Lessons

Lesson Info

Photo Shoot in Alley

So we're gonna do is I'm going Teoh have ago shooting my favorite flip flop first. So I grabbed my camera a second, and then we'll take a shot with this, and then I'm going to kind of go around each of the students in turn, and we're gonna go through some of these four shots that we talked about before. The break s We're gonna look at the objects. We've got kind of some more props down here. Telephone lightbulb, things like that. We got some things to work with, so we'll be shooting. The objects will be shooting lovely model. I'm going to shoot the alley, which is not for the cables and stuff. So that's gonna be the really tricky shop. I'm sure you'll do. That way we get on on what was the 4th So we've got our objects. We've got the alley. We've got the model. What was the other one? Details on some sort detail shop. So kind of wires on the wall paint on the wall, structure, detail on the floor, things like that. So I was gonna grab my camera. I'm gonna head down to the bottom of the ...

alley with there. So if you if you don't stay there for seconds, grab my my camera and we'll stop. Well, stop shooting. Yes. Okay. So what I'm thinking about the moment is how to use the flip flopping relationships grid on. Maybe in relation to these breaks in the pavement down here, I'm gonna shoot in this direction. So I've got less cluster in the background. Um, anyone got any ideas For exactly what support it. Please feel free to share out from a kind of start, kind of leaving it in the middle that now, at the moment of shooting with 35 oclock, I want the wide angle distortion. One thing to bear in mind. Kind of all, all the students were shooting these objects on your shooting close. One thing to bear in mind is you're gonna need a larger aperture than you might think So typically for the shot inside its F eight. But it's still a shallow depth of field because the closer you get to something the shell of the depth of field gets. So you know, if you want really, really shallow depth of field opened right up, but if you want more detail in more detail through an object bear in mind that you might need to step up through the apertures of it. So if you're in any doubt tall, just shoot arranger shots so, you know, for if I six f a f 11 just shoot secrets of shots, it's a kind of at the moment. What I'm thinking about is how I can use this pattern. What I'm gonna do is get down a little bit lower Onda, uh, covered in dirt. I can't see what we've got here. Stick with the thanks. I know that works with this with the shoot. I'm looking kind of a pattern in the background here. I'm trying to keep out the detail in the back. Kind of a starting point. That would kind of be the shot. No, I don't much like the background that, um not entirely sure about the angle. So what I'll do now is kind of come across this way, bringing it forward? Um, no, it's kind of a Catholic, remember? Get a bit closer. New. Let me bring across a little further. Now, if I wasn't live, I'd probably stand. Probably sit here and do this for about half an hour. You know, I'd love to say I can nearly shots every time. Ah, but a lot of time is kind of playing around with the angles, playing around with structure on the light and thinking it through. I'm not entirely sure that's working. So we have one more go. Try and take taken angle across this way. Come down a bit. So I cut out the background. We didn't bring down exposure a little bit. Kind of overexposing at this stage now, 2/3 over. I want to make sure I get plenty of data to work with. Okay, There's a little bit with a sign in the background. I'm not kind of too worried about that. So maybe one more that's over exposed. Okay, let's stick with that one. Oh, okay. So that's kind of the first shot. It's kind of over to these guys. See what I can come up with. So your own I'm not gonna be Shoot the chute again. No. Let's Let's do what? Okay. Okay. You get your idea with your journal? Yeah, way. Have the idea with the journal. And then we kind of had another idea. So do you want that one instead? Which wanted, even if we're gonna have the model, write something on the wall. Okay, um, so way have some shock for you, Mackenzie, um, way we're gonna pay a little bit of tribute to Steve Jobs and have you, right? All right, P. Steve. And then I'll photograph you while you're doing that. And here's some shock. Yes. Um, yeah. Did you wanna plug in? Can you write a little bit lower, like down here? So because I'm short at what point you're gonna tell the shop. What was she writing? She's gonna write, um, rest in peace or our I p. Steve. Okay, on. I'm gonna try to come to capture her writing it, and then the shot that I really want is like, right when she's finishing, Steve. Okay. Maybe even on on the V, for example. Yeah, And then you got kind of the story progress. Okay, that's even better. Yeah. Yeah. Okay. So what you what you need to do is kind of doesn't matter. Kind off you can write through, but stop when you get to the V of Steve, because that's kind of gonna be transition point. If you want to do that? I kind of like in progress, having works quite nicely. So before you start, what exposure is thinking of what they feel? What I was going to shoot shallow depth of field like I have to aid on shooting at ISO 100. Can you tell you first shot and show me what we get? Let me have a look. We start reading. I added the hissed a gram world. Um yeah, Well, what you don't need to worry about, it's kind of exposure here where you do what you are gonna need to think about. Is this angle compressed? Is this right? I'm gonna bay s. So let's get some writing up on. But we have an idea. It doesn't want to be too squashed in because he's kind of shooting at an angle. So we need we need to expand a little bit. I think you may need to get in a little bit closer, but okay. Okay. Hang on there. So right now waiting there is you go back to previous shocks. We need to make some decisions about explosion and Hampshire like you want her. Kind of. I'm kind of thinking that almost having her silhouetted is working a little bit