Lighting

 

Children's Portrait Photography

 

Lesson Info

Lighting

We're just going over family portrait's and going through the tape and looking at camera a camera b the story out of camera shots and the edited shots after we got done with that we talked a little bit about how to interact with them is and how to bring everyone in and how to get some buying on this sort of shoots on bleeding right now in tow lighting so we switch sets we were over there in the nice cushy comfy chairs and here where in this makeshift studio with the backdrop in the lighting and the window light and the overhead light and a whole bunch of stuff going on so we're going to talk about lighting in theory what kind of things do you want to consider when you're in a studio and you're photographing kids? What kind of things do you wanna consider when you're out on location photographing kids or families um and we'll just step through it and we're gonna do a little bit of ah this is kind of it and let me show you this is kind of it and let me show you we've got why it is our li...

ttle human joining us that is craig son and he knows that we're completely focused on lighting and set up and technicals so it won't get to interact with him as much because I do want to talk to you guys about what I'm doing and why so that being said, we've rigged up a little set up here. We've also found out that some of the lighting equipment we thought we had seven place is strewn about and we're trying to collect it. And so it will probably be doing is a combination of here's, the lighting we use and here's what we do, we don't have it and kind of show you some jumpin substitute things because we have no choice. All right? Lighting are we on this uh monitor? We see it. Ok? Yes, some affirmation, beloved. Okay, alright lighting so way all know that lighting is ridiculously important photography it kind of is photography for me. I can do all the stuff we just talked about, which is capturing expressions and interacting and getting these endearing looks and feels. But if I don't have my subject lit well, I kind of lose the whole point it's not gonna matter. I can have the best conversations in the world, but if they're not captured in a way that you can see it and feel and experience it, it won't really matter. So lighting is critical. The interesting thing about lighting is there is kind of suggested course of what's your most simple lighting setup you want a main light, you want a feel like you want a hair light or a rim light and you want some sort of realization that you're gonna have unless you're shooting an incredibly dark room or a cave, you're going tohave ambient light so how do you deal with that in terms of mixing all the color of lights that you're dealing with? Yeah, am I going too fast? No so when I'm in a studio like this for instance, we just this is just simply seamless paper roll down we have a huge bank, a windows over here that we've got a lot of diffuse like coming in thank you, seattle clouds sky and we have a couple extra lights that I wouldn't normally having a shoot but there to help you see this video broadcast so I'm gonna have to be able to factor in for those lights we have a t d five spider light from westcott that arrived with bulbs, but we can't find the scrim, so we're gonna make a scrim and show how to deal with that we have a tv three that I believe is being constructed right now did I see celeste? Commitment lights awesome so we're good we're putting that together right now we're gonna use that for a hair light and, um I think that's the most they were gonna dio one thing to think about as we step through all of this is that when you're setting up ah lighting situation um and you're photographing say a couple or a person or a portrait or a bride you could do things like set up and light for the subject light for the background figure out the difference between the two and really nail your exposure with children that would be a wasted experience with children the way I photograph them the way I photograph children is I want respond to how they're moving and what they're doing and make it very expressive and fun and if I'm having them you know glued to a chair and telling them not to move this way and that way it's not gonna work so I need to light with the idea that there is no respective distance of my subjects the background it's going to shift constantly so I want to be able to have a nice even lighting that still gives me some sort of contour and shape in terms of dimension I don't want to be super flat I want some nice even lighting but also white bertha room so that when the kids race this way and that way I can adjust to them that makes sense okay I feel like it's my chairs this way I'm talking to the camera and not to you people but I still love you okay um so these are the things we're talking about for studio lighting a main lighter a key light you can have that be a wide variety of sizes, but usually you want that is your biggest sized light outside, of course that's usually the son, your fill light and that can be, as you say, c ous on the earlier tapes, I shoot a lot with the reflector, but that's also be a foam core that's cut to a certain size. It could be a certain type of clothing. It could have them close to the ground on a seamless paper and using that for a bounce, it could be additional light, which we're going to use