My photographs of a Black Dodge Viper

Nikon P7000, ISO 100, ƒ/8, 1/640

I just wanted to have fun, so I photographed a Dodge Viper.

So I rolled the Dodge Viper into my studio. Here are some shots.

Dodge Viper [COOLPIX P7000, , Mode = Manual, ISO 100, 1/1000, ƒ/8, (35mm = 153)]
Dodge Viper [COOLPIX P7000, , Mode = Manual, ISO 100, 1/1000, ƒ/6.3, (35mm = 76)]
Dodge Viper [COOLPIX P7000, , Mode = Manual, ISO 100, 1/640, ƒ/8, (35mm = 153)]
Dodge Viper [COOLPIX P7000, , Mode = Manual, ISO 100, 1/1000, ƒ/6.3, (35mm = 76)]

After doing different shots with the blue gel, I switched to red and reshot the photos.

Dodge Viper [COOLPIX P7000, , Mode = Manual, ISO 100, 1/1000, ƒ/7.1, (35mm = 119)]
Dodge Viper [COOLPIX P7000, , Mode = Manual, ISO 100, 1/1000, ƒ/6.3, (35mm = 105)]

Now how did I take all these photos? Well, first, I was walking through Sam’s Club and saw the Dodge Viper and decided to buy it on the spot. So yeah, I spent a whole $12.95 for a model.

The Setup

Dodge Viper [COOLPIX P7000, , Mode = Manual, ISO 100, 1/640, ƒ/8, (35mm = 50)]
Dodge Viper [COOLPIX P7000, , Mode = Manual, ISO 100, 1/640, ƒ/8, (35mm = 50)]

I moved the softbox further from the background and more in front of the car for the first photo and did a similar with the first red photo.

I suggest playing with something like a car and photographing it in a different light. I also highly recommend buying a black car versus a lighter color car if you want to learn how to light. 

Wedding Lighting Kits

Kit One

These are the AC-powered strobes that I use for many different shots.

Here is a list of what is in the kit:

  • 3 Alienbees B1600—If I think the facility for the reception needs more than this, I can bring even more of these monobloc lights
  • 3 PocketWizard Plus Receivers
  • 2 PocketWizard Plus Transmitters
  • 1 PocketWizard Plus II Transceiver—Can be receiver or transmitter
  • Sekonic Light Meter
  • Vagabond Mini Lithium—Use this to power Alienbees B1600 when power isn’t nearby
  • 3 Extension Cords
  • 1 Power Strip
  • 3 Convertible 45″ umbrellas—Can take off black and convert it to a white shoot through
  • 3 Smith-Victor RS75 7’6″ Compact Aluminum Light Stands
  • 1 Paul Buff set of four honeycomb grids for a 7-inch reflector
  • Roll of Gaffer Tap
  • Several gel filters for color correction or adding color if needed

All this fits into the Tamrac 660 Rolling Studio – Black and weighs about 65 lbs. I check this bag when flying.

In this photo, you can see the room lit up with the 3 Alienbees B1600.

Rebecca Kramer and Cameron Manzi Wedding

Here is another photo showing how the lighting works in the room. Again, most of the action happened in the center, not on the fringes where I placed the lights.

Kit Two

This photo shows my hotshoe lighting kit. It includes

  • 1 Nikon SB900
  • 1 Nikon SB800
  • Pocket Wizard Flex Transceivers TT5 Kit
    • 2 TT5
    • 1 TT1—Use this with the PocketWizard Plus so I can sync at 1/500
    • 1 AC3
  • 2 ThinkTank Strobe Stuff bags to carry the flashes
  • SD-9A 6 AA External Flash Battery Pack for Nikon SB-900 SB900
  • 2 Metal Umbrella Brackets with Adjustable Flash Shoe
  • 2 Manfrotto 5001B Nano Black Light Stand – 6.2′ (1.9m)
  • 2 30″ PhotoFlex White Translucent Umbrellas

All this except the light stands and umbrellas go with my cameras in the ThinkTank Airport Security™ V 2.0 Rolling Camera Bag. I usually pack the stands along with my Tripod.

Gitzo GT0531 Mountaineer 6X Carbon Fiber Tripod Legs – Supports 11 lbs (5kg) & Manfrotto ball head.

