of the ground maybe picks up just a little bit of some of the foliage around but then also gives like a little backlight effect through the glass that might work really nice I applaud the fact that you haven't just stuck some flowers in a piece of tupperware with some water and you've gone I am now just going to go and photograph that which is what a lot of people do not a problem but yeah I think something like that just to take a little bit further take that idea I think you've got a good idea here I also I'm it feels like there's a lump of rock in that ice as well and so you're giving a little bit of like a diorama kind of idea dear and then my son is trying to break in the door let me so we have a we have a a slight four year old issue I'll be back talk amongst yourselves so here we go sorry sorry so apparently daddy daddy come bath me so before we were interrupted by Asha there we go right so I think yeah it's a lovely ice cube and it really is yeah you've done something here that you're taking it beyond so I applaud you for you know for going that extra mile and trying something out but now it's hunted yeah but you're not a little bit more so it's pretty cool okay alright so this is this is interesting oh yeah no no no do you know he won't touch it anymore yeah he used to be quite happy to try try a little dab of whiskey from time to time but now he didn't not interested so here we go right so we've got some sort of um some sort of quite chaotic um I guess chaotic earlier you know way back at the beginning of the session we talked about you know what is the point of this photograph what are we supposed to be looking at here and I'm not entirely sure what you're trying to tell me in this photograph I can see there is a man with a camera at the beginning with an odd expression then there is like a set of teeth then there is a face coming out of the um coming out of the background and then there is like a QR code um and so what's happening is initially when it's first flashed up on the screen I think um we do um I've kind of had to limit it to one image a month otherwise the first time I did this we had a whole 60 or 70 images and I was here for like 5 hours until midnight I was just like crazy um so here we go so it looks like he's wearing a weird hat and then you're like okay they're actually you know lights and things like that so what is it that you want to photograph here what is it that is interesting you are they reacting to something and if so that's I think that's what we want to see we want to see what they are reacting to is the are you trying to photograph the man here in the foreground with his camera and what he's doing and if so everything else is kind of distracting from us and I'm not sure also I'm not sure what he's he seems like he's in mid sentence mid word and it doesn't quite work so this is a classic case of there is too much to photograph so you're not sure what to photograph and and I think the next time you're in this kind of situation watch what's playing out something is going on here quite clearly watch what the situation is doing watch what is the story what is this dance that's happening in front of you and photograph the most interesting thing if it's going to be their reactions to the thing that's happening then focus in on those reactions and I think you will start to get a lot stronger when you start thinking about I'm going to focus on one person take this idea like when we used to do wedding photography and I do documentary kind of style wedding photography and you photograph action reaction action reaction because you can put them together in an album so that people can flow through it think about that in a street photographer he doesn't go to anybody in a street photographer he's got people reacting things what are they reacting to that's the picture action reaction think of these two things because you never know what's going on something's going on in front of you that's amazing turn around and what's gone behind you because those people behind you are going to be looking at the thing that is amazing so that's kind of yeah I'll know Sarah he's um he has just done something anyway so there we go but you're going to get to experience it soon alright Lil Morris, Lil Morris Minor very nice you know I'm going to guess this is a car event or something given the lighting and what have you I appreciate I appreciate these kind of photographs and I did a critique one of the guys who I do a mentorship with I think we were looking and he showed me a load of images of hood ornaments from American cars in the 40s and 50s and so there's these really overblown things and then like thunderbirds because they look great there's art deco things so they're really interesting pieces you know cars the front parts of cars are very they're very good as subjects for photographs because they end up like this now they've been sculpted a certain way so it's easy to photograph them and to have cool looking things and therein lies the problem with this is that on the face of this you go that looks really cool right so I photographed it and they look nice this is an interesting photograph I like Morris because you know British cars are slightly different but then that comes the problem we're seeing the lighting from the top from all the other things that are going on is reflecting off its bonnet hood for the American types I'm bilingual I can speak American knees and English so we're all good so the light's kind of reflecting off where there's actually the headlights and the scoop of the thing so there's not a huge amount you can do that when you're out in the field certainly but you can probably make change up composition to hopefully minimise it or come back at a different time of day or something anyway in this photograph the car is like a burgundy purpley colour and I don't think the colour is really lending itself to this thing had the Morris been bright red right so I'm assuming whoever photographed this is is British so think about like a triumph so like triumphs like this like a really red colour so that would be kind of cool so if the car's in primary colours then I think the colour works it because this colour is kind of not it's all punchy this would probably work in black and white better you've got the chrome which looks awesome in black and white you've got the hood ornament which again looks awesome in black and white so think about that in your processing your colour choice if they are very punchy, neon, amazing wow colours that suit the era and make it visually interesting then keep it in colour obviously but here the purple is just it's drab it's post war Britain drab and I think so black and white would be a better choice so there we go wow now this is colour so orange alright so we've got orange here orange, orange, orange, orange why I keep clicking on the wrong thing I'm a silly puppy alright a polarising filter might you could try it if you have one it works better with glass but you never know it may also help to to deepen the