Group Posing: Two Girls
Okay, we have two little girls let's bring on high sagan collide b and phoebe wait do you want to introduce yourself to the camera collapse a how you say your names do that what you just did to me what's your name wait, I think you did a little more excitement what's your name? Yeah, all right and then be be what's that yes that's exactly your hate perfect you do say your name are you but you're still coming with me I now right wait, we're dead we're gonna move over here, okay? And then we're going to use what? The diffuser panel. So, uh this is worth a good set up because of the big lighting shift. Yeah, exactly. Oh, my gosh what's going on? You want to take give me this it's going to super something warm in the side we could take this off you want me to hold this steady that's a great idea because you know I'll lose it. Okay, what we're doing is we're going to shoot in crazy harsh sun, which I would not advise you not to do but there's a lot of times where you just have to that's whe...
n the shoots happening for a variety of reasons and in this case we're using a pretty large diffuser panel I have one that is not nearly this large but very effective for small groups s and singles and you can get them in all kinds of different sizes but it's simply a panel that you can either have somebody hold up or you can clamp to a c stand that can help block the light and really give you a lot more shade make shade and how people not be blinking and have the harsh shadows okay, that sounds right we'll do that thank you so there's a lot of ways that you can utilize them you can have them with clamps that tilt and shift in this case we've got some clamps that air not tilting so we're just going to take it down and hold it and you could see how you could do that I've had parents hold the diffuser panels and when I want to photograph kids and then I've also wrestled some into trees and had them actors like little umbrellas which is quite nice all right are you guys ready for this? Yes all right we're going to a cute little pose with you guys and I'm a jump back to the eighty five one four win when you get a chance okay thank you all right good can you guys see what we're getting over here so you see how we just make instant shade it's the stuff you usually looking for but if you can't find it you can make it yes way we're gonna do some really key with you guys ready are you cold? Warm her up give her snuggled ill wait but you know what, clyde be do that this way, all right keep going back to snuggles she needs warming that's not warming warming good great job can you grab that? I'll get that. All right, so a couple of things I'm thinking right here is we have even though it's warm in a little bit of chill but this obviously is something I love to do when you have two siblings that would be really cute together like they currently are. We're going, we're gonna adjust the lighting obviously a little bit, but when you have two siblings like this but they're mismatch sizes this also goes for couples. One of things you would do with the bride groom, of course, is you would have the bride either get up something or tip toes or something like that and with kids is actually really cute to do that, so it helps kind of modify the situation ready, switching this reach watching this way and then you show me going up on your tiptoes row pick maybe not you you're already tall ready you on your tiptoes by saying your name right? Say it again for me really loud wow, thank you all right, so we're here one of things I I don't uh often I use a reflector and a diffuser panel, but because you've got this light gray sidewalk and the diffuser panel and tons of catch light, we're ok, we don't need that, all right? So in this kind of shot I'm looking at two things from a technical perspective one I want to make sure they can look at me without squinting are you squinting? I can tell you're swinging your smiling let me see how calm your face like this I think you're screening all right scooch in and we're going to again and then back to snuggles and then I'm looking at the backdrop if I have hot spots behind my subjects, which you get fairly often in situations like this, I can either modify my shot and shoot against a darker backdrop so she this way and immediately rectify the situation where that big, bright hot spot behind them that's going to take your eyes away from the subject when you look at them or I can go like this and have them move in and shooting a higher angle and manage the background situation that way but what I typically don't want to do and sometimes I will, but what I typically don't want to d'oh is ignore that super bright hot spot back there unless I'm going for a super backlit look all right, so we're gonna go this way your discussion here and you're doing beautifully good can you see the over here? Oh, I have foreground I did not even expect that and in the order of what I'm thinking well all these things I'm thinking about lighting I'm thinking about posing I'm thinking about that grand foreground etcetera lastly will be getting the expression I want okay? Because kaleigh api is just gone quietly where are you? Where? Where's baby okay phoebe can you all on the clyde beatty and take two steps forward like towards the big white panel that's perfect all right and switching a spot metering because I have no idea what that bright light back there all right? And I'm just going to a test shot and not worry about expressions yet see what I got I like it it's a hit bright I'm gonna drop my eye so little and then all right, girls you ready just like this except what if you were to hold your hands right here and clap you go up on your toes ease like this? Yeah. All right, baby. All right, you did it very well. I love that. Well, you know what it's only gonna work. Remember dad say watch look, I just it's not way better have been finished I could show you right uh say this is it that's a look oh, I like that actually do that and then they're just dropped your hands we'll just do a couple like um your face let's let's move it out let's move it on over there like this beautiful and then you go like this but a clear and sunny day all right good to live day to get to the party no, she just hopefully not while we're imposing last time the lady all right and we're on ready let's see the works? What is going on here? You just dance alright let's dance we're going to switch it up let's did we're not ready pretty movements very go move it! We're getting uh oh, yeah know fear here this is that right, miss stanley shade shade dancing you don't shave, didn't sing shea dancing I like how you just don't even need the music and you're being lapped. All right, let's get all good give you about thirty more seconds and shabby shade dancing and then we're going to switch up the position. Where did the blue chair go? Hold this will grab the butcher. We have gotten a chair just for you guys. You're cute dancing. Get it out! Just get it out there very important you get your arm a rest for a second, okay and then we're going to drop you to the ground a lot of this shot the impact will be on the angle you take especially we've got movement and you are going to be just thrown in at the annual ready they hey mom come here real quick all right? We're going to try something we're just gonna toss her in ok often when I have a situation where I'm going to be combating trying to keep attention anybody ever photographed a subject but you couldn't get their attention it was really hard to get them to stay yeah so it's fun because that's not just kid that's why they're subject but in this situation