better. So the angle where she's writing is quite nice on doing a kind of clutter in the background of these trees. I kind of need to keep that above her arm. So maybe, I don't know, maybe shoot down a little bit more snow for sure may be moving closer. Did you want to write in one line? All right. P Steven, Steven, Steven, um, one line school, because you already started. Yeah. This is kind of cool, because we've been trying to think of a way of making reference to Steve this weekend. Most of us heard about on devices he invented. You know, read the news on an IPhone is having a hammer, right? Can you read that angle? Yeah. Yeah. Is that obviously this is all right. Pay state. Why? You shoot in portrait format as well. Now zoom in again. That looks really nice. There it does, But what were switched? It's a landscape. Ok, well, I suggest that's a much tighter image. You got a choice now, you can either focus on the hand in the writing, which is kind of cool or you could focus may be on the are kind of drifted into the background. So if I were f two point, it's working. Well, get off a little bit higher. We conclude being kind of clothing the same. Um, yes, I share a few and portrait former in that way as well, because we were gonna end up with this kind of question. Sure. A couple of travel in landscape? Yeah, I think that looks tighter. It does kind of about the writers, and you're like, you're starting. You kinda have to, like, figure out what the story is saying at the beginning to Yes. Yeah, so So just do the key. Just do like the first half of the hang on. Okay, guys, we did cutting too much off. Yeah. Yeah, it all needs to be in. We're kind of losing part of story. Kind of. Somewhere between that and that, I think. Yeah, on kind of just sneaking. Yeah, sure. What I've got in mind. It's a kind of more like that, but you shouldn't a different angle. That would be your alternative choice. Just kind of focusing on the details. You got one there? Yeah. What kind of Yeah. Kind of a square crop's gonna work for that one. But you want to come out from the wall away. You kind of You kind of can't extend the writing man when you can, either. That one with kind of this focal point might work a lot better. Yeah, that looks really nice. Yeah, we're get We're getting okay. The other thing. Think about what is the angle of this hour, because it kind of it kind of looks like it's tipping this way name. So it might be better to straighten up a little bit. I kind of kind of twisted both of those guys. We're going to hold on the again first. I didn't Yes. Nice straight there. Yeah. Cool. You got to You got to try to work with. It's essentially the same shop. Kind of a deer, a different point of focus. That's kind of a bit too far our thinking. I think that's pretty dramatic, but I think that the focal point is in the wrong place. I think needs to be focused on a grand maybe like that. Yeah. Yeah, Well, certainly kind of you. Imagine this now, you imagine with what kind of a strong vignette in here. Maybe some slight tonal on wall here is coming. And great. You're white. It's a sought after getting his room, but there's no benefit shooting brand war, but yeah, kind of. Yeah. Okay. Right. Case that was the first that you're happy with that one night? Yeah, yeah, yeah. Okay. So what was the idea of the journal we're gonna going to, like, have her maybe writing something in the journal, like a poem or, um, like, a word and then have the journal on the ground with her walking away. Um, so let me grab the journal. Okay. Do you think? Okay, so what's the first word that comes to your mind? Like, if you're in Ali and, uh, you're wearing a white dress? Um, I guess. Well, interesting would be the first word that came to my mind. What if you were trying to tell a story about like, uh, like, maybe a some sort of love story like your You're gonna be walking away from the journal. It's gonna be like laying on the ground. I feel like I feel like that would be running away. It's like this place. So um, like this placed. Yeah. Okay. Kind of a code word. So could use us, right? That, like, on however you want to write it could take up a whole page or not to smaller because yeah. Do you hear what page it's on? No. Cool. All right. Do you think we should have the pin in it? I don't think so. No. Because if you kind of trying to tell the story about the you know whats the plausible story just kind of dropped. They are. It's a commentary on it. The pen. Who is the author of the pain? Yeah. Yeah, Depend is a matter. So, um, we can use the same wall here. Or we could use this, like, this wall over here for a little different look. Okay, so what you're thinking about what's wearing the front, Um, some thinking like having the, like, the journal on the ground, Um, maybe near the wall. And then like having her out here in the Ali right in the middle of run. And so we'll have a little of the wall news from the trash cans thing. You're gonna need to be careful, because the angle opportunity the wall. You can't go into the wall to shoot back out. So you kind of need to shoot across it to have her in the frame. So kind of, if you shoot in portrait format, you can You can kind of have the journal in the bottom corner, and she's she's over here. That means you physically need to be this side of the journey. So the wall might be a little bit so maybe we can use, like, one of the dumpsters if we want to have something in the foreground also, but we're just not How about at all, So let's see. So come on over here, McKenzie. Um, let's try this. May put this, like right here. And then I'm gonna have you standing, like, right here. I think to try that first, um, maybe a little bit, like right in here. Yeah. And, um, focusing on the book, and you're just gonna be kind of like a silhouette. So I want you like, um I'm gonna will do is all I'm gonna have you stand, and then I'm gonna have you take a step so it looks like you're naturally walking. Um, So when I tell you. I said, go. Just take a step and then stop, okay? And then if I could have you guys, like, come down this way or go to the one side or