colours by removing some of that glare so this is an interesting photograph I see where you're going with it well done for at least trying to create a bit of depth, some layering obviously they're buying something I have no idea what they are pretzels sausage I'll be intrigued to know because I haven't had dinner yet I'm going to look later can I eat them and then you've got these guys waiting to buy one and this man I think is digging in his pocket for some change so there's a bit of a story going on and you've gone down a bit low and you've made these bold crop things and Yeah Deanor, if you look in the chat I think if I do that, Deanor If you join a member if you support the channel there's a link in the description then every month we get together and review an image so the link is in the description so the crop is all very interesting that what I am missing is something for us to follow through on. If you know, we talk about action reactions so the action is we have got the sausage, I'll call them sausages on this bike sort of thing and we have got the queue of people waiting to purchase them and you've got somebody who is reaching into his pocket to get some money. maen nhw'n ddweudio y bywydol, Ac mae'n cael awdurdod a gweld arallan. Mae'n ddweudio'n ddweudio eich rhaid ac rwy'n cyddoedd yn ysblwyd hyn yn bwysig bo'r ffordd a'r amser yr ysblwyd. Mae yna'n rhywbeth o phraddo i ddigon. Oherwydd mae yna'n holl o'r dweudiau. Mae eich sgwethaf, mae'n hemau, mae'n sgwethaf. Hwne, hwna, hwna, hwna, hwna, hwna! Mae'n rau'r rŵr am gweithio. ac nid ymwneud o'r ffrindio leoli yna ysgol o'r own ymddangos o'r ffath yma, gallw Alex Webb yw'r cyflwyno, o'r eistedd mae'r ffrindio'r fath o'r fath ymddangos. Mae'r peth yn ysgrifon, a'r cyflwyno, ond y cyflwno rydyn ni'n gwych arno. Dyna'r ffrindio'r fath o'r ffrindio'r fath ymwneud. Felly mae'r fath o'r ffrindio'r fath o'r fath o'r ffrindio'r fath, Yong, yw'n gwybod lliwig yn ddweud yn y lleio'r digon diddorol. Ond mae'n pethau bod yn ddweud, ond mae'n gweithio'r lleio'r lleio, yn ei ddelweddysgol, hon i'n cael ei gyfweld, lleio'r lleio'r lleio ond mae'n gweithio'n mynd i ddweud ddweud arall. Felly, roeddennau i'r cyflwynau gwych. Nid iddyn nhw'n ferch â'i future. Rydych chi'n合a sy'n fathiau! Mae gynnwys blynydd i ddweud yn gweithio. Rydyn ni'n ddim o'r problemau a hynny'n gyntafolio'r cyhoedd. Mae'n ddim yn ddweud. Mae'n ddweud yn fwy o'r rhaglen. Rydyn ni'n ddweud yn y ddiweddol, ac mae'r ddweud yn gweithio'r ddweud. Mae'n ddweud... Mae'n ddweud yn y ddweud yn ddiwyd. Mae'n ddweud yn ddweud. Mae'n ddweud yn ddweud o'r ddweud, ac mae'n ddweud. Mae nhw'n nhw'n sefydlu bod y ffordd o'r fforddaf yn cael arfermwyr o'r cyllid y ffordd ym ni'n methu wrth gwrdd y coulio dddangos. Rwy'n amser Alex Webb ac yn y ffordd ffordd o'r ffordd o'r fforddau fel arferdau fel yw'r newi wedi gweld. Rydyn ni'n gallu dweud os ybryd o'r fforddau'r ffordd ac rwrs ac o'n neid o'r ffordd. Byddwn ni'n cerch yn ddau, a rydym yn gwneud o gymhoedd o dd Person 15. a darwfnwysu cael iawn. Mae'r angeniwch yn ddarfnod o'r ceisio, mae'n wneud, mae'n ddwg, mae'n ffórm i fynd i'w ffodig. Byddwch yn ddweud o'r ddweud o'r ddweud, mae'n ddweud o'r ddweud o'r ddweud. Mae'n ddweud o'r ddweud. Mae'n ddweud i ddweud. Mae'n ddweud. Mae'n ddweud o'r ddweud. Mae'n ddweudio. Mae'n ddweudio'r ddweud. Mae'n gwybod, ond dwi'n gweithio, ond rwy'n gweithio. Rwy'n gweithio, ond dwi'n gweithio. Ond yw'n mynd i'r mwyllwch. Rwy'n gweithio, ond yw'n mynd i'r mwyllwch. Ond yn fawr. Felly, ddim ond. A dyfodd. Rwy'n gweithio. Felly dyfodd. Yn y mwyn hwn, dyfodd ond dyfodd, dyfodd. A dyfodd, dyfodd, dyfodd? Felly, rydym yn ysgaf? ond ymarfer yn ymweld? If you were sitting next to me, that would be my question. What is going on? Is this a shopping mall? OK. So if so, then what are you actually photographing? Are you photographing the architecture of the mall or are you photographing this father with his child pushing a buggy, ond y trolau, diwethaf ddweudio ddim yn yw, a hyn yn ddweud? Because if the man push into a trolau, you want to have him with the leading lines, then I would put him in the middle. In this case we talked earlier about being on the nose and stuff like that. Just put him in the middle, because this one I think you could get away with being a ond esbyddyddio ar y ddweud. Felly rwy'n meddwl, ac yn ddod i'n meddwl ychydig o'r llwyddau. Yn y moment yn y byd, fel ydych chi'n edrych yn gofyn i'r ddweud ac mae'r ddweud yn ar-wg yn cael ei ddweud. Felly mae hwnnw, wedi gweld ymweld yn unig. Felly, mae'r ddweud yn ddweud, mae'r ddweud yn cael ei ddweud. Felly, bydd yw'r ddweud yn cael ei ddweud? Yn y pryd yn cyfnodd, ychydig yna'r ddweud? ymddi'r mesef here right it is so important because otherwise you end up not saying anything this this image doesn't convey anything to me i'n struggling to feel what it is that you are driving at now the exposures and things i think mae'n cael ei wneud, mae'n hollol i ddweud gweld ddweud. Ac mae'n gwahol i gynhyrch. Wrth gwrs, mae'n gweithio gynhyrch yma yn fwyaf, mae'n gweithio'n gwahol i gael a methu, ac mae hi'n fwyaf ar gael y gyrddwyr yn gwneud. Rwy'n golygu gyd yn ymgyrch yma, ac mae'r ysgaddon, ychydig o'r llain o'r ysgaddon ar y gyrddwyr, o'r Ymgyrch. Ysbryd yma, sydd yn ffotoigrofiad? Ieswch eich fitnessgaf, eich gofyn tawys ymwneud, hwn? What are we photographing? Again, if you are trying to layer things, then I applaud the effort, because you've got the boat in front and then you've got the, you know, the Mae'n tarlu wahanolion o'r parllwn. Y lluniau'r ddweithio, yr afod i'n lluniau. Mae'r lluniau, fy lluniau ar y ddaf, yn cyd-mwy o dweithio ar y rapa. A fe wnaeth yn ei hyn o'r ysgolfeydd ag y rhwy aran. Dwi'm fawr i'n gweithio ar fynd, mae'n undud o diwrnod. Mae'n ffasig o'r Ddweithio. Mae'n rhaid i chi wneud i cefn nhw. Mae'n rhaid i chi'n ffordd ac i'w ddweithio. Mae'n rhaid i chi ddeithaswyddon, mae'r ffordd iawn. Mae'r ffordd iawn. Felly, rydyn ni'n fawr, mae'r ffordd iawn yn ymddi'r ffordd yn ymddi'r ffordd yn ymddi'r ffordd. Mae'n rhaid i'w ffordd i'w ffordd yn y boed. Ond, mae'n rhaid o'r ffordd i'w ffordd. Mae'n rhaid i'w ffordd yn y boed yn y ffordd. Mae'r ffordd i ffordd ymgyrchu o'r ffordd. Mae'n pethau yn y ffordd. Mae'n ffordd i'w ffordd o'i ganfod yn ymddi. Mae rhai eu fforddd, mae'n ffordd i'w ffordd yn ymddi'r ffordd. Felly, rydyn ni'n ffordd Why don't they do that? Maybe try this or try that or something like that. I wonder given that it is a busy thing, and I think the people are on the river. So let's split the image down. We've got the foreground which you've got the middle ground with this crew next to the jetty and they're sort of like ... they're doing their thing. And then there's some stuff out in the river. But I think the river stuff is not really contributing too much. Ac ydych yn ddechrau ar y ddweud yma, y bodai'r ddweud yn gyda'u ddweud, mae'r ddweud yma, mae'r ddweud yn gyfodol ar y ddweud, mae'r ddweud yn gyfodol ar y ddweud. Ac mae'r ddweud yn gyfodol ar y ddweud, ac mae'n ddweud yn gyfrifio gyda'u