Shoot: Garage Door, Shade
We're standing in front of a garage door and what might seem like an ordinary garage door, I think he's gonna provide a beautiful backdrop for kendra and our outfits. You come on in here looking good. I love it. So we got her with a denim jacket. Uh, skirt on and some boots. So really kind of funky outfit. It's very trendy with the kids she looks great on then we are going to start shooting right here in front of this door. So I'm going to tell you guys my settings I am at s o two hundred aperture priority two point eight and so right. The shutter speeds figure in itself out from there. I'm gonna actually go into the street and shoot back here. Now, what I won't do is put her back onto this onto this door if I put her back on this door. There's not gonna be a whole lot of depth of field here. This is gonna be two sharp. I don't want that. So I'm gonna pull her off. This may be a good three, four feet have her out here and that's gonna allow the depth of field and allow this door to go ...
a little soft that's ultimately what I'm looking for, but I am thinking about right now in my head ah big panel shot to be able to sell so I want this door and I don't know if you guys can see this on camera but I want this whole doorway to be in frame so kendra we're gonna have you stand right here come on air beautiful uh do me a favor let's get uh but I want to get your college here here just pivoting a little good how about your hands in your pockets? Decide even have pockets no ok good so let's put your hands on your hips here I like that let's yeah let's get it put him on top of the jacket. Perfect but good alright spread that stance now if you notice and let's focus on our feet right here one of the things she's been doing today is with her stance she's been popping her hip this way and I love this. This is a real aggressive stance for my seniors. What I hate you'll see seniors doing it's mostly cheerleaders they still do something like this way you start seeing the inside of their thigh and I cannot stand seeing the inside of the thought so I like having them push that foot okay square so she'll be like this something else we can do to soften this up a little bit iz get real playful with legs so we create that natural esseker for her so let's try to yeah, so what we'll do is we'll get a little bit of this okay? And from straight on I really like the way that looks and so these are our options when we're posing so immediately we're creating a new look for her and we could do that when she's leaning against the wall we'll start messing with all that stuff so let's start with your stand spread okay, now you're gonna see guys we are going to go through with them again so it's gonna be tight middle wide seventy one hundred two hundred in that range okay all thinking about it I may actually switched my sixteen thirty five here all thinking aboutthe final shot small smile big smile sasi look so I got three looks multiple poses vertical horizontal and in a very short window of time we will be able to produce fifty to seventy very unique images for the client that's the ultimate goal so I'm gonna step out here see how far I can take this without killing myself. All right all right, so what I want to do is frame your face for me, okay? I'm gonna get a test shot here so I just took one task frame ok? She looks a little underexposed so because I mean aperture priority I'm gonna go plus one take another test shot I'm not worried about a hair what anything looks like a this point and now I've got the right exposure so with two test frames I was able to get the right exposure so here's what I want to do where's that wind coming from is it this way yeah so what we're gonna do this let's take your hair and wrap it all the way around we're working with the wind right now, okay I'm not gonna fight the wind I'm not gonna resist the wind I'm gonna work with loving let taylor let's fix the inside of her jacket can we? I don't like the way that, uh, puckering way go pay attention to these details guys, we have to do that. Okay, beautiful pop that hip a little bit more for me love it soften up that expression for me almost like you're gonna smile but don't show me any teeth lips together beautiful that's her look okay, now we're getting started kendra so here we are a little wide awesome stay there with it and I got to slow down my shooting here just so we can keep up with the computers inside. Here we go. Give me a nice smile now chin down good sweet that hair for me in this way there you go. There you go good. Now we're gonna go horizontal guys start off sassy all that's beautiful you got hair in your eye notice again I'm paying attention all these details and I'm interacting with the client I'm not looking at the back of my camera right now beautiful hold that for me clear your right eye for me beautiful good smile now keep that chin down awesome here we go now just so everybody knows I want you looking off to your right go total profile for me there you go actually come on back looking at this mean camera here yeah that's where I want you looking lips together soften up that look there's the one that's your look kendra big smile there you love it beautiful now what did we accomplish? She was looking at the camera okay, no smile uh looking at the camera with her sassy look and I was big wide shot okay? I had the entire garage door she's small in the frame uh tight shot middle shot and then smile tight middle wide and then looking away tight, middle wide so very quickly we were able to produce twenty some odd