the other fish, I'm gonna have you come over this way a little bit, like right here. Thanks. Okay. And, um, I understand. Okay. Go then. Best shape was that their second best shoot is gonna It's not 100 shot. Can you see the text? This is the key question. Yeah. We'll be offspring there. Yeah. Yep. What? Right have two. When I received a text, Yeah, yeah, I'd be tempted to pull Just play a little bit, because you kind of almost this is this is kind of the key element was shot. You kind of cropping edges. So if you can go just a little bit wider, she probably doesn't need to walk in either. Yeah, I could even have her if we if I'm just like from, like, her hips down, and it just shows like about her dress. And I was going to say, If you bring her in closer What you think God is kind of more interesting detail? You blocking out Yes, in the sky, Which is Your exposure is good. It's kind of explosion. The book that's critical for the shop where I come in a little bit and from the book and bring her back So you can let me have you stand right here. Yeah. I mean, sure, that Celeste, have you come this way? Thanks. Yes, It's too much done. You know, if I would, I be thinking of here is kind of switching back. And I have a bad habit of always shoot in landscape for having portrait, but kind of I'm thinking, if you've got kind of the journal here, Mackenzie's shoes and legs here, you kind of get You got two elements and you got what you go to the moment. Just a lot of dead space. And from the reason you've got pretty angry trying to shoot Yeah, I kind of think you need the book to be down here. Okay. Maybe Mackenzie kind of up here. Okay. Kind of go from that. Yeah, but it's gonna work as a shop. It's just kind of getting the elements in position. OK, Can you just bring it up again with second check in? Was this and zoom back again. I want to see your explosion. Just watch that you don't over expose the books. And if you do, we're gonna lose the lines in the letters. You need to be closer to the book. I think is the key component. If we're gonna be out to read the text at the end, you need to be quite a lot closer. Okay? Yeah. Yeah. Excellent. Um, so we consider me have you stand right here and face that way and take a take 1/2 a step to your right and, uh, yeah, I really have you turn your feet this way a little bit. About half half of that. So you're facing, like, straight on the Ali? Yeah. Okay. Okay. Yeah. You know, you're getting I mean, about the kind of the structure of the shop you could always get away with making this little bit smaller on bringing the Kennedy back in a little bit further. Let's go back out in a second. Yet the explosion Still fun. You could You could always you could also get away with doing a little bit lower that involves lying on your belly like a worm Yeah, I'm rather prop yourself up on your elbows. Yeah, um, coming really loud. Shooting across the book might work well, took. Okay. There's kind of not enough McKinsey in the shot. Okay. You could do with some legs to go with, and because of the angle, she kind of looks like falling over. Um, but that's a definite improvement. Previous charting. That angle's gonna work along. But remember to keep checking your focus on the lecturing as well. Okay. So Okay, look, I will grab the shots lesson. Absolutely. Yeah, well, you see, I mean, looking a lot measures. You kind of got her standing up a clone at this person over. All right. Well, maybe handsome, blurred edge, Teoh Shallow enough to feel the problem. We shouldn't. This wide angles you got, you got quite a lot of depth of feeling left. Two point. Can you see the writing in the bookstore? Kind of. Yeah. It's almost like, Well, if you need to rewrite, then all right across both pages. Yeah. It's not showing up. Overwhelmed that we can. We can bring that out. But it's the It's looking love. It's on the front. Maybe get market rather than rather the pen, um, you know, felt felt. I'm good at, but dr definitely in the wrong direction, Right? Your carefree on tether. You know, and I move on, you can shooting. Okay. So you to find who's up next, who we got next. Excellent. Okay. Okay. So what we're thinking I wanted to get for the model, um, her with her kind of her shoe. Do you have another idea? Because she's right. Okay. Okay. Come back to that second without the model. Well, you free name. Excellent. Right. Let me get my am. And then I got another souvenir. Flip flop. Where? The model. She's kind of bent down, inspecting the front. Cool. Which is gonna be more difficult when you're gonna need my help. One with a shoe. Okay. Sky is really the background there might be. I'm going to get her full body. Right. This will be close up. Roger. Right. So why we're going full body with the shoe. We're going to get her expression kind of looking back. Right? Okay. Right. So, like, you kind of about probably shooting this way then because we've got kind of a bit more like over the side. Probably. We're looking at exposure. We're gonna maybe that we lose some of the details, sky because it's kind of kind of the key thing here is gonna be here. Expression on the pose and everything else. So we need to get the exposure maybe up a little bit, but will take some shots and see first. Okay. Think so. What lens we're using here 24 7 Ok, so what, you think in terms of focal length, you're gonna step back a bit? Yeah, sure. Okay. What? Sure, I was four. And then what can you get down to with this to eight? Okay. Was trying this in this try for that should remove these out the way you think today. And I think that kind of nto Okay. All right. And we can't review one here. Yeah, sure. Are you to fall down the script about your ankle? Give me the frog up with him. You're gonna be facing this way when I got caught. Okay, we'll kick you. Um, been just quiet. Really dark. Right? Okay. Let's look, Is this is this gonna is it gonna work like this? Okay, so you need to open up by about. Stop. If you wanna get in line to face that, we're going to start losing stuff in the background. I also think that this folk arranged a little shallow depth of field might