here gonna have a feel like you could have a hair or a rim light and that is usually used to, of course, help separate your subject in the background. And most the time I'm only using that when we have a need for a break between the subject in the background. So for instance, if I have a person in dark clothing with black hair and a black background, I'm gonna definitely pull out the hair light and use it. Or if I want to show off a little bit more kind of spunk in a child and I want the hair little from the behind, I want to show that kind of fun, you know, spirit and movement, then I'll use it for those purposes. The ambient lighting again most the time, most studios don't have a controlled camera room where everything's blocked out and you're only working with controlled lighting. Oftentimes you're working with overhead lighting, I think here we've got some fluorescent, a few fluorescent lights everywhere we're using now side lighting, which is the natural lighting on dh we have anything else, it comes into play, so we have to figure out how to bring all those lights together so we don't have, like, a weird looking shot. Um, the other thing we're thinking about is if we're using some sort of main light that's not very large, if we're using a small main light, we have to think about fall off. Um, I will just say for the record, that this awesome illustration here, I can't take full credit for it. I've been spending the last year partnering with rex ballard, who is a cinematographer he's, actually director of photography with extreme makeover home edition, and we've built this product called capturing life better, and we had a lot of illustrations built for, and this is one of them, but if you can see, it really illustrates how flash can fall off and how someone could be perfectly exposing the front, but if you have a grouping of sorts and somebody's away, a little too far back or a little bit off to the side then you're gonna have an issue if you only have one front light this is most commonly seen when you're shooting with a on camera flash with a built in flash you often get this kind of configuration of light because you've got a short burst of boom like short burma beukeboom light uh burst of boom light and it only goes so far and then it completely drops off, so if we're talking about a main set up you have in a studio, what do you want to think about when you're out on location when you're on a location? You're thinking about things like your natural lighting, so if I'm out in a park and I'm running around the kid, I'm still thinking about the same things I was considering when I was in the studio I'm thinking about my main light I'm thinking about my fill light I'm thinking about my hair light and I'm thinking about my I'm being like, um the differences of course that these lights are coming in different ways look at me, I am totally toddling both you see what's going on here and so I'm on location I'm out with my subjects and I'm looking at are they both lit properly in this sort of instance? I want I'm recognizing that my main light is the sun and I want to be positioned in a way that I can see where the light is coming from some show you a little illustration of that in a bit but I want to be I don't ever want to just put my subjects in front of what looks good behind them I need to think about how the lights hitting them so I have to think of where my subjects are in relation to the main light all the time I'm also thinking about fill light obviously I used reflectors a lot and I use that to bounce but I could put a child under a tree and know that in position them with this fabulous feel like because it's sudden is bouncing all over the ground and it's coming up and all sort of directions and that's a nice even lighting so you have to think about the fact that light is always travelling in a straight line and if light is traveling a straight line there's something to bounce bounce bounce is it getting to your subject properly and illuminating them well this is why if you're losing something like this is image in the left she's laying down in the sand you can actually see some of this hand on her on dh those catch lights are completely because she's down the sand and that sun is bouncing right up because I'm position her away that I've got the main light bounce back and this baby is in a little rap against the window and mommy's arms and I had her roll the baby over a little bit so that light would come all the way in from the main light so I'm always looking at faces and thinking where is that light going? Tio so here's a great illustration if we're out and the sun is one direction coming from one direction you can kind of see where that light is falling off and if it's shadowed on the left I'm filling for the left it's a simple is that I talk about simple lighting set up it's a simple is that I bring in a reflector I bounced the light that's coming from that son back up and I fill in those shadows that is all I feel like is doing it's filling in the shadows so we have nice even lighting if I find that the sun is directly overhead I have to think about where is it dropping down if for instance your subject has banks awesome banks, you're gonna have this kind of shadowing thing right here or it's going to come completely and hood the eyes and you're going to have chateau right here. So now you're thinking about when you're