shots that all look different. They have a very different look notice I'm working with the wind I had are looking into the wind first trying to fight that win and getting all that hair in her face don't take the shot that's the biggest mistake I see photographers make is there taking a shot where hairs in their face in their eye in their lipstick pay attention to details no one's going to buy that picture with hair in their mouth and I don't care if you can fix it in photo shop or not that not what we want to be doing so now I'm going to come back from this distance and I'm gonna move in tighter with her so let's come in here and take a tighter shot okay, there you go hands on the hips now in order to enhance the depth of field I'm gonna rotate here keep your body there bring your chin to me that's where I want you right so let's stay with this beautiful now can I get a reflector in here? And I don't know if you guys can hear me inside but this eighty to twenty six picture I love I think this is a great shot we just got over now what I want to do is because I've been here a little tighter I just want to feather in some light to heart of an angle I say taylor just coming here since I mean ty put it right on her waist yeah let's put it up in here right there beautiful chin down just a little bit good and what we're doing here is just bringing in a little bit of light into her eyes and I'm assuming on inside we're showing some of these images that are coming up beautiful stay there don't move on me just a little hold on over watch that window frame that face good turtle for me beautiful there you go that's the one love that expression out here perfect don't fight that smile let it happen let me see some teeth there you go okay how about now grabbing that jacket okay pull those hands together and stagger him a little bit yes okay chin this way all right guys I won't show you another trick here I want you to come in tight see what I'm showing them biggest challenge we have okay with the hands we never want them to grab their hands like this it doesn't look right okay so we've got to be thinking about the pose and selling the shot but I like to have them do is stagger their hands okay so staggering a little and then push him forward and once they start pushing those hands forward it changes the look I don't want them looking like this okay it's like our pop I I don't know so you want him to go like this and push those hands in and pushing forward a little bit so I want you d'oh it's stagger your hands a little yeah on your jacket even so let this slide up a little bit more good push together push your palms together there you go over the mountain let go you got like a death grip on that jacket just loosely hold it let it go shake it off here you go now just grabbing good there you go now bring him in beautiful okay so see what I did here she was she was like how the death grip on it man she wasn't letting go in that jacket it's windy out here might get away from her she doesn't know so uh when I made her do was I made her just take her hands off start again okay there's nothing wrong with letting her start again so what we're doing here let's drop these you know what I'm looking for let's get all your hair going this way way right let's bring it inside your jacket now it seems like the winds coming this way, huh? Yeah let's work with so I'm gonna rotate this way you rotate there there you go good pop that hip open up your stands good now let's get all your hair this way or let's do a clean split awesome let's get it inside your jacket now just for the record while she's doing this this is real this is real world I will spend a few minutes here changing my scene, changing everything, making sure I like it because remember how quickly I moved out in the street I got twenty thirty frames not quickly so because I get shots not quickly it gives me a little bit more time to obsess about the next set up that's the way I want it to be I love it I love everything you're doing here good just coming there gently bring them together yes yes beautiful let's get that reflected right on her waist come ride in here on it beautiful and I am gonna need you to just show me your way here because I want this garage door that we're shooting there you go that's like a new dancer all right bring it in here good little less right they're beautiful don't move awesome bring it in to me that's where I want you good all right so we're using we're using this now I moved my whole scene I'm taking a test shot ok and I like the way that looks so here we go love your smile stay with it we're working that wind hot so funny there you go awesome stay there with it and I'm gone vertical guys I'm loving this wind right now oh this is perfect just drop this down a little bit john perfect good how about you're looking down the street for me who there you go oh now your boyfriend's down there I can see that's the look you give him good keep your face there give me your eyes beautiful go sassy for me one more time beautiful last good now and just this short little window I don't know what my picture count is maybe they could tell us inside I'd be curious what we got here, but just in this very short window I was able to get everything but super wide. I'm now going to switch my lens and go to my sixteen thirty five, so I'm gonna take so I want to take some questions from you guys about the pace we're moving out here. What are your thoughts on what I just did anybody? Are you guys doing? Not necessarily the pace, but when you went deep, you immediately went