- So we made it on location,
we're here in Brooklyn, New York,
it's about 6 p.m. so the light
is getting really golden-y and nice.
We're about to wander the streets
around here and find some nice streets to shoot on.
But before that, let's intro our model.
So this is our model for today, come on over here.
- Hey, everyone.
- This is Isabella, we're both based out of New York,
so we shoot a lot around here, we kind of know the area.
But we're gonna kind of look through the outfits
she brought today, and figure out what kind of looks
we're gonna go for.
- And I brought a few looks that I think you would like.
- All right, let's see what you got.
- Let's go through this.
- I think if we're gonna shoot daytime right now,
we should save the lighter clothes
for maybe nighttime stuff.
Do you have anything a bit darker?
- I have this.
- I kind of like this black and red,
kind of look.
- Okay.
- So maybe let's go for that.
- Totally I can start on this one.
- Okay, sweet!
- Sounds good!
- And then you'll throw on your pointe shoes of course.
- Mm-hmm.
- Yeah.
Sweet.
(upbeat music)
So we made it to the first location I had in mind.
I kind of actually walked past here
when I was meeting Isabella,
I kind of like this because of the two sides
of the tree like intertwining.
It can make for a really nice perspective shot.
I have my Nikon Z7 with me, but we're gonna switch to my 85,
to make it a little bit more telephoto.
Especially because we are shooting Isabella full-body.
And something I like to do
before shooting the model in place,
is just getting my settings correctly,
so I'll probably just stand right here
and see what we're working with.
I always have settings from the shoot before.
So let's just take a test shot right now.
(shutter clicks)
So right now, I have my shutter to 1/1000
and then my ISO I'm gonna boost up to just 160,
we're setting our shutter a little bit higher
because of the motion we're about to shoot.
And then I'm just gonna go in and change my white balance
to whatever looks the best to me personally.
So we're gonna move from auto to cloudy,
just it gives a little bit of a nice glow.
I think that looks pretty accurate to real life.
So right now it's kind of nice, soft light
we're getting back here, and that way it won't distract
too much from the model because of Isabella's posing
is a little bit more complex than we're used to,
so we can have the background
just be a nice, like little painting behind us.
Let's do a jump.
Can we do a jump?
Yeah.
So I'm gonna go to continuous shutter,
just so I can click as fast as possible
and get the movement at the right time.
All right, let's try this out, first test shot.
Let's go for it.
And, go.
(shutter clicks)
Nice.
I have this CD I just bring as a prop.
It's super easy to throw in my bag.
And it creates a kind of lens,
rainbow refraction right in front of your lens,
you don't have to do anything in post.
And I kind of just experiment it
with how close or far I'm holding it from my lens,
and that way it will give you
kind of a different type of look,
whichever way you're holding it.
(shutter clicks)
What's nice also about using this CD,
is once you get a shot that looks like you have the rainbow
kind of in-frame, in the edit, duplicate that,
and post it to a photo that actually
didn't have the rainbow, and then it looks like you did it,
but you actually didn't in person.
Go for it.
(shutter clicks)
Nice.
And, go.
(shutter clicks)
Nice, got it.
I move kind of really fast when I'm shooting,
especially when I'm shooting with a high continuous shutter.
I think I got what I needed, at this spot,
so we're gonna keep moving.
(gentle music)
As we're walking around trying to find some nice light
with this golden hour happening behind us,
we found the light, kind of nice back lighting,
through these trees right here,
so I'm gonna have Isabella stand right in front of that,
and do like a nice, slow hair flip.
And keep my settings around how they were,
we need to capture that motion, pretty still.
So, we have our shutter at 1/640.
And then our ISO's at 250, 'cause we wanna keep that low,
but it's not that hard with the nice light we have right now
to keep that ISO as low as possible.
For this shot, we're not gonna do full-body
just because there's a lot of people
coming in and out, so we're gonna shoot waist up,
and I'm gonna have her focused
before she goes into the motion, just to make sure
I know where she's about to land that hair flip.
Come up just real quick to focus.