using a reflector where you directing the light back and that's why just holding a reflector up and back of your subject isn't the same as filling the light and you're looking directly at like, where are the shadows where those dark spaces and how'd I fill them in you have if you subject same thing the flip thing if you're if you have a subject facing the other way and the light is coming that way you're now adjusting and filling so you could have somebody standing there, the lights coming in and you could change locations and now the lights here and you just have to make sure you're filling in for the other side the same thing with backlit I shoot back lit a lot a lot a lot a lot because I think you get this beautiful thing where you just blow out the skies or the window or the door e or whatever, but you're illuminating your subject's face really well by just holding up a wide light reflector and bouncing light back and if you don't do that if you're shooting and you're exposing for the background instead of the subject, you're going to get a silhouette and if you're trying to do the average between the two, what you might end up getting is a subject that is kind of moderately flatly lit with very little to no catch lights and that kind of you know when you're looking at a subject that it looks very animated and fun and there's no catch lights um sometimes that conveys a sense of lifelessness they give the lost something because you don't have that those eyes lit up and so I always think a lot about cash lights that's like when you see it here that's what I'm going for here that's what I reflect back I want to manage those shadows and I want to grab those catch lights so a little bit about any other questions about fill light does that seem pretty straight for my talk about using fill light in natural situations? Do you guys all feel immensely comfortable that you're gonna have no problem whatsoever feeling in light on location? Now I have some questions from the chat room around do you ever have an assistant that's holding that reflector? And if not, then how do you deal with that? I have very rarely if I find that I'm like strange or out of control or things are nuts for me and my the rest of my life and not like I'll have an assist come with me, but most the time what you saw in those video tapes I'm bouncing and my legs I'm holding it over I'm asking mom or dad to hold it and you know, the other thing too is, uh I talk a lot about where to point the reflector because I see a lot of people use reflector and just kind of pointed at somebody and it's not doing anything or it's worsening the situation and you have to really get good at looking at where the light's kind of dropping and making sure your hold it in place and when you hand it to mom and say please hold it there it is really likely that they're going to be you know, it's going to be reflecting the person behind them or something on dh so I make it really perfect and I make a game out of saying that you know right there you see there and I give them you know, one minute tutorial about what a reflector does where I want the light to hit and I've just saved myself twenty minutes of bad lighting because I spent a little bit time showing them what it is and if I have older children do it I always give the analogy of have you ever sat on the couch and played with your watch and had a light go low go low go over the no no he does anymore is hardly he was wearing a watch because they're all have an iphone but if you've done that where you could see the reflector move and you play a game with it or you mess with your cat and have him chase it um it's it's the same sort of thing it's just a much bigger reflection so you don't ever use the stand I'm not on location no in the studio I will but even that I mean I've gotten so comfortable with this I'll do that if I had a large group and I need some other things to focus on but most of my portrait sessions or not with an assistant and a few times I do use an assistant I'm like oh my goodness that is so much easier and keep in mind reflectors aren't just for reflecting light there also for blocking light so if I have a great shot and everybody's under a tree but there's some dappled lighting coming through that's that that's a solution where it's great to have ah assistant grab the reflector and hold it up and block the light for you so would you only use a reflector would you sometimes take like the soft box or beauty dish outside never ever ever do I take a soft box or reflect our beauty dish outside um I've seen people do it too beautiful effect I just can't fit that in so I have to get really good at reflective light yeah and how do you keep your subjects squint from squinting how do you keep your subjects squinting when using a reflector question but I think they mean from men from squinting up um uh um how do I keep my subjects from squinting well if I'm using that soft side here let me show you have got the I got here this is the uh bruce thorne um it's the uh muslim how do you think I think that's right my husband I've got the muslim side and the super shot assad and I really prefer these over the just white whitened silver's because this is going to reflect light back so I'm gonna jump in here come on different uh so I'm gonna say and I'm gonna do a little bit with wyatt write much of this in detail but if you come over here