down. Yes, can you explain why? Um I like the perspective eso what I'm looking to do shoot up and bringing mohr of this in the in the top part of the image because I want a little bit more architecture I don't want uh this foreground, so if I'm out in that street shooting down at an angle, I'm gonna get some of this in here and I don't want it instead what I'd rather has come down here, shoot up and just create different perspective different drama in the shot. So you've gotto again that becomes part of your style part of your shooting so that's interesting to see me do that you'll see me do that with my sixteen thirty five as well I'm more likely gonna lay down in the middle of street shooting up to get in some of this other part of the building here so that makes sense other questions how you guys doing ladies? We got anything up yeah okay, so if I've got this right it's three it's smile smile sassy and looking off right and then tight middle wide vertical and horizontal tight middle wide both vertical and horizontal that's right? Okay, well, I mean that because that's a formula I need a formula and do you add anything else in there? I do, but I love what you're saying right formula I call it you know my rhythm basically it's the same thing it's your formula this is the same system, if you will that I teach my own shooters I feel like all of you out there if you're just starting out or if you're just in the middle, that doesn't matter don't over complicate the photo shoot, so if you just start off doing following this rhythm following this system, you're going to get great images. Then when you've gotten the base set of images that you can go back to the client and know they're gonna love everybody loves that traditional style head shot with a little tilt to it if you go back to your client, show them all these images now they're gonna love them now you get to do the artsy part of what you want to do, right? So eighty to ninety percent of what you do every day should be recreated ble and what I mean by that is think about if you win what's your favorite restaurant mcdonald's not dumbing down your restaurant, but I'm saying, when you go to a certain restaurant, whatever your restaurant, his fast food, whatever it is it's about consistency, right? You don't go there hoping that today's cheeseburger taste different than the cheeseburger you had yesterday. You expect that cheeseburger to taste the same way every time you go there? Well, when I'm producing an event for my clients, I think they expect consistency out of what I'm delivering from them from a product service perspective. So what I try to do is eighty to ninety percent of it is consistent ten percent of it I'm gonna experiment with I'm gonna do something I would never do. Okay, I'm gonna have you sit down. I'm gonna have you in this funky pose I'm gonna put you in this chair if we like it, we like it. If we don't, we ignore it because eighty to ninety percent of what I've already done is money does that make sense? Yes, so one more question. Do you have a formula as faras black and white goes or is everything you do? Color? Yeah, everything I shoot his color when I get into post as I'm making those decisions and we'll see that tomorrow. There's no formula where I'm like everyone out of ten images is black and white, but as azzam in post production, if I see an image that I think would look good in black and white, I make that distinction or determination and then I converted to black and white that makes sense. Thank you. You're welcome. But switch here, guys, I'm gonna show you something. Come here, tell I'm hoping you can get this on camera. Can we get? Can we get this here? Okay, uh, I work with a lot of second shooters and if you want to work and I've got this tether courtiers so I apologize is gonna be a little tricky. Uh, one thing I don't want to do is spend minutes changing lenses, so I want you to focus on the exchange. My second shooters all have to know how to do this because when a bride is coming down the aisle and I'm no, I'm talking weddings, not seniors, but the concept is the same. When the bride is coming down the aisle, I I will switch lenses two to three times in the middle of her walking down the aisle so you'll see me take a seventy two hundred shot and then suddenly I got this wide shot and you're probably thinking how many photographers to sow have with him none it's this cot and so at the end of the day, you don't wanna waste time changing gear every second shooter should be able to do this for me they're gonna hand me that lends a certain way and I sometimes I don't even have to break eye contact with the clients so done okay that's how quickly it needs to be done on the lens exchange so if I could do that looking right at the camera because my second shooter's knowhow to hand me equipment and that's very, very important so that I'm not losing skipping a beat, talking to my client interacting with my climb because that's where my attention needs to be. So did you ladies have questions for me? Slow motion let's try it in slow motion quest on me my line so she's handing it to me red dot up so now I grab it right the little red dot there I grab it and I know exactly where it goes I come right in and twist and I'm done she knows to twist the opposite way right so she's gonna hand me that she knows to twist the in the reverse I come in dunn and so that is very, very important in exchanging your equipment again little tip save you a ton of time when working with your gear and when you're working on location so hopefully that helps