Shooting in the Shade
You want to come over here for another shot all right, so now we're going to stop combating that harsh light but you can obviously we could do we could do a lot with it on we're just going to jump over tio this beautiful thing that's a door thing what is that called it's like a wall with flats on it? Third segment but go ahead. Yeah, ok. Well that's what do you call that sighting we're gonna say citing all right, ready we'll switch up are posing a little bit jump in their sister I'm gonna go right on here yeah good um so now we're not going to combat the lighting so much anymore she's a nice even shade now we can work more imposing expression we not to worry about the minute little things that we had to worry about before and I kind of like this that you're doing with your hair that's working for me and now we'll use the reflector okay and then remember look at where I am in relation tio your your find your light first yeah. All right, I am taking your probably I know I get it. I love ...
how she's looking at you she said not sure what you're gonna dio that's good actually just right there how is wide and high and then just back up a little bit yeah beautiful okay are you back to that she's like I think this look holds and I'm going to hold it that is beautiful all right so we're now in the shade I'm going to be probably a nice oh two hundred um is that coming through okay for you yes try to get ready you just stay there and be awesome yeah that's good okay, so I'm gonna switch my meter ring back tio evaluated her matrix and uh and I like with the exposures I'm getting I'm in a two to I'm at a one three twentieth and I'm at a nice oh two hundred on dh now I'm going to worry about the look you know if anything ever drop that completely look at me denise all right? We have incredible catch light without any sort of additional source of reflection so what I'm gonna do instead is we're going we're going to create a fan all right? So just gonna be kind of the yet there's a light one way you're gonna be like this as you are one hot one thing you're hooked in feet out here yeah that's good and then um kind of dio I like this yeah we're gonna have a little bit of good let's do it right oh, wait for it the wind is coming who pinned is coming any minute now the wind will hit you so good it's going uh oh god as I'm going towards her I'm making sure I increase the f stop number which of course is narrowing my apertura and I have to in tandem switch my shutter speed I like this so to move ever since you can do this I don't always get children that I can kind of pose a bit more but I feel like I can do me a favor like this yeah like this yeah right like this we're going to a nice tight close up ready yousef all holland shut it us shut it on okay wait wait it's going to gross face there as I wait wait hold on father puzzlement okay we're gonna pause the way we're going to a really bright pop up that's the diffuser panel grab be just double it up yeah there you go like that they're going to extreme close that beautiful is it really that comes on up there she is right good. You look so good group try seriously ready a little bit can't do it every now and you're back think of dreaming and clouds and puppies yes that's geared and then just one in this sort of frame it's really tempting to stay up on her but I'm going to jump back and make sure I change the composition so I'm gonna go really wide and then use that kind of split screen composition that I can actually have right here okay and you're going to stay as you are because you look at the list might try this one again really long like this maybe even like that. All right, loosen it up again legs go back to regular yeah, ok like this all right, dude again uh beautiful good that that I'm doing that at a two two which is a little risky but I think we got it you can zoom in on that it's a little soft for my taste I would do it again at a three two ready to try one more time and then I make sure my shutter speeds picked up again let's hold that to show the difference so that shot that I just did terribly cute spin looks really cool but the problem is my shutter speed was lower because I was just sitting still and my aperture was a little larger than I could really get to control so and I'll explain all that a second side by side but I'm just gonna switch my settings make sure I've got a good test. All right? So we're gonna do that again. Let me see it beautiful s o just on the framing of that let's hold those side by side because I think that's pretty impactful um on the first one we were shooting really, really close and can we zoom in on that soft one just a hands so you see how we're soft were bright were at one one sixteen second I'm not going to get her spinning an f two to one sixtieth super sharp unless I'm gonna tripod and everything's in my favor, that is going to be a problem because I went right from shooting those beautiful close ups toe having her move and that that is a normal problem that a lot of portrait drivers have, especially with children, and we switched the other frame and zoom in to see the difference. Now I've got the exposure, right? I've got the eyes sharp, you can see him out just a hair to show it the frame of it. Okay, way. Go in and out, but I want to be able to show, yeah, there you go and then if you could show those side by side, you do a great steal. This is fantastic, okay? All right, but maybe give at least look at the one and then pop the other, I think there's a noticeable difference in terms of obviously exposure and unintentional blur versus the sharpness that we want. All right, good on that exact same scene, I'd probably dropped the shutter speed down to make it slightly slower, and then, uh and we're good that they'll give me a little more exposure back in the scene.