work well, so I personally kind of thinking about open up to 2.8 here because the lights now lot better, isn't it, Uh, that just Yeah. You see, I mean about the depth of field now as well. It's kind of what we're now, guys. What kind of softness in the background? I think I might be leaving a little bit more room down here on the only other thing I would think. What do you do? You want her kind of in the center of the frame when you move over a little bit? Actually, no, no, no, no, no. In terms of your your where do you want to put her in the frame? I'm thinking if you kind of shifted around a little bit this way, so you get over this side of the front, okay? Because it's kind of she's kind of she's a bit awkward. Yeah. So I'd live a little bit more room down here to bring it down a bit and kind of have her have a here. Expression time, Move over a little bit further. No, not, you know, in the frame. So shoot it. So she's here on the third kind of a lot. What? I'm what I'm drawn to here as well. Is this thesis So you can't. You kind of got the whole thing. But it is the story in here as well. So, you know, coming a lot tighter. Keep it to a or four. Focus on the front foot. So thes textures here. The shoe. You know what you'll have then? Is this kind of clean? It's clean background. What? We got a moment. Thistle's kind of this garishness hands and not kind of adding much the shots. All If we had an open, open background, the whole thing works quite well. This is not adding much. So let's think about because this is it's kind of the idea. That's interesting. The nice Parker shoes gets stuck down the grid, so I'm tempted to kind of come in close and have a look at that. God, I love that. What do you think? Yeah, this is kind of this is kind of the story you were talking about here. But with that, any other distractions, it's kind of like without without lights, this is quite difficult to do, because way kind of got just get more. Just come out. Yeah, you have to watch out for Is doing the barricades moving. Yeah, Let's go the other way. What made you jump up? Stray away? What was wrong? Um, is getting yeah. Okay. Yeah. All right. Yeah, something. My fight. You do? Yeah, I do as well. Because you Yeah, it's too well, that this one. If you wanted to shoot this one, I kind of think you need. You need to focus from you focus on this leg rather than this one. So I think you kind of need that. But I'm not sure what you read into this story by adding the dresses. Well, I kind of like the kind of crunchy detail in the 1st Okay. Right. Hopefully, hopefully, right. So what was the other idea? Yeah, this having she could Okay, Yeah. Everyone. So what? What? We're focusing on here. We focus on the magnifying glass frog. Okay. Yeah. The other thing with magnifying glass of course is examining. So, yes, you're my eyes. Not very attractive, but is that gonna work? I got four students. Just tell me when I need it. See, I was kind of thinking the freaky I was the whole point of the shelf, but then yeah, because it doesn't. It's kind of it doesn't work, is it? I tried. I try Freak. I'm gonna have to move on a second. But I try freaky. I shop. So you need to be looking. You need to be looking through. They asked why Select number? Good. Kind of what? You what you need, Where you need what's actually Well, what's actually interesting as well as you got kind of loaded reflections there as well. You've got the Yeah. I'm not sure what story this is telling them. It's kind of freaky and smiling. Big white. Right. So we got your shop with the grill. That's cool. You happy with that one? I'm gonna leave you playing with the frog in the magnifying glass of the stuff on. I'll move on. So you're right. I think so. Six. What about mine? About minus room. What lengths we want to shoot with. I've got a last 16. 35 but I got a 25. Yeah. Yeah. Okay, so I have a different set ups. I was working. I was up in the model up here, sitting on top of the dumpster with old fashioned telephone, having a conversation a bit back and facing inward Texas both gray as well as down, right. Trying to get it right. First thought Here is this Is this the best time to use? I was also thinking of here. It was important. More color and texture. Yep. Yes. Okay. Two thoughts I had. My chemistry's been shooting myself. Crackle cruel. Nothing shop. I think it's great that she might be more comfortable. Yeah, prevention doesn't go through the lid. You take your test Rocky exit like a fun conversations dumpsters. Just a position. Cats all else. Thank you, sir. Uh, one moment with focus. Are you looking for five years and be something That button. Okay. Yeah. Yeah. So shut about triple exposure, but focuses on the back. It's quite easy to look silly when you're doing this show. Okay? You slight every suppose. Why, right? Uh, put my cup of tea. Why have you got in the middle of the front. Get missile position first. Right, Fine. So I'm just trying trying to get on with your cameras again. It's a bit overexposed. Well, only minor. You kind of lose in the sky. There's nothing there any, right? I'm not really going for the sky. No crop into this space here. Yeah. You want you can. You kind of feet in these shots are coming. Be nice if there's a wave and cooperate with spark This cutting this kind of the whole incongruity increases if you got the shoes in the shot thing. Exactly. So I'm gonna could I have used kind of swing? This is give you a swinger legs a little bit outwards. Don't try the shoes. Yeah. Yeah. I'm gonna have to have you kind of do kind of Ah, something no doubt down if you could. Something like, Yeah. Is that possible? You okay? Sorry about that. You're doing great. Thank you for your time. Big smile for me. Thank you. Do one more. One more. Yeah, I think you're getting that. I'd be tempted to exaggerate as well. Coming. Come in tight on her and go wider. So what? You have a minute here in about 28. It's kind of an old shot anyway. So I'm wondered if you go to sort of like going 16 million really? Just really distort the whole thing, OK, at least gives you more options to play with