that's fantastic! I have a question from fashion tv and singapore when you shoot on location are most of your shots usually in the shallow depth of field in a fash in photography? Look, we sometimes like to include the nice environment in what situations will you shoot with the smaller aperture? I almost never shoot at f eleven f eighteen up in that range, which is what makes it truly in the fashion world they're shooting in those f stop arranges, I typically do not unless I need to lose some light right to bring in flash and stuff like that to get off no sink speed's there. So what I'm typically doing is almost all the time two point eight because in the senior portrait your world, even though we're incorporating architecture, it still has to be about your subject in the subject is there so I'm using my depth of field to really separate my subject from the background and that's where I'll use to eight but I have a feeling when we go on the roof today I will more than likely be shooting at about eleven and that's good, because we're gonna have the space needle behind her. And of course we do want to see that not necessarily blurt blurt out. So if I do want to blurt out, I'll blurt out toast. Ok, another question from s h barnett, who is from o fall in illinois sze family, illinois that's, my that's, my hometown. I don't know if I want to answer this question he's competitive, they're actually calling themselves hobbyists oh hobbyist alright, is that better? Okay? They'd like to know if you ever take props like chairs or anything like that urban locations? Yes, all the time, so we will actually do that. So I'm gonna ask somebody to get me the bambi chair because I love that chair and I want to want to put it in the alley, so we're gonna use that chair. We'll load up the suv will pick up chairs from like weekends only places like that, and we'll put that in the back of the suv and bring him out on location. So yes, that is a great, great idea, because it just really creates a unique portrait for your client's way one more, um, see way asked about the reflector crow fox photography wanted to talk about the color reflector that you use or when you use different colors. I never use different colors what you see right here this is ah five and one reflector I always use silver I just like the way it looks it's much more speculative fuel and that's what I'm looking for I'm not looking to create any warmth or things like that again it comes back to your style your brand this is more of what I'm looking for out of out of my lights or so you know, with this I could throw light down an entire allie from the street verse I don't particularly care for gold warmish look, I feel like I could do that in post so I tend to always use the silver side of that not even the mixed again personal preference chair yeah chairs out here perfect right question for you I'm just doing a really good job she's very talented you're giving a really simple commands for to give you good facial expressions if you've got ah woman whose stone faced or especially males what do you say then we get different expresses out of their face if they don't respond really simple like you know, smile with your eyes or something like that yeah, I think you your part part of our job is parts, you know, psychologist part psychiatrist, right? I mean you've got you've got to figure out your client every kid is different they all bring something different to the table and some are going to respond, some people going find me funny some people are going to be like this guy's a jerk so you've got to figure out what is resonating with that kid in that time is in the beginning you saw how much time I spent hand holding her in the beginning. That's paying off now she's never worked with me before she's never met me before s o that's paying off now this this engagement with her is no different than any other of my seniors. We've taken the most shy, timid girl and turned them into this supermodel experience because we don't give up on him and so I have kids all the time and that they're just like you, I look stupid when I'm smiling or I don't have a sassy face just got to keep working at it, showing them re encouraging them, reinforcing it by showing them maybe what's on the back of the camera. So the short answer is never give up on those kids and be like because we have those shoots, I don't want you guys to think everything uh photo shoot I have is like this, you know, drop that beautiful girl and there's no trouble they all smile, they all listen to commands that's not the case however I see it as my job as the photographer to coach her into giving me what I need, because ultimately, if I don't get her to give me what I need, I can aunt sally and that's what it's all about if I can't sell it, what do you do again? Blame her? Well, you know, you suck it smiling, right? I can't say that, uh, so it's my job to get that response out of herself. Hopefully, that makes sense. All right. I want to get a wide shot here. Uh, with my sixteen. Thirty five. Now. So, uh, let's pull you here again. All right. Uh, let's. Give me a clean split on your on your hair. How about this? Let's? Take that jacket off. You're gonna hold it. So I'm gonna show you guys another pose that we would use. Okay, so I'm gonna take you here and it's. Not uncommon for me to show them what I'm looking for. Okay? So I think that's very important. So what I do is I want you here. Remember that thing I talked about you like? I want to do that and then I want you to hold your jacket just with your two fingers