And then, one sec,
and then you're good to go whenever.
(shutter clicks)
The light right now is really harsh behind you,
so you're kind of like silhouetted but it looks nice.
Come a little closer, if you can,
more like right here.
Yeah.
And go for it.
(shutter clicks)
Nice.
Oh my God, we got it.
I also quickly just switched my 85 to my 35,
just 'cause we're getting a little bit
closer in on her, but I also wanted to capture
some of those sun rays we're about
to see with the backlight coming through.
So the 35 will be perfect for that.
All right, let's actually move down just a bit
'cause of this trash.
So, we still have some golden hour happening,
we walked a block down to this little railing.
We're gonna have Isabella kind of use this
to her advantage with posing,
that's something I like to look for a lot
when I'm shooting with someone,
especially, when they're a dancer,
so we're gonna get, again, some nice backlight shots,
but instead, more full-body,
'cause we got a waist up shot, so.
Because she's just doing one single motion,
I'm just gonna do single shutter.
So I don't get too many photos, just a few.
Shake your hair a little bit if you can,
in that pose, just kind of like wave it.
(shutter clicks)
For one final shot at this location,
I'm just switching my lens from my 35 to my 58 1.4.
Just 'cause I think that this shot I'm getting,
will look a little bit better with the background
slightly more blurred, and since the 58 is a closer prime,
it will give us that effect, so.
Let's go for it, same thing.
Before the light is completely gone.
Nice.
Perfect.
(upbeat music)
So as we're making our way down to the skyline
where golden hour is happening,
I kind of stumbled upon this little pathway.
And this is something I really like
because it doesn't look like New York,
so it adds some kind of variety in the shots we're getting.
So we're gonna have Isabella right in the middle of this,
I have my 85 on, so we can kind of get that depthy look
with our telephoto, semi-telephoto lens.
And my settings are pretty much the same as earlier, so.
Let's get you right in the middle over there.
And go for it.
(shutter clicks)
That was good.
Let's do one with both hands up.
Yeah, yeah.
And, go.
(shutter clicks)
Nice, that was a good one.
All right, let's walk to the little skyline.
(upbeat music)
Lens cap's on, love that.
So we made our way down to the water
with the skyline behind us,
the sun has basically set,
so we're getting a lot
of nice, soft, colors behind us.
And we're gonna have Isabella pose against this railing.
I also have my 105 millimeter on,
so we can kind of get rid of that business behind her,
and get it a little bit more flatter.
And I will have to compensate my settings
just for how dark it's getting,
but we should be good on a pretty low ISO right now.
Wanna come right against this?
And just kind of look out,
you might actually wanna be on pointe,
just to get a little taller,
but move to the right a little bit
just so you're nice and even.
Yeah, that looks really nice there.
So I briefly just took a test shot with the 105
and I actually didn't love it.
You couldn't even see really the skyline
'cause it was super up close and telephoto,
so I might switch back to my 35 or 58
and see how that looks.
Because we're having Isabella
stand in a kind of still position,
we can have our shutter a bit lower at 1/250 of a second,
and then our ISO is around like 500,
so it's not too, too high.
Nothing we can't fix when we're editing.
I like that.
I also don't need to be in continuous,
like crazy, just 'cause we're getting
some single frames here.
Yeah, perfect.
Keep moving, I like that a lot.
Maybe off to the side, do that again, that hair flip.
That was cool.
(shutter clicks)
Nice.
Relating back to my shutter, I don't like to have it
anywhere below 250, just in case
I capture some blurry movement,
because I do like to have my model move when she's posing
in kind of like a slow, authentic way.
So I want to make sure I'm capturing all those little shots.
1/250 right now is perfect just for that.
But you can also change it
if you want to play around with more movement,
I just like to make sure
that we're getting some crisp, clear shots,
and nothing is out of focus or blurry.
So we just finished up taking our daytime portraits,
it's definitely getting a little bit darker,
so we're gonna take a break,
Isabella's also gonna change,
and we're gonna take some nighttime shots
and incorporate in some fun props, so.
Stay tuned.