Shooting Complex Detail Scenario
And apparently I have resting bad face when I'm shootings I look how I look very unhappy all the time, but I swear, it's, just my thinking face, you know, we're gonna go through some of these nice and quick way have the same kind of set up we've been talking about before with shooting little details, you can see where the light is, you can see right exactly where I am and you've got this same things we've been talking about one hundred five millimeter f nine working with your exposure compensation so I got this image and then I decided I wanted to keep going. I had a few extra minutes I wanted to make something a little different so I started off with a mirrored table and that's I mean it's it's okay, it's not great. If this was all I was able to shoot that's fine, but not going to change the world with this. I found these two weird, glittery like cones in a you know what it was it was those it looks like these they were bells, they were like little bells that had glitter and pearls on...
them and they were like hanging on the bottom of a balloon. I sort of stole them, andi put them on the table and I kind of moved them near that near the ring and I shot it and I'm like I don't like that and the reason why I don't like that is my background is too close to my subject so I backed the background off I'm like okay, now now we're looking a little bit better so if you're having trouble with making an interesting ring shot, bring your background in back your background away those things will start helping you kind of define or non define your subject then I just still wanted to make something a little bit more interesting so I took the bride's earrings and I took the bells away from the background I put her earrings in the background and I moved the belles into the foreground and I shot through them now I got it so I tried multiple different things this isabel that's a bell there together I'm shooting straight through them those air hearings in the background so it goes to show that you don't always nail it on the first try keep trying keep moving perception crazy packed dance for not a lot of interesting light going on difficult light happening if this looks like every reception everywhere and that's the exact same scenario just with better lighting and better decisions twenty eight millimeters a sixteenth of a second to allow in some ambient light sixteen hundred again helping with my ambient light f four so everything on him is in focus manual on camera flash on auto a nice low shutter speed brings in my ambient light, yet it still freezes my subjects because the flash is hitting them and for something like this for jewish weddings for ahora I'm going to be flash on camera flash off camera is too hard for something like this they're moving, they're spinning, they're jumping they're leaping my assistant's crazily running around in the background it's a war zone out there, it's craziness! I get wounded all the time I'm going to run out there with an on camera flash and go but be mindful of your shutter speed. Be mindful of like let's say you look at this image and you see that it's blurry and there's some ghosting your shutter speeds probably too low you're picking up too much ambient light, you're not freezing your subject, so practice with it and you'll start finding your sweet spot in situations like this. Yeah, I know sparkle uggs but it was a winter wedding the bride was freezing, she needed something warm on her feet. You're not going to see her feet anyhow, so choose work wearing sparkly uggs so you can see the ring down here it's on the first day you can see how close we are to the second hug, I've got a window at my back and here we go the only thing that is wrong here my exit data is wrong on this one right here I was using my d eight ten hundred five eighty eighth of a second that's all right f eleven not f two eight so ignore that tiny little typo but everything else is the same but after I shot that she had a bracelet and I thought, what if I put the bracelet in the same spot right there? The only thing that I changed was I changed it overto five it changed my I s o but it allowed me to use the light and the the foreground background thing that it was sitting on in the same way and then I just adjusted it and shot it at a different angle so don't be afraid to play around just because you know one shot that you think is super great move it a little bit more maybe there's something greater that you haven't even done yet serious face ponytail, same sweater just ridiculous again to show that when you're shooting a ring you don't need a ton of space you don't need an entire football field you don't need a whole room you don't even need the the wits of a kitchen table you need six square inches this is a sparkly table are sparkly pillow I punched it to give it a little dip I set the groom's ring in the dip and there you go same principles and settings as you go along it was that exposure compensation zero for that one yes, sir jeff cold flesh was asking do you ever use anything to secure the rings like museum wax when you think that or is it always just balancing? Usually I just balance it guys rings are easier to balance because they're guys rings every once in a while I'll stand a woman's ring up directly on and if I do that I do have a little museum wax but I'm talking like twice a year they use the museum wax it's really not all that often so what if you don't have an assistant? What if you don't have a video light gooseneck lamp on the side of the table? This is the radisson blew in philadelphia, pennsylvania the window sock pardon my language it was a little too high the light wasn't that great I didn't really have anything to put the details on to get them close enough to the ring and then I saw above the lamp that was on the side of the bed there was a goose neck clamp below it like a little reading lamp like maybe about yea big so I turn that light on I aimed it directly at the bed the bride's beautiful wedding outfit was laid out on the bed and I used it as my background I used it in several different ways I used the light directly onto my subjects you can see the light is coming straight onto the subjects I started with the ring I shot the bride's ring by itself and then I lined the band's up and shot those together if you look at the settings there are no surprises here it's the same types of setting the same lin same shutter speed, same f stop principles that I've been talking about the entire time I just played with the scene a little bit to find slightly different compositional scenarios and to show it in a couple of different ways and setting up all of these different ring shots took me maybe all of you three minutes grooms ring by itself bride bangle stock together and that's different why is it different instead of shooting with the light directly on the subject I went around to the other side now the goose like goose neck lamp is