ddweud. lipstick, but I keep coming back to the team at the at the at the jetty. I feel like there's something in there. You know, they're getting ready, the Cox of the Bank- I don't know if she's doing whatever other coxes do. Does anybody know? What does a Cox actually do apart from shouting at them? I feel like the left, right, left, right, you know, I think if you're trying to lay shots and give a sense of business then yeah, I think you're heading in the right direction. This one isn't landing for me and I'm sorry that I can't put my finger on why it isn't. There's rubbishy feedback, is to say. It doesn't work and whatever. But something that may come to me but I was like have a think about it, maybe you'll see it. Well done, at least making the effort again correct to La unlike and anybody who has been doing the learning thing, I applaud you because I'm a terribleயladamel. OK, this is Ac mae'n i ddoch, dyna'n ffinell. Yn ymdeg, mae'n i ddweud i'r ffordd hcb, oeddwch yn gyflawni, gyda'r ymdeg, dwi'n rhaid i'r ddweud. Mae'r ddweud i'r ddweud i'r ffordd hynny, dwi'n ddweud i'r ffordd hynny... ...a gydig ymgyrchu... ...di'r ddweud a'r ddweud... ...di'r ddweud i'r ddweud i'r ddweud i'r ddweud... Y yr awd i'w rhaid i'w ddechrau'r fforddwyd, yna ymarferio, mae'n meddwl i hynny, fe yna'n gyffredig Pung Pong yma, ond wedi fforddwyd yn gallu gael yng nghylch. Mae'r fforddwyd yn yw'r ymddwyd. Mae'r fforddwyd a'r ymddwyd yn ymddangos. Mae'n ddweud yr ymddangos. Mae'n ddweud yr ymddangos. Ivan, thank you. Greetings back to you in Slovakia. The photograph here is this back. This afternoon by the river, there's things going on and stuff. I get it, that's kind of cool. But again, this feels like it's a little bit just lost. We want to focus in on something, the life of what's going on. You're photographing the whole thing to show the whole thing. I think this would be stronger if we look at what's available to you. We've got this guy playing ping pong or whatever it is. I can just see the ball hiding up in the tree with his shadow. Great, love the shadow. Wonderful thing. He's one possibility. Then we have in behind, let's just say it's his wife, and then behind her there is somebody sunbathing. If you put the sunbather as the front, the foreground, and there's quite a lot going on behind him, that's an option there. Down by the sunbather's feet, if you go down towards the water's edge, it looks like there's two people, it looks like they're on their phones, and then there's two figures in the water. You could have photographing over the top of them so they've got their phones, and then behind their phones there's two lads, maybe their boyfriends or what have you, in the water playing around. Think about that kind of thing when you're confronted with scenes like this. There might be a whole bunch of other things that you could photograph. Or if you're going to photograph this man playing paddle bat, whatever you want to call it, then focus on him exclusively. Just him, his shadow, which is looking great. He's obviously energetic, he's doing all sorts of things. I think they'll be lecker, as they say in South Africa, which for everybody else just means they'll be cool. They'll be sweet like a lemon. There we go. More self-seaside activities and things. We've got some paragliders and things. Now, this is great because I have, looking at this, we talked about deep shadows, and I'm glad somebody showed some deep shadows here. I know that they can be a divisive thing. Some people like them, some people are like, eh, whatever. I think that's fine because there's a time and a place to use them and certainly what happened. I feel as long as they are used to enhance things in the photograph, they serve their purpose because look at this image. The man with this, I don't even know what this is. It looks like some sort of weird paragliding kite thing. It looks like the sort of thing I might try and end up in A&E or the ER with, or the broken leg or something. He's in shadow and so is a lot of this kite thing. But then it makes the reds and the blues of the sail sections pop out. It makes the blue of the sky stronger because you've got all this black red to contrast against. Shadows, black shadows, things like that, make colours, especially primary colours, we've just got boom. So think about how you can work with that. So this, you've got this hazy sky sea, and I think it would be easy to blow a lot of this stuff out. And if you were going to capture the highlights and get the shadows, then the sky becomes a wishy, washy, washed out thing. The birds and all that kind of stuff contribute to the idea of flight. Now somebody in the comment is talking or comments are talking about a little bit more beach. I actually think the beach is, I think it's the worst thing in here because it doesn't contribute to the image at all. We don't really need a sense of place with this necessarily. I don't mind the mountain or the hills in the background because of that seaside misty spray air that you get. And if you'd cropped it a little bit more, it would come down a little bit lower. It's always about like that. So change angles. He's a little bit more higher up in the front. If you get closer and then photograph up a little bit more, you could probably crop out most of the beach but then just get a little bit of the hills in there which at least would ground it just a little bit and give you a sense of like, if you want to join the kites and you want to join the birds and you want to leap off mountain tops, this is the thing for you. Interesting shot. And I think a good example of how you can take an exposure to, is that what they're called, wing foils? Yeah, they definitely look like something I think you should steer well clear of. So they have this kind of, yeah, this thing. This could be just a humdrum picture. I think a lot of people would have gone, hi, I sell the wing foils. Let's get a picture of this. But you've, I think, gone a little bit further with it. So nice. But again, I think you need to be just a little more kind of, you've got the idea, then you need to refine it and be more aware of what's going on on the edges of the picture. Have you noticed, oh, we've got quite a few. Okay. So, yes, we've got the traditional, I'm sorry. I was about to say we've got the traditional thing. So there's a little girl in some puddles, playing in the rain, it's one of those kind of photographs that technically is executed pretty well, distracted onnw hear the depth, the chunk is pretty fine. The colour, the yellows against the green, the rating, it's my pleasure Eric. It's all nice. That's a problem. It's nice. There's nothing wrong with nice, but if you're going to do nice, then make a bit more of it. So, this little... I'm just saying girl, but I don't know. She's walking through this puddle with the rain, you know. The reflection of the puddle was lovely. It would look lovely because of the environment that you're in with all sorts of stuff. And so, make the puddle more of a thing. Make her more of a