Simple Posing:Young Boy
And we're going to switch locations I love this look by the way but we're going to switch over to one of our other spots with a couple more ma why don't we get our little boy real quick and they were gonna get the girls together next um kid key and it's lovely to meet you. How are you? Are you ready for this? Okay do you want to start here and then move on because you were kind of bee lining? Okay, good. All right, let's talk about this is actually interesting switching up with posing girls and boys sometimes there's really not much of a difference other times you really want to make little shifts as it relates teo small little ways that children can hold themselves and you do see a difference with girls and voice all right let's jump up here and then do me a favor go on your feet first I won't let you fall and then scrunch down like that yeah like that like that and then we're gonna have you go a little bit. Is this a little weird to be doing this and that all these people it's kind o...
f strange, isn't it? Are you awake it you you are you are not what would you say say this high I speak yes, you may say here's some of my discussion ery thoughts here's my opinion on health care in america one of things I'm seeing in the color balance of the shot I'm considering several technical things as I'm going through this I'm considering that I'm getting the child and focus that I've got a nice background obviously we want to make sure we work on expression that's usually last don't tip over on dh then I want to be able to hit daniel we do me a favor just stand right next to you um and then I want to make sure that I've got the met right metering option in this case I'm going to be at matrix are evaluated based on your camera model because everything's going to be about the same exposure and from a color bounds perspective I have a pretty cool scene if you look at the the last shot I took you can see that pretty cool in camera and what I mean by that it's got a lot of blues could you guys see that okay um and I could either make a decision there to warm it up or stay with that kind of cool urban look just for effect in this case I actually like it I'm gonna keep it but I am really be adjusting that as we go all right ready you're not allowed to fall okay all right stay just like that and do this and lean forward a little bit dance and have a little bit you have magnificent eyelashes and give a little air ah, yes again. Do you like practice that cool? Look, it looks like something that you like. Spent time in for the mirror doing I love that. And as she's moving the reflector, I'm getting the lights going back and forth. So, it's, nice to have a fan and a reflector on, but we're still about a half stop under so we're still okay. All right, let's do it again. I just got mad it just bump up my exposure by making my shutter speed a little bit slower. Let me see it again. Brilliant! Oh, my goodness. Could these kids be doing any better? That is crazy. All right, so what I love about this shot that you can probably see right now is it's a fun pose. We're going to just his arms a little bit, but I kind of like how just he's like letting it all hang out there's a lot of personality and image, which is a huge thing for me and I've got my love the movement in the hair. This is what we're looking at, by the way, you look amazing. Oh, you know what? Since we're right here, let's do and you've got this look going on let's, do the man model thing ready, so you're going to like this and you're just going to go like this like what's that man do that ready we're just going to reflect her yet and then go like this a little bit like you're almost scratching yeah and actually stay to me what's that you say that you feel me I totally dio white that's going to drop the blues a little bit getting a little blue tea for my sake my taste lean forward a little bit towards me yeah like that there oh that's so good I'm gonna move this whole chair if you can see the way the light is shifting it's something that I'm constantly considering outside the light is constantly moving because it is here I'll hold him and you in the chair one, two, three yes right there. Nice job on bail just fan that a little bit the cons the light is constantly changing and in the background of this shot right now it's getting brighter and brighter which means that I mean they're gonna have to shift my meat oring block it or move my subject so I don't have that pop of light behind him really distracted me and I think you could see that on the on the shot that's up right now okay, so I am going to do something a little bit different I'm going to step back and we're gonna ship your post can you sit on the edge of this and right across your one leg at the knee real quick yeah, but it's gonna be like this yeah then scoot back a little bit okay and then try that like just relax good and then your hands were really relaxed to feel good you are trying so hard to not let that watch I have to do is to stare him down this is just going to be and I'm stripping my focus a little bit so I'm gonna make him look towards me so I don't have that hole