Contact Sheet Review
So this is my favorite part of the two days, I think, before we ask them to come in, we talked about maybe showing you some of my raw, so you can really get a good idea. My computer's acting a little bit, it's giving me a little, it's being very stubborn. So I shot a total of, so the first day we were there for four hours, second day we were there for six hours, so a total of 10 hours, which is about four hours shy of what I usually shoot for a full day in the life. Kids stay up a long time throughout the day, so it's usually from about six in the morning till eight or nine at night I shoot. But I shot a total, over 7,000 photos, for that session, for 10 hours, which is about right for me. And, in the end slideshow that you're gonna see, I ended up with 120 photos, so I can't do that kind of math in my head, but it's very small percentage that I selected. And if we can see my computer for a minute, first of all, I think that it's important for any photographer to see a photographer tha...
t's been doing work for a long time, to realize that that's a lot of bad photos. This is a lot of photos. But what I want to point out, is the way in which I shoot. And that is, if you look, you'll see patterns of how hard I work for each scene, without moving. There's a situation, maybe up here. I never move this scene. And that is, 53 frames for one photo, that I hope to make, by sticking with it. And I suggest or encourage you all to look at your contact sheets like this, and see if you can see patterns in what you're shooting. Because if you do, then you know that you're working hard, you can see that I'm really working each scene. A lot of times in the beginning when I'm working with a student, I notice that they are jumping from situation to situation to situation, and I can't see a patter, excuse me, a pattern. But here, and my students have always said that this helps them to push that idea home, is that you want to be able to see patterns in your shooting 'cause that means you're working each scene. That's from the beginning of the day. Here's all that time, I'm trying to work that, the table scene, trying to get this photo. So with the two of them that was 27. And with just Gwenny, that was another 38. So that's a lot of frames. And I'm not just plowing them out, I'm not just holding the shutter, I'm selectively shooting, and I'm still making over 60 frames for one scene. The other thing I wanted to do, was kind of show you, I tried to unmark everything, and the reason why I did is I wanted, we'll get to a good scene, so close your eyes if you get dizzy. (audience laughs) I want to get to one of the afternoon scenes here. (tutting) Hold on, okay. So this car scene. I want to show you how fast I cull. So this is when I'm doing my first thing for the extended gallery. What I'm doing is I'm looking for something that's gonna make me stop for a second, then I go from before the photo that made me stop, and after, and see if it gets better and better. And look, it is getting better and better. I've got these good layers. So then I might tag it, and then I keep going. Look, and look at the difference. I'm also looking at very slight variations that make the photo go from okay to good to better. And some of that has to do just with, look at Adelaide's face, look at her face. But I also have to be aware of Gwen, that's in that bottom corner, and I also have to be aware of Audrey in the back. I don't want Gwen to be camera-aware, meaning I don't want her to be looking at me. Then I was hoping she'd pick her nose, but that didn't happen. Remember when I told you about fingers? Fingers are like either discipline, or a demand, or an order, or like something that they have to do. And that is a very strong visual that helps tell a story. Look it's even better 'cause now Gwen's freaking out. (audience laughs) But this is literally how fast I go through my shoot, and I only stop when something makes me stop, and that's how I know that I've gotten somewhere. That's how I'm trying to see it from another person's point of view, not the photographer, but the viewer. Because if it doesn't make me stop, see there's a good finger, but look it's out of focus, I'm focused on Adelaide, so it doesn't work. Even though I wish it did, look at this, this is a good meltdown. Now I'm just looking for the best one, that one's pretty good, 'cause it looks like they're interacting in the back, also. You wanna be aware of your background and your foreground. Why did I not stop on those? Because they're not in focus enough. They're out of focus. Because of my light situation, I'm shooting at 1/25 of a second so I don't have much room, and so it can be out of focus. And I know in my head I got a better one that you'll see in the slideshow from another car ride. And I do the same thing for every scenario. Here's working this scene. I'm waiting for something interesting to happen. That's the one that I tagged. But I don't give up, and here's the other thing. If there's nothing else interesting to shoot, I'm trying to make this shot, I always shoot past what I think I've got. Does that make sense? Because I think that it might get better a little bit later, a couple frames later, and I don't want to miss that. So I'll get what I think is a shot, and then I'll shoot over that.