what a nice solution that is to kind of throw someone in the mix at the last second and then quickly click all right thank you danielle his arms are like you're shaking it yeah right here and then you know optimally if I'm out here and I'm choosing the spot where I shoot I'm gonna shoot the shade the nice even lighting that's what I would choose but my goal is to show you what you can dio when you don't have that option for anybody out there saying why is she shooting in the bright sun that that seems we're ok? You're in and I'm gonna frame it so I've got half of this and then half of that so a little more interesting than just shooting into a bush and but separated a little bit okay and then what we're going to do is try to get her all settled and then you're just gonna toss around top, right? We're running in and they were going to toss her in and then when she gets here, you're going to ever got it he gonna practice but and then we have a little bit reflector would mind throwing that up here. Let's try out. You ready for your big moment? Okay. Hmm. Well, you got some wind coming in your hair look so good I love it. Here we go. Go back and well, here we go. Yeah that's a white side only yeah, anytime you've got super bright sunlight and you're right up against your subjects, you've gotta switch to the white yes, ok, people were asking about location scouting I don't know if you want to talk about this now or later, but there's so much in this vicinity right here, but say, you know to just a hard actually we're going to see that only in another way actually have a park. So here, what were you looking for? So here what I'm looking for is a combination of having again, this is going to the tightest frame ideo probably this whole time because that to me this is super tight, I'm looking to put them in a sliver of shade like with kids that's that's like trying to shoot in the one spot of the house where they could go like it's really taps as much as possible you give yourself a lot of room that you can you can have a lot more fun with it so this is simply to show you what you can do in a case like this but this is what I want to do from a from a normal perspective in a field I'm looking for obviously interesting backdrops and looking for interesting lines I want the composition to be as impactful as just the subject I think with children it's really really easy to get in the habit of just photographing their faces or their head and shoulders because they are so beautiful and you just go in and you go in and go in but you really need to mix it up and so a lot of the imagery a one to deliver is a combination of all these shooting styles with different lenses and different compositions and she really far back and you know and obviously a whole bunch of expressions awesome so we do have a question over here during my pleasure so you're talking about going from matrix to spot me goring but I know you're shooting in manual looking at your camera so are using the meter bar on your viewfinder your history and how are you establishing that your sport exposure script ok, great question. So in terms of how I'm establishing that I'm shooting with the right metering option, I'm typically going in with the rule that I know that every time I've gotten most, everything in my frame is about the same exposure like a child up against a wall and everything's about the same that I'm going to simply realize that I can choose matrix or evaluative if I'm going to be shooting backlit or my subject is a really small piece of a large overall scene that is not exposed the same way I'm just going to switch to spot or with the different camera model spotter partial on defy know there in the center of the frame and I'm ready for the you know, seventy five percent in the middle only to be well exposed for, and I'm gonna have not as well exposure around the edges, then I'll choose center waited on dso pretty much every scene I look at, I know that I could just choose that meeting option based on the scene, I don't have to look at the back of a camera and check it or check anything else. Really, I got to say, this is my scene, let me adjust accordingly if I can put one of our subjects in a bright backlight, and I'm just going to die on the spot and know that I'm doing well that answer a question for the most part only against some more specifically though you're shooting manual correct correct ok, so how are you? Are you looking at the bar and then you find out so separately the exposure reading, writing the in camera mita ring right? So I think there's a common question between the meter because there's like three or four things referred to his exposure and metering, right? Yeah so inside I will look at that that line in the bottom inside that thing that you find her but I don't take it at its word okay? Because I often find that it could be off a little bit for the most part I'm around there ok, but I'll adjust it back and forth a little bit yeah, but that that will be a totally different reading for me then look it choosing the meeting option for the exposure which will have a lot to do with whom I subject is and what the exposures and situation around them or yeah alright family we are good with the tethering thinking of those questions great all right, so we're gonna do this one scene where we throw in and then don't turn off okay yeah all right and then on and then we're going to move over a little bit into a little bit easier letzin ok you're just patiently waiting there, huh? Yeah, it's kind of your thing. S oh, before I do any actually, I'm always just to make sure I'm all set up in this case, I'm going to be about three. Five because I'm going to have to face is that may not be right next to each other and so I'm gonna make sure that I allow for that. I have a lot of brightness. Be ready. What do you think? And because I have a lot of brightness. Look at me. I'm just gonna make sure that I've got it dialed it how I want yeah, I'm also get a really bright lcd back there. There you go. All right. Ready? Let's. Throw it. Just flying in. Grabber cover, cover, cover! That is great. All right, wait, wait. Wait for it. I'm seeing a lot of blue in this memory talked earlier about switching it. I'm gonna drop it down and then as imposing these two, I want them on the same plane of focus. So I'm gonna have you back here and you back here and then you and then you and then go down there all perfect. I love it. That's. Exactly what I was going for, like, I'd be glad we stopped digging your eyeball out e cio good. All right, let's, talk about here. Um if you noticed on and then we're going to let you guys take a break I know that's like so hard to hold I'm going to come this so we don't need that anymore. I want to come over here and then when we do the family, she will use the clamp. Yeah on we're going to set up over here. Um I wanted to note this, though when I had, uh, set the scene for about a three two with two girls, one of things that I noticed was about three five is that I assumed it so I could get the one girl to stop digging arrival out and because I did that, I had to quickly adjust my aperture and make sure that I had more of an extended feel the focus inside a bump it up like a four, four five if I'd stayed in same aperture crime and really, really close, I would have missed some of that, but in that scene what I would do on a regular shoot instead of struggling to make that work with that lady, I would simply have to add either more of a diffuser situation, reverse them and make it back lit or finally find a different spot but you can make something work if you have to in that situation