that line down the middle behind his head cause that'll drive me nuts turn your head a little bit towards me and then drop your shoulders your shoulders really high yeah yeah it's good, good responsiveness okay and all I'm gonna do is stare him down to change discretion cause that's all we need it is going away and we're gonna get back that is so good I love that. All right. Any questions from the audience? Yes. Wait tell us your name and everything. I were meeting you guys. I'm angie johnson and I had a question when you were saying you're dropping the blues again when you're dropping the blues center you oh yeah doing okay specifically thank you that's a great question the question is, when I'm dropping the blues, what am I talking about when you're looking at the shot in the back of the camera you khun tell from a color balance perspective that it's got a lot of cool tones to it and so I'm shooting in an auto white balance mode that's with more with the skin tone option, but I'm going to adjust that teo I could actually go in the back of the camera you can do this, I think in both cameras now so I know for sure in the night cons you could go into the color grid and adjust it or you can simply click white balance and I can't show this on camera if you look over my shoulder all quick somebody yet so um if you click white balance and you literally it pops up you want blue or amber so says beer, eh? And the blue is the cool tones in the amber is the warm tones and so you could say start what have you ever seen a shot? And it looks great except looks a little warm so you can go and say, do me a favor and cool it off and so those are the ambers and those who blues and I'm just going to say, you know what I think it's a little too blue and I'm in a drop that coolness and make it more amber so it's just bring some warm right there and I'm shooting and raw, so obviously I can at any time go in and fix it later, but when you're doing a lot of shooting it's, much nicer to just get it right there while you're on the hot good question. So a quick question about the different things that you're using, but can you tell us what size reflector that is that you're using? Is that typical of what you been inspected? Forty two inch were going to say it is okay, andi, I use I have one of the larger ones that I use a lot for families, and then I've got a variety of smaller ones. I honestly think I have like twenty reflectors, but I love them. They're kind of stashed everywhere for any any time I need to take a photograph on this is a nice one because you consider the silver or the gold on and off and then look atyou demo ing it, and then we've got the bright white here, and then you could probably pull this down to a diffuser panel alone as well as a flag. We're going to be using a user panel later when we have some pretty harsh sunlight to show how you can work with that really well and get a lot of great results on and there's a flag in there too, right? Yeah so do you have a side table to block the light if you need thio which is really helpful okay we're going to switch it up a little bit you ready? Jump down we're going to move that please I know that's really heavy you got it okay and then so I'm going to make you do a little bit of action are you ready for that? I'm going to switch to the twenty four, seventy two eight lens and we're going to get you moving towards me do you feel good about that? You feel like your hair is working for you right now I think it looks really good. How do you not okay, um twenty four seventy lens is it popping up? Oh, I was playing with the white balance I was like why is it so cool? All right, let me switch that back and then do this here. Thank you. And, um lens hood I tend to not use the lens hood if I do not need it if I have a question of its being acolyte oh are possible getting errant light into the lens which could actually affect the quality of the light you're still doing the look I love it it's only starting up and lick the lens I want the lens protector on there but otherwise not so much all right are you ready for the big movement? You're gonna d'oh how would you normally walk all right, we're gonna switch that were put in some swagger you know what swagger is hey swagger is so this is how you walk toward me just now right but look look you're gonna do this practice it was this practice right towards me come on like a little bit like movement yeah all right we're up the degree of difficulty going to the same thing but you're gonna put one hand in your pocket now try it again just one and just like yes all right go back we'll do that that is perfect all right you ready to follow him with reflector yeah so um since we have uh some movement the first thing I'm thinking from settings perspective is I'm bumping up my shutter speed I wanted to be faster because I don't wanna have this great look from him but lose it because of ah slower shutter speed that's gonna get me unintentional blur all right? The only trick is you're going to back up to do it and I'm not relying on you for a tunnel light because we've got some nice bounce here they'll just be but the big thing is be