thing with the puddle. Put her in an environment. If she likes to splash around in these things, get it to splash in the water. ..aeth hynny mae'n cefnogi mewn gweithio, mae'n cefnogi mewn model. Mae'r wneud cyfnogi tŵi gyda cael ei gweithio'n cwrs. Yn gweithio'n cefnogi. Mae'n cefnogi. Mae'n cefnogi a'i gweithio. Mae'n cefnogi i gweithio i gweithio. Mae'n cefnogi. Mae'n cefnogi. Get her to do something. And it doesn't need to be a grand gesture. It doesn't need to be like a mass thing. But even if you said why don't you just throw some stones in a puddle or a stick? Or you could splash in the puddle, or just something that if you were photographing this for a parent. Let's assume that you wanted to do this as a living in want to do family shoots and stuff. I would struggle to sell this. I would really struggle to sell this photograph, the parents may like it but from a sales point of view I would be reticent to show this because it's hard to see who she is firstly, parents do quite like to see the faces of their children and she doesn't seem like she's actually doing anything That's kind of the thing. Outside of that, if you are doing these pictures like this for sale, that's fine. It is a lot harder to sell big portrait orientation images than it is landscape. So if you're not going to make money selling it by 10s, you're going to make money selling it by 40 inch. A 40 inch like this as a portrait rotation, that's pretty big. It looks odd but a 40 inch like this will work quite nicely. See, text book stuff about colour and things. We talked earlier about shadows and contrasts and colours and things of that nature and this reminds me of the one we looked earlier with the leaves. I like it. I like this feel. I'm assuming they're maple leaves, so Canadian. What I'm kind of not entirely sold about is the composition aspect of this. I like the leaves casting shadows on the other leaves as cool. The left hand side of the image is great because it's filled with the leaves and we get to the right hand side of the image and there's lots of blue. There's lots of sky and it fills unbalanced like that. It was with other parts of the tree that have denser foliage so we have more of this interesting play of shadows because of the very strong directional sunlight. That's kind of the thing. You've got a good idea but sometimes having a good idea isn't quite enough. You need to refine it. You need to really push on with it. You need to take the embryo of that idea and let it grow for a little bit. You can do this by saying, I've seen the shadows and stuff. Can I just take a little wander around this tree? Can I look around this wood and see if there's anything else here? The lighting that you've had, the throwaway comment I made a little while ago that there's no such thing as bad light. It's light that doesn't suit the photograph you want to take. A lot of people go, you know what, harsh midday light sucks. But it doesn't. Look what you can do with it. The right hand side of the composition is just letting the side down because it's taking the idea that starts on the left hand side. Peter's out as we go across on the right hand side of the frame. I really like it. And again, blacks, the reds are vibrant and makes the blues vibrant as well. So really nice. I would just hesitate. If you've been in here and you've done some post on it, there's something odd going on around the edges of your leaves. There's like a little white halo. So there's something. If you boost it up like a blue or something, it's probably because it's made the bluer a lot bluer against the white of the thing. So you get this kind of weird halo. He says, I don't know. It's something. It's something. Asia. Oh, Japanese asa. OK. All right. OK. Let's see. So we've got. OK. So airports, London, Heathrow, terminal two. OK. So in interesting photograph, I say that a lot, didn't I? An interesting photograph. Photographed in an interesting manner for interesting people. And another little maple leaf in there. There's a there Canada in there. Hey. Part of the previous images trying to get into this one says I want to be in this one as well. So. Yeah, great. You know, you've seen something going on. And I have to say I find airports exceptionally interesting to photograph that there are some very, very exciting opportunities for for images. And I like what you're doing is that you've got this kind of idea of like segments that are going to and in the middle you have obviously just the correct. Now, what I'm finding is a problem is the fact that despite the you've got this really cool idea of segment, segment, segment, segment, segment, segment, segment, segment. All the terminals, excuse me in the background are in focus, and they are detracting from the silhouettes of the people in the center panel. If you want to call it that. And that's a problem, right? I think that if the clouds were out of focus, you know, the cloud we have top and bottom, that's okay because they're still going to be because it can be recognizable. But I want I we know this is an airport because we will recognize the shape. We don't need to see the planes in focus and because they're in focus, they are too busy. It's too distracting. And I can't focus on the people, the faceless people, the shapes, the silhouettes of the innumerable travellers. Right? And that's kind of where we're sort of missing here. So think about that next time. I'm sure that you could just, you know, just go and recreate the photograph, just buy yourself a plane ticket. Go fly somewhere just for the lols. I'm not sold on having the roof stuff at the bottom of the frame. I think that this is, you've got a good photograph. And again, it's probably because there's the roof being reflected from whatever you've done at the bottom. But it's, it's just not quite now. Sorry, I'm just looking at something. No. Okay. Sorry. I was just, I was just second guessing myself. I will look for that. Thank you, Lloyd. I'm Susan. Thank you ever so much. That's very, very kind of you. I was going to say, Stuart, it does look like a composite. And I was trying to look at it and I'm going, I'm not entirely sure that it is. But it possibly is. But I think it's one of those things where it's not so blatantly obvious. And the reason I thought, well, maybe it is, but it isn't, is that the clouds don't match up. So it's not just a simple flip job, right? But irrespective. I think otherwise we'll get lost in talking about technicalities and how people do it. I think the biggest thing is holding back is that depth of field choice is not right with the planes in the background. We can recognise a plane. We can pick out a plane as a very blurry object. We don't need it to be distinctly obvious. So there we go. Have you noticed that I do that every time I look at a picture and we go to the next one, I go, there you go. And then I sing. Okay. So, and then I do so. So here we have two guys fishing. And the bloke with his vape and that big smoke thing and stuff. That's the photo there. You know, the photos are