and you're facing this way for instance yeah can you guys get this on camera? Um I want to find out where is the light and then how am I gonna bring it back in so I hold it right up here you guys see that? Okay, okay, so I'm holding this right up here if you look at jessie's face without it and if I'm putting it right here do you feel any need to squint now because this is really, really soft light and it's not really really sharp but if I did this but this is more squinty, right? Yeah. And this is really harsh it's a really harsh light the only time I'm gonna use this super super close it if I have extreme low light and I'm gonna take every thing I know I'm sacrificing a warm soft light but I'm getting everything illuminated and I'm gonna soften in post I think that was example the little boy in the bar when I made the card out of that shot s oh, a big difference with this nice soft ms lin light I'm not gonna have any sort of fear of squinting whatsoever and this is the same thing in harsh sunlight with this this doesn't make any ways went thank you thank you sir you're welcome, ma'am. Well, I wasn't making um okay any other questions on that people are wanting to know if you're holding that like that how are you also shooting? Well didn't you just see the video show you exactly how to do that? Uh I'll grab this camera sir right here. I would like you to go with, um, supreme commander when I say so, sir, you say yes, supreme commander okay, all right, I'll take that. All right, so I'm going like this and I'm holding it literally. First of all, I'm not helping miss do this right now you see it, but I will have him help sometimes. Absolutely. If you saw that I have ah, adults and kids hold him all the time. Well, I'm having a hair separation. This is also something I do a lot when I run around with kids in the back applicable to about fifty percent of people watching maybe okay, so if I'm doing this and I want to hold a reflector and this is because of where he's standing what I would normally do in this situation is making stand somewhere else because this isn't the best situation I'm holding the reflector and carbon awkward way right um uh I think we're gonna use it why it in about fifteen minutes is that good for you okay so I'm gonna hold it like this hold on hold on wait for it okay they're done and then I can shoot I can set my settings and ready to go and then remember you've got the button to shoot where my being photographed remember you have depending on which camera you have this isn't my camera is it you have the we're scared but is this risky resists yours this one yes okay take my lenses we were doing we were doing camera shuffle earlier today we're working with about five cameras in eight different lenses remember you can shoot in different spots depending on which camera you're holding you could shoot it like this and you can shoot it like this and you get it all set up so exposures in a correct way and then shooting us in a sort of odd way so I could do something like this makes sense okay thank you sir yes commander all right um when why it comes out in a few minutes we're gonna have him master the reflector to it and show you what I'm talking about with kids uh all right let's talk a little bit about exposure so I have a lot of people asked what exposure setting I use on my camera I often use partial metering um and I do that because it's uh it's about ten to fifteen percent of your your image is they're taking a reading you cameras taking a reading from about ten to fifteen percent of your image and its judging the exposure accordingly this is a really good in situations where you're using backlighting and you don't want teo meter the entire scene you want to meet her for a chunk of your scene and most of the time I'm meeting for a chunk of my scene because it's subject to a three sort of people if I am going to be moving into um I need for evaluated me tearing this is when I want the camera to take a reading of the overall scene and find that and go ahead and measure for the shadows and the highlights highlights and take all that together see it's like measure, measure, measure measure everywhere and then boom kick out the best exposure for me. This is a great situation where I'm shooting a family across against a back like a black background and um I don't have any sort of issue with I only want to focus on one's chunk of my my frame or I have backlighting right like that I have a situation where I went the entire frame to be well lit and well exposed that's when I'll switch, but I waited me during any questions on that army during because you can also do spot meter you dissenter waited there's a lot of choices. Me, I'm constantly flipping back before back and forth between partial and evaluative throughout your chute throughout my chute, usually most the time I'm shooting impartial it's just like when that that shot of the family in the barn, when I had the whole family come together and there it was black behind them, and I wanted and I was shooting pretty well, um composed in that the family was taking up my entire frame, then that is what I want to go to evaluative metering, and it will make a difference if you had played it all with your meeting functions in your camera, and you try, all four of them are five murdered, twelve of them, depending on which camera you have. But if you try all four of them and for