just let it fall naturally okay and then we'll tweak it from their beautiful give me a clean split on your hair okay frame your face for me yeah I know I love the light that's exactly what I'd be looking for love it may be that left hands on your head beautiful okay so you can see uh really quickly I got into a cool pose okay keep it there so we see your feet and now I'm gonna come back out here in the street okay we've got great light on are coming in from that reflector let's focus on your reflector right here notice where are john? Who happens to know a thing or two about light he's holding the reflector he's holding it up right because your lights or should not be coming from the ground so if you have a photo assistant who's helping you and they don't understand what the hell they're doing this is gonna cause problems from you this is like spooky movie horror lighting when you push it up from the ground this is not where it belongs it doesn't make sense when we're looking at the light source how is that like coming off the ground so now by pulling it up here it looks much more natural on her so again a simple little thing changes the way your final product looks so let's come here like looks good don't twist your arm so much let it let that elbow rely just let it relax let it touch you here you go there you go much better all right so I'm gonna get a test shot here and what I'm looking to do is get all of this door here and of course we're going to see some you see some cables in here you know why we're having trouble firing hold on no way go test shot okay beautiful so I've got a little test shot here all right let's work with that here there you go good smile all that light we got it good let's make sure we're digging in on camera yes we are now I'm going to come up cause I don't like the skew that's happening from the sixteen thirty five hold that light I know it's windy john good right there good let's sweep that hair let's yeah let's let sweep it all around let's work with it don't fight the wind beautiful bring your chin to me this way beautiful lips together and start off sassy come on john you can do it baby good now could be a good smile and let's have you looking totally profile where yeah let's go with that where's that window I feel it coming this way yeah let's let's pretend it's coming this way for a second let's sweep that hair this way good yeah looking this way for me, kendra yeah that's where I want you good okay. And now again I'm going vertical with my sixteen thirty five and because of where I'm standing, I'm getting great sun flare good, we got it. All right, here we go. Good looking over there, kendra beautiful. Hold out one more and what's happening guys, is the camera's having a heck of a time focusing guy looked right into that wind beautiful taylor let's switch to my seventy two hundred camera's having trouble focusing because of that lens flare coming in but now I'm seeing something making me want to go back to my seventy two hundred I love the way she's looking into that chin down kendra beautiful. Good smile over there. Yeah, there you go, let's. Make sure I like it. And kendra let's look back at me now. There you go. Good. Of course I'll rotate. How about that? I can't remember when I told you about that fake smile. Yeah, you're giving it to me. There you go. Beautiful. Good. Okay, so now I've gotten what I wanted from a tight mental wide and a little bit of an experimental shot that went vertical and I know you guys can't see it out here we'll check it tomorrow that'll be one of the shots that we start working on the edit okay, but we got the whole garage door and we got something that's a little bit more artsy so tight middle wide and then a couple of experimental shots thoughts because I'm gonna move right into the middle of street here way good. All right, let's do this so what I want to do now is I want to take this share I'm gonna put this share right here so let's, you okay? You're freaking out no she's not okay. All right, all right, hold on so we can put the chair there let's put the chair here for the record, if I were here on my own I would be in the middle of street with this chair so we'll save that for another time so let's, they're gonna light you up in the chat rooms. Good. All right, so here's what I want to have you do let's have let's try something here. Let's try getting you here and I want you to give me a little kind of exact with your legs but keep your thighs together because you're wearing a dress and just make sure when you go down you pull your dress down right and give me the bees knees here I don't know if I want you like this right I want you to get comfortable with it so let's see what happens here love the legs legs are perfect okay, I love that I even like I think we could do something like this where you're leaning into this and just let this hang natural yeah let's go under that chin beautiful love that without right hand I don't love how about we put that on your, uh on your head I do like that good here's what I want you to lift your butt up good legs look good hand looks good let that let that finger drop beautiful. Okay, so if you didn't see what I did there when she sat down she had a whole bunch of material popping out here it was making her was making her look look having and that's not what I want to do I don't want it to look having again I'm looking out for that for her I'm gonna shoot this with my seventy two hundred okay? And I'm gonna focus in here two point eight is what I'm gonna do and I have some reflector coming in here