Simple One Light Outside Group Photo

Nikon D4, 28-300mm ƒ/3.5-5.6, ISO 100, ƒ/8, 1/125, Off camera Alienbees B1600

The Setup

Simple lighting setups work great outside when you already have the sun as one of the lights.

Before getting the photo above, you must plan and do some test shots.

I recommend putting the strobe opposite the sun and using the sun as a hair light to help create separation from the background.

Nikon D4, 28-300mm ƒ/3.5-5.6, ISO 100, ƒ/8, 1/125, Off camera Alienbees B1600

When I do test shots, I take intimate photos of the face to see how the light looks on the front. So here, my daughter, who was also my assistant, stood in the place I would have the bride and bridesmaids stand.

Top View

I metered the scene and then added the strobe at one stop less than the scene.

Just be sure no one comes between the strobe and the people, and always have someone standing next to the strobe so that a strong gust of wind doesn’t blow it over. Also, this person can be sure the flash is firing.

Photographing school plays

Nikon D4, 70-200mm, ISO 11,400, ƒ/5, 1/500

Be Prepared

Here are a few tips to do before you actually start shooting the performance.

  • Arrive Early—You need to have some time prior to the curtain going up.
  • Fast lens and/or high ISO—You need to have the gear that will let you take photos is low light.
  • Find a good seat—You might think the front row is the best seat, but sometimes the back row is the best. If it is assigned seating, you might want to go before you buy a ticket to the venue. In general I find the seats in the center to give your more opportunities than from the side.
  • Test Shots—Often you can make some test shots to get your exposure correctly set.
  • White Balance—Shooting on Auto White Balance for a theater production is the worst possible time to use this setting. Often the productions use colored lights and this can have your camera correcting which will give your actors funny skin tones. Custom white balance is ideal and second you can try some presets like tungsten to get you close.

White Balance

Having good skin tones is the number one thing that really separates the hobbyist photos from the pros.

My secret weapon is the ExpoDisc.

ExpoDisc EXPOD2-77 2.0 Professional White Balance Filter 77 mm, 82mm (Black)

ExposDisc goes in front of the lens and then you use it to get an incident reading rather than a reflective reading of the light.
Notice the direction of the light hitting the subject.  You move to the same position to get the light reading below.
Point the camera toward the direction of the light that is falling on the subject.

I have found if the subject is facing me and the light is from the side, I face the camera with the ExpoDisc on it so it is pointing towards the camera position.  The chart above is to help you understand the concept, but you can modify it.

One way you can modify it is as long as the light is the same where you are standing, then you could cheat and take a reading from where you are.  The problem that can arise is if they are lit by Window light and the camera position is in the shade then your color balance will be off if you do not take it from the subject’s perspective.

Nikon D4, 28-300mm, ISO 3,600, ƒ/5.6, 1/400

If it is suppose to be a silhouette and you get a photo like mine, then great. However, if you are suppose to see their faces then you need to make some adjustments.

Nikon D4, 28-300mm, ISO 4,500, ƒ/5.6, 1/320

There are a few ways to adjust to get a good exposure on the skin tones. First use spot metering if you camera has it. On the Nikon D4 I can choose selective focus and spot metering. I then have 51 different points I can move the focus/spot metering to take the photo.

Using spot metering and selective focus with the Nikon D4 I have red brackets I move to where I want the focus and exposure to be set by.
Nikon D4, 28-300mm, ISO 12,800, ƒ/5.6, 1/320

Waiting for the light

While you are waiting for the peak moments in the scene, you also have to wait for the best light. For example this witch’s hat had her face in the shadows most of the time she was on stage., but when she was singing those dramatic high notes she put her head up and eureka you have your shot.

Post Production is critical

Nikon D4, 70-200mm, ISO 1,2500, ƒ/2.8, 1/500

No Flash—That is the rule for stage performances and therefore you are at the mercy of what stage lighting you see. Unless your small town has some incredible endowment for the arts, your lighting on the stage will not look like Broadway or TV shows.  Throughout this production the light value on one person would look great and the other person was blown out or silhouetted.

This is where taking the photo into either Adobe Lightroom or PhotoShop can help salvage a photo. This is one of the rare moments I am having to fix photos in post production. It isn’t because I screwed up, it is because the lighting just isn’t even or at least acceptable for photos.

This is the photo before I cropped it or made changes in post production. Notice that the kneeling actress is well exposed and not blown out. As a general rule you can open up the shadows, but do very little with something that is blown out with no detail.

