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Creative Aspects Q&A

Lesson 4 from: Photography 101 for Moms

Jules and Joy Bianchi

Creative Aspects Q&A

Lesson 4 from: Photography 101 for Moms

Jules and Joy Bianchi

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Lesson Info

4. Creative Aspects Q&A

Lesson Info

Creative Aspects Q&A

I just want to stop for a second and find out if anybody has comments or questions or things about what we've talked about here. Because any other creative ideas that you've done that you like, have come out exposing for properly backlit Um, normally. Then we'll photography hearts to know. Jules, where you got your necklace? I got this at a place on Lakeshore Avenue in Oakland called Swag, I think. Anyway, it's way this way. I don't know. It's I know it's cute. It's my little ego friendly bicycle. What are the proper times? A day for the perfect lighting? Proper times date? That is an interesting question. I don't think there is any proper time of day. To be honest, I think that it's about learning how to work with whatever light that your that you're in and what you know. If you know what you're doing for any given time, thank you any time of day. It's the right time of day. If you're filming down the beach, so did you, like in The Light's Not at the Beach yet, cause it's setting. So ...

is it best to do photography at the beach in the morning? when it's right on the beach. Questions a good one. I declare. I have a love hate feeling about being at the beach, and I I think it's actually with something like Backlighting is a beached. The sky tends to get really, really white. So and then if you, um, you don't have too many options about where to stand when you have a whole ocean there you have like you're sort of limited. So I've always found shooting at the beach is best either early in the morning or late at night, cause especially, you know, that high high son that is kind of uncomfortable, and then you just get the recognize under people. So unless you do you want to bring a Flasher. But even a reflector would be tough if the sun is directly overhead. You know, people like it's very painful to them, but I think maybe questions like that would be about a week. And I wanted to ask, actually, after this first section, if there's anything when you were looking at any of those pictures that you wanted to try or anything that you've tried and had trouble with, like the kinds of things that you want to get out of your camera, and that's something that we didn't really talk about it beginning true why we're taking and what you were hoping for. There's when you agreed to come to the class, and when you use your camera, what kind of things do you have trouble with and what's first? I mean, there's a lot of things when you're photographing kids from the kids, not doing what you want them to dio or you don't get the shot because you can't get camera adjusted correctly before this scene is over and everything. So is it Kenna? Yeah, so we're asking folks online as well. So we have Amy Amy E. Who says, When you're photographing Children and you want them? Teoh, look where you want them toe look. And so that's one of her biggest challenges, like not looking at the camera that's are not doing what you I hope she wants him to look at the camera or not to look at the camera. She's saying, We're how'd you get them to look where you want them to write, regardless of whether it's a for the camera, that's like the shutter hunger Devi. True, That depends on the child. To what do you will you not looking? Just do something creatively or see what they're doing and what you're doing? Then they Onley. Look, a lot of kids. When you bring out a camera, they automatically like smoke. Yeah, because the preconditions camera with and kind of that's true. More customers constantly. I mean, hell of you like being on reality TV show. First you'd be like, I always worried about the cameras and then eventually you let your guard down breaking point because a lot of times when we do portrait sessions, the first, like 20 minutes of total throw away because they're not really goofing off or really, you know it's and then they get used to you and your But I think, to answer Amy's question, I think Joy's right. A lot of it depends on the age of the child and then and then blooding them, get used to the camera and then engaging them in a way that they're interested in, like with whatever like characters they're interested in, or talking about something that they're interested in, like what happened at school or your best friend or playing the birthday party or something that's going actually get their mind off. The fact that they're being photographed and then kind of engaging in sort of funny banter, that that's what we try to do is like, haven't be more. I think your comment about giving it high level is really good, too. I find when I get the camera out, I'm always thinking, Oh, they're their head is down and I have to Getting down on the ground does make a big difference helpful here. I like to hear, like what things resonate with people. Anything else? I think your suggestion. You know how you're saying. Sometimes you just shoot like that. And my husband was the one that kind of taught me to do that. He was doing that all the time and and some of those most those. Some of those are the most amazing shots. But here's the thing that that has the child, You know that just because they like third supposed toe normally they look at you right or up towards your face. So then if you're doing that, they're kind of not looking at the camera anymore. Yeah, it's fun. I love it something like that. And I think when we get into the more technical part having your camera set manually, then you don't have to worry either. About the exposure being wrong. It's more you'll be able to be more accurate about what you're getting and then be able to play