the exact same shot, you'll see a difference. And you maybe I've talked teo photographers who have been shooting in the wrong meeting mode for their style photography, and when they switched that they're like, oh my god, everything looks so much better, so that's something to really keep in mind, think about that and just tow folks uh, tip for folks uh in the chat room who are nikon shooters? The value to me during our cannon is the same thing as matrix metering on a knife I'm not a nikon expert so they tell me that no that's true I'm just oh, I'm relaying that on okay, good people were wondering tell you that it's meant yet you know, you're absolutely and do you ever use a great car? I don't use a great card and I shoot somebody asked me yesterday about running around with all the kids I'm shooting all the white balance the whole time so that I can have a consistent look when I go into processing any other questions okay, right? Do you ever use a light meter? I okay, so this is what I'm gonna get into right here of say it again it's from love and chairman of love um when I first started shooting in a studio I was really big on let me meet her everything and get a really good idea of what my racism with what my separation and this and that but what I was saying earlier is I don't have that luxury dalton like that be fantastic if I could perfectly lock them down but that's not my style that's not gonna shoot um and so I don't do that at all anymore now I just kind of got you know again when I was doing mme or kind of like how can I make this perfect perfect um I got really good at understanding where my settings were and those settings air usually about the same in range and I can make a little adjustment as I go, but I know if I'm starting in a studio on starting with these settings, I know if I'm starting out on an average day under a tree I'm starting with the settings I know if I'm in a dark barn I've gotta start at least here so and that's not a story intuition so much as just practice and experience um the, uh, interesting idea if you feel like you're not necessary there yet and you want to get there would be uh I would create a little cheat sheet like I would track my last ten to fifteen various lighting setups see what my technical settings were what was my metadata write it down and get really good at saying oh, can I'm now back in the dark barn what you know, where was I last time? Oh, I was at thirty two hundred I so did by the way just to clarify someone asked me on the break when I was talking about shooting at one one sixteenth of a second if I said that it was one one sixty f so one over one six oh, not one sixtieth of a second sos were shot at one over one six oh, the shutter speed. Okay, great. All right, so let us move into talking a little bit about the specifics of shooting with your technical settings. Um, lighting an aperture let apertura as it relates the lighting or your depth of field depth of field, of course, is the range of distance within the subject that is acceptably sharp. Um, a couple of things this may sound a little basic, but, um I've talked to a lot of photographers one on one after workshops and such that pulled me aside and say, you just tell me the difference what aperture and the small in the large and the f stop and this and that, um I think that something maybe people feel a little weird asking in a group setting. Uh, so I'm just gonna say it and if you care to hear it, this is the deal. Um the smaller your f stop means that you have you have a small f stop number so it's f too eh fto f three two or so that is the larger aperture, so the smaller f stop is the larger aperture and that means you're letting in more light and creating a shallower depth of field the bigger your f stop is the smaller your aperture and that means you're letting in less light and you have an extended field of sharpness or a deeper depth of field that makes sense okay, so that's important because people use this verb ege kind of interchangeably like yeah do a small f stop that's large aperture wait that's lost I mean, it gets it's getting kind of funky in a little bit confusing um and it's important to remember that because, uh you need to think about what aperture is and how it's working and when you nail that down, you don't even consider like, okay, it makes a lot more sense that I'm gonna have to shoot that with the very deep depth of field and I know that's gonna be f sixteen and that's how I'm gonna do it so just really study that if you don't know that very, very well it's worth nailing those definitions down um, I know that when I first started out and started looking around, I didn't find anybody or anything that told it to me that simply because it's that simple and if you want to think about a lens being your eyes, if you don't think about the lands of being your eyes, your aperture is how much light you're letting in so it's how wide your eyes are versus hand narrow, they are I said I did that, but that's it that's what we're talking about, it's like, how much light am I living in and how much light of my letting in? So if you're squinting, I'm not letting that much light in and that's a smaller eye opening or a smaller aperture, and if I've got my eyes wide open, I'm letting it aton alight that's going to be my smaller f stop, you know, and I have less yes remember we were doing the image critique yesterday