Nikon D4, Sigma 120-300mm ƒ/2.8, ISO 2,500, ƒ/2.8, 1/500

Get Close

Don’t shoot the full stage all the time. Vary your images by using really long glass, like a 300mm lens or longer to isolate an actor. The lighting guys do this will spot light to make you look at just one place, but you can do it with lens choice.

Nikon D4, Sigma 120-300mm ƒ/2.8, ISO 2,800, ƒ/2.8, 1/500

Think Marching 

Nikon D4, 28-300mm, ISO 7,200, ƒ/5.6, 1/250

When you see the military marching in formation or see marching bands the photos look great with everyone in sync together.  I usually find that when everyone is in full stride looks better because it creates motion. Closer the legs are together they look like they are standing still, even tho they are moving.

Nikon D4, 28-300mm, ISO 4,000, ƒ/5.6, 1/250

Summarizing

Arrive early, shoot a lot of photos and plan on doing some post production to get quality like I am getting here. You camera phone will not get this quality. Nor will having great gear. What gets this quality is experience. So arrive early to do test shots so you are not shooting your first images of the play when it is live.

Child Prodigy Photographer: Still Waiting

By definition a Child Prodigy is:

A child prodigy is someone who, at an early age, develops one or more skills at a level far beyond the norm for their age.[1] A prodigy has to be a child, or at least younger than 18 years, who is performing at the level of a highly trained adult in a very demanding field of endeavour.

Here is a formal list of child prodigies and as you can see there are no photographers. This past week I had some time to hang out with Dave Black. It was Dave that made this observation about there are no child prodigies in photography.

Why no prodigies?

Photography has been around now for two hundred years and you would think that if it were possible that we would have a prodigy by now.

While I do not know exactly why there are none I do have my hypothesis. Why even care if there are any prodigies? I believe the answer is that this is a learned field and that even if you have an artistic eye you still need to have some training to succeed.

No Degree Required

Photography does not require a degree or certification to practice. If you own a camera you can hang your shingle out as a professional photographer.

Many professionals have tried to create certificate programs to help them in their business. It doesn’t work, because of one simple problem. People will look at your work and not your degree to hire you.

We look no further back in history than to 2012 to see what it takes to be a successful photographer. Why only last year? Well in many articles written about photography, many are saying that due to the camera phone that more photos are made than at any other time in history and that 2012 was the biggest of all time.

While many photos were made last year only some are rememberable. The great photos were not just made because the camera was set on “P” mode [professional mode].  Hopefully, you know I am joking. They are great because the photographer had a vision and knew how to manipulate the controls and/or light to capture what they were wanting.

Abstract Thought Required

“The formal operational stage begins at approximately age twelve [adolescence] and lasts into adulthood. During this time, people develop the ability to think about abstract concepts. Skills such as logical thought, deductive reasoning, and systematic planning also emerge during this stage.

While children tend to think very concretely and specifically in earlier stages, the ability to think about abstract concepts emerges during the formal operational stage. Instead of relying solely on previous experiences, children begin to consider possible outcomes and consequences of actions. This type of thinking is important in long-term planning.

In earlier stages, children used trial-and-error to solve problems. During the formal operational stage, the ability to systematically solve a problem in a logical and methodical way emerges. Children at the formal operational stage of cognitive development are often able to quickly plan an organized approach to solving a problem.”