that wide angle. Lenses are good for that kind of thing. By the way, I was just thinking about how now that everything is digital, it's a lot easier to to take his many pictures as you want to forgive yourself of you, you know, or not be afraid to try something. But then, on the other hand, you have, like so many, and if you can't get the technical part right that you want them like getting it over the exposure thing we're gonna talk about that's frustrating. So I think that it's the whole digital age has been a really interesting movement, And what do you do with all of these pictures that you have course? I never want to delete any of them because and Mandy asks, Do you have any advice on posing before you get technical? Um, I think that like my favorite thing to do as far as posing goes with. Do you know if she has, like one person or multiple people? Or we can ask it in the chat room? And if you can, let us know if is it one or more? But there's also someone in the chat room asking about twins, which a couple of us had her twins going opposite directions. Audio. I think having a cookie reconnect they both want or are finding a place where you can keep them contained running off. Okay, I hear I'll just a little asses faras posing goes like I am. I always like to think about when I do multiple Children or if I do families. I like to think about heads of sort of like musical notes on a bar, not necessarily having everybody lined up. And then, um, I'm a big fan of hugging and having people sort of fitting in together. So having it more about rather than lining people up, having people sort of leaning on each other or arms around each other, and I think it's I don't like, I don't think there should be like hard and fast posing rules, because ever ready is different, and so sometimes what one person maybe would fall into comfortably another person might be really awkward in. So a lot of it has to do with just experimenting with the Children that you actually are with. And then if it's just one child, I think it's fun sometimes to do um, like a variety of things but like leaning against something or look down on tummies or things like that, and we're gonna do a lot of that tomorrow to my like to say that because its terms and when we do the actual shoot. But I think that's almost easier to show than to explain. You see me pose a 1,000,000 times on that. I mean, a lot of these questions will address tomorrow about posing and about even working with kids and how to get them to look where you want them to look at that sort of thing. But I'm thinking one of the things with one child. If you have them engaged with you and they start act more naturally and then sometimes we'll have them interact with a favorite thing. Their favorite toy that they could be playing with or even haven't sit on a chair, lean on the chair till that there's some variety and that I love. I love when we go do portrait shoots. I really love incorporating pieces of that child's life. So I remember once we had a little girl, we shot at their house and she had this cute little stepping stool that she used to get up and brush your teeth. So we did, since it was because it had been painted with her name. It was really cute, and it was something that was significant special with her. So maybe having them sit on things like that or leave something like that so that that's also part of it. It's not just some chair that you brought in. It's something that's special for them or if there are a favorite stuffed animal letting them hug that toy or having it be part of the shoot. Because, like I said, I think all of this is about documenting what's happening now. And it's it's possible to get a beautiful portrait, even if you have a favorite stuffed animal in it, because years from now it'll be a bigger story, and I always like photography in terms of a story and oppose it. Just a portrait, I think. Which are stories, and they're sort of metal part of it, you know, I'm part of that is when we have multiple Children twins. The idea is to engage them in doing something together. You know, like like cooking. You know, just have them mixing something young there. Well, no. But you know anything? You know where they are coloring together or something like that. And then that way they're focused on something together. And then you get the picture and doesn't necessarily have to be, uh, a shoot. You know, of a portrait shoot? Because most of the portrait's that you get are out of real life situations. That one time with me, the apple pie. That was when he shoots that we did documented making 1/2 by. That's really fun. Do anything else? Yeah. Okay. Just click on back over to the question. A question from Stephanie Burton is what are the best colors to dress my Children in? Especially if there's more than one are their best colors that complement each other. Or how do I go about thinking about that? I like joy filled what to wear, what to wear. And again, this is something we'll talk about tomorrow, too. And that, I think, is such a personal answer. I would be really interested to hear what you think, because on one hand, if you are photographing your own Children, then the preference would be yours of what you want to do with them is their favorite outlet that you love, that you really want a document like there's certain things that I even have kept that don't fit anybody anymore. But I am not giving it away because it's, you know, this special little outfit. So if they're your own Children, I think that would be up to you in terms of I think, when people were doing, like all white shirts with all jeans. I think that's sort of sort of passe these days, but I think it is stylistic choice. I don't think there is. Anyone like this is the answer You must have, you know, blue and orange together or whatever it is. I think a lot of have to do with your own coloring, like what looks good on me won't look