Run at the Camera and Dance in Your Seat Poses
Along the lines with that shot, is that you can do this one, what I call run at the camera, we're not gonna do this, 'cause, (laughing) this gets a little bit crazy. You need a little bit more room. And so I have people, I am sitting here, like this. And I have a group of people and I say, I want you to run at me and pass me. So there all converging towards me, and they're running at me, and you get shots like this. So even if you have a family or whatever, you can still do this type of shot where it creates emotion. Now, I have never been in a situation where I made a person run and they didn't laugh. It's impossible to run and not laugh. Do you run like this? Right? If you're running, you're just naturally gonna smile, and that's a really good way just to break up that emotion and get that in there. And so if they're running towards that camera, you're using a wide angle lens, they're coming at you, you get just this different emotion, which really looks good, and you get this get ra...
ndom photo journalistic feel, and so this what I use to caught, so whether you're doing families, or you're doing seniors, or you're doing weddings, or whatever, you need a broad range of emotion and looks and feels. So, when I did the transitional posing, that was very model esque, oh my gosh, they look amazing, it's very posey, right? And it's very to the point and exact of where I want everything in the light. Then I need something opposite of that. Then I need the random feel, right? The extreme emotion with it. And so when you combine those things, where you're getting the random emotion and you're just getting the beautiful killer shots with the posed and to perfection, you are unstoppable. At that point you're gonna get over $10,000 a wedding, and get flown all around the world, okay? But you gotta capture a broad range of things, and so that's why you have to, in your session, build in these concepts, or else you're not gonna get it. You're gonna have inconsistency because some clients are gonna automatically do it for you, and some won't. So that's why it's very important to do this. I like doing a low camera angle here. Because I'm accentuating the height, especially if they're coming at me. And I also, if you're gonna keep them sharp, you gotta be at one 500th of a second, k? So stop walking, that's about of a hundred or so, so faster than that, usually one 500th is a pretty good estimation, just to keep everything sharp, k? Then I've got another one, we're not gonna demonstrate this either, because we don't have the right things. It's called dance in your seat, and this is capturing large action of lar-- I mean capturing action of large groups. Okay, so if you have a large group, let's say 20 people or so, and you wanna get some raw emotion, I use this particular shot where see how I got them at different levels? So I can see them, right? But to get them moving, their arms, and so forth, I'm just telling them to get the favorite song in your head and just start dancing, or you know, you can have them sing or whatever, but you really just kind of dancing in one area, it's controlled chaos, and then you can capture it, k? So that's the key, is like, you need to create chaos, but you need to control it, right? And so you can see that with them. That's why you lock arms, you're creating chaos, but you're controlling. That's why you're running at the camera, you're just not running anywhere, you're running at the camera, so you can control it. So you gotta learn how to control that chaos and create things where you can get this type of emotion built.