Formal Operational Stage of Cognitive Development
By Kendra Cherry, About.com Guide
While today’s cameras allow you to point and shoot and come away with an image even for someone blessed with a visual eye needs to know how to manipulate the controls to give them an image that is superior.
Painters can include and exclude from the canvas much easier than a photographer can be selective with a camera. But both the painter and photographer must have a vision of what they are creating for the image to have impact.
Depth-of-field is a tool the photographer learns to use over time. How much will be in focus in front and behind the subject. There are varying degrees to which the photographer decides what is in focus and helps to create more impact by using this creative tool
Motion is either frozen or blurred in photography. While varying the shutter speed controls this the photographer can even choose to add motion to the camera during the exposure to keep a subject sharp and while at the same time blur the rest of the photograph.
Light is the greatest influence in photography. The absence of light alone means there is no photograph to be created. How the photographer chooses to use light helps improve the photograph. Sometimes they may choose to use the available light, light everything or only light part of the photo. They can also choose to vary the light values through out the photograph as well.  
Learning these technical tools and how to use them in conjunction with one another to create an artistic image requires abstract thought. 
Many photographers are masterful technicians who learn to use the aperture, shutter speed and light to give them different affects. 
Photographers who specialize photographing people must also master body language. Body language is everything from the very obvious smile down to the subtle pinky finger being raised while drinking tea.  To tell stories with people in the photos, the photographer must master the art of body language and all the technical skills of the camera to help make photos that impact the audience.
Photography is an acquired skill
The good news from all this is that even if someone feels like they do not have an artistic eye they can over time develop the skills to become an outstanding photographer. Those who do have an artistic eye must also study and learn how to master the camera and light to make photos or they will never be able to make photos—the camera will do it instead.
Great Visual Storytellers master these skills:
  1. Depth-of-field—You need to understand how the focal length of a lens and the lens opening in combination affect a photograph. After you understand how this works you need to then be able to look at a scene you want to photograph and consciously make a decision as to what you want in focus. 
  2. Shutter Speed—Not only does shutter speed help you freeze objects and blur parts of a photograph it can determine if you have color shifts in a photograph. You need to master how this impacts the photograph so you can choose how this tool with affect the photograph.
  3. Light—Seeing light and being able to capture the natural settings is a must. Once you have mastered capturing light as it is naturally, then you can manipulate it to help situations look more natural. You can add light to a scene to improve it. You can add light to overpower the natural light and make it what you want it to be. 
  4. Composition—Studying the masters in art will help you to know how to use compositional techniques to lead the viewer where you want in a photograph.
  5. Body Language—For the people photographer you need to understand what your subjects are communicating so you can control the message. You are able to anticipate the moment and capture the ones which help the message you want to communicate become clear and concise.
  6. Combining the techniques—After truly mastering each of these skills will you then be able to see how they are used in combination to create what you want, just like the painter who decides what will go onto the canvas.

While there are no prodigies, there are great photographers. Great photographers are self made through persistence. You can be a great photographer. You need only to master the skills and most importantly have a vision for what you want to appear on your canvas.

Lighting African American on black background

This is one of my favorite photos that I have ever made. I think the model brought as much to this session as I did lighting her.

I love her hair, the turtle neck and her wonderful skin and smile.

Simplicity is what makes this work so well.  You need to have the background far away from the soft boxes.  There is easily 10 feet from the model to the background.  So the amount of light hitting the subject drops off pretty quickly and what little light is hitting the background isn’t enough to register in the photo.

She is around f/8 on the Mamiya RZ 6×7 camera system. I was using a 100-200mm zoom lens and shooting with Provia 100 transparency film.  I didn’t know how good it was until I got the film back from the lab a day or so later.

Sure I shot a test shot. I shot that with a Polaroid back using Fuji’s Polaroid film.

Lighting a science lab

I love shooting in science labs.  I enjoy learning what the scientists and engineers are working on and creating that will impact our lives in the years ahead.

Here I used two color gels to help communicated “science.” I used blue on the background and red on the foreground.

To get a gel to be the same color it is in the shot it needs to to -2 stops darker than the main light on the subject.  So here the main is f/11 and the background blue is metering at f/5.6.  The same for the foreground red at f/5.6.

You will notice the power for the blue is full power.  The reason for this is the blue gel absorbs more of the light than red does.

The main light is a 30º grid on a monobloc. This is the keep the light from spilling over onto the red or blue and watering down the light.

YWAM School of Photography: Mixed Lighting

Here is another lighting assignment for the students.  They were to go outside, use the sun as a backlight, and then use a strobe as the leading light.  Here are the assignment and diagram that I sent to them.

Description: Mixed lighting

Items:

Monobloc
If you choose, you may use your hot-shoe flash, but it must be off the camera.  A short cord will not work for this.  You need a long line to fire the flash, or you need to use the radio remotes.  Use extension cords for power or use the battery-powered strobes.

Camera
You may use any lens you choose for this assignment fish-eye, wide angle, portrait, telephoto, lens baby, or shift.  Make this a complete environmental picture as you can.

Sun
You can do this assignment outside with the sun still lighting the sky.  It can be dusk, dawn, or mid-day sun.  Be sure the subject is backlighted by the sun and not on their face.

Subject
We need good expressions in this photo.  Maybe have the subject posing with something.  Sitting on a motorcycle or holding a surfboard are examples of what students have done in the past.

