Top Tips: #5 Mix it Up. Vary Everything
Last tip mix it up very everything very everything so every time I've got a shot the reason I'm constantly moving is I think the most interesting collection of portrait's are ones where there's a quite a variety across the board it's hard to deliver an animal a slide show I deliver every one of my sessions via an emoto but every single time I dio a slide show it's going to be delivered cash it takes me about six minutes to put together which is awesome but it's like sixty seventy images and it's really hard to deliver and a motive slide show where it's just variations of the same boast like that's not a lot of emotion there like same clothes everything but if you have a whole story where you have this ark your indoor you're out there you're different outfit you're on the ground you're running you're playing by the time you're done with an entire very session and you're delivering that took line it's interesting it's captivating it's a lot more emotional andi I want to deliver a collect...
ion of images that way so a couple examples this is or in the woods this is on she's a senior and were photographing her saw the sliver of light coming through this is the shot as it would be normally in the camera this's about how the day went but I saw sliver of light that number had won a block but I moved her into it and then I just did my settings so that I would s o that I would I can actually tell you the setting differences can't I? Yes, I can. All right. So, um the only difference between these two shots are my settings and one's black and white ones color but there's not a lot of difference and photoshopped to these it just happens to be that guy had his hard light coming through that I used and then I had this natural even lighting that I used in this image is a shot with a nine hundred, eight hundred eighty five one four lens at one one twenty fifth of a second f three two and s o six forty with this shot, I'm now switching it up tio eh? I eso won sixty because she now have moved in this big, bright, shocked delight, right? So I've dropped my ass so down to one sixty mm f four five and about one, two hundred of a second. So, um mimicking like what I would use in a hard light in the studio but use using an outdoors these air back to back shots, but they're really different they're different fields and everything it just has to do with how you're lighting it with natural light on dh how you're presenting it um beautiful little girl that I have photographs and she was a crazy little toddler love her same exact shot we've got her up against these sort of those azaleas. I don't know what a culture I just eat plants don't name them eso we've got her like this and she's just kind of position yourself just kind of a cute, sweet look on dh, then a moment later, she's thinking about something, right? But to me, these two shots are very different, they're processed a little differently, they feel very different and I am not gonna have my client try to decide between the two of these necessarily because they're just so different, they're just kind of different looks and feels the same thing just a little bit of a variety she's just laying there, waiting for me to set up putting the lights together and then I'm just going to move back, change the lens and shoot again. So even though these air right next to each other, they're different feels this one's going to be delivered in black and white and be kind of dreamy, you know, this was going to be fun and silly and color outside on a shoot little girl in the sunlight, really fun, three shots in a row within seconds of each other, we've got this, we've got this, we've got this so what I'm doing is we're not doing these big, dramatic things. Thes they're tiny little shifts as we go, but we're adding a lot of variety in the chute that teen I think I showed you earlier. This is us getting ready. This is her just kind of closing your eyes and as a moving things around this's the image she wants, this is them. Did her parents want, you know, a break? Clean color, full face that's, my girl, that kind of difference out in getting the kids ready. It is a little about me down there getting the kids ready to do a shoot, putting them on a very high wall with a net behind them. There was a net behind them. Uh, is very high wallop here and then just doing nothing else. But changing the lens starts changing the focusing, stepping in closer and changing the lens again. This combination is super common for may. I go really far back, I go closer and change lens. I go closer and change lens and I've got a good amount of variety in a really easy kind of step. Step step, lastly, is have a whole family here. This is beautiful, whole family shot. We've got them up against this kind of dark light, so we've got some light coming behind them, so it's not all swallowed up. They let the kids go, the kids run around behind, and I turn and look at a whole different shot, which is just cracks me up. But you're looking for these things, right? You're mixing it up, you're adding a lot of variety. I'm not gonna have them choose between this in this, because they're just totally different.