Gear and Shoot Q&A
Before we get into questions and answers, if you guys want to kind of prepare them, if you have questions pertaining to the shoot, I want to talk about the gear because this is what I get asked quite often. I shoot with the cannon five d mark three. It is a full frame camera and has a sixty four point focusing system, which I absolutely love. I actually really enjoy the hi I igh s o capabilities. I don't you notice what this whole shoot there wasn't a necessity for me to shoot it? Hi, isos. But when I shoot dark ballrooms that does come in very handy. Especially I wanted leverage, the ambient light I shoot with prime lenses at all my shoots. What I carried in my bag on the issue is what I carried to every engagement session and what I use mostly on the entirety of the wedding day. If you would like to check out my entire gear bag and what I take to a wedding day, you could find that in great detail during the thirty day photography boot camp. Before the shoot, I used the fifty millimet...
er. One point to this was the lens that was on my camera the most, because I feel like it has a little bit more of an editorial flair that I prefer. I also was using the thirty five millimeter. Now part of the reason why I like the thirty five millimeter is because this is the lens on a full frame camera that really reflects what your eyes see naturally from periphery to periphery. So you notice that I could shoot at a distance and get a wide frame, and then I could step in really, really, really close to kind of a voyeuristic appeal using the same lens. Lastly, I used the eighty five millimeter, one point two, so the caveat to this lens is that the eighty five one point eight is also phenomenal lens. It is what I used for years. It is what my second shooter and husband jd uses and he enjoys part of the reason he does not want to upgrade to the one point two is because you are paying about a thousand dollars more and focus is slower and it weighs about twice, twice as it is a heavy hunk of lens. But when it locks in with a beautiful portrait and the boca in the background, it is truly uncomfortable people often ask, like if I manipulate things and photoshopped, I have never manipulated a background in photo shop. I do that all strictly with the fix lenses that I used. Now we're gonna do is we're gonna head into we're gonna head into question. Answers will take some from the internet. You guys have them. Please pass the microphone around. We just kind of want to get a little bit of a breather in case there are shooting questions pertaining to what we just saw. So gerald stuck here? Totally, yeah, what kind of meter? Indies on outdoor shots of the bride and groom this's a great question and it's something I'm asked quite often, uh, for awhile, I thought I was using spot metering. Uh, but I never changed anything in my camera, so how the camera comes out of the box is set to evaluative, but I was never using that to begin with, and I think that for so long I hid behind things I didn't know and now I'm here to say, I don't care what metering it's set to because my eyes are seeing it the way that it should be saying, I'm focusing one hundred percent on skin tones, and what you see is that by me simply looking at my lcd screen, I could see why skin tones are and whether or not I'm saving address. Sure, I might have blown out highlights in the sky, but that's a given, considering that I use no fill light to compensate for that. Also, if you are in question, you're in a pinch on the wedding day, you could simply bring up the history ram, and you could see where what highlights are going out and sometimes on the cannon camera, you can see if there's a blinking portion on the lcd screen. That means that that portion of photo has been blown out. If I'm blowing up the sky, I'm ok. If I'm blowing out really important details on the dress, then I'll kind of bring it back down and that's what you saw me do during the shoot as well. Um, do we have questions in the audience? If not, we'll keep them oh, you dok, so we'll pass. It will pass in my care. So just a question when you're shooting couples at like one two what do you what is your focal point? Perfect. Perfect. So one thing that I want to bring out this is a phenomenal question. Thank you for bringing me. Bring me there is there are focal planes. We haven't explain. We have y plain. I can shoot wide open if my subjects are at the same height. And scott and megan were roughly at the same height, so if I have them standing close together and if scott's faces turned into her right here, my focal point is on her eye at a one point two and he's going to be very much in focus now the further I stand from my subjects, the more latitude I have no if I was shooting at a one point two and I'm very, very, very close and the same pose here, scott will be very out of focus, but the farther I stepped back, the more latitude I have with on that now, if it is very rare for me to shoot at a one point to when both my subjects are looking straight at me, I know that that's like you're you're gambling with focus at that time I shoot with one point to when I have one subject looking at me and one subject looking at the other person, I will shoot quite often because they were the same height when the couple was walking towards me. I was I was shooting around a two point five and shooting at a two point five even shoot in that f to because what I do is I q my clients to say, megan, look at me and making when you're looking at me, scott, you're looking at megan and when I say, hey, scott scott, I want you looking at me and making me looking at scott, so I rotate my focal point to be on the subject's eyes one hundred percent of the time whoever's looking camera that's where the focal point is on one of their eyes. Thank you. Those great will go online. And if there is another question in the studio audience, can you just give me a little wave? And if there is not no worries, we'll stick with the questions that are coming from an online totally. Tracy wants to know when you went to the cosmetology school, did they allow the makeup artist to go with you on the shoot? Or did you have your models go to them? How did that work out? Oh, that was different. That was different for every scenario it really depended on scheduling. It depended on, and I think that the school didn't want to make their place as ah hub, totally understandable, and it could kind of create competition with the students. So is basically what I use. The beauty school was just to create connections with makeup artists, and then we e mailed, and then we figured out what was going toe work best now t take things back a little bit, I say now today oh, well, the couple men at my studio, which you know, I didn't have a studio for years. So we often times I was looking for flexibility where we can meet in public places, or if the makeup artist had a small space, or if my models. Because at the time, early on, I was working with a lot of friends and family. So I would say, hey, come to my house, because I felt comfortable, that or they would say, oh, can you meet me at my place? And I would go with the make up artist there.