lighters, Wells. Absolutely. Oh! Oh, yeah. Big smile, Big slough. One more friends, please. Thank you. The shoes really went wild. Shoot. You act kind of like you, too. Yeah, right. We have to be one again. I'm going toe. You stick with that one for a while. If you want someone shooting to talk to you, who's up next list? What time do freeze? These things will carry on afterwards. So, you know, we think we can carry on shooting, going round up and come back and shoot for a little longer. Like also, actually get one, too. Okay, You're you'll deal. Oh, Bryce. Yes, I am. All right. Okay. So what? We don't shooting with generic five. Do you want to? I would like to use this. Yep. Her? Yeah. Maybe that's either. I'm thinking hands in front like this or behind like that. Either way, going down the alleyway and trying to flatten her out. Maybe do a long shot. I'm kind of thinking the real Clinton. The really tight close up here. Okay, so just this cup it for a second. Yeah. Uh, I don't think my hands are very sexy, but no. Got no coming in that. I'm shooting, What, day 70. So quite that wide. But no, I was There's also the option of putting this on top. Yes. It's kind of there's a potential. Yeah. Yeah, that's nice. Kind of angle's wrong there. You move your hands down, but kind of the hands in the middle of the heavy vignette around the edge of a tely least consider that as an alternative. Okay, reason. Michelle, you need enough depth of field here. What we want is kind of crispy detail in the middle. Fight off what you've got. Absolutely. You got you got a nice, nice, photogenic hands on Dwight dress. So that's what that's one shot if you want the wide shot as well. So that was sort of actually what I was thinking. Yeah, but you kind of what you get is you kind of get the warm light coming through. You get the color of the hands. Writers trying. Okay, you tell it up. Excellent. Maybe the thing to think about here is where where is most of light Coming from telling out of this direction. Kind of going this way. Way hundreds from hundreds to line. Okay. Going to serve you standing right here. This is a bit easier. This one, right? Right. Right. Facing right. Yeah, Just like that. Looks pretty good. Bring your hands a little together there in the back. Were you? So I start wide to start 24. See what we get. Yeah. I'm not gonna get too close with this lens. Yeah, tighter. Just bring up bringing up against your explosion. Um, yeah. Let's stick with me. Yeah. Can I fix her? Go a little bit. They're okay. That's good. That's what. Yeah, kind of that. That is kind of what I had in my head. Be careful how you balance it up, because what we end up, I kind of like symmetry. You're shooting. This is a symmetrical shop. But what you've done is you've left notice. Been more space here, kind of Denise. Me more on the bottom because shooting portrait format, the light works really nicely, right? You might get away with national exposure a little bit. Yeah. What's that red spot? So you just bouncing up a little bit more? Not you. Exposure up by 1/3 of 2000. Stopped over. It goes by 32 3rd Bounce it a little bit better. Andi, shoot some other exposures in 2.8. It looks great here. You may find when you get inside that it would have been good if they're being more depth of field. So I suggest to point, You know, you're going to see myself off of that. Yeah. This is gonna be a problem. No. Is coming up. This is gonna happen no matter what. It's kind of inevitable. It's a nice It's kind of a diffuse finish, so it's not too much. Finish it right. And then as well, think about your other idea, which is kind of, you know, you've got you've got this detail here is I don't think that's gonna look good. Okay. I kind of think hiding that. Why? Things better, right, But say much the same shot, But should it a little bit lighter? Sorry. Kind of study. One second. Can you keep your hands. Yeah, yeah, yeah. What? What? This thumb. Should that come down? We should chop it off, I think. Ok, well, I got a knife. Yeah. Okay. Have your hands a little bit Lower Action. There you are. There you You come out. You can cropping. Yeah, Yeah. All right, Chief. First shots, okay with Coppins. I like that. Yeah, OK. Do you want a little bit? Yeah. Only 1/3 right. Why would at least know if it don't want to get that bow in there A little bit more like that is much. I want to come back on the front side. Yeah, I kind of You coming for me now? You come in a little bit too far away. It's kind. The further away you get, the more shots about her on the less reason there is holding this thing closer in, the more sense it makes that you taking a picture of the thing itself? Yeah, something like something that's kind of show. Okay, but you step up three aperture, right? I suspect you'll find me looking on your screen to point out is gonna be to shallow, right. All right. That's Yeah. What did you get in between? The skull? Yeah, I'm kind of guessing 45 way, maybe a co 2.8. That may be enough, but I suspect that it's going to soften off around the edge of this. And it been nice to have a hard edge on that as well. You kind of focused on this. So you need at least kind of an intervention having at the field to get kind of Edgerrin Top. Okay, That fourth. Yeah, Yeah, yeah, yeah, that's looking good. I tend to show us again and hands now, but high. Okay, You kind of goes bang bang in the middle if you go back to kind of it, right? Compositionally, maybe just a little bit and a little bit further down, but the kind of your this one now, this needs to be learned front. All right. A couple more, Mackenzie. Yeah, come down a little bit more. There you go. That's good. Right there. I think stuff like this it really pays to take extra shots, move things around, changed exposure, liberation in depth of field. Sure. I mean, about lowering it. Yeah, Yeah, you kind of anyone because you got this detail at the top here, which balances down with their hands. If anything, you could move a hands just just moving. We talked. Yeah, we took really talking minor differences. Now, kind of kind of just down a little bit further. Then you