mindful that we want to keep out yeah okay so um probably the easiest thing to do here is I'm gonna have you start from here the reason I'm having him start from here is I don't want this break right behind him head when I've got this great love going on because he's going to bring it so much and I'm going to be ready for it. I'm going to switch my settings. I'm bringing my s o up to six forty. I'm bringing my shutter speed up to one, eight hundred and I'm probably going to bring my f stop, tio, about three. Five I think she'd be good. And again nothing wrong with testing it. He's not even paying attention. So is the perfect test. All right, I'm gonna bring the ice up one more time. Okay? Let's. See it, sweater. All right. Good, good. Good. Do it again. But look towards me the whole time why we dropped the reflector. I think I'm just going to use my s o I thought about what? My eyes. So drop the reflector and they were gonna do it again, so I don't have to worry about that. All right? Right towards me. Whole time we need we need to beat you guys. Got something? There you go. All right, baby. Let's, go break it, it's that you keep with you towards your dad, don't you? I can see it. Yeah, right hand of the market, yeah, I'm gonna drop that. And then here's what I'm noticing by the way when I start and when I come back as we move away we're not we're having a little bit of a light drop so I'm gonna make it a bit brighter than I normally would out of the gate just to do it in your pocket it's all here ready are you with me say I am with you all right let's do it to move over this way a little bit okay no doubt with me you're with me right hey right here here wait so good, eh so good and then I would like that even that kind of fun thing I was zoom in on and we're going to keep playing with that a little bit more I love that ready do you want to see a burst mode give it to me right here shaking off hannah pocket move over this way go back and this time we're gonna read did you guys see that pop up so good this time you're gonna run ready beautiful so good. All right. Uh let's let's move ah scenes for a second um not before we do this you keep wanting to pull that down let's do one way look at me I have to look at you all right? We're going to switch seats um I love that on that on that shot and that's what's showing up right now that's the perfect reason why it's nice to have a little bit of extra frame around you like if I produced that last shot I think the next one's coming up but if I produced that last shot I would want to have more room underneath or if I had that where is cropped at the caf that I'm going to crop it all over to fit so it looks like it makes sense it's because I did burst mode right that's why it's coming up? Yeah, okay. All right, so we're gonna move to your next location, which is like a foot away. Um do we have any questions about that? And you're gonna get a break, by the way but coming back later go do an outfit change find yourself a hat? Sure. Yeah. Strong blow. My question was were you doing constant focus tracking with the child while he was running towards you? Yes. That's a great question. I tend to do single shot focus and then recomposed recomposed when I do a lot of fast action like that I like to switch to auto are continuous because it's so dead on the predictive focusing yeah, so it's a really smart move try to do it ever got especially for burst mode. A lot of times what I'll see with burst mode is people will focus right there but the child's still moving and it's getting more and more out of focus as you go, so it helps to kind of have that continuous going. I just want a comment on what a moment was, what people were saying in the harems when he was when he was focused on his dad and then you went up and got right in his face so that on then backed up so that his attention was on you, right? Exactly there's so much about all kinds of geography that certainly children's photography that's about energy it's not finding that bridge between you and your subject and you don't need it forever, but you need it for the second you have the shot, so I'm a big fan of finding like making that bridge like forcing that ridge just what I do you for the image and that works a lot, especially with the other thing you notice with him is when I had the lens in my face. Did you see how kind of straight faced iwas but the second I moved away and looked at him it's like it's, like a human? Oh technology human question back to focusing to use we're using what's your name about robin chan, nice to meet you back button focusing for this kind of thing or like shutter release so my take on back but focusing is it could be during the useful in situations where you can have your focus dragged away unintentionally, and if I were starting out today shooting, I would train myself to shoot back. But focus. I didn't do that. I'm so comfortable with a shoot. I've tried to move to a few times, and I just don't love it. That being said, if I were starting out today or I was just getting up to speed more, I would use that because you have more control. So I didn't use it all in and out, and I won't.