We've been talking a lot, Theresa and I have been talking a lot, all my students, about the transition and in between moments can be really good. And action and reaction. So Jenna and I both like this moment happening. We don't think that you need the mom, her whole body in it for it actually to be stronger without her body it it and that's why I had selected this crop or suggested this crop. It actually has more strength without her in it. Because now it looks intentional. Like compositionally intentional. And before it looks like you accidentally left her in half and half. Does that make sense? The settings are all great for me. It's even, I mean this is tough light to work in. Yeah, it's 1:44 pm so the light is just, it's still pretty overhead. And that's why you get that highlight on the top of the arm and the top of the back of her. So it's harder for us to get the facial expressions. What I wish is that the little girl had a little more of a reaction to the baby that's reaching f...
or the puddle. And Jenna had a suggestion about actually maybe moving your body a little and this is gonna be confusing cuz you're squared up and we'll talk about this a lot. Squaring up is really important, most of the time. And squaring up means that we're directly in front of the action and we're putting all three subjects in the same focal plane. That means like straight. So that they can all be in focus. But Jenna had an idea about a way that you could get rid of all the vehicles or at least one of them.
This would be the exception to that rule, which I'm obsessed with squaring up, but in this case I feel like you could cut out the cars by angling just a little bit from the top. Because we don't really need that information. We know it's a road from the curb and the kids. It just sort of makes it busy up there, right?
So that would be the one situation. I don't like to default do that, I definitely want to keep your camera straight when you're shooting, but sometimes you tilt it and that's the good part about squaring up as a default is that when you do decide to tilt it, you know it's intentional.
Which is really important.
And we're not talking about, you're still gonna have them all in the same focal plane. That's the idea. But she's saying rather than be more from the baby's perspective, point of view, like low to the ground, tilt it down, tilt your camera down so we can actually get rid of the cars. Does this make sense to you guys?
I've got sort of one for this, too.
Of Scott's daughter hopscotching. This one.
Cuz the cars in the background of this photo are irrelevant so it's the same sort of situation. So I, if you're approaching it this way, you always start that way and then you can decide, does this compositionally require me to change my body at all?
And some of this is gonna come in time. For the more advanced shooters, I really stress once you start seeing moments and you can understand composition, basic composition, then you need to start training your eye while you're shooting to take your eye off the subject that is in focus and start looking behind your subject because you need to start cleaning up your compositions. You're trusting that the moment is still happening on the person you're in focus with, but you don't have to visually focus on them the whole time. You can visually leave them and look behind your subjects to make sure that it's clean, that there's people not behind them, that trees aren't coming out of their heads, and that's when you just start making micro adjustments. So for Jenna, she probably started out very squared up and then was like ooh, these cars really suck. So she then, because she's looked behind her subject and then she starts to change the perspective a little bit to try and cut them out. Does that make sense?
And even just to go a step further. Where I actually started too, was right close to her. And it didn't quite isolate her how I wanted and so then I backed up to make those decisions. One thing that you always talk about is repetitive moments, right?
And that because things are repetitive and you're watching your subjects almost peripheral like you were saying, you have that opportunity to adjust as your shooting. And because you're taking lots of pictures, intentionally, you can constantly be changing them small amounts to make the perfect composition. And cars in general, you know, they're a pain in the butt so you kind of just--
And they're ugly.
If you see cars, get them out, try to figure out how to get them out. That can be a good default.