Here are the student’s results: 

by Elsa Mesot
by Lisa Mironuck
by Annett Rek
by Sharon A. Reitsma
by Deborah Mataia
by Lauren R. Tercero
by Francisco Leon V.
by Janie Wakefield
by Joshua Soon Yong Choi
by Xiaodong Yu
by Hastings Franks
by Katie Suderman
by Sarah L. Quinones
by Malcolm Adair

Light brings life to a photo

When you look at portfolios of photographers pay close attention to the subjects eyes.We have heard it said over and over the eyes are the windows to the soul.

I had an earlier post talking about genuine smiles and that the place to see if they were genuine was not the mouth, but rather the eyes.  Here is that post.

Professional model Tyra Banks said the mistake with many models is smiling with their mouth and not their eyes.

This is available light.  Look at the eyes and how even with a good expression they just don’t pop.

Now if the model is doing everything right the photo can still fall apart. Why? You must be able to see someone’s eyes to really connect with them.  A good photographer will know this and do all they can to be sure your audience is connecting with the subject.

There are many photographers who are not storytellers.  They just see your subjects as objects.  They may even be really strong graphic images with great color, but the audience is not identifying with the subject.

Here the only difference with the photo above is a fill light was used which helped give a catchlight in the eyes and softened the shadows.
Take the time and look to see if the photos you are being shown have life in the eyes. A “catchlight’ is simply the highlight of a light source reflected off the surface of the eye. This highlight adds depth and dimension to the eye, and gives the eyes life in a portrait or snapshot.
Now not having catchlight is not required and sometimes actually hurts the photo.  If you are telling a story and you need the subject to look sinister or like a vampire, be sure not to have catchlight and you will create that negative tension that you want.  
As long as you know you are not using catchlights for some reason that is OK, it is when you are not making a conscious decision that you diminish your message without knowing.
While the exposure is OK notice how difficult it is to see the eyes.

There are times when the process of adding a catchlight is not possible.  There maybe a technical reason it cannot be done without actually creating other problems.  In photography and communications there are often trade-offs.

While it takes more effort to introduce the fill light, notice the black skirt now has some detail as well as the eyes having that catchlight.

After looking at these photos maybe you are now more aware of what to look for when evaluating photos.

These tips are the differences that can take your storytelling to the next level. Not being aware of them and having your audience know the difference can make you look amateurish and we don’t won’t that do we.

Good exposure as well as a good expression on the subject.  Can you see his eyes?

Notice again how the photographer has added a fill light that opened up the face and helps you see the eyes.

Where does your eye go first?

Turn your photos upside down; this will help you see where your eye goes first.  After seeing where your eye goes first, is this where your audience wants to look? Nikon D2Xs, ISO 400, f/7.1, Nikkor 24-120mm
Fair values are one of the most significant factors influencing where someone looks.  Nikon D2Xs, ISO 400, f/7.1, Nikkor 24-120mm

Start upside down
One of the ways I was first taught to look at a photo is to turn it upside down.  This way, you see how the photo’s composition and light values will direct someone to what is essential or away.

The light values alone have a tremendous effect on the viewer.  If you put a black dot on a white paper with nothing else or a white dot on a black piece of paper, your eye is drawn to the dot.

With more stuff on the paper, the principle is still the same. The contrast of the light value to the rest of the scene will draw you to a spot.

Now that you know this, you should be able to help create a photo that directs the viewer based on fair values to the subject.

The ceiling helps to add some graphic qualities to the photo.  Nikon D3, ISO 400, f/7.1, Nikkor 24-120mm

Graphics

Sign manufacturers have used big arrows to direct you to a store location.  You could use a large hand to show people where to look, or you can use this same principle more subtly to direct the viewer.

Leading lines and perspective can help pull you into a photo and give the image some depth.

While straight lines hit you over the head, directing your eye, the S-curve is a classic way to draw a viewer’s eye.  One of the most common uses in the scenic photo is the river winding through a scene.

Framing


Here I am using the tree and the people in the shadows as framing at The Citadel. Nikon D3S, ISO 200, 1/1250, Nikkor 24-120mm

While a photo might look good in different frames, you can buy it at a frame shop. You can also use elements in an image to help frame the shot.  This framing often helps create a sense of depth to a photo and not just a border like a physical frame.  Looking through a doorway to the subject in a room helps create some context.

