So, I love this, but we've cut off the bottom, and we have all this space on top. We don't need the space on top. We need this on the bottom. Because I love this chunk right here. But, unfortunately, we can't keep it because it looks accidental that we've cut all this off. So, Jen and I, when we're looking at it, we're like, you just have to be like super close. And you've gotta do it right there. And the alternative being super wide, where we can't see the context of where-- It looks like the cat's on the stool. I'd like to see what they're sitting on.
Yeah, what's the baby on? Like, maybe the baby's on the top of a table. We don't know. And you know, if that doesn't contribute to the story, then you go close. But, if it does, maybe there's some interest in showing that. What Jen and I talked about is we have this really good opportunity with the separation of the light. So I think that color in this situation works. Like I like the color but we feel so distants here, it's like this...
weird like medium. We're not super close, we're not super far. So it's not graphic like it's not so far that we're making a graphic-- An emphasis on it being about the graphics. But we're having a hard time really reading the moment 'cause I feel like we're kind of too far away. So I thought that maybe this would really be one of this 8200 would come in handy. Because it's gonna compress and bring this moment much closer to us and separate them from the background. And Jenna used the 85. The 85 would work.
Yep, or the 135.
Yeah, the 135. We have all the elements, I just think it's the wrong lens and I like that it's squared up. So this is just a lens choice thing. And lens choice should also be consideration in your story telling, about what lens is going to tell the story best.
And if you are, like potentially this photographer was trying to go for a design heavy ...
Photo and there's just too many intersecting elements that isn't working. It's not quite obvious, like you said.
Right. If you want it to be design-- more about design and the elements, then I would be shooting, like we talked about, squared up but then tilted and just make it about this ... I can't show it all 'cause ... But I would make it like just the kids on the white snow. I would try and get as high as I can and then hope that, like get close enough so that he's not-- They're heads aren't intersecting with the background there. The grass, yeah. This is a big moment. What's happening here? He's reaching for the bubbles. We are too far away. So you either you need to move your booty.
And get closer with the 35 or you need to use your long lens and compress it and fill the frame with only stuff that matters. This is what's most interesting. This is what's most important. And we don't need the trees contacts. We know that they're outside, we know that he's on a swing so we don't need anymore than that. What I love is the beautiful light on his face and the bubbles. Like this is a magic moment and just too far away.
Oh, I love the baby.
Yeah. She's obsessed with the baby. And the light is great. I think color's way to go. We just think that in this case, the layer of arm is not necessary. And that you should just get really close and low and kinda shoot up. We don't even need this right here. All we need is mom's face and the baby's face.
So you're gonna be under his arm, basically, cuddling up there with dad.
I was at the end of the counter, so it's stretched out so I have to either I guess use a different lens to be able to get that close or just top.
Yeah, or you can run in the side and you lean over. Touch him a little bit, it's okay. They're used to you in the house by then. 'Cause this is such a great moment for us and it's well lit and it's a great expression on him. We just think there's more in there that needs to be in there.
Yeah. And this is like example of a blobby layers. Like that arms started to--
Yeah, it's blobby.
Yeah, there's no real story to the shape of the foreground.