kind of at the top of the ball in the middle on This is kind of in on the third, but for me, that's very new. There now think. OK, do just a different angle. But I think other together one better front on. Yeah. No, no, you lose this. Go back again from the side. Now, you could kind of problem. That is not the kind of problem with one side is you. You can have lost the symmetry. You kind of get it. Looks it looks deformed like uncomfortable. Right? This this has got balance. You're breaking the balance with broken down here. So you kind of this week. But this this is this is kind of harmonious. Yeah, that looks close, Right? Right. Do you think there would be any reason to bring her the backs for palms closer together and behind? Others know because I kind of think if if we've got this head. You folks at the top here, It's been nice interest anyway, You shield that this is about the object, right? Mackenzie is kind of the thing that's holding your objects. So what, We're gonna come strapped in post production, I think is kind of bringing bringing this to life in the middle. OK, eso No, you don't. You don't hide it away. Okay? Right. Move on. It's good. Keep playing. That's looking good. Are we going to The next thing I know is the next best. All right, but you're carrying on doing what you're doing. OK, OK, excellent. Nice camera. Thank you. Dollars on eBay. Excellent. What I've been doing is just exploring more, like, sort of still life images. And I have this film. I'm not used to shooting with models. I'm not entirely sure what to do with her. What's your name? McKenzie. I'm not too sure what to do with Mackenzie. So I had been shooting over by the grid. There's a blue crate. Okay. There. Anything I would say is kind of the style of the dress matches the age of the camera. So is it we're thinking about absolutely so we may be the camera hanging around the neck. All the film around the neck is holding a camera. Don't like. I don't know. I wondered as I was shooting the film. I felt it was a little cheesy. Felt too staged, but I don't know. We can try. Certainly. Sure. Let's see. I don't have a camera, actually. Do I have a camera? Very good. Thank you. So I've been shooting. Um, the 50. No, it's his busy. I've been treating the 50 millimeter today because I wanted to just explore things with other depth appeal. Yeah. Good show. I will just trigger. Yeah, I know. It triggered. It was pre triggered. That's what it said. So I was, uh, those were the still life explorations I was doing was creating dips. Okay. And also, the flesh is blue. And the crate over there was a nice blue, and it seemed to compliment in another. Okay, well, they want to switch back to still lives. If you know, I'm just explained. I'm not pressing the trigger just sitting out there. Um okay. So, Well, perhaps press wouldn't combined the two the passion weaken Do something similar to the shop we're just doing when Mackenzie is kind of the thing that holds the object. So we're thinking about, you know, she's holding up their faces, though. This was taking the picture. You're gonna need some. Understandable. Okay, give this to you. Thank you. So, what kind of gods? What you we need to think about now is that is the way I think the key things here is How is the light hitting this? So what? I'm getting Mackenzie to kind of swimming around a little mix. I think it's just facing that way. We're looking this way. We've now got more like coming in here. She's got told me. Let's sit Mackenzie down. So this is too strenuous. Oh, just my. So there's a range. There's a range of options. You're naturally standing back because Mackenzie's holding the camera. So what you're thinking is you need to take a shot, Mackenzie with the camera? Not necessarily. But what you could also do is you could come in kind of just from her. It was kind of so you is much the same shop kind of Sparta Second. Thank you. Um, something. Something like, Yeah, some shooting at 4.4, and you actually kind of focus. So what you gonna thinking about here is just kind of the backdrop where you want fingers? How's it gonna work the shop? Does it work as a shot? You might want to shoot an angle. The one thing is, it doesn't take advantage of the retro debt dress, which is very true, which is where we started with Good point. Um, I even wondered about just having take it off. Maybe just having it on your lap, like you're waiting for the next shot. Let me just grab this. Not over. So, like like your income You're at the church are anxiously waiting to take that amazing shot. Yes, a lot particularly where the blues now, I kind of think anything when you think about it. It's kind of structure of the image. Well, im wonderful shifted across a little bit because you kind of chopped off the side of around here. And this this was community and maybe his command little bit. So both their arms coming up through there a little under exposed. Yeah. You're bringing up this critical history, this national tuba. You could get away with some you could pull off about 2/3 of stop. I think of that angle because we're not getting the same reflection. So don't have to worry back on the speculum Highlight. Um, come now. I'm wonderful. Too far and maybe know the nice thing about 1.4. It gets really natural. Vignette. Yeah. Just go up 2/3 of stop, take the same shot. Let's let's have a look at the light now. We'll do it here tighter. Yeah, it clips a little bit, but I can see that. Yeah, you've got You've gone in a bit tighter with this one. Yeah, I was responding to your previous comment, right. Well, I try and try that shot with that exposure because I'm taking the previous coming back, I think, because I actually I think I prefer that wider angle with this kind of pose. Kind of works better. Okay, right. You want to shoot a still life as well? I think this is interesting. Is it? Carry on. Maybe. Maybe include her feet. Oh, sorry. Got plenty cable. Maybe not. I think. Yeah. What if you actually come all the way back? So you got you got all over the shop, but then, kind of is the proper relevant. So what's the shot? Banks if we do that, I was