behind the subject and it's coming in at a different angle but the principles of shooting are still the same it's the same lens I went to three two because I only wanted a little bit in focus still on aperture priority so you can see the way I shoot stays fairly universal even as the situations change and then I put her shoes in there and when I put her shoes in there I made a change eighty five millimeter now at f one four because I set up a mini is my eighty five I love it at one four now could I have shot one hundred five millimeter macro it like three, two and maybe how'd it look like this and sort of but I really love that eighty five one four I liked the angle of you I liked being at eighty five millimeters for that and I shot I shot at once and then I backed up just a little bit and let mohr of the frame in. It was a very subtle difference between something a little tighter and something a little looser, but when I loosened up, I feel like you have a little bit more that leads you into the image and all of this is done with the gooseneck lamp. I did shut off the rest of the lights in the room because otherwise the light from thea other bedside tables and whatnot on the overhead lights would have been competing with that light source. It was also far enough away from the window. The window really wasn't helping me out at all. It was also overcast. So is disgraced your modifiers for your off camera flash on they have to lots of questions about what you're using when they believe them do you think you have a better example coming up? We're going to talk about think about it now because I only have two of them. It'll take you two seconds. The road flash bender, the large sized rug flash bender is on my flash when I shoot family formals and otherwise I just use the little stuff in omni bounce that comes with the flash when you buy it super simple again, if if anyone wants to delve into any of my other classes, do spin, especially thirty days I spend on almost obscene amount of time off camera flash, you actually see my assistant and I put it together. And this is how this goes on. This goes on, this goes on this. And if anybody out there I do have ah photography, education, blah, that's called the dynamic range I actually talk about this is how you put together an off camera flash halvah for youtube video on this is how you put together an off camera flash and it's out there. One of the questions we're getting from a few people dana in june s and a few others how long is susan leave for shooting all the details? It looks like a lot of trial and error sometimes and given nearly run out of time to finish all the data, not a lot of trial and error it's I want to be very clear there there's not a lot of trial and error I'm not setting up things and seeing if they work, working through a scenario is different than trial and error. When you saw me putting the bells all out there, it took all of thirty seconds to do all of that it was click, click and click okay, I got it the end details five to ten minutes group that's it if even that long, sometimes you just have to throw it and go, and I'd like to kind of pull back just a little bit as we're looking because we're going through a lot of different scenarios into different just situations. How do you analyzing, determine whether a situation is something that you can work out a solution to or it's just not going to work, you need to move on and find somewhere else to work? Does it ever come to that optional right? Like, if I try a scenario, I want to do a scenario with a ring and it doesn't work, I just pick up and go to another room. Um, but if I'm going to do something like a family formal, I have to be dead on certain that I've made the right decision before I even get started, so some of it is I have to decide right now, and I have to decide right here. And some of it is, I have to decide right now, but we could maybe move to another room and some of it is, you know, like the ring shots just not working now we'll do it at the reception. Um, yeah, like, for example, what I'm looking at right here, the bride getting ready. I had about thirty seconds to decide where I wanted her to get ready and I had to just look around and be like, here, right here and where, maybe fourteen years ago that would've taken me ten minutes to figure out I can decide right now, but I still in my system who's out there watching, she still sees me get stock on occasion, we're all just stand there and I'm like, I can't do anything here and she's like, okay, that's not like a non option, you can you can just like, tap out for this when you have to come up with something and I'm like, fine, so I'll figure something out, but for example, here, you know, I was looking for somewhere for the bride to get ready, and it was a small home and she had all of her bridesmaids and her family getting ready with her, which is absolutely amazing, but it took up a lot of space so I found a window, a very pretty window, but was at the bottom of the stairs and I was like, you mind getting ready in the bottom of the stairs and she's like, sure. So I tried one scenario right here. I didn't love it compositionally I tried something else compositionally where I used the blinds on the window upstairs to get to my subjects, and I didn't like it because the blinds were too distracting and I went with a nice, simple composition, and that ended up working best working my way through each of those three was a simple as here, here here like that, there wasn't a heavy thought process in between them all and a couple of other, you know, I don't want to go too fast through these detail ones, but because we have done a lot of details bringing in elements that are important to the clients, I found my light, you can see where I am, you can see the light is coming through and hitting that his spinning thing, I'm not in it or so I don't know what to call it, but it was pretty and the bride is a knitter, so I knew that when I was shooting her invitation, sweet not only with light perfect. And everything they're working really well, but propping them up on that would be meaningful to her because one of the things that she made for herself for her wedding day was her own little shrug. So I used it to shoot the invitations and again, same principles. Eighty five millimeters at four. Five. I'm at four five so that all of the data here is in focus. But when I put her belt on it and shot it, I went toe one four instead different look, I could have shot the invited one for it wouldn't have all been in focus again. You've seen me do this before. Window macro set up, set up what is blurry down here at the bottom. I was shooting through the lattice on the side of a glass tray, so it was one of those trays were like the sides raise up a little bit and kind of like a little filigree. I used the filigree of the texture at the bottom. This exit data should look familiar, same types of principles over and over again.