and baby cantrell said, teo, squeeze your eyes tight to be able to see with the lights coming from you see how much more you can actually sharply focus that way on some things it's kind of interesting, so that's that relationship? Um it ties into managing your field of focus. When we were showing the family shoot, I was constantly saying, get your too close to me back up, you're too far away come in, I wanted to keep them on the same plane of focus that's a big, big deal when you're shooting groups because it's very easy. If you're shooting with a larger aperture, which is a smaller f stop and you've got people around your main subject falling out of focus, they can follow focus really, really quickly, especially if you're shooting close to them. And you're shooting with a shallow depth of field that makes sense, yes, so shutter speed as it relates, toe aperture and f stops is the length of time your shutter is open, so I'm going back to the eye analogy that means how fast and my blinking and I go on like this for my service. I mean, the slow a shutter speed is by one hundred s o r my one hundred one one hundredth of a second of or one one sixtieth one over sixty one sixtieth that's a really slow shutter speed that's a very slow blink, but I'm doing that super fast with my eyes that's like one two thousand that's super fast! I'm freezing things, it's going very quickly, so that's different, studying a slow shutter speed and a fast shutter speed, so exposure is how much light is let in, and movement is the way it appears you would expose and by lowering your shutter speed, you're letting a lot of light in, but you're risking blur by doing it very quickly, your letting less light in, but you're capturing things in a freeze frame in a freeze action that makes sense. Okay, so if I'm looking at something like bettering in terms of exposing for my subjects properly and putting in my technical settings in a way that so fast that I can still interact do it and go like this the reason that becomes very second nature to be in very quick it's because I understand those concepts and I know that if I nail that I don't have to be up in my head thinking about all these details all the time that is now second nature it's happening here and I completely be here with my subject, which is maura about your heart and that's a big difference you can see that in the shoot you can have a technically perfect shot but if there's no life and expression and feeling it comes across a solis and so the sooner you get these definitions down and you understand them and you practice them in relation to each other and you understand there's like a harmony and trifecta when it comes to exposure, the sooner you get into that the more that becomes something that's logical and you're not kind of bleeding into the part of you that really wants to be there with your subject I like candy you're really good at farming. I like that. So if I am in a outdoor setting and it's really bright outside and I'm finding a little bit of shade, I'm gonna be at a one hundred s o one hundred s o I also had a lot of people don't know this stands for international organization for standardization and that was, uh, organization that came up came together in nineteen, forties, fifties, sixties a while ago that basically was responsible for setting standards for, you know, technical specifics and procedures and oscar stuff, and it wasn't just limited to photography, but it was the it was the standards that were come up with that they came up with for film speeds so that had to do with measuring film grain, and we then referred to film as I so one hundred s o two hundred s o four hundred um and basically the higher up you went, the more sensitive your film was so light, but the more you had film green to the more that you lost some of the quality of your product in terms of your image frame, you started losing some quality and the capture the higher up you went, but you could shoot in lower light because the film was more sensitive when we transferred over to digital shooting digital photography, it became the sensitivity of your digital sensor, but we're still using that old film term to describe it. So when people say, what is s o? Well, it's actually not something that makes a lot of sense for digital photography, but it's just the term we use, um, if you're shooting with s o in a brightly lit spot and you're shooting at one hundred what you're doing is you don't need to maximize the film sensitivity or the digital sensor sensitivity and you get to keep all your color saturation and all your quality now your sharpness in detail and it's kind of an ideal setting if you wanna have a maximum um quality image but as you start dealing with mohr light sensitivities and it gets a little bit darker and you have more challenges that way you can it you can compensate by bringing your exposure up by dialing your risotto two hundred four hundred like so if you're indoors and a family home and it's pretty well lit but not perfectly lit you're probably out somewhere like a four hundred eso which means that you're allowing for a little bit more sensitivity to the light to be able to bring it in and the advantage of course of having a lot of opportunity to go up with your sl means that you also have the opportunity to expand your aperture so I can shoot a little bit deeper depth of field for a large group