Our next speaker their shoes over there lindsay lindsay adler to the fashion photographer on her works and then it doesn't the bigger fashion photography publications she's authored three books she's teaching you confined her pretty much every photo convention she's a busy girl so welcome lindsey o ok so how many people feel like their clients think that they're miracle workers ok they want you to make them look skinnier and younger and they wanted to take a completely hideous location make it look beautiful and not only that they want you to take terrible light and make it look perfect and so what I'm going to talk about real quick is shooting in should be like because guess what we all have to do it what we are is into clapping what we are as photographers are problem solvers I'm so if someone comes to us and they say okay I need you to capture this relationship between two people that's a problem you're solving for me as a fashion photographer someone says you know what I have a bra...
nd that I need you to represent for me so one of the things I can give you a tip flat out to make your pictures better is to avoid bad light all together here's the problem when I was first working I wanted any job I could possibly get and somebody told me that I need to shoot at high noon I would but you need to educate your client's you are the expert, you're the boss, not them. So for example, if they say I'm free at high noon to shoot in the middle of the field on saturday, you say you know what? Let's shoot in the evening with beautiful light and what you need to do is shoot the type of work you'd like to be hired for. So what I do is I shoot beautiful props and beautiful clothing and at a beautiful time of day, so in my client says, I want that image, I say perfect, let me tell you how to get it here is when we have two shooting here's, what we have to do that being said, I know that crappy light happens sometimes you don't have control, and particularly for me, when I was first trying to start my business, I didn't have control, I really would take any job someone would take me to send my way, but guess what it comes down to, you have to give them solutions. So first thing I will tell you as well is equipment doesn't solve the bad situation, but what I do is I learned that equipment as tools, and then I completely forget about it, which is great, so I'm not thinking about the equipment, I'm just making it happen. So I am a very down to business kind of girl I like teaching I like getting to the point and so what I'm going to do is I'm going to cover real quick tried overwhelm the crap but you guys ha to conquer these challenging crappy lighting situations ready go ok number one on a drab overcast day all light is not created equal the picture over there okay it's terrible turn her around and lift her ten up and that's what it looks like sometimes it's just paying attention to what's around you or how about this what's bad about an overcast day the highlights on the nose in the forehead and the shadows in the eyes we'll put him under an overhang or take a piece of foam court and put over their head problem solved ok the next really difficult type of light is direct sunlight my tips you is run away put them in the shade run away to wherever you can get them out of direct sunlight there's not really a way to salvage and so if you look at the picture here it's glowing and it's beautiful but I know that there are times when you can't get out of direct sunlight like the wedding at high noon that you and you have to shoot it there's nothing you khun d'oh so one of the things that I like to do is just put the back of the sun at the back of their head at least they're not squinting at least it's not miserable like it might not be beautiful but it's better okay you want to get a little bit more advanced improved the light you can pull out your diffusers and your reflectors but for me look how much easier would be having a a diffuse over top and a reflector if I just told them hey hi news not a good time to shoot it works all right you've all encountered this you go to the wedding everybody else has their cameras and flashes in the recent oh by the way no flash photography it happens to all of it so what you need to do is shoot fast lenses hi I esos and have a stabilized lens there are solutions that okay fluorescent light you're photographing somebody's volleyball game in the gymnasium or something horrible like that there are solutions he set your white balance and the new gel your flash appropriately so this is meant to overwhelm you on purpose will get to this point in the end ok the next one mixed color temperatures there's thompson and there's daylight get rid of one of them turn off a light moves somebody closer to a window sometimes you can't do that so then you have to gel your flash notice what the kind of solution here is all of this is generally avoidable if you educate your client. So as you hear these things, you have to know the solutions. You don't have to know how to deal with the mixed color temperatures and the fluorescent light, but it can be avoidable. All right, how about that reception? Where there is no light, it is miserable, so you need to use a flash. The biggest tip is find something to bounce it off of a ceiling awhile. The guy's white shirt next to does it really matter makes it much softer. Another thing to do is bouncing. Okay, so our besides balance it look, here it is red walls. If you bounced up, flash off the wall, it's going to be a red person so you can take the flash of camera ad modifiers to it. What it comes down to is all that stuff is really, really overwhelming. There's a ton of it. If you try to figure it out on the day of somebody's wedding, their reception when it counts, you're ruining that special day for them. So practice makes perfect experiment and fail when it's not somebody. Special day.