Dog portrait C+C

ChrisedwardsHT

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Hey everyone, just shot this image of my fiances dog.

Shot with 7D, 70-200 2.8, 430 ex ii on camera left and YN 560 ii on right into reflective umbrellas that are collapsed around flashes.

1/250, f4, ISO 200.

Any comments and critics would be appreciated! Thank for your time!



Chico by HTchris, on Flickr
 

hyeunny

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beautiful soft look with the slightly washed out white background, love it, looks like the kind of photo that the ladies love to share on pinterest :D
 

Derrel

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I wish instead of leaving the top space and the empty space left, that the camera would have been moved over to the right, and Chico's shadow would have been included in the frame. That would have made this a VERY interesting photo. Not to put too fine a point on it, but this is again, another example of how difficult speedlights are to work with as opposed to studio flash units with always-on modeling lamps...with the shadow visible at all times, you would have been mentally much,much more aware of it, and probably would have spotted the potential of the shadow as an "anchor", and as a very strong part of the composition.

When a subject is actually TOUCHING the background, the subject casts a shadow DIRECTLY ON the background; that shadow adds a powerful and immediate "grounding" as some call it; the subject's real shadow (not a fake drop shadow added in post!) adds a huge and immediate component to the visual gestalt of an image in which that technique is used. More and more, I am starting to see high-end editorial shots where the subject is no longer placed in front of the background, but right ON IT, complete with shadow from the main light.

I mention this stuff because this is the second shot I've seen from you using flash, and you seem to be doing pretty well actually, just that a few small details and some very pointed analysis of your results will help you get better, fast, I think.
 
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ChrisedwardsHT

ChrisedwardsHT

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I wish instead of leaving the top space and the empty space left, that the camera would have been moved over to the right, and Chico's shadow would have been included in the frame. That would have made this a VERY interesting photo. Not to put too fine a point on it, but this is again, another example of how difficult speedlights are to work with as opposed to studio flash units with always-on modeling lamps...with the shadow visible at all times, you would have been mentally much,much more aware of it, and probably would have spotted the potential of the shadow as an "anchor", and as a very strong part of the composition.

When a subject is actually TOUCHING the background, the subject casts a shadow DIRECTLY ON the background; that shadow adds a powerful and immediate "grounding" as some call it; the subject's real shadow (not a fake drop shadow added in post!) adds a huge and immediate component to the visual gestalt of an image in which that technique is used. More and more, I am starting to see high-end editorial shots where the subject is no longer placed in front of the background, but right ON IT, complete with shadow from the main light.

I mention this stuff because this is the second shot I've seen from you using flash, and you seem to be doing pretty well actually, just that a few small details and some very pointed analysis of your results will help you get better, fast, I think.

Thanks so much for your tips, they always help out! I may see if he is up being a model again today and reshoot it!
 

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