it's on the right hand side. The left hand side isn't really giving me anything. It's not doing anything. They're not actually fishing. I mean, they're just kind of standing there with their rods doing their thing. So they're not kind of engaged with it. If they were leaning over the, you know, if they were leaning over the balustrade or the piece of wall, then they're more kind of thing. But I know you're like you're giving them some context. But that context feels like it's a bit lost. It feels like there's not too much going on. And certainly the guy in the background is fairly disinterested. And the guy on the right who is involved with you is so, he's like right over the edge. He's like barely in the frame. And I just, I would like to see kind of more of him. He can either come in a bit closer and something like that and then lose some of this stuff on the left. This image isn't hanging on the fact that they're fishermen. So it's not crucial that you give them a place. So is this guy doing his thing? Do you know them? Are they friends of yours or something like that? If they're friends of yours, try and get it to be more kind of less snapshotty and more kind of like them doing something, casting or doing their bait or whatever. Just something. Because at the moment, if you're going to photograph somebody with a giant cloud of vape around them, then photograph the person with a giant cloud of vape around them or everything else. I was very, I was like looking around and going, what is the point of this photograph? And then there it is. It's hiding. It's hiding down at the bottom. So we have here the picture. It says log2-66. I'm not entirely sure about this again. You've got a log that's like completely in the middle of the frame, which is more or less out of focus. You've got all this stuff going on. And there's another bit of a tree, there's some moss, and there's some leaves. And then down in the corner, there's a little doe, a deer, a female deer. We hope. It's like down here. It's like hello. I just popped in and said hello. And it's looking you in the eye. I'm not entirely sure about you with your camera. Weird person trying to photograph this log. I'm not saying you need to make the photograph, the whole doe, but she is so down in the corner and hidden away that I think 90% of the people who would look at this would miss her. Which is the point, because that's what she's supposed to do. She's camouflaged. But people are going to look at the picture and go boom, boom, boom. And just dismiss it because I'm giving you feedback on this photograph. So I'm invested in looking at it. And it's only when I find the deer. So what I think would be a better way of handling this is to bring the deer a little bit more into the frame, but at the same time a little bit less in the frame. We talked earlier about you make the viewer go wow, I'm so pleased that I saw that. See how excited I got when I saw the deer. Bring it around, maybe change something up just a little bit. Put the deer in a place where somebody is likely to find it and then frame everything around that deer. And I think you would ever have a great photograph at the moment. There's a whole, but like nine tenths of the image is what, right? And then you've got the doe. So start with the doe, build up around it in a way that still gives you the idea that you're trying to go for, which I believe is that you are trying to trick the viewer into missing the doe. But in doing so, you also run the risk of having people just dismiss your photograph. So you kind of need to telegraph it just a little bit. You need to, you know, I have something that's a leading line towards the doe or something. Just so the viewer is going to go, ah, I see what you're doing there. Oh, you are very tricksy. So I hope that helps. But yeah, I think you want to just, if that's your intent, applaud it. But your approach I think has gone a little bit astray. This is the kind of stuff that's right on my street. There's a child at the door again. I can hear it. He's down there. I will be back in Tuesday. If you guys are just talking about yourself, think about how lovely this photograph is because I like it. So you've just told everybody on the internet that you have Harry Belford dinner. So internet, this is Asha and Asha, this is internet. So look at this photograph. Please don't pull on that. So we're looking at this man's photograph. So that's pretty cool, isn't it? So he's got some, no he's not poo. So his word is poo at the moment. Right, so you're going to go with mommy now. So we've got some very nice shadows and textures and what have you here. And I really like the approach. If you're going to go with mommy then I'll come through now and give you a story. Sorry about that everybody. He wants to see what's going on. So the shadows I think are really nice. Asha, go with mommy. I will come down. Asha, go with mommy. Sorry, I don't do apologise about that. So we've got these shadows and an industrial-ish urban landscape, which are really, really nice. It's got a depth to it because we've got some shadow at the front and the middle part in the shadow and then the concrete walls bypass. It kind of put me in mind of something like the Joy Division songs and things of that nature. What I'm kind of, I meant two minds about is the crop that you've got here. I would like to see this also as a landscape, just to make. I mean two minds. I think if I was confronted with this I would be like, is it a portrait? Is it a landscape? Or is it a square? If there's a line in the concrete of the road, or the tarmac, about a third of the way up. If you cropped it square like that, how does that sort of feel? Does it feel, well it does. Oh, do you know he's generally, generally he's very good but he's bedtime now. And he's like, you come and sit with me and do all sorts of things. Yeah, this feels like the crop. The crop is something, and again it all comes down to like a personal thing. I'm feeling the square crop but then again that might just be my bias towards square cropping. But as I see, well you know it's, this I think would work. I'd like to see this as part of like a series of kind of like urban landscape. Devoid of people, I think the fact that it is devoid of people, devoid of anything else certainly enhances the image. There's really not much I feel is terribly wrong with it apart from the crop. That's not ideal feedback but it feels like a crop. It's like the leaves that we looked at at the beginning. It's a subtle thing and maybe you're often looking for something to fix, just for the sake of looking for something to fix. I think there's an issue that a lot of people can struggle with because how do we know when it's enough? How do we know when it is finished? How do you know when it's done? There's always a danger that we're kind of overthinking in it. And this is a good example of me kind of going, I need to find something that I could go change up beyond the crop but I can't. Do you like it? Yeah, it is if the perils are working from