toe light her up okay? So we're still not at a point where I want to use some off camera flash so let's go with that good hairs jacked up here let's see give me a clean split here again obsessed with the hair especially on a windy day good everything looks good yeah don't put pressure here just let it gently touch right but I want to look legit not like you see what I'm saying let it hang yeah now just coming they're beautiful good all right so I like the way she looks let me see what this light's gonna look like if we can have that okay now as you guys can see way are blinding her right now so little trick close your eyes but our eyes were gonna look amazing in the shot so I do this all the time with my subjects I'm gonna have to close your eyes get her expression right and then I'm gonna count to three tell her one to three and then I'm gonna go pop pop pop she's gonna look right at the camera pushed through it close your eyes count to three give me a good smile okay so that's how we'll do it so we get that pose right first yeah help him out till good so kendra pull that hand out a little bit yeah riding their beautiful don't you move test shot way gotta fix her hair guys just those banks beautiful could you get used to this kinda like just having somebody with hair and makeup every day yeah I think we're too hot on her face guys can we feather that a little bit yeah pull back a little bit more and now lighted up on her face there you go. Good. And I don't know if you guys can see that you're creating some hard directional light. We're getting some hard shadow one or nose. So can we rotate to your left? John? Yeah, I go to your left. You go. Keep going. I got an angle. Good. Now lighter up. Much better. Much better. Good. Close your eyes, kendra good. I want that sassy look work on there it is on three. One, two, three really? Smile. There you go. Love it. Looking off to your left that's your right. There you go. Go to your right now there you go. All there's. Funny stuff going on over there. Kind of beautiful. Keep your face there. Give me your eyes. Will bring a chain a little bit more. Little bit more there's where I want you beautiful little sassy. Beautiful. How about dropping that left hand that these were great? By the way? I like that. Awesome right there can be beautiful. Big smile. Now try sassy one more time. Beautiful. Okay, stay there. Great job. Now, here's, what I would do, I'm so happy with what I'm getting out of her right now. All things considered right now I'm gonna give her some buying into this photo shoot, what are you feeling? Okay, no, no, not how you feeling inside good, which is good. I'm glad you're feeling good, but here you see what we're doing. Is there anything you're feeling that you've seen maybe in a magazine tv? I want you to try something right now. Show me what you got. Uh, there's a lot of pressure. Do you want, like crossing lake? I want whatever you feel like, okay? I like it. How about we do so let's? Okay, so what she just did looks really bad. Okay, but just being honest that's my job, right? It looks bad, but I know where she's going with it. So what I'm looking for her to do is just give me an idea of what she's looking for, then it's my job to make it look better. Okay, so I love what you're talking about. So how about we cross your legs over this over this so it looks like you just plop yourself into the chair? Yes. Now this is going in the right direction, right? Okay, so let's see what your looking like? I love it. How about how about you get your legs up more, taylor, once you come here, here's what I want you to lift up your butt and taylor's gonna reach under and pull your dress now okay see, this is where it helps having a female system it would not be good if I was reaching up under there and feeling her but that would be died right? Yeah eso here we go let's cross at the ankles that looks fun um this doesn't look too bad but I feel like I want your upper body into this corner here back in here. Okay, beautiful good good. I feel like we're showing too much here. Taylor can we fix this? Yeah, see? See how you're laying flat right now I want you to put more weight on that left him like so rotate your hip into me there you go perfect now we're getting good good now this is becoming something that I'm happy with let's bring this arm up here about this good I like that good okay left arm I like legs I like but what I don't like is her right arm because from my angle it's gonna look like she's missing an arm and so I'm very conscious of that okay, how about it's across your waist that's not too bad I like that good let's go with this. Okay clean up your hair for me and now let's do something else here we go let's lie to rub john I like it we gotta fix that hair kendra and I want you to turtle for me and lean into me gonna be a little weird that's where I want you that is the exact look I want saucy beautiful that's the look and you hold out for me I'm just watching that win taylor go fix her dress can you roll more she's good good kendra chin to me lean into me yes that's where I want you beautiful kendra don't you move hang onto that all right we're waiting for that hair go ahead kendra just keep working with you don't worry about it you got hair on your lipstick beautiful candra that's what I want big smile now have fun with it you love it awesome kick your head back big giggles looking down the street yeah that doesn't look good alright look down the street looking mom good sweet that hair and come back and me beautiful that's the one I want awesome good