good on somebody who's, you know blonde and dark and or you know, nothing like, I think that's that's a difficult question on. And then the other aspect is, if you are the photographer in your photographing somebody else's Children, somebody else's family, then that would be a conversation that you need to have with them from everything from what are you doing with these pictures? They're going to be up in a formal living room. You might want to dress up in a formal portrait that you're doing. If it's gonna be something in their country home. Maybe it's OK. They were something more casual, and I usually like to stick with more solids, more faded something and singers and get a lot of people say, Well, I don't want to look dated, but by fitted she means things that fit properly. A lot of hands. People wear clothing that actually doesn't fit very well and ended up being very unflattering. Although with kids sometimes like the parents, we're very specifically what they want them to wear. And sometimes like Oh, she picked through herself and I think there's something that's really sweet about that. To the mismatch that happened. Their favorite stockings, a totally clash with the skirt, but it's like who they are right then. And I think that's totally okay. I can think of one claiming we're talking about colors that don't take well or is there such a thing? I don't know. I don't think there such a thing. I think sometimes if you are on the beach and white members were in white like that can be difficult. But it's not impossible. And I think that it is probably difficult Exports exposures go, somebody's wearing black and someone else is wearing white. But being wedding photographer like deal with that way. And truthfully, digital photography has made things like that a lot easier where they're much bigger range than there used to be like when you had to pick. I'm gonna shoot with 100 speed film like what? How is that going to affect the image? Now? You can kind of, you know, a lot more range, and you can even within an image, manipulated a lot, too. What do you think about stripes and patterns about right in state court? I'm not a huge fan of logos like If you're gonna wear, you know, different brands and things I'm actually not a huge fan of that strip surrender. Bother me. I think strips are cute, you know? And I think that I mean, you always hear, like, structure flatter themselves are not flattering. And I don't know. I think that again, like on different body types and different styles of things e Just say I think to maybe the kind of the eyes. So the kids, my kids, all blue eyes. So I attended when my best shots come out when they're wearing like blue or light blue or turquoise You know, Thiel, just to emphasize the images like their eyes are hard to get lies So it's like, Yeah, so I can't even like that or say green I child with green you know, interest at the great idea like that. I am writing it down. Apparently, blue eyes are actually just an absence of color. So they so true. Blue eyed people don't have any pigmentation, and they will pick up the color of what they're wearing. Ever had people like like right now your eyes really match your shirt and I know Kenneth eyes really match her dress like it's interesting, like things will pick up especially darker isn't like that, but blue eyes will. So sometimes things like that, too. If you're picking blue or aqua teal or something, looks or take on their shades because they're reflecting in them and I think color palettes to there's a color palette that you're drawn to or your client is drawn to. You could even go to the paint store and pick up a whole color palette, and I would encourage to where you know, let's wear these color palettes so they go together. But you're not all wearing black, your not all wearing brown you could wear like a brown and pink. Or you can I say one thing to because the one question we got a lot it is what's gonna look so dated. It looks dated and even on, I think, like colors like right now, the eighties are back and knee honest in, and almost that they absolutely look dated. But the truth is, I think it's OK. Your kid's not gonna Your kid's gonna look dated. They're not gonna look like they're three when they're 13. So things like that in terms of, you know, trying to ask what's the best color combination is also a very time sensitive to like what's popular right now, you know, so thinking about I've got me thinking, you know so many of the pictures we saw in your slideshow. The eyes just pop like out of the picture. And is that more the light that you were talking about that the lightest straight on? Or is that a Because you're using a certain function? Are the technical aspect, right? Right. It's actually combination of a couple of things, and a lot of that is a very shallow depth of field where it's the background of soft in the eyes on what I'm focusing on, and we'll talk about how to achieve that, too. But it is. A lot of it is about paying attention to light, because if you have, like we were saying earlier on the beach, have you got a light coming straight overhead? Often your own eyebrows create a dark raccoon kind of effect. You're not gonna get that bright. I look so knowing that we're looking for it or turning your subjects in a certain way, it's really helpful to get that cause. A lot of times it's true what do you look at first in an image? You look at eyes and that's what you focus on when you're the photographer and little literally what you're focusing on, what is the eyes of your subject? So knowing how light is affecting your subjects, eyes is really important. And when you say shallow depth of field, you mean that's one of the few things in focus in the picture. It gets fuzzy fast. Is that Is that everybody understand what I mean by the shallow depth of field? All but you will, you will.

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