home. But hey, Hyde. This man definitely does not work from home. I was about to say it looks like a guitar tech. But I don't think he's the guitarist. Interesting that you've chosen to photograph him flat on to the camera. Or the guitar is flat on to the camera. Because while we're getting his face, I'm not getting anything of what he does. Because A, his guitarist is at right angles to us. And then there's the mic stand in the way so we can't even see his hand. So I like his, he's in mid-noodle jam, whatever you want to call it. The lighting, I think you're okay with. These kind of venues, the lighting can be a real nightmare. But his position is wrong. You either need to be a couple of steps, in fact I think you need to be a couple of steps over to the left. Because you need to get that mic stand somewhere. I think you're feeling like oh, the mic stand, he's not singing so the mic stand is in the way. So if I put the mic stand in his body then it becomes less of a thing outside. And I get where you're coming from. But the mic stand right now is hiding everything. If you come around and the mic stand is off to the side of it. You can't give that because we understand the environment. That he's playing live. You can't just go up on stage and say excuse me. I want to move your mic stand. You can include this because it is part, just as much as you've included his rack of guitars. You can include these things because they are part of his environment. They're okay to be there. It's not like a tree growing out of somebody's head or branches and things. If you move over a bit to the left, in terms of your processing, you've got a nice exposure. The background is awfully busy. And that's fine because again it's a bar. But what you can do to counter that is I would like you to burn in the edges of the frame. Not a huge but it doesn't need to go to a black. But you need to have some darker tone around the edge. Like a vignette but not necessarily a vignette. Because it stops the eye wandering off the frame. But it's also going to make it feel a little bit more like a club. Because he's a lit person in a darker environment. So give it a bit of get a mood. You can't see the guitar. He's a guitarist. I want to see the guitar. It's like joy division. I'm going to real joy division vibe from some of these pictures tonight. Here are the young men. So this is the B side to the picture to this one. That's the front album cover. This is the reverse with the track listing. So again these kind of ideas. Photographing the puzzle, flipping the image and what have you. They're quite fun. It's certainly as a useful exercise as a beginning photographer. Because it teaches you to see things slightly differently. I like the perspective that you've done here. I think it would have been easy to just go. I'm going to have a more traditional crop as a perspective. And the fact that you've got a very wide-angled perspective. I think you've got the right lens choice. That's a good thing to do. A great sort of way of getting it. Again there isn't a whole heap that I feel you could really change with this. It's kind of the one of the shots where they are what they are. You're not going to make it hugely amazing. I think if you want to be overly pedantic about it. So on the left hand side of the puddle down this area here. There is this building or whatever it is. And if you change your perspective just a little bit. Maybe you'd continue the sky into that puddle. So it would be a larger wider thing as opposed to this piece of black building coming out there. And intruding on the thing. Whereas the stuff on the right hand side. It looks like this and chimney pots. I think it's less intrusive than a big lump of black. So it's an interesting. I keep saying it's interesting. I'm sorry. It seems to be my hang up. Not my hang up. My full back word. Everything is interesting. Isn't that interesting? I have an interesting full back word. So yeah I feel that it's a photograph that it is what it is. But it's nice. And I don't mean that in a derogatory sense. It's sometimes even just the most simple basic little kind of trickery play things. Can just look nice. And there's nothing wrong with that. And it's just understanding that sometimes you want to create her cuisine. And sometimes you want to create just a nice comfort food. And these I think feel like for me it's almost like a photographic version of comfort food. But they certainly evoked a feeling in me. When I had just recently seen two images. One of them was a musician. And one of them which was pretty much gave me an idea of like a lifeless sort of concrete jungle conubation kind of thing. So yeah. Well hey. Edit, edit, edit, edit. I love the little, the words, the titles like edit. So this is 202.05.16.16.57.01. Edit, edit, edit, edit. So somebody's making a lot of edits. So we talked about depth of field. And here we're getting there. You know that there is, I'm going to call these tulips but they're probably not. There's a tulip at the front which is in focus. I think pretty much for the most part maybe just to be on my screen. Or you know the fact that we are seeing a number of things. And then the image, the, sorry I've drawn a complete blank. The tulips in the background. They're getting progressively more out of focus. Now like a lot of photographs that we talked about tonight. Where you have great, because from a lighting point of view. From a technical point of view. Everything here is pretty spot on. There's no real complaints about this. I think from a composition point of view. The colour is lovely. Again we're talking about these darker things making colours. Look at the green on the stem of the tulip at the front. It is luminescent. It is beautiful, rich, vibrant because it's got a darker shadow to contrast with. The one I'm disappointed about is that the main star of the show. This tulip at the front is not the brightest tulip in the box. The brightest one is the one that is second in line. It needs to come down. It needs to be taken down a little bit. Because it's competing with the guy that we want to see. This lovely lady at the front is being upstaged by that bright tulip in the middle. Especially because it's out there by itself against all of the background. It's not like the others where they form a uniform backdrop. This guy is standing out. They're going, look at me. Either you can change the composition so you don't have that single tulip. Or you can maybe bend it out of the way. Or you can just change the composition. Or you can turn it down a bit. If you do want to include that tulip as a thing, then it needs to be in focus as well. Or a little bit more in focus than it is. And tone down a bit. And while we're on it, this little thing here. Just kind of take that down. Because it is, again, it's drawing an eye away from the thing. But this is so close to being really nice. I don't often see portraits around here. I know we had the angel image earlier. And here we get another portrait. My background is a portrait dress. I enjoy