of people because I can bring my s o up so the more I could bring my ass up the more able I am too not sacrifice my aperture to get more people in focus yes interjection for us tonight yes uh most nikon cameras that should serve optimized two hundred so okay, so shooting at one hundred is really gonna like for me, I got my camera and I was like, I'm gonna shoot at one hundred and then I was like, this looks like crack because I had to go into, like, the low settings and actually looked better. That's actually, good point I was doing a photo focus was scott born a couple weeks ago, and he was saying that nowadays a lot of camera manufacturers are are isolating, eh? And so that is the ideal for that camera off optimize and they're not always thie they're not always the same, even sometimes within the manufacturer. Yeah, like the three axes optimized to go lower esos optimize from, like, one hundred, eight hundred whereas the russians were basically optimized at, like, two hundred. Yeah, and if you could ask the chat room or anybody online if they want a weigh in on some of those facts, they know that the fun teo recite them like, oh, yeah, with my cameras this or I have another this with this manufacturer's this uh, but ideally over time in the history of photography, you know, one hundred is kind of like ideal for that. Yeah, but I'd be fun because I mean, this stuff is changing by three o'clock right as we go, so that that's actually a really great point um as we're talking about low light, we understand that we're sacrificing quality as we go up and up and up, we were no longer worried about film grain. Now we're seeing digital noise, you know, you you have to realize that there's a couple of the things that go into play when you're talking about shutter speed, aperture esso and its distance of lens from the subject, I've probably referred to this two or three times during this class, but it's so important because I could be standing right here with you and photographing you at this angle and and I could be shooting with a thirty five and shooting it may be a three five aperture, um and doing pretty well with getting a lot of you in focus, but I could have a three five aperture go far back and have a really strong focal live and get a lot less of you in focus, or I could come up really close to you. You're really close to you and kind of keep my settings and suddenly a ton of use falling out of focus. So it's not just the relationship of your apertura store shutter speed your eyes so it's also your distance. To the subject which is why when you see me pull my camera this way and that way and click I'm getting a totally different look because it's a distance really of the subject to the lens of the camera not this way to the photographer okay um all right so any questions about that before we go to the seamless and play with wyatt and show some of this in action sure but we have folks rattling off with their optimized okay star so two hundred is right for nikon yeah and uh is it cross camera with nikon seems to be according teo chat room I have nothing against one hundred I think icons are fabulous oh chase come in uh to see you again just thank you very insure your shit was beautiful I want to stay back tio yeah that's better but the coolest thing I was watching your class from the airplane on it was it was so cool the watch and it was like you know they're starting to have wireless and stuff on the airplane and to be able on my phone to be watching you was you know I love putting education in people's pockets and everywhere I know it's so cool puzzling on so well yeah like fantastic it's kind of insane like we're throwing a lot of extra parts in but I think it's oregon we'll uh the retweets that I've seen people are loving it how your students I don't know. Now what do you think? Yeah, she's totally rocking it on the internet thinks so too. And it's an honor to have you be our an island. We've we were never really talked about it or I haven't heard you guys talk about in the segments that I've been watching, but you're our kind of guinea pig for our new spot. Even create new spot, isn't it? Cool. Great. Look at this. This is like, yeah, I'm super psyched we went from, like, whatever. I think nine hundred square feet too bopping around the city using other people's studios, and now we're finally getting comfortable. So we're going to get some feedback from me afterwards about how you know what was comfortable. And we're still here. Still boxes ever. For those you folks at home, you can see it's kind of a mess just beyond the edge of of the circle right now. Um, were you buddy? You ready to be an amazing new subject? All right, work your magic. Thank you by internet.

Class Description

Celebrated children's photographer Tamara Lackey leads a special worldwide workshop on the magic, art, and business of child portrait photography. Take a live, front-row seat with Tamara as she works with a wide range of kids. You'll watch as she works to put them at ease, gets them laughing, and coaxes out their natural personality for fun poses and great family portraits. More importantly, you'll be part of an ongoing weekend conversation with fellow photographers around the world about how to grow your own successful portrait photography business, while balancing personal and professional lives.

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