thinking her legs seem very proper. And one and more attitude. Maybe you need legs of attitude. Must be an American thing. I'm not sure what that means. What if you open them and tuck your dress? Can you bring that like, a little bit in Just just a hell, But keep them out. Sort of. I don't know. I don't think that works. I'm not gonna take this one. I don't want to embarrass you. Right? I think we're running into a slight problem here, I think because we're going so far away that what sense is the problem, like so it is kind of going to be something small in the picture. That's kind of I'm not sure it's entirely meaningful. Okay, s. So we could either drop the probe and shoot Mackenzie in the pose. Do you think you know? Um yes, I think I want to keep the crop. So can either explore more options with begins in the proper or just do still life. So you should still lives. We've done a lot. We've done a lot with Mackenzie surgery there. A quick still life before I move on. Okay. I'm just work out. You need your film? Mcas? Well, yeah. Where did the filmstrip go? Where's the role of old film? Wasn't blown away. Who had the film alone? Get Thank you. What? She feed guys? Right. So where where were you looking? I was actually staging this in this blue create. We can't go that far. I thought they said we could. And this one here? Yeah. Yeah, we can get fouls. That one. No interest. This one here. This one. That's fine. Yeah, I think this is it. So Well, I mean, I quit. Make it. I was trying to kind of go deep this way, and I had the film. Kind of Yeah, not guy. So why do we have the film if you hold this because I'm kind of you. Thank you. Yeah, I think you'd be out for just, uh, bring the wire over the top. We're gonna be Oh, all right. Yeah. Do you think to stage Right. Okay. Well, one thing is it what you focusing on? I was focusing out the camera itself. So this this was just leading lines. So you're you're putting. You're kind of putting the camera on the back of the front. I kind of think the problem with the film is Why would have ended up, like, Agreed? Yeah. So, yeah, I'm not sure. I also did some explorations with the camera. Just kind of hanging. And the science team reminiscent of the camera. Yeah. Headed kind of dangling above it. Yeah. What is it that draws you to the camera? What's the interesting aspect of this camera up? Frankly, you know, I needed props, so I you know, I I saw what's an interesting object that's easy to carry. Of course. As a photographer, I'm drawn to it. The bulb blue ball. Yeah, I like I like I like that. Yeah. So, depending on which angle to shoot, yes, especially with this blue been kind of reflecting the kind of if you look at it straight on, you kind of get in blue and you get you get the structure of the bold. Return it. Yes. You kind of get a reflection as well. Probably. Maybe a short in that kind of can't get quite close enough with this lens. to me, To you. And these are not as exciting shots. It's kind of like you just sat it there until the picture of it. Yeah, right. So way. Look at what we've got here. Way kind of got. We've got the color. We got a text, kind it you've got. You got kind of lecturing here. You drawn back to that, Sean. It's actually a different shot, but I'm okay. Right? Way. Can't quite get far enough to use. No, I did some explosions dangling in there, but I don't think I can No, you don't. Reach for You have ants against the blue of the How about this corner? Maybe a headache. Culture action shots. Maybe. Maybe we can just reach this. Did you want to try that? I've got an extra bit of a rock. Give enough. Yeah, almost bringing back. Just a fraction. Still feels kind of stage groups, like little clipping from the So I was focusing on the ball in this case. Yeah, I kind of wonder whether we need to keep the whole thing in that another. Another option is kind of kind of this sort of frame here straight on me. May work with. Kind of with the nature of the image is gonna get kind of dark, dark grid people say Don't take things straight on Things certainly was looking out. I don't think I can quit Make its trade on, so it'll be a while. You kind of strong to the camera from there. Anyway, something that's that. Just come around a little bit then And then we get the kind of fall off of the depth of field anyway. Yeah, but I get more blue if I stents liking more straight while press will turn the camera fraction and feel Mobley get more blue that way. Like the texture in the wall. It's like the under exposed. Yeah, I kind of like that. What I've attempted to do is just move it down a little bit, because what kind of centralized in the frame agree? I think it was cameras down here and this is here and you got You got space over over the top. I, uh, back focused. Yeah, Concho. What I do now is wise. What are suggesting before his f one point for my well, look good. But it may be that a little bit more at least trying to eight. Try try to and try. Try, try for this angle four is probably gonna be a little bit too much depth of field. I'm sending out a little bit more. You may need to. It depends what you want to do afterwards, where you want to bring out some of the structure behind. Yet certainly the flashes out of focus here, Trey for folk will focus on the flash kind of folks on the fleshly. We'll see. We'll see what we get from that. Yes. With from that you got the front of the camera and folks as well. If you got globalist outlook flash kind of got the detail here as well. So you can shoot you for short range, but shoot shooting shallow Unless it and yes, let you absolutely got it right. You think I wish I'd focus. You notice half an inch different so I don't be tempted to shoot a range of shots here. You kind of got some this fall off towards the side. It may be that square crops gonna work better. This when you're finished, hopes back. I also increase the exposure on this one. Yeah, going just for five. You got mine A speculative analyzed about, like, defected the texture and we'll go on go all the way Now stepping up to buy a fake You've got the option. And later if you want toe really