looking at portraits. But there we go. So we've got these two ladies who are posing. This is obviously in a studio. This is obviously shot on high-key. I don't know the background to this. Is this a fashion shoot? Is it just a portrait for a portrait's sake? So what's going on here? So I'm going to approach this as if it were just a portrait. So there's nothing more to it. So it's not for beauty or whatever, or earrings. So we're going to talk about the earring first. That earring is lovely. It's interesting, but you need to tone it down just a touch. It's always a thing. So some earrings are a real kind of bubble. Because think about, you know, we are drawn to this. So the girl on the right's face first. And then we see her earring, and it's only later that we see the girl on the left of her face. Now, one of the things that is extremely difficult with dark skin tones, African skin tones, whatever you want to refer to it, is that the shadows on them will disappear so quickly. So now that, if you're quite happy with that, then that's fine. I think in this case, and again we may not be seeing the full version of this image. But there's a lot of place where I would like to see just a little bit more shadow detail because it's gone very dark. And you can do that with just some fill. It feels like there's one big light source coming over here. So maybe a polyboard or something over here would just kick back into the shadow. So just be aware of that with African skin tones. That all this kind of stuff down here, because there's no light, it just goes to blackness really just very quickly. And in this kind of image, I think has more of a lighter sort of feel as opposed to a very dark moody thing. It becomes disjointed in the whole thing. So let's see. So with their expressions, there's something going on. There's something. I was always tricky with portrait. You don't want dead eye. You don't want just like, I'm just looking. I don't want to be here. So I was like, you want something. It's interesting to give the people who you're photographing like a scenario. Give them something to think about. Get them to engage with the session. Not necessarily like, you must do this, you must do that, but get them to go into a mindset. And that gives expressions. If they're sisters, so let's assume they're sisters, then this poses kind of that's fine. But what we have here, again, is a huge issue about, you know, we're talking about things that compete with the main subject of a photograph. Look at the girl on the left in isolation, right? There isn't anything really competing with her face. Her face is lit. She's turned her face towards the light. She's got some lovey cheekbone action going on here. It's all really good. You know, one or two little pedanghtiki kind of things. You know, maybe she could turn a little bit so she's not breaking the profile of the face with the eyes just on the edge and things. But there's nothing really competing with her face. Her hand is down here. It's a little bit further from her face, so it's not dominating. And also because of the African skin tone, it's not a big bright thing. But then look at the lady on the right. Look at the girl. She's on her hands. Now, even for a Caucasian skin tone, I don't really want fingers and hands down here. It's a little bit close to her face, right? Because what happens is you start looking at the eyes and you're catching all the fingers, and it's just a whole bunch of things. But with her skin tone, because she has the African dark skin tone, her fingers have got these, her fingernails are light. So they stand out. They're right there. And the same with her, because she's also pressing down, it's made the skin tone lighter there. And what do you see? You see face on the left, you say face on the right, and then this spider hand coming through. We've all seen that at weddings. A hand coming over the shoulder, just divorced from everything. And it's that. Thank you for showing me a portrait. I love seeing portraits. I think this one, there's a lot that is fundamentally right with it. But yeah, a little bit of kicker, a little bit of fill, and I would suggest that you use a bounce back rather than an actual fill light. Especially if you're new to portraiture because it just makes life a lot easier. It looks also a bit more natural. And now the earring. Unless you're going to make a big deal of that earring, try and ask your models to not have giant earrings or earrings that are very visually interesting because they could be very distracting. And the same goes for rings and things. People are wearing rings and watches get rid of them. A wedding ring is okay, but any other rings or things like that, you want to keep it simplistic. And here we have, talking about light, shadow, shade, things. You can see that the high vis jacket is pointing out there. It's huge. What I'm finding here is immediately my real issue with that is that, excuse me, all this grass in the foreground is out of focus. And now there's nothing necessarily wrong with that, but when is the brightest section of the image like this? And then there is nothing in the background that is really capturing our attention beyond the colours of the lamppost in this guy's jacket. It feels odd. It feels like it's not quite... Something is not right about it. It makes me feel odd. And again, I mentioned earlier that I'm sorry that that sounds like a very wishy-washy kind of thing to say, but it's like a gut feeling. And photographs and images we take come down to a gut feeling that you look at the images and you go, does this feel right for me? Now look at this again. All of you look at it again. Does it feel right for you? And the photographer who took this, does this feel right? What is it you're trying to convey? If you're trying to make like a juxtaposition between the grass and this light and stuff and then this deep shadow stuff in the background, that's fine, but then I feel the grass would need to be in focus, right? You can often get away with the background as being not so much in focus, but things are very close to us visually, like physically close to us. More often than not, really want to be in focus. I don't know if there's something about it. It just feels like a natural thing for it to be in focus like that. In regards to the stuff in the background, there isn't really anything going on. Are you looking to photograph the shape of the building, the way that there seems to be like a black X thing? If that's what you're looking to photograph, then I think you need less of the grass in front. It's fine that you want to include some foreground interest, but it feels like there's two photos going on here and neither of them are really landing. Try and be a little bit more deliberate about what it is you're trying to photograph, how you're trying to convey that message. The little fire hydrant thingyma bob guffda thing over here, there's just gay crash in the party. Just try and do something a little bit different with it like that and you'll see how we