Using the flowers to fill in what could be an empty space.  Nikon D3, ISO 1600, f/5.6, 1/5000 Nikkor 14-24mm

Flowers in the foreground and the subject like a house in the background help fill what would often be dead space in the photo.

Hey there’s more

While your eye may go to the young man setting the table and it is telling a story, your look will likely drift to the woman at the stove cooking and then to the people in the back room.  If I did it right, your eye would drift around looking at the more minor details because I got your eye moving, and once it is, it will explore.  Nikon D3S ISO 12,800, f/5.6, 1/40, Nikkor 14-24mm

You can make a nice composed photo of a subject and do a great job creating a good image of the issue.  You can also make a more storytelling photo and not just a pretty picture.  These are photos that you may be drawn immediately to the main subject, but your eye continues to be moved around the scene, and you are learning more about the story.

Some photographers have you looking only at the subject and not much more.  The seasoned storyteller will have you looking all around and absorbed into the content.

Multi-layered compositions take time and help tell the story in its context more. It also is more entertaining but requires time for the audience to absorb. Photos like this need a longer pause in the slide show or video. Sometimes in magazine story spread, you let them run over two pages to let the audience see all the action.  Nikon D3S ISO 5600, f/5.6, 1/250 Nikkor 14-24mm

One Week of Studio Lighting in Kona, Hawaii

Students work from 2006

YWAM School of Photography 1

Students go from not knowing how to turn on the strobes in one week to doing incredible work. My job is to take the fear out of trying new things and teach them some basics upon which they can build.

Take a look at these shows showing you some of the student’s work through the years. I think you will be impressed as I was with their first time shooting with studio strobes.

Here are the students’ work from 2006


In the studio
Mixing the strobes with available light

These photos are from the students’ work in 2007.

We shoot and let everyone see each other work on monitors, this way; we are learning not just by doing but observing as well.
The school has a variety of lights for the students to practice within the class. Here we have the JTL battery pack system letting you shoot outside with studio lights and radio remotes.
Students learn they can shoot at dusk and night with the strobes. Next, the students mixed strobes with available light and added a flashlight to write the word “Viking” beside the subject, his nickname.


Why I photographed them this way (Part 3)

Nikon D3, 14-24mm, ISO 200, f/5.6, 1/1000

Flash Outside

I love to use two different Flash systems outside.

1) I use the Nikon SB900 with SU800 on my Nikon DSLR or on my Nikon P7000. I also use the Radio Popper PX system to be sure the signal is consistently firing outside.

2) I use the Alienbees 1600 with a Vagabond Mini Lithium batter and the CyberSync system to fire them.

The first photo i used by SB900 to shoot the photos. I could shoot the photo and fill-flash with the hot shoe flash quickly and move around. The flash had to be very close to the people outside to be useful.

Walk and Talk photo I like to use. Nikon D3, 24-120mm, ISO 200, f/5.6, 1/160

Walk-and-Talk

The next two photos are using a technique I learned from Jeff Smith a corporate photographer back years ago.  Back then I was shooting film and with today’s flashes this is easier to do.

I like having the subjects walk side by side talking to each other. Often as in the first photo they walk straight at me and other times like in the last photo they just follow the path of a sidewalk for example.

I have an assistant either carrying the Nikon Speedlite system or my Alienbees system.  The advantage of the Alienbees is I can have the assistant further away and still with the power of this flash fill in easily.  Actually, most of the time the Alienbees are firing at 1/16 or 1/8 power.

The assistant walks off to the side, usually lighting them at 45 degree angle to the camera.  They walk just outside the picture frame and keep an even pace with them as they walk. You need to hire an assistant who can walk and chew gum at the same time for this technique.

My portable system for Walk-and-Talk. AlienBees 1600, Vagabond Mini, CyberSync radio remote control

CyberSync Radio Remote Control

Vagabond Mini

The reason I like the Walk-and-Talk technique is it gives something to the subjects to do. I find this not only helps to focus them, but after a couple times doing this they tend to not only relax, but I get great expressions.

Tip

If you use this Walk-and-Talk technique I recommend you tell them to walk close enough to each other they feel each other occasionally touching. In addition, I recommend one person talk and the other listen. Lastly, I ask them to look into each others eyes or at each others faces.  There is a tendency for people to look at the ground or off somewhere else.  I want them to look interested in each other.