have a bit more text from the shot, you've got it. Why doesn't keep doing this? You can't just be a no. I think I've saturated buffer. You okay, right? You see what we've been doing out here today? It's kind of not. The location introduces shooting unnecessarily. Eso if your homework assignment, pick a location similar to this. So I put it somewhere with little or no immediate visual interest shoes, something on the basis of how it could look how you would like it to look kind of. What we're thinking about here is some of the stuff would be talking about eso thinking about the editing you can do after. So maybe adding a vignette to draw away distracting details may be changing the color, maybe increasing the contrast on if you have time. You can post price that post process. It gets close to your creative vision as possible. So if you want to share it as well. You zero r l there flicker dot com groups Nightingale Live. We're just about done. We've done the schedule. There's a homework assignment, previous image on kind of Take another look at the flow chart as well, because it's kind of try and bring all this together tomorrow. So we've done this top part. We're generating the RAW files on tomorrow. We're gonna look Atmore technical skills, more techniques and tools and photo shop less helicopters on lots of creative skills. I'm gonna produce some great images, so I'm kind of about done now. I think I don't know. I have some questions for you from the Internet. So question from David Ford is how often does David's finish vision changed during the initial creation process? I know it flows. So how does he willing to change the story part way through the working process? Now, does he mean part way through the price production part does during the initial creation process? So that would be which I would imagine that it's during the shooting. I'm not sure, though. Maybe tell us kind of when I'm shooting. I've got a reason a good idea of what I'm what I'm thinking about where the changes would probably occurs during post production, so you can radically you'll see tomorrow we've got a shot we're working on, which is just some pebbles in the skies and people walking. Well, I'm gonna use it for the toning Tony section, and you can completely change the feel of the shop, depending on the colors that you use so you can have a nice warm walking summer's evening freezing cold walk in the middle of winter on the whole feeling will change. So is more often it will change during post production. If I decided to shift. Moved a lot of time. I'm kind of trying to this thing that would cause a sympathetic postproduction. So is producing something that Congress what you've got climate end up sinister flip flop ends up with a vignette, lithe entirely sure that this is the question. What kind of more in the price production, with another question from David Ford is on a great day like this? What lighting texture details is David consider when setting up his shot? And how much will it you look at post to post production, accurately create the finishing images he sees shooting. Okay, As I said earlier, I love days like this, particularly when you're shooting objects because you have this nice flat line. So it's equivalent to shooting on the very diffuse light. So again, in post production, you can harden like in a way, if it had been bright. Somewhere is a day we have been in a very different shots. Now I can't I can't take out our shadows on speculum. Bright highlights on when you can. No in years easily So for me, this is a great day. Not for some shots, but certainly for this time and a question from Vinny G. In times that you don't have a story, just nice elements. What methods do you use to put to put the photo together in a shoot kind of thing? A lot of time in moment might well be trial and error. So even with one object on the beach, I can spend half an hour shooting from different angles, different perspectives, different depth of field, different focal lengths on you. It's not so much trying to a story is you trying to find the angle that will show off the item to I don't know. Looks best, but I can't say what that is for any one particular thing. I mean, a lot of time. If I got it wrong, shoot half. Come home now. Like anything. Then maybe I'll go back in there again. The whole thing. It's kind of thinking, You know, where you gonna put the elements in relation to each other? You put moon relations? Do you have a rising in the shop? We're gonna use the rule of thirds. My, I think my advice for this type of shooting is take lots of different shots. Because even if you think you know that in the back of the camera, chances are you looking at later. And you think, Well, I wish I'd talked a bit tighter than the other way round, which I got a bit wider. I wish I could. On the other side of the frame, it just kind of a cop shoot. She lost the stuff. You've got more to play with. Light. Cool. Um, question from Net. Sue our storyboard shots. Best done without a tripod. Not sure what soon means by that. What's the story? Boat show? Sure. Maybe you can explain that for us? Um last question. Does Dave David shoot his decisive moment moments with well considered photos? Quote unquote the analog way of doing or with lots of pictures? Perfect time. If I'm sure in the kids, this is a good example. If I'm shooting the kids, have a certain watch on no shoot millions of shots. So I kind of try and watch what's happening. Like the shop with shower. You know, there were other shots, but I didn't just sit there with the finger on the shutter. You kind of just watching for something that's interesting. Andi shooting When it happens, I actually find if I overshoot, I miss so even know you. Sure, you shooting the whole thing. You kind of don't get You're not thinking about the composition or you're not thinking about the elements in relation to each other or if it's two kids where they are in relation to each other. So, no, I wouldn't I wouldn't recommend that I think is much better. Watch and grab the shot when it when it's there, rather than hope you're gonna grab it by shooting