job very well done right now I want to take a few questions and I want to take her to another location um how much before break forty minutes okay let's take a few questions you think we have time to change her alright let's change her not into the dance off it uh I'm gonna shoot on that wall down there that karim or whatever you think we look it on the green it's an olive wall I'll defer to you but I don't think all right so let's take uh let's take a few questions okay let's do that question from frazzled creations when you pull back to get a wide shot, including the background, how do you not lose the subject in setting? Well, so the first thing I'm doing is I'm shooting at that to eight and by shooting it to eight, I'm ensuring she's going to be sharp and in focus and then that background you could fall off quickly, which is how I bring that subject in and then in postproduction, you're gonna have to do a little bit of I've been getting, and we're going to cover that tomorrow, so tomorrow I'll show you how we can isolate the subject and just bring down, uh, the area around her that's going to be much better, I think, into isolating your subject and making sure they pop off traffic. Yes, I'm just pausing for the for the audio of okay, so folks are asking this left and right in the chat room about you shooting in small, raw as opposed to regular rock would just say it again. Are you doing that? Because of shooting? Tethered? The only reason I'm doing that is because I'm shooting tethered. I would be shooting full on raw under normal circumstances, but we started earlier this morning. With full raw and it was the computer just could not keep up with the images being written to the computer. Uh, then we switch to small j peg and yes, it was writing quicker, but then I'm not gonna be able to do the edits I want to impose, so we're trying to find small raw is a perfect happy medium to get those images in there. So under normal circumstances, guy, uh, everybody full raw all the time. Thank you. Yes. Question from the belvita photography. How do you feel about the sun flare in your shots? You know, you talked about that? Is that like a go two shot that you included every single it's? A look I go for, for sure, I try to get that in every single session when I can. Sometimes I'll even added as an enhancement in post production just to create a more artistic shots. So, you know, obviously, if it's a cloudy day, you're not going to get that sun flare, but when it is there, try and get it trying to something cool with it and it's one of those things where it's an experimental shot. So what happens is if you guys were following along with the work flow within, I would say within two minutes I was really able to get my standard shots ofwhat I needed, I didn't have to go. I'd have been happy the client would have been happy with what we got, and then because I moved so quickly, inefficiency efficiently with my rhythm in my work flow, I was able to then come back, uh, an experiment pulled the chair out maker, you know, do her kick her legs back. I mean, that's something I encourage all of you to do on every single photo shoot is just have the kids try something because now you're getting buying from them, but don't let them try something and then be like, oh, no that's, stupid, you're stupid, huh? Like that's? No, you're not building confidence there, find out what they're looking for and then make it look right, so I'm pretty happy. I mean, I haven't seen him on a on a real screen with what we've got with her kicking her legs back, I was kind of happy with that, so I think that looks good and I know it'll add it well, so that's the key there, I'm already thinking about post production. I'm not wait until I see it on my computer to think about post, I'm thinking about it as I'm taking the shot and a follow up to the sunflower do those shots sell really well? Do the do the seniors like them or the parents like them? Do you notice a difference or there's no trend that goes on without I think every client's different that's why I shoot with so much diversity some some of my clients come in and they love the super tight headshots other clients come in and they actually I object to him they go, I'm not putting a sixteen by twenty four on my wall of ahead, right? So that comes back to tight mental. Why type middle wide? The reason we're doing that is in order to give as much diversity in variety is possible to the client because you never know what they're going to like. And again it's digital semi free take the shot worry about it later back to another technical question everyone always wants to know when this one's from in studio what motor you using for immediate lead? Oring spot matrix I am using evaluated metering so ah, little bit of both and that's just again. My preference you know, spot metering is good it's gonna expose the subject, but I find that when I'm using spot metering, it will end up a lot of times blowing out out a background, especially in a situation like this uh, it could really blow out the background where she's got light on her or doesn't have enough light owner, I should say, and so it's gonna expose so much that the background goes out as well. So I rather I lookit evaluative. But then I'm adjusting in camera, you know. So I trust the meeting a little bit, but I'm really looking at kind of the history graham of the overall shot, because she may be a sos fairly well, or the scene may be exposed fairly well. But she's, under exposed and that's, where you used the exposure, compensation to help out.