go. I'm looking at this and I'm thinking, is this a reflection? Is this a shadow drag? Then you go, well, it's not a shadow drag, because if it was a shadow drag, then how can half of it be alright? I was about to say interesting. I wonder if I could do a whole crit session and not say interesting so that is wholly uninteresting. It gives me a sense of something. Something going on that is slightly different. I would hesitate to say, like, cyber-bunky because it's not. But the right-hand side of the image has a kind of an odd ethereal, not quite sure what's going on. Vibe. The left-hand side of the image is not really contributing at all. I think up to the edge of the brick work, there's all lit very strongly, everything to the left-hand side of that is kind of superfluous. It doesn't need to be there just as much as the top little sign that's in here. It doesn't need to be here. We can come down. The person behind the brick work, in or out, one or the other, they're not really in there. If this is a reflection or if it's something, what is it? What's going on here? Can you give me more of that? I like what's going on on the right-hand side of the frame. This blurry motion is shot through a window or a mirror. I can't quite put my finger. I'm sure if you were to tell me I would then go, ha, of course. When I go off and we see these things, the answer is so obvious, but we tend to think things. The figure on the right-hand side has moved from a person we can recognise into an ethereal figure. I'd love to see that side of things. Ethereal figures, the city as a ghostly place. I don't mean ghostly as a spook. The echoes of people around it. That's what I get with this. The figure in the middle of the three is half ethereal. The figure on the right is totally ghostly. That's pretty cool, but it's shoved off to the side of the frame. Show us what it is we're looking at. Frame it nicely. That would be so cool. All right. I'm just taking a moment. I like architecture. A nice juxtaposition between a very traditional building, a very unusual architectural flair, and then a round. You've got these very straight lines, curving lines, and then this kind of hacked out bit in the corner there. I can see where you're going with it. I think it's nice to see that change, that play between the shapes and the styles. I appreciate that's why you've left in the sky on the left to really drive home the fact that building in the background is a curve, just so we know it's a curve and it's a change. What I feel is, unfortunately, and there's nothing you can do about this, is that another building in between the front two? There's a grey bit down the bottom. If it's another building, was it part of the cylindrical building? It ruins the flow. You've got building, building, building, and then something. It's ruining this lovely movement through. Again, I appreciate that there's nothing you can do. Unless that is another building and maybe you could have moved your perspective to hide it, but it may not have been possible at all. I do think it's well-spotted. Sometimes you can find juxtaposition and tension between elements. In the most unlikely of places, we tend to think of skyscrapers, monolithic and solid. When you find these odd parts in them, then you can play with them so much. I strongly applaud you for at least seeing the possibilities here. I don't necessarily feel that... It's simply because of that grey bit on the left-hand side. There's something about it. I can't quite put my finger on. It doesn't make sense. It doesn't land from... I don't know why. If you're looking from a... If you're looking from a processing point of view, this may be the air quality of the place you're in. This may be Southeast Asia, lots of hazy kind of quality. That building in the background looks very hazy. It looks very washed out. See, this IPA is alcohol-free. I can't even blame the booze, because it's not booze. It's simply my tongue-tied, twisted, earthbound misfitness. I sort of think. I'm talking non-stop now for almost many hours. The air quality is like a hazy sort of thing. It makes that building in the background feel a little bit washed out, like it's a thing. I don't know what you could do to counter that, because if you make it darker, it may be a little bit more contrast, might have just helped it, because it feels out of odds with the other two. They feel quite defined, and one in the background feels a little bit more rough around the edges, if that kind of makes sense. But yeah. It's lovely. It's been good. Thank you once again, everybody, because that's it. We are now through with all the videos. I'm just going to go food black. There we go. You can see my... I haven't achieved it yet. Yes, it's been really great to see all your photographs. As we have pointed out, these images are uploaded by members who support the channel, as I've been through YouTube memberships, or through Patreon, and there's a link that I put up every month, and we talk about the images and go through them. The link to that, if you want to join as a member, is in the description box below, and there are also on the... he says a thing. I'll put a link also in the... I'll learn to speak one of these. I'll put a link in the comments section, also to one-to-one feedback sessions, if you'd like to do a half-hour mentoring, so we can talk about your photographs, and then an ongoing mentorship thing, as well if you'd like to have a slightly more in-depth long-term look at your photography. I have to say thank you once again. Also, we had 100,000. It was awesome that you were all... You've all supported the channel that you keep watching, which is always great that you enjoy listening to my sometimes half-demented ramblings and all sorts of things like that. It's wonderful to be able to sit and talk about photographs that's really what the photographic eye is all about, and given that we've got 200,000, I am changing a couple of... not changing things I've had to think about the channel, and to try and make it a little bit more... my experience is at a photo school, so I can sort of help or share on, or pass on some of the benefit that I had from doing that. And why have you said that? That'll be cool. Again, John has said, everybody hit the like, mash the like button. It'll be awesome if you did that, but really it's my pleasure to sit and talk with you and hopefully give you a little bit of insight into your own photographs. So, everybody, no matter where you're on the world, if it's Monday morning already, then go to bed. If it's like here, it's getting into the evening, then have a lovely rest of the day, and for those of you in America land, have a wonderful Sunday coming up, and everybody else is in between. It's been fantastic to see you in between. Yes, so people are in the Atlantic Ocean. I hope that your boat is okay. Everybody from around the world, thank you, it's been a pleasure, and I will see you again pretty soon with some more content on the photographic art. So thanks ever so much, and yeah, letters.